Hany Armanious Benjamin Armstrong Peter Booth Daniel Boyd Pat Brassington Nadine Christensen Daniel Crooks Juan Davila Destiny D

THE SHAPE OF THINGS

HANY ARMANIOUS BENJAMIN ARMSTRONG PETER BOOTH DANIEL BOYD PAT BRASSINGTON NADINE CHRISTENSEN DANIEL CROOKS JUAN DAVILA DESTINY DEACON & VIRGINIA FRASER MIKALA DWYER EMILY FLOYD MARCO FUSINATO TONY GARIFALAKIS DIENA GEORGETTI SHAUN GLADWELL HELEN JOHNSON JESS JOHNSON NICHOLAS MANGAN JAMES MORRISON DAVID NOONAN TO MIKE PARR PATRICIA PICCININI DAVID ROSETZKY RICKY SWALLOW PETER TYNDALL COME FRANCIS UPRITCHARD BUXTON CONTEMPORARY THE SHAPE OF THINGS

10 The shape of things to come — Melissa Keys

39 Stories and counter-histories — Astrid Lorange

69 Unsafe — Edward Colless

95 Art and failure: of things The shape of things to come Title The editor and publisher perfecting and corrupting Buxton Contemporary, The shape of things of things respectfully acknowledge the University of Melbourne to come Boonwurrung and Wurundjeri metallick bodies peoples of the Kulin Nation, their — Jan Bryant Published on the occasion of the Authors ancestors and Elders, on whose inaugural Buxton Contemporary Jan Bryant, Edward Colless, land this book was produced, exhibition The shape of things to Melissa Keys, Astrid Lorange and who form part of the longest 112 Artists’ Biographies come, 9 March – 24 June 2018 continuing culture in the world. ISBN 978-0-6482584-0-7 Director Buxton Contemporary 126 List of Works Ryan Johnston Subjects Corner Southbank Boulevard Contemporary Art, Australasian Art, and Dodds Street Curator 20th century Art, 21st century Art Southbank Victoria 3006 Australia Melissa Keys www.buxtoncontemporary.com Other creators/c ontributors Program and Services Coordinator Hany Armanious, Benjamin Contributors Ashlee Baldwin Armstrong, Peter Booth, Daniel — Dr Jan Bryant is a writer and senior Boyd, Pat Brassington, Nadine lecturer of Theory of Art & Design Subediting and proofing Christensen, Daniel Crooks, Juan in the Department of Fine Arts, Hilary Ericksen and Clare Davila, Destiny Deacon & Virginia Monash University Williamson. Arabic script and Fraser, Mikala Dwyer, Emily Floyd, — Dr Edward Colless is editor of transliterations Dr Christina Mayer. Marco Fusinato, Tony Garifalakis, Art + Australia and senior lecturer Additional proofing Olga Bennett, Diena Georgetti, Shaun Gladwell, in Critical and Theoretical Studies Jeremy Eaton and Eleanor Simcoe Helen Johnson, Jess Johnson, at the Victorian College of the Arts, Nicholas Mangan, James Morrison, University of Melbourne This work is copyright. Apart David Noonan, Mike Parr, Patricia — Melissa Keys is curator of Buxton from any use as permitted under Piccinini, David Rosetzky, Ricky Contemporary Copyright Act 1968, no part may Swallow, Peter Tyndall, Francis — Dr Astrid Lorange is a writer, be reproduced by any process Upritchard researcher and lecturer in the without written permission. Faculty of Art & Design, Enquires should be directed to University of New South Wales the publisher. Design Studio Round, Melbourne © Copyright 2018 Buxton Typeset in GT Walsheim, Favorit, Contemporary, University of Favorit Mono Melbourne Printing The views expressed in this Press Print publication are those of the Stocks: Pacesetter Satin Digital contributing authors and not 170gsm, Silk-HD Matt 113gsm, necessarily those of the editor Knight Digital Smooth 120gsm, or publisher. Kaskad Sparrow Grey 100gsm Edition: 800 Director’s foreword to acknowledge all artists whose work is held in the collection. — Ryan Johnston We look forward to introducing their work to our audiences over time Director, Buxton Contemporary through Buxton Contemporary’s ongoing program of exhibitions, commissions and publications, as well as through a diverse range It gives me great pleasure to introduce both Buxton Contemporary – of other public engagement activities. Melbourne’s exciting new cultural institution – and its inaugural exhibition, The shape of things to come. As incoming director of this new institution, I extend my deepest appreciation to Michael and Janet Buxton for their extraordinary gift. Integrated into the heritage fabric of the Victorian College of the I would like to recognise the leadership of those at the University Arts, Buxton Contemporary is the vision of Michael and Janet Buxton, of Melbourne who have supported this major initiative, including: realised in partnership with the University of Melbourne. It constitutes Chancellor Allan Myers AC; Vice-Chancellor Professor Glyn Davis a significant new addition to the Southbank arts precinct, which is AC; Pro Vice-Chancellor (Engagement) and Co-chair of the Buxton in many ways at the centre of Melbourne’s cultural life. This superb Contemporary Committee Professor Su Baker; members of the Buxton custom-built museum, designed by architects Fender Katsalidis, Contemporary Committee and the project management team, Luke provides a dynamic new forum through which the many communities Flanagan and Michelle Eattell. I would also like to acknowledge and served by the university can engage with contemporary art and ideas. thank Luisa Bosci, Director of the Michael Buxton Collection, and Kelly Over coming years, Buxton Contemporary will also provide local, Gellatly, Director of the Ian Potter Museum of Art, as well as her team, national and international contexts and connections that will foster for the exceptional work undertaken in the lead-up to the opening of and promote artistic practice in Australia. Buxton Contemporary.

With its evocative title and appropriately forward-thinking focus, The launch of a new cultural institution is a rare moment. Buxton The shape of things to come is the introductory exhibition at Buxton Contemporary has been more than twenty years in the making, and its Contemporary. Featuring a selection of more than 70 works of art opening to the public in 2018 offers a once-in-a-generation opportunity 6 7 by 26 artists from the Buxton collection, this exhibition explores a to increase engagement with, and understanding of, contemporary constellation of ideas relating to the role and agency of the artist artistic practices. Along with the Buxton Contemporary Committee in society, culture and politics. It presents notions of artists as and staff, I look forward to realising the artistic, educational and storytellers, visionaries, witnesses, dissenters and foreseers, as well cultural potential of this remarkable donation, and to welcoming you as imaginers of different possibilities and futures. I would like to offer to Australia’s newest art museum. my congratulations and thanks to each of the participating artists, and to Buxton Contemporary Curator Melissa Keys for her discerning stewardship of this project. I would also like to thank Dr Jan Bryant, Dr Edward Colless and Dr Astrid Lorange for the insightful essays included in this catalogue. I extend my thanks also to the installation team, Beau Emmett, Liam O’Brien, Danae Valenza and Sam Murnae, carpenter Brian Scales as well as to curatorial intern Eleanor Simcoe, for their important contributions.

Buxton Contemporary’s location at the Victorian College of the Arts reflects the fact that artists (both present and future) are very much at its heart. The collection currently consists of more than 350 works of art by 59 artists. Of course, it is not possible to include work by each of the artists in this opening exhibition, so I take this opportunity

Director’s foreword Ryan Johnston 8 Courtesy the artist, Roslyn Oxley9 Gallery, Sydney and STATION, Melbourne STATION, and Sydney Gallery, Oxley9 Roslyn artist, the Courtesy Daniel Boyd, Untitled (TI1) Boyd, Daniel 2014

9 The shape of things to come transformations of matter and with aspirations for the creative act itself. — Melissa Keys Through processes of casting and moulding, Armanious reproduces everyday objects, transmuting them into facsimiles that are sometimes Developed over more than two decades, the Michael Buxton Collection barely distinguishable from their actual selves. Exploring ideas of spans work by three or more generations of Australasian artists and artifice and representation, these uncertain forms are arranged together is representative of practices from the 1980s onwards. The collection in eclectic displays that are installed on sculptural furniture within comprises more than 350 works and encompasses a broad range the gallery. Forging the energy body (Swegypt), 2004, and Turns in of visual media: from painting, sculpture, photography and drawing Arabba, 2005, reflect Armanious’s Egyptian-Australian heritage as to ambitious installations. This rich diversity of work showcases the well as his interest in the mystical, transformative possibilities of art. myriad ways artists experiment with distinct forms, ideas and subjects. These works emerged at a time when Armanious was replicating and casting objects that were simultaneously reminiscent of Middle-Eastern The shape of things to come, which takes its name from a work in the forms, modernist Scandinavian design and a childhood immersed collection by Benjamin Armstrong, mines this remarkable resource. in 1970s pop sensation ABBA. Throughout his practice Armanious It sets out to trace a constellation of ideas around the role and agency obsessively explores and continually comes back to particular ideas of the artist in culture, society and politics – as storyteller, visionary, and concerns. In this body of work, he examines a formal sculptural witness, dissenter, foreseer and imaginer of different possibilities condition – that of a central core or axis with a spinning dynamic and futures. becoming a feature of the work. With its quasi-mystic possibilities, the work is also referencing American self-proclaimed sorcerer Carlos Presenting work made over three turbulent decades of accelerating, Castaneda. ‘Castaneda claimed to “see” visions of the “energy body”, transformative global change, this project highlights the concept of the life force of human beings: “a conglomerate of energy fields that the artist as producer of and catalyst for incisive critique and powerful makes up the physical body when it is seen as energy that flows in trans-historical narratives, as cultural agitator and ‘advancer’ of the the universe”.’(1) world we inhabit. It also traces persistent mythic and romantic notions 10 10 of the artist as transcendent intermediary and ‘seer’. Among the Mikala Dwyer’s painted sculptural poles, adorned with combinations 11 diverse selection is an array of works imbued with a sense of ritualism, of objects, materials and lights, investigate the alchemical and mysticism and even foreboding. contradictory nature of objects. Her work engages with notions around symbols, ritual, play, modernist design, and private and public Benjamin Armstrong’s The shape of things to come II, 2006–07, relationships. White lamp, Striped lamp with Madonna and balls is an unsettling and yet seductive work that suggests a multitude and Black lamp with Madonna and magnetic sculpture, all 2011, are of organisms and micro and macro terrains, simultaneously disturbingly suggestive of gallows, yet also recall light-giving, totemic evoking the natural world and the human body. Deeply immersed forms and shrines that offer the possibility of protection and hope. in the processes of making – in glass, on paper and in materials such Necklace for wall (silver), 2011, is one of several works made by the as wax – Armstrong creates organic objects and delicate imageries artist after the death of her mother, who was a silversmith. Dwyer whose references to the environment and human forms are inextricably strongly believes that the forms that dominate her practice have entwined. His vessels and objects are intimately related to the somehow been subconsciously lifted from her mother, or passed on body while also resisting this familiarity, conjuring the surreal and through her DNA.(2) One of the amulets that hangs from Dwyer’s silver the grotesque, and creating a collision of attraction and repulsion. chain takes the form of the ancient alchemical symbol of the ouroboros, Armstrong’s work is alive with the generative force and potency the serpent devouring its tail. This symbol represents the eternal of life, and at the same time registers the fragility of natural and return – the endless cycle of life and death, creation and re-creation. artistic creation. The video installation Maximus swept out to sea (Wattamolla), 2012–13, A meticulous maker of enigmatic objects, ensembles and scenes, continues artist Shaun Gladwell’s longstanding interests in mythology, Hany Armanious creates work that subtly and playfully engages with art history, popular culture and national identity, which he explores

The shape of things to come Melissa Keys through performance and extreme physical actions situated Juan Davila’s paintings combine images found in American and British in the epic expanse of the Australian environment. Filmed in slow modern art and pop culture with Australiana and gay erotica. His works motion, the video witnesses a helmeted and leather-clad protagonist are often expressions of rage that incisively critique structures of (the artist himself) floating first in a lagoon and then at sea while power, forces of repression and constructions of race, gender and holding a flaming torch. The solitary figure surrounded by turbulent sexuality. Made at a scale that counters the tradition of epic and heroic water moves hypnotically into the distance before disappearing under history painting, Art i$ homosexual, 1983–86, is one of Davila’s most the waves. This gesture evokes notions of endurance, ritualism and recognisable and infamous provocations. It was produced to challenge transformation. Among other references, Maximus swept out to sea and attack Australia’s deep and continuing conservatism by subverting (Wattamolla) alludes to the classical elements of water, air, fire and and disrupting notions that reinforce and normalise accepted belief earth. In this mythological journey out to sea, the figure is subsumed systems, knowledge and traditions. into the sublime natural world. Mike Parr’s Bronze liars (minus 1 – minus 16) #9, #13 and #16, 1996, Marco Fusinato’s The infinitive 3, 2015, is from a suite of five mural- represent his first foray into figurative sculpture and are one part size prints that each depict figures at the precise moment of hurling of the artist’s interrogatory, psychoanalytic examination of self. a projectile during an unidentified political uprising, demonstration or These compellingly tactile and searching likenesses were produced protest. Many of these dynamic moments of resistance or insurrection by physically ‘digging’ each head out of a large block of clay. are captured against dramatic backdrops of burning debris or urban The figures’ eyes, noses and facial features are excavated from the destruction. These images are difficult to historically or geographically inside of the slab, the artist working blind and forming the shape of pinpoint and have been sourced by the artist from the global stream the busts purely by touch. Parr’s conceptual, experimental approach of news media. Fusinato’s anonymous demonstrators are actors in generates unstable, visceral likenesses that take the form struggles against inequality, in the wielding of political, social and of accumulations of fractured and partial images, forms and marks. cultural power, and in breakdowns in civic discourse and process. The busts register and embody identity in a state of flux, through These universalised images are the kinds of iconic imagery often dynamic investigatory processes of reimagining and reconstituting. 13 12 associated with landmark moments in the construction of histories, and are themselves at risk of becoming commodified in the social Working in his strictly defined graphical and illustrative style, spectacle of the endless human struggle for a better and more Peter Tyndall produces paintings, drawings and prints that explore equitable world. relationships between art, language and meaning. These works focus on the aura of the artwork, the role of the viewer and the status of the Portraits of powerful figures such as heads of state, royalty and artist. Using variations on the same title, A Person Looks At A Work military leaders are defaced in Tony Garifalakis’s Mob rule (family) of Art/someone looks at something ..., Tyndall’s rigorous long-term and Mob rule (warlords) series, both 2014. The faces of an assortment project incisively and humorously investigates the act of looking, of contemporary world leaders, despots and members of venerated simultaneously dissecting and wittily dismantling how art is produced institutions are violently obscured beneath macabre, dribbling masks within complex structures of meaning, including what he refers to as of spray paint that smother, silence and defile. Exploring the dynamics the ‘cult’ status of the artist and the experience of the viewer/audience/ of social relations and the semiotics of power, Garifalakis investigates society. Tyndall’s critical, intensely self-conscious work examines political, social and religious systems while questioning mechanisms of and disrupts the act of looking and the intricate dynamics of reading power such as surveillance, forced compliance and control. The impact and understanding art. He challenges the art system and individual of these corrupted images comes from the coexistence of the original audience members to be conscious of their position within the with the artist’s negation, undermining any fixed impressions of experience of art and, implicitly, within wider society. authority and control. Through this visual act of defiance, power and privilege are disrupted and possible alternative social orders and Daniel Boyd’s elusive spectral images only partially reveal stories. spaces for self-determination emerge. Boyd’s work is alive with memory, the effects of time and the erasures and losses suffered by Indigenous cultures under colonisation.

