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Our HART3330 Art Writing students, coordinated by Paul Boyé (@__pb_________), recently undertook a residency at gallery and studio space underscore.gs (@_____g.s).
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‘Northbridge Dérive’ asked students to respond to the geography of Northbridge as a site of spontaneous and intentional culture and develop their writing skills as a form of field-work research. As art history and curatorial studies students, they drew from an archive of artist writing relating to built environments, movement and access, assembly and ‘the public’.
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The two-week residency entailed writing, reading groups, ephemera and image gathering. It closed with an exhibition and reading event, featuring spoken texts by Art Writing students, and special guests Chandler Abrahams, Samuel Beilby, Maile Bowen, Robert Cook, Rachel Ciesla, Kate Moss and Paul Sutherland also performing readings.
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@uwastudents @universitywa

⠀⠀⠀⠀⠀⠀⠀⠀⠀
Our HART3330 Art Writing students, coordinated by Paul Boyé (@__pb_________), recently undertook a residency at gallery and studio space underscore.gs (@_____g.s).
⠀⠀⠀⠀⠀⠀⠀⠀⠀
‘Northbridge Dérive’ asked students to respond to the geography of Northbridge as a site of spontaneous and intentional culture and develop their writing skills as a form of field-work research. As art history and curatorial studies students, they drew from an archive of artist writing relating to built environments, movement and access, assembly and ‘the public’.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
The two-week residency entailed writing, reading groups, ephemera and image gathering. It closed with an exhibition and reading event, featuring spoken texts by Art Writing students, and special guests Chandler Abrahams, Samuel Beilby, Maile Bowen, Robert Cook, Rachel Ciesla, Kate Moss and Paul Sutherland also performing readings.
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@uwastudents @universitywa

⠀⠀⠀⠀⠀⠀⠀⠀⠀
Our HART3330 Art Writing students, coordinated by Paul Boyé (@__pb_________), recently undertook a residency at gallery and studio space underscore.gs (@_____g.s).
⠀⠀⠀⠀⠀⠀⠀⠀⠀
‘Northbridge Dérive’ asked students to respond to the geography of Northbridge as a site of spontaneous and intentional culture and develop their writing skills as a form of field-work research. As art history and curatorial studies students, they drew from an archive of artist writing relating to built environments, movement and access, assembly and ‘the public’.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
The two-week residency entailed writing, reading groups, ephemera and image gathering. It closed with an exhibition and reading event, featuring spoken texts by Art Writing students, and special guests Chandler Abrahams, Samuel Beilby, Maile Bowen, Robert Cook, Rachel Ciesla, Kate Moss and Paul Sutherland also performing readings.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
@uwastudents @universitywa

⠀⠀⠀⠀⠀⠀⠀⠀⠀
Our HART3330 Art Writing students, coordinated by Paul Boyé (@__pb_________), recently undertook a residency at gallery and studio space underscore.gs (@_____g.s).
⠀⠀⠀⠀⠀⠀⠀⠀⠀
‘Northbridge Dérive’ asked students to respond to the geography of Northbridge as a site of spontaneous and intentional culture and develop their writing skills as a form of field-work research. As art history and curatorial studies students, they drew from an archive of artist writing relating to built environments, movement and access, assembly and ‘the public’.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
The two-week residency entailed writing, reading groups, ephemera and image gathering. It closed with an exhibition and reading event, featuring spoken texts by Art Writing students, and special guests Chandler Abrahams, Samuel Beilby, Maile Bowen, Robert Cook, Rachel Ciesla, Kate Moss and Paul Sutherland also performing readings.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
@uwastudents @universitywa

⠀⠀⠀⠀⠀⠀⠀⠀⠀
Our HART3330 Art Writing students, coordinated by Paul Boyé (@__pb_________), recently undertook a residency at gallery and studio space underscore.gs (@_____g.s).
⠀⠀⠀⠀⠀⠀⠀⠀⠀
‘Northbridge Dérive’ asked students to respond to the geography of Northbridge as a site of spontaneous and intentional culture and develop their writing skills as a form of field-work research. As art history and curatorial studies students, they drew from an archive of artist writing relating to built environments, movement and access, assembly and ‘the public’.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
The two-week residency entailed writing, reading groups, ephemera and image gathering. It closed with an exhibition and reading event, featuring spoken texts by Art Writing students, and special guests Chandler Abrahams, Samuel Beilby, Maile Bowen, Robert Cook, Rachel Ciesla, Kate Moss and Paul Sutherland also performing readings.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
@uwastudents @universitywa

