Joseph Kosuth,  #II49. (On Color/Multi #3) , 1991. neon, transformer and certificate of authenticity 14 x 400 cm. Collection Anna and Morry Schwartz

Joseph Kosuth, #II49. (On Color/Multi #3), 1991. neon, transformer and certificate of authenticity 14 x 400 cm. Collection Anna and Morry Schwartz

NIKE SAVVAS will be participating in a group exhibition titled Optical Mix, opening next month at the Australian Centre of Contemporary Art (ACCA). 

This survey exhibition brings together works by a group of local and international artists including Joseph Kosuth, Martin Creed and Bridget Riley, exploring themes of light, kinetics and visual perception.

Optical Mix will be showing from 16 August to 28 September 2014.

For more information, visit the ACCA website


SAM MARTIN is part of the upcoming exhibition Depthless Flatness curated by Steven Rendall and Bryan Spier, at The Alderman, Brunswick East. This exhibition features the work of seven other artists and will commence on Tuesday 22 July 2014, as the opening exhibition for the Incidents Above a Bar project, a series of exhibitions developed by a group of artists in relation to practices and theories of painting today.

Depthless Flatness collects together the work of eight artists. The exhibition shows the result of a series of conversations between Rendall and Spier regarding aspects of range, spacing, differentiation, depth of meaning and flatness of surface in relation to what it means to paint today.

Building on a comment by Vito Acconci that there is a bias towards depth in Western culture, and that range could be just as good as depth, Rendall and Spier exchanged a series of views about painting, exhibiting and curating today. This exhibition is a partially distorted reflection of those views: a way of drawing upon the working conditions and parameters of the selected artists in relation to range and depth, flatness and the contradiction of the depthless.   

For more information click here


Imants Tillers and Michael Nelson Jagamara,  Fatherland , 2008.

Imants Tillers and Michael Nelson Jagamara, Fatherland, 2008.

IMANTS TILLERS is part of an exhibition held at the Museo Carlo Bilotti, Roma, Italia: Dreamings: The Australian Aboriginal Art meets de Chirico, curated by Ian McLean and Erica Izett. The exhibition is on until 2nd November 2014, and presents a wide selection of works representing the acrylic painting movement of Australian indigenous art. The exhibition will include a section devoted to Imants Tillers alongside works created in the last decade in the most remote communities in the western and central deserts of Australia. Tillers works provide correspondence between the two distinct, yet parallel experiences associated with the idea of ‘dreaming’ – as depicted in Aboriginal art and the metaphysical art of Giorgio de Chirico.

More information


Ahmet Erdogdular (left); Peter Daverington (right). Erdogdular photo by Ali Osman Erdogdular; Daverington photo courtesy of the artist.

Ahmet Erdogdular (left); Peter Daverington (right). Erdogdular photo by Ali Osman Erdogdular; Daverington photo courtesy of the artist.

In the month of July, PETER DAVERINGTON will showcase his extraordinary talent for the ney flute at The Metropolitan Museum of Art, New York, performing a series of Moroccan Court Music - the makam musical traditions of Turkey, the Balkans and the Levant.

For more information click here


Pat Brassington,  By the Way , 2010, pigment print, 90 x 72cm.

Pat Brassington, By the Way, 2010, pigment print, 90 x 72cm.

PAT BRASSINGTON’s survey exhibition À Rebour', is currently showing at the Tasmanian Museum and Art Gallery (TMAG) as part of DARK MOFO. 

The exhibition, curated by Juliana Engberg, brings together a selection of Brassington’s work from her over 30-year career and has been described by the Sydney Morning Herald as "Mofo's most striking, sinister and thrilling offering". 

To read the full article and other media coverage visit: 

'Dark Mofo: Hobart salutes the solstice'

'Quietly unsettling: Pat Brassington returns to her roots at Dark Mofo in Hobart'

The exhibition runs to 14 September 2014. More information


SAM MARTIN presents his second solo exhibition at ARC ONE Gallery, For the Problem is No Longer, 17 June - 12 July 2014. 

'Sam Martin’s recent paintings are literally covered with news content: he transfers newspaper directly to the canvas so it forms the ground upon which he works. But like the layout man he cares little for the transient vicissitudes of reported events, seeing only elastic boxes nested within a grid. Martin recognises the implicit emptiness of these figures and so treats the otherwise loaded surface as a space in which to act.