The shape of things to come Melissa Keys His paintings explore the inheritance of history and culture by relationships between culture and nature, colonial history generations today and invest scenes and objects with cultural, and commerce. personal and art historical significance. Many of his paintings reference historical photographs, cultural objects and maps. In Untitled, 2014, Nadine Christensen’s enigmatic and disorienting compositions two men are visible – one confronting a snake in the foreground – veer from representational and identifiable elements towards pure however their actions are ultimately mysterious. The image has the abstraction. In Christensen’s work, silhouetted abstract forms aura of the old photograph it was made from. The painting is delicately and props are oddly placed, imagery is mirrored and horizon lines rendered in veils, layers and clusters of fine dots and is incomplete, bend and warp. Labyrinthine and layered arrangements test spatial like the recording of marginalised histories. Adopting the scale and coherence and suggest the multidimensional, changing possibilities authority of history painting, Untitled (TI1), 2014, alludes to Oceanic and conditions of perception of space, surface and light. Drawn from stick charts – schematic navigational maps that were used by diverse sources, including design and illustration, architecture, science Pacific peoples to outline the complex relationships between islands, fiction, new and defunct technologies, animation and curiosities, ocean swells and currents. Boyd reasserts this Indigenous scientific her scenes suggest strange narratives about prospectors, cowboys knowledge, highlighting remarkable human ingenuity and achievement and gunfighters. For instance, in Stained glass and hideouts, 2009, in cartography, oceanography and meteorology. He draws attention a circle of rectangular props simultaneously connotes easels, windows, to the specificity and privileged primacy afforded to western scientific, mirrors, blockades and hidey-holes. With all of their spatial and cultural and historical knowledge while at the same time pointing to temporal complexities and disjunctions, Christensen’s works explore the independent wayfinding of Indigenous cultures today. the essential drive to map, model, chart and understand our ever- shifting environment. Ricky Swallow’s intricate carvings are arresting and uncanny in their fine detail. Field recording/Highland Park hydra, 2003, comprises a An episodic series of carefully composed but awkward monologues cactus plant carved meticulously from jelutong timber. The sculpture is delivered by a number of protagonists in David Rosetzky’s video operates as a memento mori, sharing qualities with both still-life installation Custom made, 2000. The video is experienced within a 14 subjects and skeletal structures. In addition to the superbly crafted tasteful, enclosed, confessional-style wood-veneer structure. In turn, 15 naturalism of the cactus, its skin is incised with graffiti, this act each of Rosetzky’s performers speak about their personal lives and suggesting transformation and transfiguration. Swallow has described their intimate entanglements and connections with others. The highly his sculptures of objects, selected and closely observed from life stylised ‘characters’ appear and disappear as if teleporting in and experience, as ‘evaporated self-portraits’.(3) Like an archaeologist out via a series of backlit projection screens that resemble familiar reassembling a culture from its ruins, Swallow has long been aware televisual sequencing devices. Made at a time when the unscripted that objects transmit memories and histories. ‘tell all’ genre of reality TV was beginning to dominate screens around the world, this installation can be seen to anticipate the defining role Constructing unsettling ethnographic case studies from real and that media and contemporary technologies have come to play in social fabricated natural, political and economic histories, Nicholas Mangan dynamics, in the development of personal narratives and in the shaping critically destabilises the status quo. His installations survey and of our most intimate relations and dimensions of self. evacuate the histories of objects, materials and their contexts in order to generate new meanings. Mangan’s investigations offer encounters Destiny Deacon and Virginia Fraser’s video work Forced into images, with past and contemporary realities that are strange and unthinkable 2001, takes its title from an unpublished letter by the notable African but also underpin the daily transactions of our lives. In the case of American writer, poet and activist Alice Walker. In a letter to a social The mutant message, 2006, the artist has repurposed banksia nuts, worker friend who was researching racial stereotypes, Walker wrote, beeswax, wooden spikes, funnels, gardening mesh and nylon rope, ‘I see our brothers and sisters, mothers and fathers, captured and among other materials, to form assemblages in the guise of objects of forced into images, doing hard times for us all’.(4) In Deacon and Fraser’s colonial exploration, such as a surveyor’s tripod and a kerosene lantern. video, the two collaborators critically, humorously and apprehensively Mangan’s unnerving installation reveals precarious and unstable speculate about the future. They see the future embodied in their

The shape of things to come Melissa Keys young niece and nephew (both aged four at the time) and wonder Through this painting Morrison explores relationships between if their lives will transcend the inescapably pervasive stereotypes of speculation, myth, reality, idealism, science and the human quest the present. Deacon and Fraser’s performative photographs, videos for meaning. and installations have often featured family members and friends posing for the camera, as well as items from the artists’ collection In Patricia Piccinini’s installation Game boys advanced, 1997–2005, of ‘Aboriginalia’, such as black dolls, racist collectables and kitsch. 2002, two boys stand together, engrossed in a handheld game device. Combining autobiography and fiction, and often critically confronting As we look closely, however, it seems that they are not boys at all, or white representations of Indigenous people, these ironic and pointed if they are, they are suffering from some sort of accelerated ageing works address both historical issues and contemporary Aboriginal life. syndrome. The installation was made in response to the historic cloning of Dolly the sheep, the first mammal cloned from an adult somatic cell. Working in the historically loaded tradition of painting, Helen Johnson This scientific breakthrough fascinated the world’s media, fractured is interested in the authority of images and the role they play in our scientific communities, was condemned by activists, divided public collective memory. She works on single stretched or loose suspended opinion and stirred the popular imagination. Throughout her practice, canvases or linens, often with imagery and texts on both sides. Piccinini explores the possibilities and uncertain repercussions of Johnson’s large layered works take time to read. Her complex biotechnologies, the complexities of bioethics and the ever more compositions are calibrated to teeter on the edge of collapse and confusing and diffuse relationship between the categories of allude to narratives that disappear into mystery. Her images often ‘natural’ and ‘artificial’. In the case of Dolly, critics of these emerging incorporate disjunctive interrelationships between techniques, technologies argued that the animal suffered and ultimately had to be representational and abstract imagery, and disorienting combinations euthanised as a result of her origin as a clone. Curious and ambivalent, of historical and contemporary subject matter. In History problem, Piccinini critiques fundamental questions about nature, science and 2013, two strangely positioned figures – one perhaps exercising, technology, and raises ethical and moral questions about life, creation the other dancing – are depicted in front of what appears to be and death. grand paintings celebrating colonial history installed in a museum. 17 16 In Arc en bureau, 2007, an arch of books precariously balances Peter Booth’s frightening and cautionary paintings are powerful between two office chairs on wheels, the unstable structure apocalyptic visions, with blackened skies over devastated landscapes threatening to topple at any moment. Johnson’s paintings insert that are populated by monstrous hulking figures and beasts. In Untitled, history into the present in ways that challenge our complacency. 1997, an agitated mob incites a number of men who are fighting. In Untitled, 1995, a lone half-naked man standing amidst jagged rubble James Morrison’s five-panel panoramic painting Freeman Dyson, appears to be suffering from some sort of growth or mutation erupting 2008, portrays a hallucinogenic Australian landscape inhabited by from his body. Thick impasto paint applied with a pallet knife gives his gigantic birds and littered with skeletons against the backdrop of works a heavy airlessness. The dark new world foreseen by the artist a setting sun. The painting is titled after world-renowned British is an evisceration of the world we know today. It is a future we fear – American scientist, futurist and public intellectual Freeman Dyson, a state of existential collapse that might be the result of environmental who dedicated his career to understanding the universe. Morrison catastrophe, nuclear war or cosmic cataclysm. depicts the wide-ranging thinker lying on the ground, referencing the fact that Dyson eccentrically referred to himself as a frog – a In Daniel Crooks’s mesmerising digital videos, time and space are person who likes to explore things from the ground up.(5) This image spliced and reassembled. By isolating and offsetting small slices of raises questions about Dyson’s far-reaching and provocative writings video data, Crooks treats the elements of time and space as physical on many topics, including the future of humanity, possibilities for and malleable materials. A sculptor, photographer and time-based human colonies in space, genetic engineering and the search for extra artist, Crooks has a longstanding interest in space–time theory and terrestrial intelligence. In the strange and alien world that Morrison science fiction. In Static no. 14, 2010, we experience a complex, layered has conjured, the artist combines references to science fiction and collage of digital video variously sliced and stretched, which visually fantastical tales such as Jonathan Swift’s Gulliver’s Travels (1726). morphs time and space. Immersed in these intricate parallel worlds,

The shape of things to come Melissa Keys we are compelled to question our experience of reality and the digital and progressive, evoking and projecting ideas about potential futures double that already ghosts it. and inaccessible pasts.

Jess Johnson’s installations, videos and animations act as portals Emily Floyd is renowned for her installations of text-based sculptures into speculative new worlds. Johnson’s recent collaborations with and pedagogically-inspired works that combine formal concerns Simon Ward have involved the translation of her drawings into with an interest in utopian politics, the legacies of modernism animated video and virtual reality, enabling audiences to experience and alternative social and educational models. Her practice has simulations of the entrancing and disturbing realms she creates. encompassed a wide range of disciplines and endeavours, including Jess Johnson and Simon Ward’s Whol Why Wurld, 2017, comprises social activism, design and typography, public art, literature and five animations, viewed from a raised platform, that act as portals cultural studies, community participation, public education and an or cosmic gateways into animated possible worlds and futures. array of progressive political ideologies. Floyd’s large-scale sculptural Each one thrives with densely layered geometric patterns, symbols, installation Temple of the female eunuch, 2007–08, comprises objects, figures, mosaics, and shifting and evolving architectural curvaceous wooden forms that evoke female bodies and are inscribed structures. Johnson and Ward’s hallucinogenic, infinite worlds are with spiralling quotes from Germaine Greer’s influential feminist text ecstatically cosmic, alien and dystopian. Sequences portray endlessly The Female Eunuch (1970). Winding across the gallery floor, the work unfolding cycles of production and multiplication, in which humanoid suggests progressive pathways, the building and shaping of minds figures morph and perform with precision. In all of their dazzling and societies, and the active dispersal of old ideas and constraints. profusion, however, these inorganic realms remain devoid of the imperfections, warmth and touch that we associate with being human. Francis Upritchard creates sculptural installations and paintings inhabited by lonely, comical and unnerving figures. Upritchard’s Pat Brassington constructs strangely alluring and enigmatic peculiar cast of exotic hippies, yoga warriors, jesters and fools seems images suffused with suggestions of sex, memory and identity. to combine strange mismatches of ethnographic, archetypal and These manipulated and distorted photomontages of bodies and faces subcultural cues, perhaps enigmatically referencing equally odd fusions 18 have haunting and mysterious qualities that render the body alien, of history, anthropology, archaeology, literature, popular culture and 19 threatening and enticing. Brassington’s practice is informed religion. Dejected but yet somehow hopeful, these figures solicit our by Surrealism, feminism and psychoanalysis. Urgent, airless and erotic, sympathies. Through these emissaries from other worlds, Upritchard her works bring a gothic feminist vocabulary to surrealist assemblage. taps into a collective utopian imagination, nudging us to hold a mirror Unidentified objects invade openings, spiky tongues slither, gases up to our personal, social, cultural and spiritual aspirations and desires. are expelled, gussets sag and smother, and mouths are sealed and stuffed. Often veiled in a faint mist, Brassington’s subjects appear Sifting through the living memory of modernism, Diena Georgetti slightly drained of colour – as if suspended in a state of silent paralysis. produces paintings that combine and reanimate found graphic forms Charged with both fear and desire, these ambiguous images suggest and motifs sourced from the rich histories and legacies of twentieth- macabre and ecstatic possibilities. century art, design, fashion, theatre and architecture. Georgetti’s images are meticulously assembled via an open process of free association David Noonan’s collages return again and again to youth and often and visual pastiche, a dynamic method involving acts of quotation, also to theatre, puppetry, dance and craft. Produced as screenprints translation and synthesis that are playful, rigorous and ambiguous. on linen or jute or inkjet prints of original collages, Noonan’s works Her paintings suggest infinite possibilities with their reconfigurations present arrangements of found and abstract images. Untitled, 2008, of colour and form, and are constructed out of diverse and often comprises elements of an image of teenagers rehearsing a scene for surprising arrangements of both immediately recognisable and less an amateur production. It is unclear what precisely is happening familiar historical and retro references. Brought together, these new in the scene, but one can see enough for a sense of theatre, ritual, arrangements propose possibilities for constant reinvention and myth and illusion to emerge. Noonan’s work gently alludes to utopian, highlight the endlessly generative nature of art. communal and experimental creative projects that are both playful

The shape of things to come Melissa Keys In the period since the inception of the Michael Buxton Collection, technology and globalisation have transformed our world. The sheer scope and complexity of these developments are without historical precedent. Like all of us, the artists in The shape of things to come cannot predict how the future will unfold. However, they share a profound curiosity, critical reflex and desire to draw attention to the challenges that continue to mark contemporary life – from inequality and violence to environmental catastrophe and beyond – and an open-minded awareness of opportunities to push back the thresholds of technology and focus on creativity, human wellbeing and social improvement. As agents of social change and navigators of the currents of history, they encourage and assist us to redefine ourselves, our ethical positions and, indeed, what it is to be human.

Notes

(1) Jason Markou, ‘The sorcerer’s Crocs’, in Heather Galbraith and Robert Leonard (eds), Morphic Resonance: Hany Armanious, exhibition catalogue, Institute of Modern Art, Brisbane and City Gallery, Wellington, 2007, p. 78. (2) ‘I think many of the forms I work with in my art I subconsciously lifted from my mother. Perhaps these forms were passed on to me through my DNA.’ ‘Mikala Dwyer walks Robert Leonard through Drawing Down the Moon’, Mikala Dwyer: Drawing Down the Moon, exhibition catalogue, Institute of Modern Art, Brisbane, 2014, pp. 57–61. (3) Daniel Palmer, ‘Shadowplay’, Frieze Magazine, issue 58, April 2001. (4) Alice Walker, from an unpublished letter to Janette Faulkner, in Ethnic Notions: Black Images in the White Mind, exhibition catalogue, Berkeley Art Center, Berkeley, CA, 2000, pp. 11–12. (5) James Morrison speaking about Freeman Dyson in an interview with the National 21 20 Exhibition Touring Support, Victoria, artists archive, 2008, online resource, http://netsvictoria.org.au/artist/james-morrison.

The shape of things to come Melissa Keys 22 The shape of things to come II 2006–07 II (detail) come to things of shape The Armstrong, Benjamin Courtesy theCourtesy and artist Tolarno Melbourne Galleries, 2006–07 II (detail) come to things of shape The Armstrong, Benjamin Courtesy theCourtesy and artist Tolarno Melbourne Galleries,

23 24 Courtesy the artist and Roslyn Oxley9, Sydney, Micheal Lett Gallery, Auckland, Auckland, Gallery, Lett Micheal Sydney, Oxley9, Roslyn and artist the Courtesy Hany Armanious, Turns in Arabba and Foxy Production, New York New Production, Foxy and 2005 2005

25 26 Courtesy the artist and Roslyn Oxley9, Sydney, Micheal Lett Gallery, Auckland, Auckland, Gallery, Lett Micheal Sydney, Oxley9, Roslyn and artist the Courtesy Hany Armanious, Forging the energy body (Swegypt) 2004 and Foxy Production, New York. Photo: Kay Abude Kay Photo: York. New Production, Foxy and

27 28 Courtesy the artist, Roslyn Oxley9, Sydney, and Anna Schwartz Gallery, Melbourne, Melbourne, Gallery, Schwartz Anna and Sydney, Oxley9, Roslyn artist, the Courtesy Hamish McKay Gallery, Wellington, and Hamish Morrison Galerie, Berlin Galerie, Morrison Hamish and Wellington, Gallery, McKay Hamish Mikala Dwyer, Necklace for wall (silver) Dwyer, Mikala 2011

29 30 Courtesy the artist, Roslyn Oxley9, Sydney, and Anna Schwartz Gallery, Melbourne, Melbourne, Gallery, Schwartz Anna and Sydney, Oxley9, Roslyn artist, the Courtesy Hamish McKay Gallery, Wellington, and Hamish Morrison Galerie, Berlin Galerie, Morrison Hamish and Wellington, Gallery, McKay Hamish Mikala Dwyer, Dwyer, Mikala White lamp 2011 lamp White Courtesy the artist, Roslyn Oxley9, Sydney, and Anna Schwartz Gallery, Melbourne, Melbourne, Gallery, Schwartz Anna and Sydney, Oxley9, Roslyn artist, the Courtesy Hamish McKay Gallery, Wellington, and Hamish Morrison Galerie, Berlin Galerie, Morrison Hamish and Wellington, Gallery, McKay Hamish Mikala Dwyer, Striped lamp with Madonna Dwyer, and balls Mikala 2011

31 32 2012–13 (Wattamolla) sea to out swept Maximus Gladwell, Shaun Courtesy the artist, Anna Schwartz Gallery, Melbourne Melbourne Gallery, Schwartz Anna artist, the Courtesy

33 34 Courtesy the artist and Anna Schwartz Gallery, Melbourne Gallery, Schwartz Anna and artist the Courtesy The infinitive 32015 infinitive The Fusinato, Marco

35 36 Courtesy the artist and Anna Schwartz Gallery, Melbourne Gallery, Schwartz Anna and artist the Courtesy The infinitive 32015 (detail) infinitive The Fusinato, Marco

37 38 Courtesy the artist, Sarah Scout Presents, Melbourne, and Hugo Michell Gallery, Adelaide Gallery, Michell Hugo and Melbourne, Presents, Scout Sarah artist, the Courtesy Tony Garifalakis, Untitled #1 Tony Garifalakis, (from the Mob rule (family) the (from series) 2014

39 40 Courtesy the artist, Sarah Scout Presents, Melbourne, and Hugo Michell Gallery, Adelaide Gallery, Michell Hugo and Melbourne, Presents, Scout Sarah artist, the Courtesy Tony Garifalakis, Untitled #9 Tony Garifalakis, (from the Mob rule (family) the (from series) 2014 Courtesy the artist, Sarah Scout Presents, Melbourne, and Hugo Michell Gallery, Adelaide Gallery, Michell Hugo and Melbourne, Presents, Scout Sarah artist, the Courtesy Tony Garifalakis, Untitled #4 Tony Garifalakis, (from the Mob rule (warlords) the (from series) 2014

41 42 Courtesy the artist, Sarah Scout Presents, Melbourne, and Hugo Michell Gallery, Adelaide Gallery, Michell Hugo and Melbourne, Presents, Scout Sarah artist, the Courtesy Tony Garifalakis, Untitled #7 Tony Garifalakis, (from the Mob rule (family) the (from series) 2014

43 44 © Juan Davila, courtesy Kalli Rolfe Contemporary Art Contemporary Rolfe Kalli courtesy Davila, © Juan Art i$ Art 1983–86 homosexual Davila, Juan

— Astrid Lorange — Astrid To say artists are storytellers, of a To storytellers, are say artists

formats. These genres and formats formats and genres These formats. She means this in at in leas this means She Stories and counter-histories and Stories to paraphrase Moten, of storytelling). Moten, to paraphrase be can logic narrative dominant this that survives in the barest and most the story this is also of the history history. a as and in unfolds that narrative the thinking and an integral tool in the the in tool integral an and thinking Fred writes logic, This themselves. have stories way the take –specifically, trauma, the scaleof which exceeds an Poet M. NourbeSe Philip writes of her of her writes Philip NourbeSe M. Poet Lately my research has had me looking looking me had has my research Lately Moten, is a product of Enlightenment of Enlightenment aproduct is Moten, cannot be told yet must be told’. be yet must told be cannot condition relationality itself. Indeed, Indeed, itself. relationality condition personal, of deeply as thought be can construction of modern history and its its and history of modern construction otherwise been unspoken, or that which which that or unspoken, been otherwise art is able to tell new stories (as stories to new tell able as well is art all embodied activities that forge forge that activities embodied all of being they have since ahistory and has voice to which that giving artists account of the world. that logic to anarrative correlative are stories that forms the in interested are poets) who (for part, most at artists the attempt to capture or narrativise its recover old stories and old ‘tonalities’, ‘tonalities’, old and stories old recover to how awork of relation in resisted poets I have been studying ask whether book book book confronts isastor y reconstructed; and the story partial documents, unable to be fully relationships and that, quite literally, quite that, and relationships – traded and learned taught, shared, social, since they imply an audience Stories heard. not but said been has of we think Often, atruism. is kind, has become synonymoushas become with stories and genres to certain bound become history mass murder of 133slaves b lifetime. But stories are also innately innately also are stories But lifetime. Zong! andeffects. Thestor y the book tells isastory that it ‘tells a story that that astory ‘tells it that (1) The artists and The artists of unthinkable t twowa y that the that the the British British the tells of tells the (2) Astrid Lorange y s: s:

