Fiona McGregor

Fiona McGregor is a Sydney writer and performance artist. She has published five books including Strange Museums, a travel memoir of a performance art tour through Poland. Her latest novel Indelible Ink won Age Book of the Year. McGregor writes essays, articles and reviews for a range of publications including RealTime, The Monthly, The Saturday Paper and Overland. McGregor’s performance work has been presented internationally. In 2011 she created the multi-disciplinary Water Series at Artspace, a collection of durational and endurance performances with trace installations, as well as video. Recent group shows include ‘Same River Twice’ and ‘Performance Presence/Video Time’ at Australian Experimental Arts Foundation.

The Eternal Opening

Mike Parr

By Fiona McGregor — 20 November, 2019

‘I am fascinated by dualisms, mirror images, blindness and invisibility, subject/object reversals, the roles of artist and audience and all my work, since my earliest performances of the 1970s exacerbates such tensions, as the deeper structure of both thought and image.’ Mike Parr, (January 1998)   Entering the space, you see a large rectangular installation…

Day For Night

Liveworks 2019

By Fiona McGregor — 8 November, 2019

I have to start with the best: Betty Grumble’s Unshame Machine, in which she did a record 1000 cunt prints on a machine resembling a lat pulldown, accompanied by three of the finest new performers in that ever-evolving organism we loosely term the Sydney queer underground. Stelly G, whom many know from hosting at the…

#3 Rayon Riot

Naughty Noodle Fun Haus

By Fiona McGregor — 22 March, 2019

‘Since fun is pleasure without guilt, as in the euphemistic ‘fun-loving’, we are bound to feel it must be inherently trivial; in a Judeo-Christian culture, half the fun of the thing is the guilt, anyway.’ Angela Carter, ‘Fun Fair’   There’s a new show in town. There’s a new town too. An hour and a half…

My Urrwai

Ghenoa Gela

By Fiona McGregor — 16 February, 2018

I first saw Ghenoa Gela dancing on a podium at Monsta Gras, an alternative Mardi Gras party. Funky, chunky, spunky, she was a breath of fresh air in a queer scene dominated by white faces despite its best intentions. Wearing fluoro, in blacklight, to the theme of Rainbow Nuclear Family, Gela’s form became completely abstracted….

The horse trotted another couple of metres, then it stopped

Katharina Grosse

By Fiona McGregor — 25 January, 2018

From a distance Katharina Grosse’s installation painting at Carriageworks looks a bit of a mess. Swathes of canvas draped floor to ceiling fill almost half the length of the decommissioned railway site. Mostly white, with seams showing, sprays of colour emerge from the folds. Closer, these shapes become more intriguing. There are slits through which…