His first action is to undo the existing layout of the news and rearrange it to address his own concerns. To this end he corrals clusters of images according to colour, or overlays whole pages so that the white margins form a diagonal grid. Sometimes he accretes months of newsprint in one spot to inflict light-sucking wounds upon the canvas. These strategies serve to flatten the diachronic structure of the news to fit the synchronic arena of painting, where our customary reading collapses into the instantaneous radiation of colour and form.

The newspaper is a surface for the painter to work upon, but one that is distorted by magnetic influences. Martin responds to this by coaxing latent geometry to vault across pages, creating passages of egress between adjacent time frames. He creates visual echoes by methodically duplicating and enlarging images from the ground with pointillist strokes. The gaps around prose and stock market results become an armature to support descriptive line-work in place of a describable subject. The news is never lost under Martin’s brushstrokes, every halftone unit is held in comparison to its lustrous oil-painted cousin. The effect is of the news re-edited and luminously augmented to address the limits of painting and the compulsion that sustains its practice.

The accumulation of newspaper on the surface presents us with an overload of information, yet the paintings approach a mute and monolithic abstraction. This doesn’t signify Martin’s antipathy to world events, rather his consciousness of how the subject can be spoken in the language of painting. Unlike the newspaper, paintings aren’t designed to be used within a particular instant of time. With this in mind Martin draws out figures that address a potentially vast time-scale: the most pervasive and obdurate actors that narrate the blur of time, such as division, occlusion, exclusion, repetition and constraint.'

- Excerpt from Layout Man, essay by Bryan Spier, 2014

Sam Martin is a Melbourne based artist who graduated from Monash University in 2009 with a Bachelor of Fine Arts (Honours).  On graduating, Sam was awarded the ARC ONE Gallery/Monash Prize, culminating in his ARC ONE solo exhibition Crystalise Borders (2012) and now his second solo exhibition, For the Problem is No Longer (2014).  Martin has also been awarded a Commonwealth Education Scholarship, the Tolarno Hotel Painting Prize and the Australian Decorative and Fine Arts Society, Yarra Inc Award.  Martin’s career as an artist is developing in an impressive trajectory, as demonstrated by his inclusion in a number of group exhibitions and private collections. 

For all enquiries, please contact Annabel Holt at


Janet Laurence,  Dingo , 2014, video, 4'08".

Janet Laurence, Dingo, 2014, video, 4'08".

Dani Marti,  The Golden Years , 2014, 4k video, 8'23", sound design by Alex Macia.

Dani Marti, The Golden Years, 2014, 4k video, 8'23", sound design by Alex Macia.

Nervous Tension, at Careof / DOCVA, Milan, is a screening including video works by JANET LAURENCE (Dingo, 2014) and DANI MARTI (Golden Years, 2014) on 17 June 2014. Nervous Tension is curated by Anabelle Lacroix, as part of an FDV residency at DOCVA, Milan.

Nervous Tension explores the notion of survivance, a sta­te of being between surviving and resistance. This video screening addresses survivance as a global concept and examines the responses by Australian-based video artists - artists as witnesses and artworks as testimonies.

Originally coined by French Canadians to describe the loss of their language, a frequently used term in Quebec be­fore the Quiet Revolution of the 1960s, survivance relates to cultural dispossession. The concept was popularised by well-known historian Gerald Vizenor to describe the con­dition of the indigenous peoples of the Americas as a sense of presence over absence and nihility; an active state of being through resistance as opposed to disappearance.

Nervous Tension aims at opening ideas of survivance as a lens to the wider contemporary context of cultural pro­duction and existence. This can be seen in the video works through different states or positions of resistance, whe­ther physical, metaphysical, personal, environmental, or to the artistic medium itself. Furthermore, concepts or truth and permanence underline this project by conside­ring Jacques Derrida’s take on survivance as tied to a wit­ness, someone who lives beyond an event. Here artworks are taken as testimonies, or perhaps as evidence. The wor­ks of Megan Cope and Inez de Vega particularly highlight this idea, and are also layered with personal histories.

Survivance as a contemporary notion evolves as a state of becoming and of potentiality. The remanning works in this screening are speechless, never silent, but wordless. In their distinct approaches the works of Dani Marti, Janet Laurence, Bar Yerushalmi, Diego Ramirez, Kieran Boland and Brie Trenerry, demonstrate to state of contemplation, of reflection and of poesies.