⠀⠀⠀⠀⠀⠀⠀⠀⠀
Our HART3330 Art Writing students, coordinated by Paul Boyé (@__pb_________), recently undertook a residency at gallery and studio space underscore.gs (@_____g.s).
⠀⠀⠀⠀⠀⠀⠀⠀⠀
‘Northbridge Dérive’ asked students to respond to the geography of Northbridge as a site of spontaneous and intentional culture and develop their writing skills as a form of field-work research. As art history and curatorial studies students, they drew from an archive of artist writing relating to built environments, movement and access, assembly and ‘the public’.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
The two-week residency entailed writing, reading groups, ephemera and image gathering. It closed with an exhibition and reading event, featuring spoken texts by Art Writing students, and special guests Chandler Abrahams, Samuel Beilby, Maile Bowen, Robert Cook, Rachel Ciesla, Kate Moss and Paul Sutherland also performing readings.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
@uwastudents @universitywa

⠀⠀⠀⠀⠀⠀⠀⠀⠀
Our HART3330 Art Writing students, coordinated by Paul Boyé (@__pb_________), recently undertook a residency at gallery and studio space underscore.gs (@_____g.s).
⠀⠀⠀⠀⠀⠀⠀⠀⠀
‘Northbridge Dérive’ asked students to respond to the geography of Northbridge as a site of spontaneous and intentional culture and develop their writing skills as a form of field-work research. As art history and curatorial studies students, they drew from an archive of artist writing relating to built environments, movement and access, assembly and ‘the public’.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
The two-week residency entailed writing, reading groups, ephemera and image gathering. It closed with an exhibition and reading event, featuring spoken texts by Art Writing students, and special guests Chandler Abrahams, Samuel Beilby, Maile Bowen, Robert Cook, Rachel Ciesla, Kate Moss and Paul Sutherland also performing readings.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
@uwastudents @universitywa

⠀⠀⠀⠀⠀⠀⠀⠀⠀
Our HART3330 Art Writing students, coordinated by Paul Boyé (@__pb_________), recently undertook a residency at gallery and studio space underscore.gs (@_____g.s).
⠀⠀⠀⠀⠀⠀⠀⠀⠀
‘Northbridge Dérive’ asked students to respond to the geography of Northbridge as a site of spontaneous and intentional culture and develop their writing skills as a form of field-work research. As art history and curatorial studies students, they drew from an archive of artist writing relating to built environments, movement and access, assembly and ‘the public’.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
The two-week residency entailed writing, reading groups, ephemera and image gathering. It closed with an exhibition and reading event, featuring spoken texts by Art Writing students, and special guests Chandler Abrahams, Samuel Beilby, Maile Bowen, Robert Cook, Rachel Ciesla, Kate Moss and Paul Sutherland also performing readings.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
@uwastudents @universitywa

⠀⠀⠀⠀⠀⠀⠀⠀⠀
Our HART3330 Art Writing students, coordinated by Paul Boyé (@__pb_________), recently undertook a residency at gallery and studio space underscore.gs (@_____g.s).
⠀⠀⠀⠀⠀⠀⠀⠀⠀
‘Northbridge Dérive’ asked students to respond to the geography of Northbridge as a site of spontaneous and intentional culture and develop their writing skills as a form of field-work research. As art history and curatorial studies students, they drew from an archive of artist writing relating to built environments, movement and access, assembly and ‘the public’.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
The two-week residency entailed writing, reading groups, ephemera and image gathering. It closed with an exhibition and reading event, featuring spoken texts by Art Writing students, and special guests Chandler Abrahams, Samuel Beilby, Maile Bowen, Robert Cook, Rachel Ciesla, Kate Moss and Paul Sutherland also performing readings.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
@uwastudents @universitywa