Zong! from the richmaterials ofa text history though there are many ways in which ways many are which in there though that conditionssomething new –an told in a way that witnesses, remembers remembers away in told witnesses, that In the case of Zong!Philip frames case In the , a is Philip’s poem framing, In this Instead, it tells the ship’s story Boateng is a ‘fictitious ur-ancestor’ Boateng. Adamu Setaey and Philip Rather than reading Philip’s description (the book manages to tell a story that that to astory (the tell manages book written expression isaparticular skillor credited by Philip as the story’s teller. story’s the by as Philip credited archivalremainsdeconstructing the that channel universal truths, and so on. so and truths, universal channel dictation, or documentation, of the without reproducing the narrative claim insurance mone crew of the shipZong in1781,abid to can read it as a proposition about the the about aproposition as it read can told) be (thecannot paradox or book as survival. and b achievement; the poet isone who lives and minor histories. The poet here is awell-worn is concept, medium as of of also constructing new idioms for the for the idioms new constructing also while histories minor reanimates and by not just one who writes, and forone whowrites, just whom not herself asamedium for counter-archival artist The amedium. Philip story, and story narrative becauseitdoesnot tell the narrative lament’, Zong! future. isakindof our be ‘anti- will and present our are that stories be can stories and of history; structure histories received challenge that told be can Stories itself. of storytelling practice story), the tell not we does and tells both index the murders asamere lossof cargo, in and through language, who composes to able artist the muse, or inspiration by guided artist the configured: is it its journe language oflanguage thetransatlanticslave trade stretching anddeforming the legal as referring to transcendence Zong! to transcendence referring as of the slave shipb y lists two authors:lists NourbeSe M. bearing witness to loss,as well y andreimagining itsevents. (3) she writes, anti- y. y reconstructing b y

insight, a foothold, an arrangement as well as interrupting colonial Notes of ideas, a name. discourse about climate change, (7) (1) Fred Moten, ‘Not in between: lyric nature and culture. painting, visual history, and the Another poet, Jack Spicer, puts it this postcolonial future’, The Drama Review, way: ‘there is an Outside to the poet’.(4) In the late 1970s, a loose group of vol. 47, no. 1, Spring 2003, pp. 127–47. (2) M. NourbeSe Philip, Zong!, Wesleyan For Spicer, poetry is best understood as writers began practising what came to University Press, Middletown, 2008, the site of encounter between a poet and be known as ‘New Narrative’, a mode p. 206. the world. The poet does not drive the that brought together activism, critical (3) ibid., p. 204. poem, but the poem impels the poet to theory and storytelling in intimate, often (4) Jack Spicer, ‘Vancouver lectures: from “Dictation and ‘A textbook of action. Spicer’s vision is not as mystical autobiographical forms. In a long essay poetry’”’, Poetry Foundation, as it may sound. He means that a poet on New Narrative, Rob Halpern writes: www.poetryfoundation.org/articles/ is never fully in control of, nor even ‘The critical question thus becomes: 69435/vancouver-lectures-from- dictation-and-a-textbook-of-poetry, conscious of, the operations of the poem what form of storytelling – and what accessed 14 Jan. 2018. that she writes; the poem always has kind of storyteller – might allow us (5) Maddee Clark, ‘Coded devices’, Next a social life, a history and a future that to imagine the resolution of social Wave, http://2016.nextwave.org.au/ (8) essays/coded-devices/, accessed evades the poet’s control. Spicer was contradictions differently?’ One 14 Jan. 2018. thinking and writing in the middle of the strategy taken up by New Narrative (6) ibid. twentieth century in the United States, writers, continues Halpern, is the self- (7) ibid. where the dominant postwar literature conscious use of narrative itself, what he (8) Rob Halpern, ‘Realism and utopia: sex, aimed for exactitude, excellence, refers to as ‘artifice’: ‘This affirmation writing, and activism in New Narrative’, Journal of Narrative Theory, vol. 41, precision and clarity of expression. of artifice distinguishes itself from a no. 1, Spring 2011, p. 84. In contrast, Spicer figured the poet as default understanding of storytelling (9) ibid. a radio or medium – the poet as one as a natural form of social expression player in a complex, sometimes static- unmarked by literary concerns’.(9) New filled assemblage. Narrative writers, in other words, tell stories in ways that emphasise the In the essay ‘Coded devices’, artist construction of the story – and, critically, 47 46 and scholar Maddee Clark considers how the construction of a story can the narrative logic of fantasy. ‘One of reveal the process by which concepts, the central fantasies of colonisation histories, theories, bodies, desires and in Australia’, the essay begins, ‘has materials come into relation to make been that Aboriginal people have no social reality. future. Much of telling Indigenous history to non-Indigenous people is Artists do not have privileged access to unseating the idea that we are dead stories nor supernatural capacities as or that we belong always to the past.’ (5) storytellers. However, artists often have For settlers, the story of extinction is privileged access to public spaces in easier to comprehend, Clark argues, which stories can be told and heard. If than the story of ‘resistance, life, we think of art as less representing or and adaptation’.(6) Clark looks at illuminating a world that already exists contemporary Indigenous art and and more a realm in which possible media that imagines futures without worlds are made present – even if by white supremacy and its countless mere suggestion, whiff or fantasy – justificatory narratives: then the stories that art has the capacity to tell are the ones that find new forms Indigenous narrative intervention for narrative and new characters for into futurism makes what transformation. These are stories of Afrofuturist writer Kodwo Eshun survival, solidarity, kinship and resistance, calls a war of countermemory stories recovered from the archives, and counterfuture. Indigenous and stories that invite stories in return writers create narratives which and as response. place themselves in the future,

Stories and counter-histories Astrid Lorange 48 Bronze liars (minus 1 to minus 16) #9 #13 #16 1996 #16 #13 16) #9 minus 1to (minus liars Bronze Parr, Mike Courtesy the artist and Anna Schwartz Gallery, Melbourne Gallery, Schwartz Anna and artist the Courtesy

49 50 Artist Peter Tyndall Peter Artist -1991- Date CULTURAL CONSUMPTION PRODUCTION Someone looks at something … Art/ Of AWork At Looks APerson Medium something at looks Art/someone of AWork At Looks APerson Title detail

......

51 52 Courtesy the artist, Darren Knight Gallery, Sydney, Modern Art, London, London, Art, Modern Sydney, Gallery, Knight Darren artist, the Courtesy Ricky Swallow, Field recording/Highland Park hydra Swallow, 2003 Ricky and David Kordansky Gallery, Los Angeles

53 54

55 56 The mutant message 2006 message mutant pp 54-55:NicholasMangan, The Courtesy the artistand Sutton Gallery, Melbourne Courtesy the artist, Sarah Scout Presents, Melbourne, and Hugo Michell Gallery, Adelaide Gallery, Michell Hugo and Melbourne, Presents, Scout Sarah artist, the Courtesy Stained glass and hideouts 2009 hideouts and glass Stained Christensen, Nadine

57 58 Courtesy the artistand Sutton Gallery, Melbourne David Rosetzky, Custom made 2000.

59 60 Courtesy the artistand Sutton Gallery, Melbourne David Rosetzky, Custom made 2000.

61 62 Destiny Deacon & Virginia Fraser, Fraser, &Virginia Deacon Destiny Courtesy the artists, Roslyn Oxley9, Sydney Oxley9, Roslyn artists, the Courtesy Forced into images 2001 Destiny Deacon, Courtesy the artist, Roslyn Oxley9, Sydney Oxley9, Roslyn artist, the Courtesy 2001 images into forced Trustee:

63 64 2007 collapse) would structure the stone this (without bureau en Helen Johnson, Arc Courtesy the artist, Sutton Gallery, Melbourne, and Château Shatto, Los Angeles Los Shatto, Château and Melbourne, Gallery, Sutton artist, the Courtesy — Edward Colless This is the zone where devout radicalism devout radicalism where zone the is This –even becoming to be seems world The find themselves nodding in agreement agreement in nodding themselves find Spectator zone where Julian Assange’s outing of outing Assange’s Julian where zone for decanting military and invasivemilitary decanting for family. Slavoj (Witness Žižek’s infamous that encourages the state to become to become state the encourages that movement neoreactionist the NRx, the towards collapse) with wake bed in up (who accelerationists where terms, right and left The Unpredictable. to be. Unsafe But right-wing political cartoonists, right-wingBut cartoonists, political can to election the prior Clinton Hillary with the anti-state polemic of leftist of leftist polemic anti-state the with awkwardly, negotiate of politics wings quadrant from both directions, and the the and directions, both from quadrant imperative Wikileaks the with coexist to shock order in declared campaign, owners of the land we meet on: George III III George on: we meet of land the owners by offering began of speakers the one correctness political of alleged the defiance –in humour vicious with often lethargy. the It is privileged of its out of aform becomes sides both on uneasy weird, the in strip of aMobius op-ed shock jocks and internet trolls trolls internet and jocks shock op-ed and the British Navy.’ British the and traditional the ‘to acknowledgement consensus liberal US the scare and corporation, of monarchical a kind anarchists; or, in more contemporary quadrant. of zone afourth unsafe and rallying has been over a right to offend – over to aright offend been has rallying to fourth the by migrating those characterised stake the often is speech’ ‘free InAustralia, secrets.) surveillance Trump’s in presaged presidential capitalism neoliberal up speeding seek heresy. anarcho-capitalists where It is of characteristics now, identifying the more we seeing as are but, rendezvous, sometimes conspiratorially, in a centrist place unsafe –an before than so more instated in anti-discrimination laws. At laws. a anti-discrimination in instated last-minute of Trump’s endorsement sides like single flip can the right and left event in Sydney late last year, event late last Sydney in Edward Colless Edward Australian art habitually consorts habituallyAustralian art consorts this with entitled been often has Art Gallery of Victoria) controversially Gallery friendly and socially inclusive profiles), inclusive socially and friendly at the National Serrano’s National at the Christ Piss the sanctuary granted to potentially to potentially granted sanctuary the intentionally or potentially that permit self-regulatory media-industrial the for power insult, the with fanged to be those, say, inhabiting the metropolitan say, metropolitan the those, inhabiting fourth ambiguous the shape that with a pugnacious libertarian legacy legacy libertarian apugnacious with to accustomed we have become also engagement programs and circus- generally, with more But demographic. significant some to offend deemed over this problematic refuge for refuge over problematic this likelyis become to content offensive (such of works of Andres art as uncensored. to remain material offensive elusive virtue identified with marginal marginal with identified virtue elusive provided ambience, The quadrant. and defensible. practicable less and –less a quandary audience development targets through vilification sexual or have (or racial as for need the on insisting in alone aren’t and bohemian artistic personalities – personalities artistic bohemian and public museums increasingly chasing when precisely display from removed instances specific are rule; there auniversal not is it may be, precept for places safe be should museums curators, liberal-minded by countless favoured motto Inthe asylum. political of form take the can which permission, warnings trigger of advisory mechanism invective), moronic as disdained been prosecuted justly,have legally been, more notorious exercises in this sport the While disparagement. and scorn social criticism, complaint and satire politics, has often been an appealingly appealingly an been often has politics, of conventional cultural spectrum the on unplaced almost by being unsafe or dangerous ideas, and this this and ideas, dangerous or unsafe as this Inspiring harm. to different is argued, is it often Offence, ideas. unsafe like entertainment (geared to family to family (geared like entertainment libertarianism exemplifies the vectors the vectors exemplifies libertarianism

65 demimonde and flirting with Satanism but bohemian, anarchist or witty. In his monstrosity but is curiously allied more difficult to defend is what we and Wikka, or camouflaged within a later career, and characteristic of his with a net-savvy media lobby (gaining might dare call the ‘unaccountable’: suburban domesticity and harbouring growing dour conservatism during the leverage in the public sphere through that flourish of eccentric success quirky fetishes and perversions, or Cold War, he supported the staunchly expert exploitation of social media, or failure; that parasitic, impish and cloistered in esoteric monomania and traditionalist Menzies’ government in and fortified by the example of Brexit impious or noisy irritant or accelerated seeding sedition, or dropping out and its attempt to ban by referendum the secessionism and Trump’s libertarian fluency – which in a Romantic idiom living rough and going nomad. The Australian Communist Party. And, for rhetoric). This is a pact that has even would have been identified as genius or Sydney Push of the 1950s and 1960s his part, Menzies characteristically captured millennial, hip social-media rebelliousness. Let’s settle for a more gathered, by a kind of fortuitous gravity, demonstrated his cultural attitude in entrepreneurs, as it openly seeks to practical term. Let’s call this strange, such miscreants and oddballs into a 1937 when, as attorney general, he was strangle ABC news commentary (which ghostly x-factor ‘dissent’. vociferous crew of self-styled ‘critical the inaugural chair of the Australian is accused of being tax-payer funded drinkers’ (dubbed by one historian of Academy of Art. This pompous academy leftist dogma) and to liquidate SBS There’s a reason for choosing this word, the movement) railing against political, was founded to dispense prescriptive broadcasting, the cultural diversity of even if its pedigree or descent requires cultural and religious servitude. Those standards in the training of artists and which is declaimed as socially divisive some rehabilitation. Our usage of the decades saw an era of miserably austere in the exhibition and validation of art. and culturally elitist. term in the English language forms in social conformism disparaged firstly by It was a body of alleged expertise and the fifteenth century from the Latin an emergent commodity culture geared taste (signalled by Menzies’ role) formed How can we champion ‘unsafe’ art dissintere, which literally means to to youthful stylistic experimentation, on the warrant of British example to without the compromises and distortions sense differently. Differently to what? and then dismembered by that culture’s serve as protector of British heritage in that wrack the fluctuating realm of Not just to another individual but sexual, political and artistic innovations. Australian ‘pioneer–settler’ nationality. radicalism and heresy? This sounds evidently to a population that senses The Cuban revolution’s guerilla tactics, Of course, in retrospect it was behaving presumptuous, admittedly, when so things, or at least some particular with the alluring sensuality of its heroes like Canute trying to hold back much contemporary art itself has thing, in common: the consensus. This and the sultry carnival atmosphere of its successive tidal surges of international adapted to the increasing neoliberalism consensus need not be a world view; success, became the festive template modernism washing ashore. Its archaic of its market and critical milieu by it could be just a minor detail of social, for insurgency, captured in one of the carapace is left behind as one of many seeking safety in project management perhaps village, life that most agree most famous pieces of graffiti in the risible relics of ‘cultural cringe’. as a transactional and relational art on, have no dispute with (say, that the 1968 uprisings in Paris: ‘Beneath the form. The ‘project’ being managed here widow Jones is a witch). But we can 67 67 66 paving stones, the beach’. But it’s just as perilously parochial, is neither a specific work of art nor a extend the scope of this consensus provincial and cringe-worthy to life’s work in art but rather a professional to include not only a commonality of Lacking the tradition of the European rhapsodise the mythic larrikin, rat-bag contractual assignment defined by the sense but also its local tradition: the coffee-house and cafe as a setting, the or wild colonial boy as pharmakon – research responsibilities of a higher doxa (witchcraft runs in the family!). Push found Sydney’s downtown pubs a toxic medicine – in the mode of a degree, or an exhibition agenda, There’s a quantum of faith in consensus provided street-level (and distinctly not libertarian antidote to Australian a residency or exchange program, that provides a defensive solidarity to shop-floor) venues for nurturing their artistic conservatism. Just as one and the exigencies of a funding grant. those who are consensual. Hence, to social mutiny. (Their name was adopted must be a believer in order to At the same time, this subculture of be aligned with the tradition of such from an 1890s Sydney larrikin gang, ‘the effectively blaspheme, Australian self-management is in accord with common sense is to be orthodox. What Rocks Push’, commemorated in verse libertarian sentiments of rebellion and the prolifically routine and industrious is outside, excluded from, this normative by Henry Lawson.) Some of its rag-bag insubordination historically have, for all updating of personal data conducted genealogy of general agreement is of bohemian habitués and marginal their rabble-rousing profanity in defence on social-media platforms from paradox. And paradox doesn’t ‘make players gained notoriety beyond the of ‘free thought’ and ‘free speech’, Instagram to eBay. If this seems like a sense’. To dissent is to be at odds epic drinking sessions: Wendy Bacon, courted an ambiguously antagonistic fortuitous concord, especially for the with the consensus, but, strictly Clive James, Robert Hughes, Germaine dependence on the conservative millennial generation’s entrepreneurial speaking, by differing from it rather Greer, Frank Moorhouse. As this hit establishment. This phenomenon has ambitions, it doesn’t take too much than contrarily opposing or refuting list shows, the libertarian symposium become exaggerated in the tectonic fluency in bio-politics to see that this it. To be unorthodox, of course, makes showcased eclectic intellectual and adjustments of our landscape of pathological connectivity and exposure the dissenter vulnerable to a charge of artistic bravado in a stage setting of cultural politics over the past few doesn’t provide much space or time for heresy, or even apostasy, which can be, extravagant wit. But Sydney University years, in which we have witnessed critical dispute, esoteric curiosity and for anti-conservatives, an enticing job philosopher John Anderson, whose an aggressive, pontificating far-right errant outcomes that don’t meet the qualification. But let’s not extol dissent advocacy of ‘free thinking’ has been conservative parliamentary faction timelines of performance reviews or grant as exclusively an agent of enlightenment. arguably given intellectual paternity prop up its grotesque puppets and acquittals. Perhaps unintentionally, but Dissent doesn’t only beg to differ with over the Push, was himself anything unleash its attack dogs. It is a throwback no less effectively, what gets increasingly superstition; climate change denial and

Unsafe Edward Colless 68 ‘disestablishmentarians’.) In the context That doesn’t make it pacific or passive, passive, or make pacific it doesn’t That term. Dissent, at least in its early early its in at least Dissent, term. the dissident artist – in Soviet and and Soviet –in artist dissident the as depicted was establishment the which in mid-twentieth century the to the state. (Hence, dissenters were were (Hence, dissenters to state. the Hence the need to rein in the the in to rein need the Hence Maoist China – was identified in heroic heroic in identified –was China Maoist post- in then and states, Bloc Eastern England, a church politically bonded bonded politically a church England, century, eighteenth dissent the By of dissent acts also are denial Holocaust given the delightful mouthful of mouthful delightful the given commons. The dissenter is like a leper like is aleper dissenter The commons. liturgical or elements with doctrinal with common knowledge. critical conflict, let alone dialectical dialectical alone let conflict, critical connotations of this alluring otherwise disobedience enhanced with enhanced disobedience a broadly supplanted been word had the century censorship. The adjective now applies, now applies, adjective The censorship. defiance of authoritarian and totalitarian of ‘free speech’, as well as to gun-crazy gun-crazy to speech’, as well as of ‘free by next the discourse, of religious a non-negotiable threat to doxa the threat a non-negotiable a belief or opinion to a zone outside the the to outside azone opinion or a belief by exiling to dissent virtue inverted and of Church of establishment the anarchist and left-wing and anarchist and activist wake Inthe of this normalisation. and of repression scale social a totalised protest the in fury anti-government applied to individuals in dispute dispute in to individuals applied rather than a revisionist critic, and poses poses and critic, arevisionist than rather but it acknowledges a kind of virulence of virulence akind acknowledges it but manifest. to become order in negation, require necessarily doesn’t use, modern by ‘non-conformist’, suggesting a right conservatives who would like would who to conservatives right and those alt- survivalists secessionist demagogues and hacktivists and blowers revolutionary connotation to dissent, of rebellions social and movements meaning of disagreement, notably notably of disagreement, meaning polite if active more the assumed had in much looser language, to whistle- lynch whistleblowers as traitors. as whistleblowers lynch .