Anne Scott Wilson,  First Movement 2012  (video still), 2012, 1'49'.

Anne Scott Wilson, First Movement 2012 (video still), 2012, 1'49'.

ANNE SCOTT WILSON’s video work, First Movement 2012, features in Deakin University’s group reel, now showing at Federation Square’s annual winter program, The Light in Winter.

In its eighth year running, this program's theme focuses on the circle of life. This idea is highlighted through art, music and performance and brought together by local and international artists. 

To view First Movement 2012, click here
For more information click here


Julie Rrap,  Loaded: Blue #1 , 2012, digital print, face-mounted on Perspex, 126 x 126cm.

Julie Rrap, Loaded: Blue #1, 2012, digital print, face-mounted on Perspex, 126 x 126cm.

Glasshouse Port Macquarie Regional Gallery is currently showing Uploaded, an exhibition showcasing JULIE RRAP’s most recent body of work. This exhibition features the works of Rrap’s 2012 photographic series Loaded, as well as two new video works.

This pairing of past and current work continues Rrap’s investigations of performative art and how her body is used as a tool in the art making. As a result, Uploaded presents a series of abstract and vibrant works, with Rrap wearing cast frozen ink shoes to mark the canvas as they melt, simultaneously achieving elements of the artist’s presence and absence within the work.

Uploaded is open until Sunday 22 June 2014.

More information



Many are concerned for the welfare of artist GUO JIAN after hearing news of his recent detainment by the Chinese government due to the anniversary of Tiananmen Square.

We recommend all who are interested to listen to an ABC National Radio interview in which Linda Jaivin expertly discusses the situation.

Download the ABC National Radio segment here

Read an article written by his friend Madeleine O'Dea in The Guardian recently.

Guo Jian also recently appeared on ABC's Q&A - watch the program here


Vestiges #11 , 2010-2014, digital pigment print on archival paper, 142 x 105cm.

Vestiges #11, 2010-2014, digital pigment print on archival paper, 142 x 105cm.

EUGENIA RASKOPOULOS' exhibition Vestiges has been reviewed in Robert Nelson's article, Artists pay tribute to the nameless in The Age. Nelson's latest comprehensive review addresses a certain recurrent theme in the Melbourne art world of late.

Read the article here


Nike Savvas,  Atomic: Full of Love, Full of Wonder , 2005, polystyrene, nylon wire, electric fans, dimensions variable.

Nike Savvas, Atomic: Full of Love, Full of Wonder, 2005, polystyrene, nylon wire, electric fans, dimensions variable.

NIKE SAVVAS's installation Atomic: Full of Love, Full of Wonder (2005) is currently on the cover of Arte Al Limite Magazine. The article featured in the magazine discusses Savvas’ ability to transform a space through various dimensions and simultaneously through minute and enormous forms. Savvas' work delves into the notions of repetition, colour and space - qualities that are epitomised by ‘Atomic’.

More information


Anne Zahalka,  Marble Foyer – Parliament House, 2014 , 2014, inkjet print, 80 x 160cm, Parliament House Art Collection, Canberra.

Anne Zahalka, Marble Foyer – Parliament House, 2014, 2014, inkjet print, 80 x 160cm, Parliament House Art Collection, Canberra.

ANNE ZAHALKA has recently completed a commission for Parliament House in Canberra, marking its 25th Anniversary. The series of photographs will go into the Parliament House Collection, as part of the commission.

Zahalka’s work explores all levels of the Parliament building from the subterranean basement to the monumental marble foyer, reflecting on the role staff play in securing, maintaining and breathing life into its hallowed halls. This includes the varied tasks undertaken each and every day, such as maintaining the building, its grounds and collections, as well as providing services to parliamentarians, workers and visitors. Zahalka truly captures and highlights Parliament House not merely as a piece of architecture or the seat of our government, but as a place, a symbiosis of people, power and architecture.


Rose Farrell and George Parkin,  Unified Field , 2011- 2014, digital print on archival cotton rag, 57 x 121cm.

Rose Farrell and George Parkin, Unified Field, 2011- 2014, digital print on archival cotton rag, 57 x 121cm.

The Mornington Peninsula Regional Gallery is currently exhibiting National Works on Paper 2014. The exhibition opened on the 23rd of May and is on until the 20th of July, featuring a work by ROSE FARRELL AND GEORGE PARKIN titled Unified Field.

