Kate Warren
'The Score' at The Ian Potter Museum of Art, by Kate Warren

Mia Salsjö, Modes of Translation, 2017, production still. Image courtesy of the artist.

The Score, The Ian Potter Museum of Art, August 1 – November 5, 2017. Curated by Jacqueline Doughty.

One of the things I enjoy most about going to an orchestral performance are the moments when the musicians onstage complete their final warm-ups, exercises and tunings. Being not yet focused into a single force, the performers’ last-minute preparations are individual and not precisely coordinated or har...

Paris Lettau

Isadora Vaughan, Recalcitrant Bodies, installation view. Photography: André Piguet.

"The Great Indoors": Recalcitrant Bodies, by Isadora Vaughan at The Honeymoon Suite, Lv1, 60 Sydney Rd, Brunswick, 1–23 September 2017

Isadora Vaughan's practice is synonymous with a certain style of sculpture and installation that has emerged over the past decade amongst a new generation of (usually VCA-trained) Melbourne-based artists. It is a style that emphasises materiality, indeterminacy and conting...

Francis Plagne
Smallness: Trevelyan Clay at Neon Parc and Kate Smith at Sutton, by Francis Plagne

Kate Smith, An Impression of an impression (after Rupert Bunny) 2, 2017, texta biro acrylic and oil on linen, 35.5 x 51cm. Photo credit: Andrew Curtis.

Smallness: Trevelyan Clay ‘Moments Today’ at Neon Parc (August 31 – October 7) and Kate Smith ‘An Impression of an impression’ at Sutton Gallery ( September 8 – October 7).

I confess to being a sucker for bad painting. Not, that is, for all painting that fails in whatever way to be good, but for the particular style of offhand, deli...

Audrey Schmidt
'People Soup' at Suicidal Oil Piglet, by Audrey Schmidt

Hana Earles, $1070, 2017, 08:00.

People Soup, Suicidal Oil Piglet, 19 Moreland Rd Coburg, Melbourne, 25 August—16 September 2017.

Suicidal Oil Piglet, an unusual gallery name for which there is no given explanation, opened earlier this year in Coburg, Melbourne, by co-founders and artists Calum Lockey and Zac Segbedzi. Prior to SOP’s opening, the duo ran the website Melbourne Offsite Index with Hana Earles from 2015-6; documenting offsite shows staged in environments ranging from pa...

Anna Parlane
'Forever Transformed' at Gertrude Contemporary by Anna Parlane

Tabita Rezaire, Peaceful Warrior, 2015. Digital Video. Photo courtesy of Gertrude Contemporary. Photo Credit: Christo Crocker.

Forever Transformed, Gertrude Contemporary, 21 High St Preston, 28 July – 9 September 2017.

The recent relocation of Gertrude Contemporary from its long-term home in Fitzroy is both cause and effect of Melbourne’s ongoing gentrification. Having occupied 200 Gertrude Street for over three decades, the gallery’s move was forced by the rising costs of remaining in th...

Jane Eckett
Unexpected correspondence: 'Sidney Nolan and Elwyn Lynn, A Joint Centenary' at Charles Nodrum Gallery, by Jane Eckett

Elwyn Lynn, Yokohama, 1984, gouache and mixed media on paper, 56.00 x 76.00.

Sidney Nolan and Elwyn Lynn, A Joint Centenary, 17 August - 02 September, 2017.

A shared centenary, mutual admiration and a friendship spanning the final quarter-century of their lives are the ostensible justifications for the present joint exhibition of Sidney Nolan and Elwyn Lynn at Charles Nodrum Gallery, Richmond. Their friendship also extends to provenance. Fifteen years ago Nodrum showed a suite of over two-...

David Wlazlo
'Future Eaters' at Monash University Museum of Art, by David Wlazlo

Future Eaters, MUMA, 2017.

'Future Eaters', Monash University Museum of Art, 22 July – 23 September 2017

Asking the viewer to consider sculptural responses to our technological present, Future Eaters presents a series of works that are diverse, divergent, and in many ways reductive of the ways technology is involved in our lives. Technology here—like sculpture—is equated with hardware. Of course this is a ‘common sense’ understanding of the technological, but as a premise for a show it s...

Beth Kearney
‘Fictitious Realities’, at Bayside Arts and Cultural Centre, by Beth Kearney

Sam Jinks, Untitled (babies) 2012, Silicone, pigment, resin and human hair, 36 x 36 x 18 cm. Courtesy the artist and Sullivan + Strumpf, Sydney.

Fictitious Realities at the Gallery at Bayside Arts and Cultural Centre, 1 July - 3 September 2017

Fictitious Realities, the group exhibition of nine artists - Daniel Agdag, Tom Arthur, Simon Finn, Aki Inomata, Richard Giblett, Sam Jinks, Colin Suggett, Cyrus Tang, and Liu Zhuoquan – is on show at 'the Gallery at BACC' (its slightly abbreviated...