Unsafe Žižek and Lenin, sometimes one does does one sometimes Lenin, Žižek and for contaminating the normative, not things to come because they evolve by because to come things talent –that x-factor artists and art in essence the too, is That, habitat. to our habituated We become occupants. their Dissensus. When we discern that unsafe unsafe that we discern When Dissensus. exhibition this in Many of artists the goes, we don’t know who discovered discovered who know we don’t goes, wasn’t a fish. (Or as Robert Hughes Hughes afish. Robert as (Or wasn’t it sure damned be we can water but artistic their havewould gained just eluding the conservative, and at the at the and conservative, the eluding just dank, still pond into fresh air. into fresh pond still dank, ofcost being uncommon and unfamiliar – encompassing and generally invisible to As Marshall McLuhancommons. consensual new the within careers their developed and qualifications once remarked of Jeff Koons: accusing accusing of Jeff remarked Koons: once saying the as And, of consensus. are amphibian. They reveal the shape of reveal shape They the amphibian. are wet.) Pacebeing of afish accusing artistic the now call we that could and academic environment – the doxa moving between environments, from a from environments, between moving unfamiliar, de-habituated. tosuddenly be perception of fixations the and norms to make to the system the ashock need like be would slippery ofhim being all- are environments out, pointed decades over past the developed has it is because the art and those artists artists those and art the because is it that that

Courtesy the artist, Sutton Gallery, Melbourne, and Château Shatto, Los Angeles Los Shatto, Château and Melbourne, Gallery, Sutton artist, the Courtesy Helen Johnson, History problemHistory 2013

69 70 Roslyn Oxley9 Gallery, Sydney, and Hosfelt Gallery, San Francisco San Gallery, Hosfelt and Sydney, Gallery, Oxley9 Roslyn Game boys advanced 1997–2005, 2002 advanced boys Patricia Piccinini, Game Courtesy the artist and Tolarno Galleries, Melbourne, Melbourne, Galleries, Tolarno and artist the Courtesy

71 72 Courtesy the artist and Darren Knight Gallery, Sydney Gallery, Knight Darren and artist the Courtesy Freeman Dyson 2008 Dyson James Morrison, Freeman

73 74 Courtesy the artist and Darren Knight Gallery, Sydney Gallery, Knight Darren and artist the Courtesy Freeman Dyson 2008 (detail) Dyson James Morrison, Freeman

75 76 Peter Booth, Untitled 1997 Booth, Peter Courtesy the artist the Courtesy

77 78 Peter Booth, Untitled 1995 Booth, Peter Courtesy the artist the Courtesy

79 Daniel Crooks, Static no. 14 2010 Courtesy the artist and Anna Schwartz Gallery, Melbourne 82 Courtesy the artist and Anna Schwartz Gallery, Melbourne Gallery, Schwartz Anna and artist the Courtesy Static no. 14 2010 14 no. Static Crooks, Daniel

83 84 Courtesy the artists, Darren Knight Gallery, Sydney, and Jack Hanley Gallery, New York New Gallery, Hanley Jack and Sydney, Gallery, Knight Darren artists, the Courtesy 2017 Wurld Why Whol Ward, &Simon Johnson Jess soundtrack by Andrew Clarke Milxyz wae Milxyz (video still) Credit to be supplied be to Credit

85 86 Courtesy the artists, Darren Knight Gallery, Sydney, and Jack Hanley Gallery, New York New Gallery, Hanley Jack and Sydney, Gallery, Knight Darren artists, the Courtesy 2017 Wurld Why Whol Ward, &Simon Johnson Jess soundtrack by Andrew Clarke World ken 2017 (video still) 2017 ken World

87 88 Courtesy the artists, Darren Knight Gallery, Sydney, and Jack Hanley Gallery, New York New Gallery, Hanley Jack and Sydney, Gallery, Knight Darren artists, the Courtesy Whol Why Wurld 2017, Wurld Why soundtrack Whol by Andrew Ward, Clarke &Simon Johnson Jess 2017: New Australian Art 2017: Installation view, National Carriageworks, The

89 90

91 92 © Pat Brassington, courtesy Arc One Gallery, Melbourne, and Bett Gallery, Hobart Gallery, Bett and Melbourne, Gallery, One Arc courtesy Brassington, © Pat 1997 Pat frog Brassington, The © Pat Brassington, courtesy Arc One Gallery, Melbourne,andBett Gallery, Hobart pp. 90-91:Pat Brassington, Camouflage 2010.

93 94 Pat Brassington, Gentle series)Starlight 2001.©Pat (from Brassington, courtesy Gentle Arc OneGallery, Melbourne, andBett Gallery, Hobart © Pat Brassington, courtesy Arc One Gallery, Melbourne, and Bett Gallery, Hobart Gallery, Bett and Melbourne, Gallery, One Arc courtesy Brassington, © Pat Pat Brassington, (from Default blue (from Wool series) 1999

95 96 © Pat Brassington, courtesy Arc One Gallery, Melbourne, and Bett Gallery, Hobart Gallery, Bett and Melbourne, Gallery, One Arc courtesy Brassington, © Pat 2010 way Pat the Brassington, By © Pat Brassington, courtesy Arc One Gallery, Melbourne, and Bett Gallery, Hobart Gallery, Bett and Melbourne, Gallery, One Arc courtesy Brassington, © Pat The secret 2010 Pat secret Brassington, The

97 98

99 100 Courtesy the artist,Roslyn Oxley9 Gallery, Sydney, andModern Art, London pp 98-99:David NoonanUntitled , 2008 Courtesy the artist,Roslyn Oxley9 Gallery, Sydney andModern Art, London David NoonanUntitled (from Images series) 2005

101 102 Courtesy the artistand Anna Schwartz Gallery, Melbourne Emily Floyd , Temple of the female eunuch 2008(detail) eunuch female the of Temple ( AbūMūsā Jāb English Transliterarion Ḥ Dākhil kīmiyā'

ibnMarwān

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ayyān āwiya ibn Hishāmibn

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َ او ِ ن ع َ ُ م ُ ر ب ْ ي ّ ان ن يط ُ ( ِ اب ِ ب ْ و َ ر ج ى ج ر ِ َ ن ي ْ ج ِ ْ م َ ـ ـ ان م ِ م َ

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َّ ل ال ال ي م َ ُ م و م ُ م اخ َ يم ِ ِ ك َ ل َ د ِ ل ُ ح س َ م ك ِ ب الد َ ْ ْ َّ ع َ ب ُ ال ال ال م ْ ْ ْ َ َ أ

بن ن عبد هشام بن بن معاوية بن هشام بن عبد Unvocalised A

— Jan Bryant — Jan Alchemy. And so,Ibegin with the A storm must be coming. She can’t can’t She coming. be must A storm Art and failure: and of things perfecting Art Art /al-kīmiyā Art fill her lungs, and with this difficulty difficulty this with and lungs, her fill first time, with its libraries, its gardens, gardens, its libraries, its with time, first Córdoba the invaders’ mores and demeanours demeanours and mores invaders’ the they are about the transformation of the differing arts. At the very barest, traits will enhanceanunderstanding to make sure the letter is still firmly in firmly still is letter to the make sure I have been askeI have been Every hard-wrought breath makes makes breath hard-wrought Every Her excitement to reach the city has has city the to excitement reach Her Hurriedly she checks inside her pocket pocket her inside checks she Hurriedly guiding inference that aset of related giving her a creature-like form. acreature-like form. her giving quickened her walking and the dust dust the and walking her quickened evolved with the Indigenous culture, culture, Indigenous evolved the with eschewed, lest we sinkunder the weight out analogousproperties. There isa of her throat. It is making her voice her making It is throat. of her expectation of seeing the city for the for the city the of seeing expectation of arcane clichésabout what constitutes of contemporary art,but what seems assumption that this will involveassumption sorting thatwill this ago to conquer new worlds. Having Having worlds. new to conquer ago generations many left who ancestors of centre unfamiliar.an historic This as fellow travellers to her appears and corrupting metallick bodies bodies corruptingand metallick her feel the weight of the atmosphere. of atmosphere. weight the the feel her had shifted in ways that would be ways in be would that shifted had she least, At very the foreignness. her exaggerating incoherent, and scratchy dust the that so heavily breathing is she be carefully controlled, if not wholly her possession … she is oblivious to such realities. realities. to such oblivious is she is now encircling her whole body, whole her now encircling is unrecognisable to a Moorish way of to aMoorish unrecognisable to back the directly carried being is immediately pressing is that metaphor its secrets and its famous alchemists, alchemists, famous its and secrets its learning, Córdoba, is the land of her of her land the is Córdoba, learning, life. Thoroughly absorbed by the joyful by joyful the absorbed Thoroughly life. ان أبو بن حي جابر موسى جابر بن حي ّ

rabic Script طي ّ الملك بن مروان ري ج م ل المجر اني حم ' (

ّ الث الحكم الث كيمياء الر عبد الر d to write on d towrite

ّ اخل مسلمة الد ّ ال

)

Art [+] Jan Bryant

finished object, where labour hasbeen focus on their grubb from the conceitof the artwork asa the levelofthe theirand travails, toiling to their mostprosaic workada the work of art(l’œuvre) trajectory I leap b I leap Failure work brings failures anddisappointments, creativity of failing’. as work artist Deborah Ostrow,Deborah artist whosewhole by many centuries from alchemy here, which isapushing forward ma push towardswill toalso the but what materials, andso,Iapproach them at reified under of the myth effortless practice is grounded‘on importance the move inaprogressive and fulsome unknown andmysterious beginnings: utopia of desire. Itmeansseparating y (in the end) be the unrealisable Yetderived I all thesethings from find the right wa find the y fortis andalkali. Ihave spent nights for man forth, and to fashion the Stone out out Stoneand to forth, fashion the those sophistic methods, and those sophisticmethods, and to evolve itoutof hairs, wine, eggs, But let me tell goal b disappointed melike the rest. endeavouredcovetedreach to the calcination, circulation, andso of arsenic, mercury of substancessuchasurine,salt, amalgamating, andprecipitating. and da all the minerals and metals. Ihave atrament, alum,etc. I have tried hard much from the quintessence, butit neither profit nor jo striven to elicititb bones, andallmanner of herbs;out bitter experience. For I, too, toiled rational philosoph ou love lies,and turn awa ack to the seventeenthack tocentur the y (le travail) and to retrieve labour . Rarely (1) and thus Irecall the Melbourne y y

sublimation, distillation, y y s in dissolving, coagulating, s indissolving,coagulating, ears inaccordance with doesexperimentation y ou that solongas y y labours, where . Icanspeak from y y , , andsulphur, and y meansof aqua y from artmaking . I had hoped . Ihadhoped ou will neverou will y -ness, at y from ’s ’s (2)

103 English Transliterarion Vocalised Arabic Script Unvocalised Arabic Script The Guadalquivir Alexandria and Baghdad and welcomed of a more practical kind. If he had written was bracketed, making them objects of kīmiyā' many scholars from Islamic, Jewish in the same style as the “ancients”, pure perception, or rather, ‘things’ to be Crossing the great bridge over the ِ ِ and Christian backgrounds. Despite his books would have been cast aside experienced through phenomenological الكيمياء ْالكيمياء Guadalquivir, she reaches the city َ an ongoing fear of Christian invasion as worthless.’ (10) It seems that, by 1924, methods of reduction.(13) Hard-line Abū Mūsā Jāb Ḥayyān gates before the storm arrives, parting that permeated everyday life, the self- logic as the art of non-contradiction was minimalism gave way – in the work of Eva َ ِ her companions in an awkward أبو fromموسى جابر بن ّحيان أبُو ُم َوسى َجابر ْب ُن َحَّيان appointed caliph had established a well entrenched as the only acceptable Hesse (1936–70) – to a greater focus on exchange. This small misstep over local Majrīṭī fairly stable, multi-faith society. While way to speak with authority about the transmutation of everyday materials, ys should have been an early signمسلمة waا ل م ج ريطي م سَلمة ْالمجِر ِيطي .Europe ‘suffered’ under what historians alchemical processes: raised to a higher sensual plane ّ َ ْ َ َ ْ ّ (if only she’d been more open to reading once fallaciously dubbed the ‘Dark Ages’, ḥmān āwiya ibn Hishām ibn ِ ِ it) that her time in Córdoba will not Córdoba acted as an important protector First ... think whether this art Is it too early (or too late) to speak عبد الرحمن بن معاوية بن هشام بن عبد عبد الَّ رح م ــ ِن بن مع ِاوية ب ِن ه َشام ب ِن عبد ibn Marwān beّ rewarding. It is the country of her َُْ ْ ْ ُ ُ َ َ ْ ْ َْ and interpreter of alchemical texts, is (i) necessarily existent, or here of the death throes of hard-line colonisers who had done الملك ,ancestorsبن مروان ْالمِلك ب ِن مروان those of Hermetic-Gnostic origin that (ii) necessarily non-existent, or conceptualism in favour of work that َ ْ َْ َ the bidding of the great ruler al-Dākhil had been hidden by rebel sects through (iii) conceivable. If it is (i) then why insists upon, as with that of Susan Jacobs, Dākhil ِ ( ),(3) and they had strange periods of invasion and upheaval. is it so obscure? If (ii), then why sensual properties being brought to bear ّالداخل َّالداخل tales to tell about the power of the These texts became the bedrock of do people seek it? If (iii), then think on unexpected materials and objects? Ḥ Indigenous people. Matriarchal by ’scientific knowledge for Europe. whether it is to be conceived of as This rejection of ‘the anti-aesthetic َّ ِ structure, and wholly connected الحكم clanالثّاني ْال َح َكُم الثاني in category (i) or category (ii). (Hal Foster)(14) is symbolised in the to the land and its properties, the Vertu If you decide it is in (i) then search rhetoric of Joseph Kosuth (1945–), ( people in this isolated world practised for it, for it is attainable, but if in with his chair, his photo of a chair and an early form of chemistry, producing Our ‘Mary’, however, is unaware that her ( (ii), then cease reading the books his dictionary definition of a chair having knowledge that was highly valued by the status as the leading scientist from her dealing with it, for they must be vain, morphed today, without irony, into his Simplified Arabic 16 ( shadda invaders. Against history, the colonisers country is unrecognisable in this Moorish shadda and the search for vain things should neon-texts raised in heavenly reverence, respected this ancient culture, living centre of influence. She doesn’t carry ( be left to the people of ignorance.(11) high above dark gallery caverns … (15) in a strange world where their vastly herself with the same airs assumed by different knowledges and belief ys stems the city’s leading men of letters, and, ( The same clash between the reasonable She now finds herself a little lost in the functioned in parallel. Over generations, according to the city’s lore, her knowledge and the irrational is found in European Jewish Quarter, with its narrow streets, the two epistemologies began a process will be deemed primitive and a little art. To recall two contemporaries – dank and musty. Spying muted light falling of interpolation, producing a powerful ‘witchy’. She has arrived at Córdoba at الكيمياء) 105 104 the Swedish painter Hilma af Klint over a small balcony, she heads towards it mixture of chemurgical and theurgical a turning point in how the human world (1862–1944), today considered the first excitedly. The heavy storm has lifted and practices. Arriving in Al-Andalus will approach the natural world. Ahh! non-objective abstractionist, and her the slippery surfaces of moss that border (Muslim Spain) at a time when natural This epistemological division will be long otherworldly spirits, and the Russian the alleyways have opened suddenly to and mathematical sciences are reaching and tortured. And Al-Andalus will be revolutionary Aleksandr Rodchenko a spread of flagstones saturated with their peak, she is presenting to Córdoba, lost to the Christians. And Europe will (1891–1956) and his Soviet factory light. The walls of this small courtyard in humble respect, the amalgam of old begin its push towards human-centred workers – is to highlight a chasm of are covered with vines of glossy leaves Islamic and Indigenous knowledges.(4) methodologies and scientific verifiability. difference that runs through the modern and white flowers with purple stamens. English Transliterarion Vocalised Arabic Script Unvocalised Arabic Script All ‘other approaches’ will be thrust to the period. While it took until the end of Standing still for a moment she hears In centuries to come our traveller will be realms of ignorance and insanity. Feelings kīmiyā' the twentieth century for af Klint to be water moving over stones, cicadas and a ,Mar Scripty the Jewess’, although of exhilaration for the unknown, however‘ال A asrabic كيمياءScript Unvocalisedknown ْال ِك ِيميArabicاء English Transliterarion Vocalised brought into the museum,(12) the work bird that sounds very much like the Gilded َ kīmiyā' her name is not Mary, nor is she a Jew, will never be extinguished. of the Dutch avant-gardist Piet Mondrian Hummingbird. She has heard that in some الكيمياء ْال ِك ِيمياء Abū Mūsā Jāb Ḥayyān English Transliterarionَ and her roots willVocalised be lost, Aspeculatedrabic Script Unvocalised Arabic Script ِ was excised from his active involvement lands, this green, shiny-feathered bird is أبو موسى جابر بن ّحيان أَبُو موسى َجابر ْب ُن َحَّيان upon, fictionalised and hereby eternalised According to E.J. Holmyard, 100 years ُ َ Abū Mūsā Jāb Ḥayyān kīmiyā' with the spirit world (he officially joined a tiny talisman of lightness and joy. But ال كيمياءprior to Maslama al-Majrītī, far from ْال ِك ِيمي اءShe carries (5) أبو .a womanموسى of جابر بن figureحي انin the أَبو موسى ج ِابر ب ُن حَّيان Majrīṭī the Dutch branch of the Theosophical then, as she approaches the famous . َ ّمسلمة ا ل م ج ريطي ُ ُ َ َ ْم سل َمة المجِر ِيطي a letter of introduction to Maslama Al-Andalus, the Persian chemist Abū Mūsā ّ َ ْ َ َ ْ َ ْ ّ Majrīṭī Abū Mūsā Jāb Ḥayyān Society in 1909). He became instead gardens, excited and elated, aromas ِ ( أبو موسى جابر بن حيان) Jābir ibn Hayyān أَبو م وسى ج ِابر ب ن حَّي,(1007–950) (ان مسلمة ا ل م ج ريطي ) .al-Majrītī م سَلمة ْالمجِريطي ḥmān āwiya ibn Hishām ibn .an example to art historians of early begin to work into her pores. Unknown ّ (7) ُ ُ َ َ ْ ُ َ ّ َ ْ َ َ ْ ّ ِ ِ afield as the great astronomer, (d. 850), ‘none more skilful nor عبدfar الرحمن knownبن معاوية بن هشام بن عبد َعْبُد الَّ رح م ــ ِن ْب ُن مع ِاوية ْب ِن ه َشام ْب ِن َعْبد ibn Marwān non-objective abstraction (l’art pour Overwhelming. It is with surprising rapidity ّ ْ ُ َ َ ḥmān āwiya ibn Hishām ibn Majrīṭī chemist, mathematician, economist and eloquent’, had already ‘struck out a new l’art, or art as a resolved arrangement of that anxiousness wears down her spiky مسلمة ا ل م ج ريطي م سلمة المجِر ِيطي عبد الرحمن بن الملكمعاوية بنبن هشاممروان بن عبد عبد الَّ رح م ــ ِن بن مْالعمِلِاويكة ب بِنِن مِهروشانام ب ِن عبِد ibn Marwān scholar of Al-Andalus.ّ ّ ْ َ ْ َ َ ْ َ line and cut himself off fromّ the old َُْ ْ ْ ُ ُ ََ َ ْْ َْ ََ ْ َْ (8) formal composite parts). By the 1960s, edges. Feeling out of her depth in this tradition’. Jābir worried that ‘most الملك بن مروان المِلك ب ِن مروان Dākhil ِ ḥmānَ َْ ْ َ āwiyaْ ibn Hishām ibn Rodchenko’s legacy was found in the new world, she sinks her face into the dark y ofعبد الرحمpossibilitن بن in the معاوية بن believe هشام not بن did عبد peopleعبد الَّ رح م ــ ِن بن ofم ع ِاوية placeب ِ نa ِهasش ام ب ِن عبِد flourishedالد اخلibn Marwān Córdoba َّالداخل sculptures of Donald Judd (1928–94) maroon hood of her garment and moves ّ َُْ ْ ْ ُ ُ َ َ ْ َ ْ َْ ّ Dākhil learning under the caliph al-Hakam II obtaining the elixir,(9) while those who did .and his fellow minimalists, stripped of on, unprotected الملك بن مروان المِلك ب ِن مروان الداخل َّالد ِاخل Ḥ .He openedّ free schools,َ َْ ْ َ ْ believe were of the most ignorant type (6).( ) َّ ِ political intent. The worldly context from الحكم الثّاني ْال َح َكُم الثاني Ḥ Dākhil established a library known to rival He therefore decided to give instructions which the sculptures originally sprang َّ ِ الحكم الثاني ْالحكم الثَّ ِاني ّالداخل الداخل ّ َ َُ )