⠀⠀⠀⠀⠀⠀⠀⠀⠀
Our HART3330 Art Writing students, coordinated by Paul Boyé (@__pb_________), recently undertook a residency at gallery and studio space underscore.gs (@_____g.s).
⠀⠀⠀⠀⠀⠀⠀⠀⠀
‘Northbridge Dérive’ asked students to respond to the geography of Northbridge as a site of spontaneous and intentional culture and develop their writing skills as a form of field-work research. As art history and curatorial studies students, they drew from an archive of artist writing relating to built environments, movement and access, assembly and ‘the public’.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
The two-week residency entailed writing, reading groups, ephemera and image gathering. It closed with an exhibition and reading event, featuring spoken texts by Art Writing students, and special guests Chandler Abrahams, Samuel Beilby, Maile Bowen, Robert Cook, Rachel Ciesla, Kate Moss and Paul Sutherland also performing readings.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
@uwastudents @universitywa

⠀⠀⠀⠀⠀⠀⠀⠀⠀
Our HART3330 Art Writing students, coordinated by Paul Boyé (@__pb_________), recently undertook a residency at gallery and studio space underscore.gs (@_____g.s).
⠀⠀⠀⠀⠀⠀⠀⠀⠀
‘Northbridge Dérive’ asked students to respond to the geography of Northbridge as a site of spontaneous and intentional culture and develop their writing skills as a form of field-work research. As art history and curatorial studies students, they drew from an archive of artist writing relating to built environments, movement and access, assembly and ‘the public’.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
The two-week residency entailed writing, reading groups, ephemera and image gathering. It closed with an exhibition and reading event, featuring spoken texts by Art Writing students, and special guests Chandler Abrahams, Samuel Beilby, Maile Bowen, Robert Cook, Rachel Ciesla, Kate Moss and Paul Sutherland also performing readings.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
@uwastudents @universitywa

⠀⠀⠀⠀⠀⠀⠀⠀⠀
Our HART3330 Art Writing students, coordinated by Paul Boyé (@__pb_________), recently undertook a residency at gallery and studio space underscore.gs (@_____g.s).
⠀⠀⠀⠀⠀⠀⠀⠀⠀
‘Northbridge Dérive’ asked students to respond to the geography of Northbridge as a site of spontaneous and intentional culture and develop their writing skills as a form of field-work research. As art history and curatorial studies students, they drew from an archive of artist writing relating to built environments, movement and access, assembly and ‘the public’.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
The two-week residency entailed writing, reading groups, ephemera and image gathering. It closed with an exhibition and reading event, featuring spoken texts by Art Writing students, and special guests Chandler Abrahams, Samuel Beilby, Maile Bowen, Robert Cook, Rachel Ciesla, Kate Moss and Paul Sutherland also performing readings.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
@uwastudents @universitywa

⠀⠀⠀⠀⠀⠀⠀⠀⠀
Our HART3330 Art Writing students, coordinated by Paul Boyé (@__pb_________), recently undertook a residency at gallery and studio space underscore.gs (@_____g.s).
⠀⠀⠀⠀⠀⠀⠀⠀⠀
‘Northbridge Dérive’ asked students to respond to the geography of Northbridge as a site of spontaneous and intentional culture and develop their writing skills as a form of field-work research. As art history and curatorial studies students, they drew from an archive of artist writing relating to built environments, movement and access, assembly and ‘the public’.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
The two-week residency entailed writing, reading groups, ephemera and image gathering. It closed with an exhibition and reading event, featuring spoken texts by Art Writing students, and special guests Chandler Abrahams, Samuel Beilby, Maile Bowen, Robert Cook, Rachel Ciesla, Kate Moss and Paul Sutherland also performing readings.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
@uwastudents @universitywa

hello, we made a cute catalogue ~ biggest thanks to audrey jo pfister for their essay, dennis grauel for his design, stray pages for the beautiful riso printing and to creative australia for the funds to produce this first of two publications ~

join us for the opening of ‘inter-narratives of hope: building catastrophe resilience’ next thursday 6–8pm at MADA gallery, caulfield

How does hope confront the denial of the future?

The ‘inter-narrative’ functions here as a navigational tool for approaching hope, a virtual idea that floats and haunts above us in the everyday of crisis. As a methodology, the inter-narrative refuses to be flattened into a single story; instead, it creates an arrangement of materially and geographically distinct experiences that act as anchors. This intentional commitment drives the formation of the many inter-narratives within this exhibition: human and non-human stories of tender dependence, visual parallels of environmental crisis, extractivism, and utopia.