The following is an artist statement by Rose Farrell on the exhibited collaborative work: 

“Throughout our collaboration, performance was at the core. In 2003 we drew the camera closer and photographed our own faces which began an ongoing interest in the self portrait. This image of George’s and my face was taken in 2011 and was pixilated, distorted and constructed by George at that time. It shows our embrace of the changing digital technology which had, since 2003, allowed for the more extreme "closeup" in order to experiment with the face "as the landscape or tableau."

I, Rose, in 2014, with George’s passing in 2012, have incorporated a collaged digital landscape to reference our love of historical landscapes and nature which previously we used to paint as background sets in our large constructed photographic tableaux. Here the landscape of our faces are joined and unified across the imaginary field which divides us now.”

For more information, click here


Image: by Tamara Dean.  Maria Fernanda Cardoso wins Australia Council grant to video insect sex , The Age, 22 May 2014.

Image: by Tamara Dean. Maria Fernanda Cardoso wins Australia Council grant to video insect sex, The Age, 22 May 2014.

Internationally-acclaimed artist MARIA FERNANDA CARDOSO has been awarded the Australian Council Fellowship grant of $100,000. Artists are awarded the grant whose practices address the exploration and experimentation in a cross-disciplinary approach. Through the blending of art and science, Cardoso’s project depicts the sexual organs of insects in the forms of sculpture. For this work she will be focusing on Australia’s smallest spider species, the Maratus, a project that has been in development for the past two years. The grant will go towards funding the creation of a documentary on the Maratus spider, highlighting high standard elements of installation, sound and performance. Titled Dancing With Spiders, Cardoso will capture visual and auditory proof of the 3-4mm-long spiders' dance and subsonic vibrations, inaudible to the human ear but revealed to us through the use of laser vibrometer technologies in what could be called music. Using large-scale, multi-screen HD Projections, Cardoso will make a video art installation featuring the different mating dances and looks of several of the Maratus species, including the amplified sounds they make.

Read more in the articles below.

 Sydney Morning Herald

The Age


Image: Robert Owen and Joanna Buckley,  Under the Sun , 2014, s  tainless steel, aluminium, acrylic and dichroic glass,   435 x 660cm.

Image: Robert Owen and Joanna Buckley, Under the Sun, 2014, stainless steel, aluminium, acrylic and dichroic glass, 435 x 660cm.

ROBERT OWEN and Joanna Buckley have unveiled a public commission at the Point Cook Town Centre for Stockland in association with Places Victoria and Wyndham City Council. The title of the work, Under the Sun, engages the interplay of light, space and time between earth, moon and sun, offering a profound reminder of our mysterious broader environment.

Under the Sun pays homage to this relationship, metaphorically bringing the moon closer to the ground plane to frame its distant mirrored self at night. Or, in conjunction with the sun during the day, casting a filigree shadow on the ground and those passing below.   

The presence of the Point Cook Coastal Park and Cheetham Wetlands remains a significant aspect of Point Cook's identity and Under the Sun provides a vehicle to create and enhance new meanings to the site and its environment. It reinterprets nature and draws focus from our constructed world and the tightly determined space of transit, towards a connection to the sky and contemplation of our broader reality.

Artists' Statement: "Under the Sun, the moon is our most significant heavenly body offering precious moments of perspective and wonder. The moon as feminine recognises the important role of women in the community, and embodies a memory of nature in the life and tides of the Bellarine Peninsula Wetland."


NIKE SAVVAS was recently interviewed by Triple J reporter Tom Tilley on Art after Hours to discuss her colourful installation at the Art Gallery of New South Wales (AGNSW), Rally. This newly commissioned work is currently being exhibited above the entrance hall of the Gallery and is composed of more than 60,000 strips of coloured plastic bunting. Savvas discusses the process of her creative decisions and the significance of colour and energy in her art. The exhibition's title, Rally, plays upon the physically-immersive nature of a parade or protest, but is not linear in meaning.

To watch the interview, click here


Dani Marti, the making of  Armour  for Adelaide Biennial 2014.

Dani Marti, the making of Armour for Adelaide Biennial 2014.

DANI MARTI’s sculptures, Armour, featured in the 2014 Adelaide Biennial, have been acquired by the Art Gallery of South Australia (AGSA) for its permanent collection.

This year, the Adelaide Biennial attracted more than 110,000 visitors over approximately two and a half months – a 10 percent increase on attendance in 2012.

For further information click here