Ḥ Jan Bryant الحكم الثbodies انيand corrupting metallick الحكمperfecting الثَّ ِانيArt and failure: of things ) ) ّ ْ َ َُ Simplified Arabic 16( ( shadda shadda ( Simplified Arabic (16 ( shadda shadda ( ( ( Simplified Arabic 16 ( shadda shadda ( ( ( الكيمياء

( ) الكيمياء الكيمياء)

106 (12) (11) (10) (9) (8) (6) (7) (5) (4) (2) (1) (3) Notes Notes

c July, andthesecondatGuggenheim, New An exhibitionofafKlint’sworkheldatthe ibid., p.300. Holmyard, p.303. In Waite’scollectionofalchemicaltexts E. J.Holmyard,‘Maslamaal- Jābir wasachemistandalchemist, At first,themembersofthisdynastysaw She wasalsoknownasMariaProphetissima, Samir S.AmrandAbdelghaniTbakhi,‘Abu Unattributed, De York, fromOctober2018to Feb.2019. geographer, philosopher,physicistand and TruestMedicineofthePhilosopher’s Al QasimZahrawi(Albucasis):pioneerof do EstadodeSãoPaulo,Brazil,from March to exhibition tobringtheartistageneral curated byMauriceTuschman,wasthefirst crude andrawis“cooked”,ordigestedby e com.au, accessed 7 January 2018. 7January accessed com.au, of perfectcoction:forthatwhichbeforewas of Caliph. audience andshehassincebeenshown astronomer andastrologer,engineer, zosimos-of-panopolis/, accessed5Jan.2018. a Gnosticmysticwholivedaround300 AD. the Sopho-SpagyricArt;HowthatGreatest the PathofTruth,1677,takenfromArthur substance theAncientshavewellcalled fusion andthesplittingofatom. founding rulerofIslamicIberia. Useful, Good,andHelpfulTract,PointingOut Society, vol.6,no.3,1924,p.303. Stone MaybeFoundandHeld,JohnM. will writings ofZosimosPanopoliswhowas regularly. Twomajorexhibitionsof herwork physician. Itisclaimedheforesawnuclear modern surgery’, revised 1953,p.152. there isadefinitionof‘Elixir’:‘Thisperfected the processofcoction.Thatelementwhich, them toclaimindependenceandthetitle the perceptionoftheirowngreatnessled themselves asgoverningforadistantrulerin the Prophetess.Hernamefirstappearsin vol. 27,no.3,May–June2007,p.220. Most FaithfullyInstructingAllDisciplesof Waite, p.163. Watkins, London,firstEnglishedition,1893, Los AngelesCountyMuseumofArtin1986, Elixir, orfirewhichhasundergoneaprocess Baghdad, butasthegenerationsprogressed, Maria Prophetissa,MaryMiriam Rutbatu’l- Edward Waite(ed.),TheHermeticMuseum: Abd al-RahmānibnMu been digestedandperfectedbynaturalheat.’ be brokenupanddisintegratedbyfire,has by itsimperfection,causesbasemetalsto historyofalchemy.com/list-of-alchemists/ ibn ither an Egyptian or Greek alchemist but also anEgyptianorGreekalchemistbutalso ither Art and failure: of things perfecting and corrupting metallick bodies metallick corrupting failure:Art and and perfecting things of borah Ostrow, deborahostrow.blogspot. c be held in 2018, the first at the Pinacoteca Abd al-MalikibnMarwān . Hakī The OnlyTrueWay;Or,An m’, TheHistoryofScience Annals ofSaudiMedicine,

c āwiya ibnHishām Majrī

(731–788), tī . andthe

(14) (15) (13)

“reductivism”, willpushtheconventional Texts forNothing,theinstallationran Joseph Kosuth, Alexander Alberro,‘…whatcanbetermed ‘Bracketing’ isthe Alexander AlberroandBlakeStimson(eds), objectness oftheartworktoward of Husserl’sfollower,MauriceMerleau-Ponty accessed 5Jan.2018. and wasfabricatedinwarmwhiteneon a playonSamuelBeckettwritings,with Conceptual Art:ACriticalAnthology for-text-for-nothing-samuel-beckett-in-play, melbourne/exhibition/joseph-kosuth-waiting- perimeter ofACCA’smaingalleryspace particular focusonWaitingforGodotand presented anewbodyofwork…Basedon relied uponthephenomenologicalmethod phenomenological reductionofEdmund threshold ofacompletedematerialization’. 2010–11. ‘ForthisexhibitionKosuth Centre forContemporaryArt,Melbourne, Nothing’ SamuelBeckett,inPlay,Australian MIT Press,Cambridge,MA,p.xvii. Husserl (1859–1938)butmanyminimalists (1908–61). installed inamatteblackspace.’https://acca. ‘(Waiting for–)Textsfor epoché inthe , The Courtesy the artistand Anna Schwartz Gallery, Melbourne Emily Floyd , Temple of the female eunuch 2008(detail) eunuch female the of Temple

107 108 Courtesy the artist, Anton Kern Gallery, New York, Ivan Anthony Anthony Ivan York, New Gallery, Kern Anton artist, the Courtesy Gallery, Auckland, and Kate MacGarry Gallery, London Gallery, MacGarry Kate and Auckland, Gallery, Francis Upritchard, Echo cabinet 2011

109 110 Diena Georgetti, The humanity of construction painting 2006 Georgetti, Diena Courtesy the artist and The Commercial, Sydney Commercial, The and artist the Courtesy Diena Georgetti, Georgetti, Diena Courtesy the artist and The Commercial, Sydney Commercial, The and artist the Courtesy I don’t think, I don’t feel because I know nothing’s real 2006 real nothing’s Iknow because feel Idon’t think, I don’t

111 112 Thread, 54th Venice Biennale(Australian TeWhare Toi,2014; Asked Questions, Southard Reid,London, 2016; Armanious exhibits regularly in Australasia, Australasia, in regularly exhibits Armanious Allen, Paris, 2014; Set Down, MichaelLett Artist biographies Artist Auckland, andFoxy Production, New York. On the Devolution ofRob Tufnell, Culture, GalleryChartwell Collection Toi, AucklandArt The Golden Thread , MonashUniversity2012; The 2016; Hany Armanious,RoslynOxley9 Gallery, City Art Institute, Sydney (1984) Sydney Institute, Art currently is City and Gallery,2013; Auckland, Oxley9 Gallery, Sydney, MichaelLett Gallery, My Subconscious,Southard Reid,London, Hollow Earth, MichaelLett Gallery, Auckland, Reactions, PicassoMuseum,Barcelona, 2014; Living in the Ruinsof the Twentieth Century, Sydney, 2015;AUndone: Works World fromthe Sydney, 2015;Selflok,City Gallery Wellington University of Wollongong, New South Wales. Wales. South New of Wollongong, University UTS Gallery, Sydney, 2013. Armanious lives and University Museumof Art, Melbourne,2013; Europe and the United States, and his most most his and States, United the and Europe Los Angeles, 2013; Los Angeles, London, 2014;Cast Recording, PrismGallery, Minerva, Sydney, 2015;Lean Cuisine,Minerva, 2015; Mossman, Auckland, Melbourne, 2016;Touch YourBrain, Hopkinson Pavilion), 2011.Hisrecent group exhibitions Museum of Art, Melbourne,2012;TheGolden Hany Armanious works inSydney andisrepresented by Roslyn o Tāmaki,2014; a Doctorate of Creative Arts candidate at the at the candidate of Arts Creative a Doctorate recent solo exhibitions include the from Arts) (Visual of Arts aBachelor holds include It’s Only Castles Burning,STATION, Post PicassoContemporary , born 1962 in Ismalia, Egypt, Egypt, Ismalia, in 1962 , born Direct Democracy, Monash Hany Armanious,Gallery The Plagiarist of Australian Painting, Frequently Artist biographies Artist You Imagine What You Desire, 19thBiennale ARE HERE: An Exploration of Contemporary Art, University of Melbourne,2007. Armstrong Art, 2008;A RoomInside,IanPotter Museumof Adelaide, 2012;ARTCentrefor #2,Australian Gathering, Project Space,RMIT University, Worlds inFlux,C24Gallery, New York, 2012;The 2010 Adelaide Biennial ofBiennial Australian Art,Art 2010 Adelaide Galleries, Melbourne,2012;Walking Backwards Gallery of South Australia, Adelaide, 2017;WE Sleep of Reason, Art Gallery of South Australia, Glen Eira City Council Gallery, Melbourne, 2016; Centre for Contemporary Art, Melbourne,2009; Gallery of South Australia; NEW 09,Australian Cheng Space for Contemporary Art, 798 Art Contemporary Art, Horsham Art Gallery and Rodin: Bodies Across Spaceand Time, Art Melbourne Now, National Gallery of Victoria, Portraiture asaResponse to Hatred andHope, Better Places,Perth Institute of Contemporary Residency Project in the Landscape, XinDong Space, RMIT University, Melbourne,2006; Studio 12,GertrudeContemporary Art Spaces, Warrnambool Art Gallery, 2011;A First Life the Victorian College of the Arts, University of University of Arts, the College Victorian the to the PlaceIComeFrom, TolarnoGalleries, Institute of Contemporary Art, 2009;Sorcery, Melbourne, 2006;BenjaminArmstrong, Project Melbourne, 2010;Hold Everything Dear,Perth His solo exhibitions include Conjurers, Tolarno (1996).Melbourne Melbourne. Hisgroup exhibitions includeVersus Melbourne, 2005;Drawings, TCB artinc., Biennale, Republicof Korea, 2012;Becoming: Melbourne, 2013;ROUNDTABLE, 9thGwangju District, Beijing,2011;Before and After Science, , born 1975 in Melbourne, 1975Benjamin Armstrong, born Melbourne, in of Sydney, Art Gallery of New South Wales; holds a Bachelor of Fine Arts (Painting) from Arts of Fine aBachelor holds by Tolarno Galleries,Melbourne. lives and works inMelbourneand isrepresented

113 114 The Collectors’ Exhibition , Niagara Galleries, Tāmaki travelling exhibition, 2001;Three-way TarraWarra Museumof Art, Victoria, 2006–07; Abstraction: WorksUniversityMonash from the Art 1968–2002, National Gallery of Victoria, Australian Art,GeelongGallery, 2006;Drawing Anna Schwartz Gallery, Melbourne,2008;Peter 1962–65. Contemporary Encounters, National Gallery Gift ofContemporaryGift Australian Art,Museum Collection, MonashUniversity Museumof Art, Centre, Newcastle Regional Art Gallery, 2005; White Mantle: The Winter Landscape in 2000. Hisnumerous group exhibitions include 2003–04; 2006; Gallery, Melbourne, 2012;Peter Booth, Rex Gallery, Melbourne,2001;Peter Booth: Gallery, Melbourne,2004;Peter Booth: Human years, with more than thirty solo exhibitions, exhibitions, solo thirty than more with years, Landscapes, Anna Schwartz Gallery, Melbourne, Nature, National Gallery of Victoria, Melbourne, Peter Booth, Anna Schwartz Gallery, Melbourne, Booth, Rex Irwin Art Dealer, Sydney, 2007; It’s aBeautifulDay, Art Gallery of New South I Am,ShermanContemporary Art Foundation – Schwartz Gallery, Melbourne,2010;21st Century, Wales, Sydney, 2002;Fieldwork: Australian SCARF, Sydney, 2007;Five Decades, turning point for Australian art.Helives and Irwin Art Dealer, Sydney, 2011;Memories, Anna He has exhibited extensively over the past fifty fifty over past the extensively exhibited has He Melbourne, 2002;Darkness&Light: Looking Richmond, 2008;Voiceless: IFeel Therefore Melbourne, 2002;PeterSchwartz Booth, Anna Melbourne, 2000;TheLoti and Victor Smorgon , born 1940 in Sheffield, UK, studied studied UK, Peter Sheffield, in 1940 Booth, born works inMelbourne. of Victoria, Melbourne,2010;BlueChipX: of Contemporary Art, Sydney, 1995.Booth was at the National Gallery of Victoria Art School in in School Art of Victoria Gallery National at the at the National Gallery of Victoria in1968,a , Auckland Art Galleryat Landscape Toi, AucklandArt o including including included in the seminalexhibition TheField The Winter ofSchwartz Man,Anna , Anna Schwartz The HumanCondition,Anna Peter Booth, Anna Schwartz Gallery, Artist biographies Artist

