By Naomi Riddle — 19 October, 2018
There are four, no, five Twitter accounts that I look at on my Chrome browser every day (and update multiple—multiple—times), but, because I don’t have a Twitter account, I tell myself that I am not on Twitter. We may be overloaded—‘stuck in the present as it reproduces itself without leading to any future’—but we still…
By Tony Mighell — 2 August, 2018
Peter Maloney is having a moment. It started with a survey exhibition, Missing in Action, at the Drill Hall Gallery in Canberra (curated by Tony Oates and Terence Maloon) in the second quarter of 2018. Showcasing Maloney’s works on paper from the late 80’s and 90’s, the exhibition revealed a startlingly original body of gestural…
By Naomi Riddle — 18 May, 2018
‘This breath hold this breath let it be held once twice per day and night’, writes Samuel Beckett in his novel How it Is (1961), ‘hold it let it be held ten seconds fifteen seconds try and hear.’ [1] It’s in reading this command, with all its lack of punctuation and repetition of clauses—its insistency…
By Naomi Riddle — 9 March, 2018
Fragmented text referencing news and current affairs recurs across Locust Jones’ work for his solo exhibition Hear No Evil / See No Evil at Casula Powerhouse. Much of this text has been overlaid with depictions of crowded scenes: in one there’s a mass of congregated figures, in another, a towering metropolis with a patterned background…
By Snack Syndicate — 19 January, 2018
This text is in dialogue with Helen Johnson’s Warm Ties (Artspace). The exhibition, comprising six paintings, critically reimagines scenes of settlement and its afterlife in Australia. Major and minor histories are layered on large-scale canvases – theatrical backgrounds that make the viewer a player. Hand The figurative finger or index of epistemic anxiety. One…