Treasure Island,STATION, Melbourne,2014; Australian, Lake MacquarieCity Art Gallery, Already Here –It’s Just Not Evenly Distributed, Asia Pacific Triennial of Contemporary Art, Australian National University,Australian (2005). Canberra Australia, Canberra, 2007. Boyd lives and works Art, Melbourne,2016;Panorama, TarraWarra Australia, Canberra, 2017;Painting. More Out Here, Museumof Contemporary Art, Sydney, 2013; 2010; 20th Biennaleof Sydney,the World’s 2016;All Cairns RegionalGallery, 2017;FloatingForest, Gallery, 2013;UpInSmoke Tour, Natural Gallery, Sydney, andSTATION, Melbourne. Queensland Art Gallery |Gallery of Modern Art, Queensland Art Gallery |Gallery of Modern Art, Daniel Boyd: History IsMadeatNight , Artspace, Boyd Dreams, 4thMoscow International Biennale Futures, 56th Venice Biennale,2015;Afor Time Indigenous Art TriennialIndigenous , National Gallery of Painting, Australian Centre for Contemporary for Young2014; Arts, Sydney, 2013;DanielBoyd: A Darker Shade Indigenous Art Triennial, National Gallery of Boyd has exhibited extensively, and his solo solo his extensively, and Boyd exhibited has of Art, School the from of Arts Bachelor Roslyn Oxley9 Gallery, Sydney, 2017;Daniel Museum of2016; Museum Art,Victoria, The Future Is History Museum,London, 2012.Hisgroup Brisbane, 2008;CultureNational Warriors: Bétonsalon, Paris, 2011;We Call Them Pirates Brisbane, 2012;OneCaption Hides Another, of Dark,GlasshousePort MacquarieRegional , born 1982 in Cairns, holds a a holds Daniel Boyd Cairns, in 1982 , born exhibitions includeDefying Empire , 3rd National of Modern 7th Art, Melbourne,2013;The shows include in Sydney andisrepresented by RoslynOxley9 , Institute of Modern Art, Brisbane,2016; Future Primitive , HeideMuseum ContemporaryOptimism Australia:,

Daniel Boyd: Bitter Sweet, Bungaree: The First Bungaree: The

Tomorrow Yesterday, Museumof Contemporary Thou ShaltNot Destroy , Jewish Museumof Tasmania, (1986). Hobart Anxious Bodies, Art Gallery of New South Wales, Art, Melbourne,2012,and touring nationally; Art, Melbourne,2001;ThisIsNot aLove Song, Art, Sydney, 2017;PublicImage,Private Lives: Art, Tasmanian College of Advanced Education, Education, Tasmanian of Advanced College Art, Australia, Melbourne,2008;Light Sensitive: Art; Flatlands:Photography andEveryday Gentle, Australian Centre for Contemporary Collisions, 2012 Adelaide Biennialof Australian Contemporary AustralianPhotography from the Survey Show, Lönnström Art Museum,Rauma, 2012; Feminism Never Happened,Institute Space, Art Gallery of New South Wales, Sydney, Gallery of New South Wales, Sydney, 2017;Á Gallery of South Australia, Adelaide, 2016;Lurid Pat Brassington: Works inProgress, IanPotter Feeding Time,14thBiennaleof Sydney, 2004; Road, Institute of Modern Art, Brisbane,2007; Bodies Across Spaceand Gallery Time, Art Rebours, Australian Centre for Contemporary Beauty: Australian Surrealism anditsEchoes, Family, Friends andSelf inPhotography, Art New Passports,New PhotographyGallery , Art Loti Smorgon Fund, National Gallery of Victoria, Wales, Sydney, 2000;Fotokunst Aus Australien , Sydney, 2003;World Without End:Photography the Tasmanian School of Art, University of University Tasmanianthe of Art, School Finland, 2008;PatBrassington: Cambridge Museum of Art, University of Melbourne,2002; Her group exhibitions includeVersus Rodin: Monash University Gallery, Melbourne,1996. Brassington hasexhibitedBrassington extensively, and (1981), from Hobart Arts of Fine aMaster and of School the from Art) (Visual of Arts Bachelor National Gallery of Victoria, Melbourne,2015; Melbourne, and Bett Gallery, Hobart. Hobart andis represented by Arc OneGallery, Berlin, 2000. Brassington lives and works in Metropolitan Museumof Photography, 2004; Melbourne, 2006;Supernatural Artificial,Tokyo , born 1942 in Hobart, holds a holds Pat Hobart, in 1942 Brassington, born of South Australia, Adelaide, 2017; ofSouth Australia, Adelaide, of Modern Art, Brisbane,2010;BalTaschit: of New South Wales, Sydney, 2014;Parallel her solo shows include TheBody Electric include shows , Art solo her and the 20thCentury, Art Gallery of New South Today, Artist biographies Artist TarraWarra Museumof Art, Victoria, 2006; Arcane Technology, IanPotter Museumof Art, Australian Drawing, National Gallery of Victoria, Art Spaces,Melbourne,2002;Painting: An 2012; Art, Victoria, Art Space,2004.Group exhibitions include: (2006). (Research) University Monash from Arts Victoria, holds a Bachelor of Arts (Painting) of Arts aBachelor holds Victoria, 2003; Octopus 3,GertrudeContemporary 2014; Help Me Make it Through the Night, Nadine Christensen and AnneWallace:Christensen 2014; Nadine Specially BuiltRuin,Canberra Contemporary 2006; This&Other Worlds: Contemporary Silenzi, PrigionidePalazzo Ducale, Venice, extensively, both exhibited has Christensen Contemporary Photography, Melbourne,2010; Contemporary Art, Melbourne, 2016;Domestic Nadine Christensen, STATION, Melbourne, Materials, Caves Gallery, Melbourne,2015; Parallel Lives: Australian Painting Today, Recent Paintings, TarraWarra Museumof Bliss, DeakinUniversity Art Gallery, Melbourne, Painting. MoreCentre Paintingfor, Australian for Contemporary Art, Melbourne,2004;A of Arts, the College Victorian the from University of Melbourne (1993) of Melbourne of University aMaster and Uplands Gallery, Melbourne,2009;It’s Been University of Melbourne,2001.Christensen lives Heide Museumof Modern Art, Melbourne, Melbourne, 2004;This Was the Future … , Presents, Melbourne. Hugo MichellGallery, Adelaide, andSarah Scout , born 1969 in Traralgon, in 1969 Nadine Christensen, born exhibitions NadineChristensen: include and works inMelbourneandisrepresented by nationally and internationally, and her solo solo internationally, her and and nationally a Long CentreTime Longing, Australian PhotocopierCentre, for

115 116 Australia, Royal Academy of Arts, London, 2013; Art BaselHong Kong, Anna Schwartz Gallery Australian Digital Icons, Centre Georges Zealand, holds a Bachelor of Design from the the from of Design aBachelor holds Zealand, Auckland Institute of Technology Institute (1993)Auckland and Australia, HongKong, 2015;Melbourne Now, Angeles, 2005;DanielCrooks: Train No.1, Level 2 Australian Centre for the Moving Image, 2 (One Step Forwards, OneFrame Backwards), Crooks, SamstagMuseumof Art, University of Collage: The Heide Collection, HeideMuseum 2006; extensively, both exhibited has Crooks Sharpen, University of SouthernCalifornia, Los Centre for Contemporary Photography, Gallery, Melbourne. Parallel Paths,MonashUniversity Museum Per Second,Carriageworks, Sydney, 2015; Environments, The Workstation, Sheffield, UK, for the Moving Image,Melbourne,2015;Daniel South Australia, Adelaide, 2013; South Australia, Adelaide, Sydney, 2005.Crooks’s group exhibitions the Victorian College of the Arts, University University of Arts, the College Victorian the Institute of Modern Art, Brisbane,2008;PanNo. Moving ImageCommission, Australian Centre Melbourne, 2017;DanielCrooks, IanPotter National Gallery of Victoria, Melbourne,2013; Project Space, Art Gallery of New South Wales, Melbourne, 2007;TimeSlice,Lovebytes, 2006: Melbourne andisrepresented by Anna Schwartz Melbourne, 2002.Crooks lives and works in Pompidou, Paris, 2003;Digital Projections, National Gallery of Australia, Canberra, 2004; Barbican Centre, London, 2011;2010Move Museum of Contemporary Art, Sydney, 2012; , born 1973 in Hastings, New New Daniel Crooks 1973 Hastings, in , born on Asia, Tate Modern,London, 2010;Sur:reel, oZone, London Australian FilmFestival, The of Melbourne (1994).of Melbourne of Art, Melbourne, 2013;Imaginary Objects, of OldandNew Art, Hobart,2016;24Frames from of Animation Diploma a Postgraduate of Modern Art, Melbourne,2013; MarkingTime, shows include Parabolic , include shows Anna Schwartz Gallery, solo internationally, his and and nationally include On the Originof ART, MONA,Museum The Computational Sublime,Blur + A Garden of Artist biographies Artist Art, HeideMuseumof Modern Art, Melbourne, Artes Visuales , MuseodeBellas Artes, Santiago, Australian Art,MonashUniversity Museumof , born 1946 in Santiago, Chile, Chile, Santiago, in 1946 Juan Davila, born Art, Melbourne,2003;SeeHere Now: the Vizard Art, Melbourne. 2003; Icon Interior: Howard Arkley and Juan 1994. Davila lives and works inMelbourneand LeaveMethe Age 1999; Don’tin This Way: Art Oz: ParallelAndy Visions,The Museum, Warhol Oz: Collection 1961–2007, McClellandGallery and Worlds: Contemporary Australian Drawing, 2000; On the Road: The Car in Australian 2013; Premonitions: Monash University 2006. Hisgroup exhibitions includeMelbourne 2011; JuanDavila: A Panorama of Melbourne, Contemporaneo, Santiago, 2006;This&Other Germany, 2007;Arte Contemporaneo Chile: Queensland College of Art, Brisbane, 2009; Cowen Gallery, State Library of Victoria, Desde elOtro Sitio/Lugar, National Museum Now Davila, DrillHallGallery, Australian National Potter Museumof Art, University of Melbourne, Foundation Art Collection of the 1990s,Ian Home and Away: PlaceandIdentity inRecent Davila, National Gallery of Victoria, Melbourne 69 and holds a Bachelor of Fine Arts from the the from Arts of Fine aBachelor holds and 69 Sculpture Park, Langwarrin, 2008;Andy and University, Canberra, 2001;Chile100 Anos de National Gallery of Victoria, Melbourne,2005; Pittsburgh, 2007;Documenta, Kassel, 12 Melbourne, 2009;JuanDavila:Graphic!, Monash University Museumof Art, Melbourne, extensively, nationally both exhibited has Davila (1972). of Chile University School, Arts Fine of AIDS,National Gallery of Australia, Canberra, of Contemporary Art, SeoulandMuseode Arte and Museumof Contemporary Art, Sydney, and internationally, and his solo exhibitions exhibitions solo internationally, his and and studied law at the University of Chile in 1965– in of Chile University law at the studied is represented by Kalli Rolfe Contemporary include TheMoral Meaning of , Wilderness , National Gallery of Victoria, Melbourne, Juan Triennial, National Gallery of Australia, Canberra, TarraWarra Museumof Art, Victoria, 2014;Direct 1985–95, Art Gallery of New South Wales, Australian Centre for Contemporary Art, Art, University of Melbourne,and Tokyo Art Gallery Te Pātaka Toi, Victoria University Art, Brisbane,2016;2014TarraWarraBiennial, Art Gallery of New South Wales, Sydney, 2010; Culture Warriors: National Indigenous Art CultureNational Warriors: Wrong: NewWrong: fromVideo Art Australia, Australian 2007; Points of View: Australian Photography Oxley9 Gallery, Sydney, 2017;SnapOutof It, (Politics) of Arts aBachelor holds Queensland, Queensland Art Gallery |Gallery of Modern Gallery of Victoria, Melbourne,2013;Art+Soul, Centre for the Moving Image, Melbourne Deacon: Walk andDon’t Look Blak,Museum My Country, IStillCall Australia Home, Democracy, MonashUniversity Museumof Art, Photography in the NationalGallery of Victoria, from the University of Melbourne (1979) of Melbourne University the from and Sydney, 2006;I Thought IKnew butI was University (1981).University Deacon has exhibited extensively, and her solo solo her extensively, and exhibited has Deacon Roslyn Oxley9 Gallery, Sydney, 2014;Destiny National Gallery of Victoria, Melbourne,2016; Melbourne, 2017;Who’s Afraid of Colour?, Her group exhibitions includeSovereignty , Metropolitan Museumof Photography, 2006. Melbourne, 2013;Melbourne Now, National Deacon lives and works inMelbourneandis National Gallery of Victoria, Melbourne,2002. , born 1957 in Maryborough, Destiny Maryborough, in 1957 Deacon,born of Wellington, 2005,IanPotter Museumof of Contemporary Art, Sydney, 2004, Adam a Diploma of Education from La Trobe La from of Education a Diploma and touring, 2004; and touring, shows include Not include shows Just Fun andGames,Roslyn represented by RoslynOxley9 Gallery, Sydney. Second Sight: AustralianSecond Artist biographies Artist Anna Schwartz Gallery, Melbourne,2011.Her Arts Centre, Bray, Ireland, 2014;Divinationsfor Quicksilver, Anne &Gordon SamstagMuseum Collapsar, Project Arts Centre, Dublin,2012, 2016; Believe Not Every Spirit,but Try the 2016; 2012; Drawing Down the Moon, Institute of Spirits, MonashUniversity Museumof Art, 2014; GoldeneBend’erCentrefor, Australian Centre,Mildura Victoria, Arts 2015; Underfall, Gallery, Melbourne,RoslynOxley9 Gallery, Gallery, Victorian Collegeof the Arts, University Contemporary Art, Melbourne, 2013;Panto Burial Grounds, Extra City Kunsthal, Antwerp, Letterbox Marys, RoslynOxley9 Gallery, Sydney, Sydney, HamishMcKay Gallery, Wellington, Sydney andisrepresented by Anna Schwartz Sydney, 2016;Erewhon , Margaret Lawrence Wexford Arts Centre, UK,2013andMermaid Wales, Sydney, 2017;In the Head of Humans , University of New South Wales, Sydney (2003). Sydney Wales, of South New University the Real Things,RoslynOxley9 Gallery,the Sydney, Melbourne, 2015.Dwyer lives and works in Modern Art, Brisbane,2012;TheSilvering, Hopkinson Mossman, Auckland, 2016;The Dwyer has exhibited extensively, nationally and and extensively, nationally exhibited has Dwyer Arts, of Fine College the from Arts of Fine Master College Sydney the from Arts of Fine Bachelor of Matter , Fondation Fiminco,Paris, 2017; Mikala Sydney, in Dwyer 1959 a , born holds of Melbourne,and oftouring, 2016;Riddle the ofUniversityofSouth Australia, Adelaide, Art, of the Arts, University of Sydney (1986) of Sydney University a and of Arts, the and HamishMorrisonGalerie,Berlin. recent group exhibitions includeTriple Point include Mikala Dwyer, Art Gallery of New South exhibitions solo recent internationally, her and Soft Core, CasulaPowerhouse Arts Centre,

117 118 The Language of Ornament, National Gallery Tales: Four Contemporary Narratives, National Technology, (1992) Melbourne aBachelor and Jackson BellaRoomCommission,Museumof Avant-Garde:and AustralianConstructivism Art, Always BeOpen,MonashUniversity Museum Anna Schwartz Gallery, Melbourne. Art, Melbourne,2014;TheGarden (here VeniceQueensland Art Biennale,2015;Harvest, Contemporary Australian Art,National Gallery World, Museumof Contemporary Art, Sydney, 2010; MakeCentrefor itModern, Australian 2011; In the Balance: Art for a Changing 2006. Her groupof exhibitions includeCall the 2014; Far Rainbow, HeideMuseumof Modern Students inDissent, collaborative project for Silhouette, Institute of Modern Art, Brisbane, Gallery of Victoria, Melbourne,2004.Floyd lives Contemporary Art, Melbourne,2005;Fraught Contemporary Art, Sydney,Place Will 2011;This Gallery,Floyd: Melbourne,2016;Emily The Gallery |Gallery of Modern Art, Brisbane,2014; People Powered Radio,GertrudeContemporary, Melbourne Now, National Gallery of Victoria, Dawn, National Gallery of Victoria, Melbourne, Heide Museumof Modern Art, Melbourne,2017; All the World’sMelbourne, 2016;All Futures, 56th Museum of Contemporary Art, Sydney, 2016;If Heide Museumof Modern Art, Melbourne, Melbourne, 2013;Negotiatingthis World: Print Workshop, Melbourne,2008;TheNew solo her extensively, and Floyd exhibited has (1999).Melbourne of University Swinburne from of Arts Bachelor , born 1972 in Melbourne, holds a holds Emily Floyd 1972 Melbourne, in , born of Victoria, Melbourne,2017;Telling Tales, of Victoria, Melbourne,2012;Colour Bazaar, of Art, Melbourne, 2012;It’s Time,Australian (Sculpture) Arts of Fine University, RMIT from and works inMelbourne andisrepresented by shows include FieldLibraries , Town include shows Hall small gestures make complex structures), Artist biographies Artist Art, Melbourne,2010. Fraser lives and works has Fraser historian, film and writer artist, An , born 1947 in Melbourne, holds holds Virginia Fraser 1947, born Melbourne, in 2013; Change,MonashUniversity Museumof Centre for Contemporary Art, Melbourne,2017; of Melbourne. University of Arts, the College Brutal Truths, GriffithUniversity ArtGallery, than twenty-five years. She has recently recently has She twenty-five than years. Institute of Technology,Institute a and Melbourne Brisbane, 2015;Shadowlife, Bendigo Art Gallery, (Research) Victorian Art the from of Fine Master exhibited with in Deacon Sovereignty , Australian for more Deacon Destiny with collaborated a Bachelor of Arts (Media Arts) from the Phillip (Media Phillip the from Arts) of Arts a Bachelor in Melbourne. Time., GertrudeContemporary, Melbourne, TodayTomorrow Yesterday, Museumof The Score, IanPotter Museumof Art, University Approach, GertrudeGlasshouse,Melbourne, Architecture Exhibition,LaBiennaledi Venezia, Anna Schwartz Gallery, Melbourne. Art, Art Gallery of South Australia. Fusinato lives Venice, 2013–14;Soundings:AContemporary Capitalism, Anna Schwartz Gallery, Melbourne, Cardew), Anna Schwartz Gallery, Melbourne, Collisions, 2012 Adelaide Biennialof Australian Shout Whisper Wail! The 2017 Chartwell2017; ShoutWhisper Wail!2017 The 2017; TheEndof Time. The Beginningof 2008. Hisrecent group exhibitions includeThe 2010; THISISNOT MY WORLD, Sarah Cottier 2013; THEREISNO AUTHORITY, Anna 2015; Constellations, ICA, Singapore, 2015; All the World’s2016; All 56th VeniceFutures, Show, Auckland Art Gallery Toi o Tāmaki, 2017; Contemporary Art, Sydney, 2016;Negative Contemporary Art, Sydney, 2017;Continuous Gallery, Sydney, 2010;DoubleInfinitives , Anna Score, Museumof Modern Art, New York, 2013; Gallery of New South Wales, Sydney, 2015;The ão Paulo Biennial, Brazil, 2012; Parallel 30th São Paulo Biennial, Kaleidescopic Turn, National Gallery of Victoria, Every Brilliant Eye: Australian Art of the 1990s, Drift: Balance,Meeting HouseSquare, Dublin, New2017: AustralianNational Art,Museumof Black Implosion,Sarah Cottier Gallery, Sydney Mass Black Implosion(Treatise, Cornelius Infinitives, Anna Schwartz Gallery, Sydney, Melbourne Now, National Gallery of Victoria, Schwartz Gallery, Melbourne,2009;Mass Schwartz Gallery, Sydney, 2012;TheColor of the Sky hasMelted, Institute of Modern Art, National Gallery of Victoria, Melbourne,2017; Brisbane, and Artspace, Sydney, 2012;Noise & The include exhibitions solo recent His Melbourne, 2015;Monditalia , 14thInternational Biennale, 2015;See You at the Barricades,Art Melbourne, 2013;TheImminenceof Poetics, , born 1964 in Melbourne, Marco Melbourne, in Fusinato 1964 , born of Melbourne,2017;2016MCA Collection: and overseas. overseas. and and works inMelbourne andisrepresented by has exhibited extensively throughout Australia Artist biographies Artist The Misery of Philosophy , Curro Y Poncho, TarraWarra Museumof Art, 2014;Melbourne Tony Melbourne, in Garifalakis 1964 , born Adelaide Biennialof Australian Art,Adelaide, Affirmations, DaineSinger, Melbourne,2012; Angels of the BottomlessCentre Pit, for Artspace, Sydney andNegotiatingthis World: Victoria College, Melbourne (1985) Melbourne College, a and Victoria Contemporary Australian Art,National Gallery Garifalakis: Warlords, HugoMichellGallery, Adelaide, 2014; 2017; Pleasure andReality,National Gallery 2011. Group exhibitions includeRepertoires Segura, GertrudeContemporary, Melbourne, 2013; Theatre of theWorld , Museumof Old 2014; Whisper inmy Mask, TarraWarra Biennial, Gaia Gallery,Heart, Istanbul,2015:Dark the Guadalajara, Mexico andThePhilosophy of Contemporary Photography, Melbourne,2014; Garifalakis has exhibited extensively and and extensively exhibited has Garifalakis Misery, Yautepec Gallery, Mexico City, both Now Rule, Art Gallery of New South Wales, 2014; Sarah ScoutPresents, Melbourne,2018;Mob Presents, Melbourne. Hugo MichellGalery, Adelaide, andSarah Scout Melbourne (2000). University, RMIT from Art of Fine Masters of Contention: Tony Garifalakis & Joaquin of Victoria, Melbourne,2015;Neverwhere, of Victoria, Melbourne,2012.Garifalakis lives and works inMelbourne andisrepresented by and New Fall Apart, Art, Hobart,2012;Things holds a Diploma in Graphic Design from from Design Graphic in aDiploma holds Tony Tony include exhibitions solo recent his , National Gallery of Victoria, Melbourne,

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119 120 Teague),The Young, Wellington,2011; Art Prize, National Art SchoolGallery, Sydney, Australian Art,HeideMuseumof Modern Art, Auckland, 2010;TheEnthusiast , Darren Knight Call of the Avant-Garde: Constructivism and Collections of Heide Museumof Modern Art Geometry Set 1&2,HamishMcKay Gallery, 2017; Painting. More Painting, Australian Centre for Contemporary Art, Melbourne,2016; Gallery, Sydney, 2010;DienaGeorgetti: The Georgetti lives and works inBrisbaneandis Queensland Art Museum,Brisbane,2013,and Gallery, Sydney, 2013;ACT HUNGER,(with Mary numerous in included been work has Georgetti’s (1986). Brisbane of Art, College Born to Concrete:PoetryBorn to Visual from the New Geometries, Fleisher/Ollman Gallery, Humanity of Abstract Painting 1988–2008, Wellington, 2011;Composa,MichaelLett Gallery, Wellington, 2014;Folk Modern, Sarah Cottier State Library of New South Wales, 2013–14. Sydney, 2016;Foyer Melbourne, 2017;RedlandsKonica Minolta National Gallery of Victoria, Melbourne,2015; KaleidoscopicPhiladelphia, 2016;The Turn, Monash University Museumof Art, Melbourne, , born 1966 in Alice Springs, Springs, Alice in Diena Georgetti 1966 , born exhibitions, and her recent solo exhibitions exhibitions solo recent her and exhibitions, and the Institute of Modern Art, Brisbane,2008; represented by The Commercial, Sydney. and the University of Queensland,University of Queensland the from of Art aDiploma holds include ART asCOMPANIONCommercial, , The , HamishMcKay Gallery, Brutalist Artist biographies Artist The Lacrima Chair,ShermanContemporary Afghanistan, AustralianWar touring Memorial Art 41,Basel,2010;MADDESTMAXIMVS: Arts (1996) (Research) Art Arts of Fine aMaster and Art Foundation, Sydney, 2015;ShaunGladwell: , Australian Centre2013; Stereofor Sequences,Australian Sideways, Institute of Contemporary Arts, Cité Internationale des Arts, Paris, 2001.His Cannes andalsoscreened at the Melbourne Gladwell has exhibited extensively, both exhibited has Gladwell Metro Pavilion,Planet &Stars Sequence,Australian Prize, IanPotter Museum of Art, University of MCA Collection, Museumof Contemporary Art, Feel with the Mind. Art in the Present Tense , from the College of Fine Arts, University of University Arts, of Fine College the from Schwartz Gallery, Melbourne. (2001). Sydney Sydney, and touring, 2016;TheBasilSellers Art , born 1972Shaun Gladwell Sydney, in , born a holds the Moving Image,Melbourne,2011;ArtFeature , International FilmFestival, Future FilmFestival, Bachelor of Fine Art from Sydney College of the of the College Sydney from Art of Fine Bachelor Bologna, SundanceFilmFestival, Utah,2017; Pompidou, Paris, 2011;Think with the Senses– London, 2013;Hors Pistes, Centre Georges Royal Academy of Arts, London, 2013;Walking Berlin FilmFestival, Berlin,2014;Australia, GalleryMelbourne, 2016;Archibald Prize , Art 53rd Venice Biennale, 2009;InaStation of the group exhibitions includePrimavera at25: 52nd Venice Biennale,2007. Gladwell lives and of the 1st artnOmad Biennalein a Van, Palais works inLondon andisrepresented by Anna exhibition, Australian Embassy, Washington, DC, exhibitions Orbital Vanitas include , Festival de de Tokyo Museum,Paris, 2015;TheTurning, of New South Wales, Sydney, 2015;Pre-launch nationally, internationally. and solo His , Artspace, Sydney, 2007;Recent Projects, June: A Painting Show, SadieColes,London, York, 2015;Slow Learners, Château Shatto, Absence, Galerie Jocelyn Wolff, Paris, 2015; Australian Art, Art Gallery of New South Australian Centre for Contemporary Art, Victoria, Melbourne,2015;RelationalChanges , Circulation, TarraWarraofMuseum Art,Victoria, Glasgow International, Director’s Programme, 2016; Pleasure andReality,National Gallery of 2014; TimeEnough for Love, Chapter House 2015; TheBody Is Through, Laurel Gitlen,New 2016; Cafe Fatigue, Sutton Gallery, Melbourne, 2015; IRefuse to Participate inFailure, SPREEZ, Christine König Galerie, Vienna, 2015;InMy Wales, Sydney, 2017;Painting. More Painting, Sydenham Rd,Sydney, 2014;Problem History, University (2002) and a PhD in Fine Art from from (2002) Art University Fine in aPhD and Institute of Contemporary Arts, London, 2016; Melbourne, 2016;TarraWarra Biennial:Endless Lane, Melbourne,2012.Her recent group MADA Gallery, MonashUniversity, Melbourne, Melbourne, 2014;At Once(with Adelle Mills), 55 2015; Los Angeles, Warm Ties , include exhibitions solo recent Her (2014). University Monash Melbourne, andChâteau Shatto, Los Angeles. Melbourne andisrepresented by Sutton Gallery, Munich, 2015. Johnson lives and works in , born 1979 in Melbourne, holds holds 1979Helen Melbourne, in Johnson,born exhibitions includeTheNational2017:New a Bachelor of Fine Art (Painting) RMIT from Art of Fine a Bachelor Time Flies,Sutton Projects, Artist biographies Artist TrySpirits, MonashUniversity the Museumof Talbot RiceGallery, University of Edinburgh, Johnson’s solo exhibitions include JessJohnson Jack Hanley Gallery, Miami,2017;Tricking the Jack Hanley Gallery, New York, andIvan Anthony Johnson lives and works inNew York andis , born 1979 Tauranga, in Jess Johnson,born New Zealand, holds a Bachelor of Fine Art from from Art of Fine aBachelor holds Zealand, Art Fair, SanFrancisco, 2017;ArtBaselHong Arts Centre, 2017;Jess Johnson andSimon Anthony Gallery, Auckland, 2015;Endless Art, Melbourne,2015;Future Primitive, Heide Art Gallery, 2015;Believe Not Every Spirit,but Ward 2016; Wurm Haus,National Gallery of Victoria, Canterbury University (2001). University Canterbury Clark, Montreal, 2017;NADA MiamiBeach , Carriageworks, Sydney, 2017; HBNo, Centre 6 Christchurch, 2013.Her recent group exhibitions Christchurch Art Gallery Te Punao Waiwhetu, Gallery,2014; Auckland, Contemporary, Melbourne,2014,and TSB Bank Gallery, Auckland. Gallery, 2016;HidinginPlainSight: A Selection Kong, Discoveries, HongKong Convention and Future TerrorForever , Darren Knight Gallery, Eye –Contemporary Trompe l’Oeil,Geelong Wallace Arts Centre, Auckland, 2015; Centre,Wallace Auckland, Arts Sydney; MnemonicPulse,Studio12,Gertrude Sydney, 2015;Electric Affinity: JessJohnson Mofo, Hobart,2017;Hex Nemesis, Fremantle Exhibition Centre, 2016;Eclectrc Panoptic, Melbourne, 2015;SensoriumChamber,Ivan Museum of Modern Art, Melbourne,2013. of WorksCollection, Bendigo Buxton from the and AndrewClarke , Chondrule Terminus, Dark represented by Darren Knight Gallery, Sydney, and Tina Havelock-Stevensand Tina Projects,, Alaska include TheNational:New Australian Art 2017, in the Babylon ofIvan Information Anthony, , FOUR A.M. inassociation with Untitled Wurm Whorl Narthex, Wurm Whorl Ratholes

121 122 The Biography of CentreforThings, Australian The Eighth Climate (What Does Art Do?), 11th Y3K, Melbourne,2011;Nauru,Notes from a Audience, New Museum Triennial, New York, A1 Southwest Stone, Studio12,Gertrude Arts Center, Mimar SinanFine Arts University, Growth, KW Berlin,2017andMonashUniversity Cretaceous World , Sutton Gallery, Melbourne, Currents, Artspace, Sydney, 2012;Ancient Weather: Art andEcology ina Time of Crisis, 2016; Riddleof the BurialGrounds, Extra City 2011; 2015; Concrete, Tophane-i Amire Culture and Southwest Stone, Sutton Gallery Project Space, Contemporary Art, Melbourne,2015;Surround Biennale,2016;BeyondGwangju 2°,Museum Contemporary Art Spaces,Melbourne,2006. Gallery, Melbourne,2006;TheColony, Gertrude Contemporary Art Spaces,Melbourne,2008;A1 of Melbourne University of Arts, the College Duration, Centre for Contemporary Photography, Lights, ChisenhaleGallery, London, 2012,and Errors, Sutton Gallery, Melbourne,2016;Other Harara, SeMaBiennale,Mediacity Seoul,2016; from Monash University (2015). University Monash from Sydney,– 2009;Misplaced/Displayed Mass Sursock Museum,Beirut,2016;Neriri Kirurur University of Toronto Art Centre, 2015.Mangan the Present, ST PAUL StGallery, Auckland, Istanbul, 2015;Rocks, Stones, andDust , Kunsthal,2016; Antwerp, His recent group exhibitions includeImagine Melbourne, 2008;TheMutant Message, Sutton Melbourne, 2012;Let’s TalkWeatherthe about , LABOR, Mexico City, 2015;SomeKindof Museum of Art, Melbourne,2016;Brilliant his extensively, and exhibited has Mangan (2007–08)Berlin Art Fine in aPhD holds and Project Space, Art Gallery of New South Wales, Mexico City, andSutton Gallery, Melbourne. (2001), studied at the University of Arts in in (2001), of Arts University at the studied , born 1979 in Geelong, holds holds 1979 Geelong, in Nicholas Mangan,born of Contemporary Art Santa Barbara, CA, 2016; a Bachelor of Art (Fine Art) from the Victorian (Fine Victorian the from Art) of Art a Bachelor recent solo exhibitions include Limitsto include exhibitions solo recent by HopkinsonMossman, Auckland, LABOR, lives and works inMelbourneandisrepresented Between aRock andaHard Place,Level 2 Let’s Talkthe About Artist biographies Artist

Antique Egypt, Darren Knight Gallery, Sydney, , born 1959 in Papua New New Papua in 1959 James Morrison, born Art, Art Gallery of South Australia; Living Wars, Switchback Gallery, MonashUniversity, 2016; Portal forPropositions , BusProjects, 2017; Birds: Flight Pathsin Australian Art, James Morrison: The Great TasmanianMorrison: The 2008; James Science, 2010 Adelaide Biennialof Australian Gippsland, 2005.Morrison’s work hasbeen (1979) Art of Fine aDiploma holds Guinea, Contemporary Art, Sydney, 2009. Morrisonlives Re-imagining PapuaNew Guinea,Cairns Robotics, Darren Knight Gallery, Sydney, 2011; Deadly: Haunted Surfaces inContemporary Art, 96) from the Victorian College of the Arts, of Arts, the College 96) Victorian the from University of Melbourne. of Melbourne. University the Line:New Australian Drawing, Museumof Museum ofMuseum Art,Victoria; Melbourne, 2016;Panorama, TarraWarra Mornington Peninsula Regional Gallery, Victoria, his extensively, and exhibited has Morrison Regional Art Gallery, 2016;A History Of Darren Knight Gallery, Sydney. Monash Gallery of Art, Melbourne,2009;IWalk and a Postgraduate Diploma in Fine Art (1995- Art Fine in Diploma aPostgraduate and and works inMelbourneandisrepresented by solo exhibitions include JamesMorrison: including Freshwater, Shepparton Art Museum, included innumerous group exhibitions, Beforeand After Jancou, Geneva, 2015.Noonanlives and works in Vendeur fou, Au 8RueBon,Paris, 2013;Origami, Art, Sydney,Conjured 2016;Surrealism: The 25: MCA Collection, Museumof Contemporary 2015; DavidNoonan, Rosenwald-Wolf Gallery, 2016; OneDay, Something Happens:Paintings College (1989) atCollege Studies Postgraduate and Contemporary Art, Melbourne,2009;David Contemporary Art Museum,StLouis, 2011; Xavier Hufkens, Brussels,2012;DavidNoonan, Gallery, Los Angeles, Modern Art, London, David Noonan, RoslynOxley9 Gallery, Sydney, Light, RoslynOxley9 Gallery, Sydney, 2016; Noonan, Palais de Tokyo, Paris, 2007. Hisgroup CentreforDavid Noonan: Scenes,Australian Life, Museumof Contemporary Art, Chicago, Exposition deGroupe: Group Show, Marc Below AnotherSky, Glasgow Print Studio,2015; Stuart Shave/Modern Art, London, 2017;Lead the Victorian College of the Arts, University University of Arts, the College Victorian the University of the Arts, Philadelphia,2015;Le He has exhibited extensively within Australia Australia within extensively exhibited has He University Ballarat from Art of Fine Bachelor Blain Southern,London, 2016;Primavera at Panacée, Montpellier, 2017;Revolt of the Sage , Hufkens, Brussels. Roslyn Oxley9 Gallery, Sydney, andXavier London andisrepresented by David Kordansky , born 1969 in Ballarat, holds a holds Ballarat, in David 1969 Noonan, born ofModern Art,Modern Art, London, 2016; of People,Leeds Art Gallery, 2016;Theories exhibitions A include Dark andQuiet Place, exhibitions includeBack to MulhollandDrive , La of Melbourne (1991–92).of Melbourne and internationally, and his recent solo solo recent internationally, his and and Artist biographies Artist TowardsSchwartz aBlindSelf Portrait, Anna The Marked Self:Between Annihilation & Joanneum, Graz, Austria, 2015;TheRedQueen, Art, GriffithUniversity ArtGallery, Brisbane, 1968–1972, BRUSEUM,NeueGallery, Graz, Austria, 2014.Parr lives and works inSydney Anna Schwartz Gallery, Sydney, 2015;Easter Australia, Canberra, 2016;Asylum, DarkMofo, GhostWho Talks , Palazzo Mora, Venice, 2015; What They Want /IdealUnionsNaziMilk, 2016; Foreign Looking, National Gallery of 2014; DamageControl: Body Art &Destruction 2017; TheFuture is Already Here –It’s Just Gallery, Melbourne. Gallery, Melbourne,2015;Dark Cave , Anna Campbelltown Arts Centre, New South Wales, Gallery,People Melbourne, 2017;Give the Gallery of South Australia, Adelaide, 2017; Not Evenly Distributed, 20thBiennaleof Red Green Blue: A History of Australian Video Rodin: Bodies Across Spaceand Time, Art Blind Self Portraits, ARNDT, Berlin,2013. Island, Anna Schwartz Gallery, Sydney, 2013; Masquerade, NeueGallery, Universalmuseum- Schwartz Gallery, Melbourne,2015;DeepNorth, former Royal Derwent Hospital,Hobart,2016; Sydney, Carriageworks, Sydney, 2016;The the University of Queensland (1965) of Queensland the and University the MONA, Museumof OldandNew Art, Hobart, Australia throughout extensively exhibited Parr (1968). Sydney School, Art National His recent group exhibitions includeVersus , born 1945 in Sydney, in Mike at 1945 Parr studied , born and isrepresented by Anna Schwartz and internationally. His recent solo exhibitions exhibitions solo internationally. recent and His include Mike Parr:LeftSchwartz Field,Anna

123 124 The Welcome GuestThe Welcome, Conner Contemporary Touchof AnotherGallery,Warrnambool, Art And Colour Is Their Flesh,TolarnoGalleries, Art, Washington, DC, 2012.Piccininihas (2016). of Melbourne University the from Arts Arndt ArtAgency,2015; Berlin, Art, PunktØgalleriF 15,Moss, Norway, 2017; Conceive or Reason,Laugh or Weep , Hosfelt (alienation), Nordic Biennialof Contemporary 2016; Another Life, University of Quebec Art Sciencia, CCBB,Riode Janiero, 2016;We Feel, 2013; IHave Spread My Dreams Under Your Gallery, SanFrancisco, 2016;PatriciaPiccinini: College of the Arts, University of Melbourne of Melbourne University of Arts, the College Gallery, New South Wales, 2017;MadLove, Galleries, Melbourne,RoslynOxley9 Gallery, Hope, Tolarno Galleries,Melbourne,2017;Com Bodyscape, Yu-Hsiu Museum of Art, Taiwan, Feet Revival, National Museumof Women in the Arts, from the Australian National University (1988), University National Australian the from Washington, DC;Beyond Belief: The Sublime Sydney, andHosfelt Gallery, SanFrancisco. the Originof Art, MONA,Museumof Oldand International Arts Festival Gallery, Ireland, 2015; Modern Art, Ishøj,Denmark,2017;Momentum 9: Newcastle Art Gallery, New South Wales; The Mofo, Mercury Building,Hobart,2015;Like Us, Melbourne, 2015;TheShadows Calling,Dark Museum, Montreal, 2015;Relativity , Galway Australia in extensively exhibited has Piccinini (1991) and a Doctorate in Visual and Performing (1991) Performing and Visual in aDoctorate and New Art, Hobart,2016.Piccininilives and works , born 1965 in Sierra Leone, Leone, Sierra in Patricia 1965 Piccinini,born exhibitions No Fear include Unmingled with and internationally, and her recent solo solo recent internationally, her and and a Bachelor of Arts (Painting) from the Victorian (Painting) Victorian the from of Arts a Bachelor been includedinnumerous group exhibitions, holds a Bachelor of Arts in Economicholds a of Bachelor History Arts and Art,ScienceMuseum,Singapore, 2015;On including in Melbourneandisrepresented by Tolarno in Contemporaryin Art,Bathurst Regional Art , RoslynOxley9 Gallery, Sydney, 2013; Gosh IsIt Alive?, Arken Museumof The Universe Artist biographies Artist

True Self,Centre for Contemporary Photography, Academy of Fine Arts, Singapore, 2010, and Alberta, Edmonton, 2006;Remote Control, ICPArts, 2009;Dress Codes,Third Triennial Art Biennial,National Taiwan Museumof Fine Viewpoints and 2009 Asian Viewing Points, Adelaide, 2005;Commune,Gertrude Australian Centre for Contemporary Art, Conversations/Confessions, Art Gallery of Open Air: Portraits in the Landscape , National Contemporary Portraiture , MonashUniversity Custom Made,Centre for Contemporary , Australian CentreSwoonfor, AustralianContemporary Art, Gallery, Melbourne. Centre for Photography, New York, 2009; Centre for Contemporary Art, Melbourne,2010; Recent fromVideo Art Southeast: Australia GalleryWellington TeWhare Toi,2011; Contemporary Art Spaces,Melbourne,2003; Contemporary Art Centre of South Australia, Face: Portraiture inaDigital Age, Nanyang Portraits, Sutton Gallery, Melbourne,2015; Seoul Art Museum,2011;Mortality, Australian Portrait Gallery, Canberra, 2008;Crowds/ Melbourne andisrepresented by Sutton Melbourne, 2004.Rosetzky lives and works in National Gallery of Victoria, Melbourne,2005; Museum of Art, Melbourne,2012;Southby Photography, Melbourne,2000. His D’Arte Vetrina, Milan,2007;Self Defence, Melbourne, 2011;Summer Blend,Le Case Melbourne, and touring, 2013;HowFeel, to Rosetzky has exhibited extensively, both exhibited has Rosetzky College Victorian the from Arts of Fine Bachelor group exhibitions includeSelf-Conscious: , born 1970 in Melbourne, holds a a holds David 1970 Rosetzky, born Melbourne, in of Photography and Video, International of Photography, 2011;Tender is the Night, City of the Art, University of Melbourne (1992). of Melbourne University of Art, the and New Zealand, Tokyo Metropolitan Museum shows include DavidRosetzky: Untitled include shows solo internationally, his and and nationally Face to The GambleHouse, Pasadena, 2014;Made Tricking the Eye –Contemporary Trompe The Bricoleur,National Gallery of Victoria, Thomas DaneGallery, London, 2015;Other A PersonalChoice,GalleriaIICapricorno, Venice, Art, StuartShave/Modern Art, London, 2016; American Art, New York, 2014;Future Primitive, Whitney Biennale, Whitney Museumof 2013; MindisOuter Space,Casey Kaplan, 2015; TheMachineProject FieldGuide to This Time AnotherTime 2007; This Year51st Venice, 2009; TheSuburban,OakPark, Illinois,2008; Swallow, Marc Foxx Gallery, Los Angeles, 2011; Swallow: /SKEWS/, David Kordansky Gallery, Planes ofPlanes There , Corbett vs. Dempsey, Chicago, Ricky Swallow, DouglasHyde Gallery, Dublin, Stuart Shave/Modern Art, London, 2013;Ricky the Victorian College of the Arts, University of University of Arts, the College Victorian the Heide Museumof Modern Art, Melbourne,2013; Los Angeles, andModern Art, London. Knight Gallery, Sydney, David Kordansky Gallery, Los Angeles andisrepresented by Darren New York, 2013.Swallow lives and works in Biennale (Australian Pavilion), 2005.Hisrecent Museum, University of Queensland,Brisbane, Melbourne, 2009;WatercoloursUQ Art , Knight Gallery, Sydney, 2013;Ricky Swallow, 2015; Los Angeles, Ricky include exhibitions solo recent most His (1997).Melbourne group exhibitions includeTheoriesof Modern Ricky Swallow 1974, born Victoria, Remo, San in holds a Bachelor of Fine Art (Drawing) from Art of Fine aBachelor holds , Hammerin LA Museum,Los Angeles, 2014; l’Oeil, GeelongGallery, 2016;BlindArchitecture, Ricky Swallow, Darren Artist biographies Artist

The ReadymadeCentury, MonashUniversity Tyndall shows widely, solo his exhibited and has Technology (1971). Art Archive 5, MuseumofArt Archive Contemporary Art, Award 1980s: Appropriation, Subculture, CriticalStyle, Art Gallery of New South Wales, Sydney, 2014; Victoria, andisrepresented by Anna Schwartz 1996; 1999. Tyndall lives and works inHepburn Springs, 2010; Centre for Contemporary Art, Melbourne, theGallery,and Viewer 1997;Death Contemporary Art, Melbourne, 2006;Unscripted: Germany,Contemporary 2000;Clemenger Art Gallery, Melbourne. Portfolio, 1988,Spare Room33,Canberra, 2015; Howard Arkley (and friends ...), TarraWarra Projection-space, Anna Schwartz Gallery, Language inContemporaryGallery Art, Melbourne >

125 126 Te Punao Waiwhetu, Christchurch, 2017;Francis Te Whare Toi, 2016,andChristchurch Art Gallery Toi Tāmaki,2013; Auckland, York, Ivan Anthony Gallery, Auckland, andKate A 30Day Happening,BarbicanCentre, London, Zealand Pavilion, 53rd Venice Biennale,2009; Art Gallery Te Punao Waiwhetu, 2007;Pasifika Anthropology, Cambridge, UK,2006;The Commission: Francis Upritchard, Whitechapel Upritchard, Hammer Museum,Los Angeles, 2008; Of DeitiesandMortals, Christchurch 2004. Upritchard lives and works in London 2004; New Blood,Saatchi Gallery, London, 2014; Whitechapel Gallery Children’s Art Styles: Artists Inside the Museum , University 2010; MartianMuseumof Terrestrial Art, 2015; FreedomGallery Farmers , AucklandArt Secret History of Clay, Tate Liverpool, UK, Saboteurs, Contemporary Art Spaces,Melbourne,2008. Gallery, London, 2014;Save Yourself, New

Rainwob II, Artspace, Sydney andGertrude Biennial 2008:Lost &Found, An Archeology of Probable Pasts), Camden Arts Centre, London, Never the SameRiver (Possible Futures, from the Ilam School of Fine Arts, University University Arts, of Fine School Ilam the from Upritchard exhibits widely internationally, widely exhibits Upritchard the Present, TarraWarraofMuseum Art,Victoria, New Zealand, holds a Bachelor of Fine Art Art of Fine aBachelor holds Zealand, New MacGarry Gallery, London. Her group exhibitions includeVivaArte Viva , Melbourne andCity Gallery Wellington Barbican Art Gallery, London, 2008;TarraWarra 57th VeniceStation: Biennale,2017;Station to Francis Upritchard 1976, born Plymouth, New in of CambridgeMuseumof Archaeology and of Canterbury (1998).of Canterbury and isrepresented by Anton Kern Gallery, New and her solo shows include Jealous include shows solo her and

Monash University Museumof Art, Simon Starling: Artist biographies Artist ‘ARABBAA’ music Turnsin Arabba 2005 The frog 1997 The shapeof things to comeII 70 x80cm 70.5 x68.5cm collection of Buxton etched glass(9 prints) on digitalcamera, screening Michael of Gift Melbourne. of on polyester oil, charcoal andarchival glue on linen oil, charcoal andarchival glue oil oncanvas oil oncanvas and steel one-off video, filmed and silver marker on form-ply alloy, wick the from are works all 167.5 x305cm 167 x274.5 cm 154 x11790cm List of works List format DVD Untitled (TI1) 2014 Untitled 2014 Untitled 1995 Untitled 1997 wax, peppercorns, pewter plaster, adhesive stickers, brass, pewter, chromed aluminium, pigment print pigment onhand-dyed paper, variable dimensions (Swegypt) 2004 213 x314cm 213 x274 cm 2006–07 Contemporary, the University Forging the energy body Into the underworldInto 2007 the 30-second loop with original LCD monitor, spray enamel 2018Buxton, 549 x815cm(overall) HANY ARMANIOUS PAT BRASSINGTON DANIEL BOYD PETER BOOTH BENJAMIN ARMSTRONG Unless otherwise stated, stated, otherwise Unless linocuts printed inmetallic beeswax, clay slip,jeweller’s blown glassand wax Trustee 2001 The secret 2010 4:17 minutes JUAN DAVILA 72 x54cm 72 x58.5cm 77 x95cm Art i$homosexual 1983–86 digital video 16:9, colour, stereo originals originals oil oncanvas acrylic onboard acrylic onboard acrylic onboard Camouflage 2010 sound 1998 1999 120 x150cm 110 x87cm 2001 VIRGINIA FRASER Starlight (from Gentle series) Stained glassandhideouts Set-ups anddevices 2007 Static no.142010 pigment print pigment print pigment print pigment print pigment print pigment print Wool (from Defaultseries) blue video, DVD formatvideo, 64 x43cm 274 x274 cm 2009 Neck (from Default blueseries) Happy, happy institution 2001 Forced into images2001 Prospector 2007 Byway the 2010 95 x77cm 9:00 minutes, silent 95 x80cm 90 x72cm 80 x62cm Super8 filmtransferred to 55 x80cm DESTINY DEACON & DANIEL CROOKS NADINE CHRISTENSEN light jet prints from Polaroid light jet prints from Polaroid List works of The infinitive 32015 Templeof eunuch thefemale TONY GARIFALAKIS and balls2011 copper enamel onC type print enamel onC type print enamel onC type print enamel onC type print enamel onC type print enamel onC type print sterling silver, shell, wood, 169 x210cm magnetic sculpture 2011 (fromUntitled #12 the (fromUntitled #4 the (fromUntitled #17 the Untitled #9(from the Mob rule Untitled #7(from theMob rule Untitled #1(from theMob rule Striped lamp with Madonna white UV halftone inkon modelling clay, ceramic, leather, mixed media pokerwork andplastic on wood mixed media mixed media turquoise, moonstone, steel, 60 x40cm 60 x40cm 60 x40cm 60 x40cm 60 x40cm 60 x40cm variable dimensions White lamp2011 (warlords) series) 2014 (warlords) series) 2014 (family) series) 2014 (family) series) 2014 (family) series) 2014 (family) series) 2014 256 x50cm 250 x625cm 2008 Necklace for(silver)wall 2011 Black lamp with Madonnaand 305 x50cm 356 x5069.5 cm MIKALA DWYER MARCO FUSINATO EMILY FLOYD black aluminium Mob rule Mob rule Mob rule The Wurm Turns Against 2014 The humanity of construction The inresidence/folkcraft JESS JOHNSON & JESS JOHNSON JESS JOHNSON Arc enbureau (without this 73 x63cm genuflect 2017, Transkin 2017, gouache onpaper display event 2008 allthing 2017, Whilst in collapse) 2007 acrylic oncanvas acrylic oncanvas acrylic onpencillinen acrylic onboard acrylic onboard acrylic onboard stone the structurestone the would soundtrack by Andrew Clarke single-channel high-definition 171 x125cm 12:33 minutes painting 2006 31 secondseach markers, metallic paint and videos with audio: videos with Whol Why Wurld 2017 variable dimensions video 16:9, colour, silent 63.5 x57cm 60 x50cm (Wattamolla) 2012–13 2017 280 x214cm 250 x180cm 2006 Milxyz wae 2017andWorldken Empire play2016 History problem 2013 Maximus swept out to sea I don’t think, Idon’t feel 3 step frame, pen, fibre-tippedstep frame, 3 Decagon platform, 5looped SIMON WARD HELEN JOHNSON SHAUN GLADWELL because Iknow nothing’s real DIENA GEORGETTI Worldweb

127 128 The mutant message2006 40.75 x255cm(overall) JAMES MORRISON (fromVisitors the collage collage andmixed mediaon collage andmixed mediaon oil oncanvas archival inkjet print onpaper archival inkjet print onpaper archival inkjet print onpaper archival inkjet print onpaper screen-printed jute andlinen series) 2005 series) 2005 series) 2005 speakers, beeswax, Untitled 2008 from originalpaper collage from originalpaper collage (fromUntitled the from originalpaper collage from originalpaper collage Untitled #112006 Untitled #102006 watercolour paper watercolour paper weed-retardant tarp papier-mâché andink processed wax, oiledstring, plastic funnels, set of plastic gardening mesh, 63 x62cm 63 x45cm 63 x52cm 63 x47cm 64 x45cm variable dimensions 210 x300cm Kew Images series) 2005 Leicester(from Square the Markham Valley 2008 Freeman Dyson 2008 32 x3019cm 83.5 x64cm DAVID NOONAN NICHOLAS MANGAN hardwood, nylon rope, banksia nuts,box-brush (from the Images Images Images The PentecostalThe tongue enamel onaluminium data diffusionscreens, colour,timbersound, veneer drawing triptych on particleboard, speakers, over timberbase over timberbase over timberbase Custom made2000 Game boys advanced silicone, polyurethane, 105 x10440cm 1997–2005, 2002 139.5 x40cm 125 x40cm minus 16) #161996 minus 16) #131996 minus 16) #91996 variable dimensions (ABA-ZYRIENE) 1995 240 x400600cm 2-channelinstallation, video 260 x210cm(each panel) Park hydra 2003 Field recording/Highland Bronze liars(minus 1 to Bronze liars(minus 1 to Bronze liars(minus 1 to 91 x40cm jelutong RICKY SWALLOW DAVID ROSETSKY PATRICIA PICCININI MIKE PARR human hair bronze andcastbeeswax bronze andcastbeeswax bronze andcastbeeswax List works of Teal, pointing down 2003 Title detail Yoga warriorbrown 2003

77 x57cm 77 x57cm gouache on watercolourgouache gouache on watercolourgouache gouache on watercolourgouache Artist Peter Tyndall fittings, modellingmaterial, Straight in frontStraight 2009 wire andpaint paper paper paper paint, scarf material, foil,modelling wire, veneer andItalianoak,brass Red step 2003 Echo cabinet 2011 99.5 x19065cm Melbourne Buxton Private Collection, and Janet Michael 57 x77cm Melbourne Buxton Private Collection, and Janet Michael Melbourne Buxton Private Collection, and Janet Michael Melbourne Private Collection, Michael and Janet Buxton 57.4 x 18.5xcm Date -1991- PETER TYNDALL FRANCIS UPRITCHARD A

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