In a void of footholds, hope confronts the denial of the future. Whether foreclosed by climate collapse, monstrous capitalism, or the erasure of marginalised life, hope cannot be a speculative investment in a ‘later’ that may never arrive. In this exhibition, hope is active because it is foundational; it is the infrastructure of resistance that allows us to act despite the lack of a guaranteed outcome. If capitalism denies us a future, hope responds by reclaiming the integrity of the now.

By disrupting system breakdown through a constellation of images, people, and symbols, we attempt to collapse the distance between art and solidarity. When we speak of building catastrophe resistance, we are speaking of the way we work together as curators and artists. This is a commitment to a ‘near horizon’ where the work is the sustenance. We offer these inter-narratives not as a promised solution, but as a disciplined methodology for navigating the everyday of crisis.

Dani Marti, Holly Childs + Gediminas Žygus, Joshua Petherick, Polly Borland, Rory Pilgrim, Susan Norrie, Wendy Hubert

Isabella Hone-Saunders and Paul Boyé ~ MADA Curators-in-Residence

hello, we made a cute catalogue ~ biggest thanks to audrey jo pfister for their essay, dennis grauel for his design, stray pages for the beautiful riso printing and to creative australia for the funds to produce this first of two publications ~

join us for the opening of ‘inter-narratives of hope: building catastrophe resilience’ next thursday 6–8pm at MADA gallery, caulfield

How does hope confront the denial of the future?

The ‘inter-narrative’ functions here as a navigational tool for approaching hope, a virtual idea that floats and haunts above us in the everyday of crisis. As a methodology, the inter-narrative refuses to be flattened into a single story; instead, it creates an arrangement of materially and geographically distinct experiences that act as anchors. This intentional commitment drives the formation of the many inter-narratives within this exhibition: human and non-human stories of tender dependence, visual parallels of environmental crisis, extractivism, and utopia.

In a void of footholds, hope confronts the denial of the future. Whether foreclosed by climate collapse, monstrous capitalism, or the erasure of marginalised life, hope cannot be a speculative investment in a ‘later’ that may never arrive. In this exhibition, hope is active because it is foundational; it is the infrastructure of resistance that allows us to act despite the lack of a guaranteed outcome. If capitalism denies us a future, hope responds by reclaiming the integrity of the now.

By disrupting system breakdown through a constellation of images, people, and symbols, we attempt to collapse the distance between art and solidarity. When we speak of building catastrophe resistance, we are speaking of the way we work together as curators and artists. This is a commitment to a ‘near horizon’ where the work is the sustenance. We offer these inter-narratives not as a promised solution, but as a disciplined methodology for navigating the everyday of crisis.

Dani Marti, Holly Childs + Gediminas Žygus, Joshua Petherick, Polly Borland, Rory Pilgrim, Susan Norrie, Wendy Hubert

Isabella Hone-Saunders and Paul Boyé ~ MADA Curators-in-Residence

hello, we made a cute catalogue ~ biggest thanks to audrey jo pfister for their essay, dennis grauel for his design, stray pages for the beautiful riso printing and to creative australia for the funds to produce this first of two publications ~

join us for the opening of ‘inter-narratives of hope: building catastrophe resilience’ next thursday 6–8pm at MADA gallery, caulfield

How does hope confront the denial of the future?

The ‘inter-narrative’ functions here as a navigational tool for approaching hope, a virtual idea that floats and haunts above us in the everyday of crisis. As a methodology, the inter-narrative refuses to be flattened into a single story; instead, it creates an arrangement of materially and geographically distinct experiences that act as anchors. This intentional commitment drives the formation of the many inter-narratives within this exhibition: human and non-human stories of tender dependence, visual parallels of environmental crisis, extractivism, and utopia.

In a void of footholds, hope confronts the denial of the future. Whether foreclosed by climate collapse, monstrous capitalism, or the erasure of marginalised life, hope cannot be a speculative investment in a ‘later’ that may never arrive. In this exhibition, hope is active because it is foundational; it is the infrastructure of resistance that allows us to act despite the lack of a guaranteed outcome. If capitalism denies us a future, hope responds by reclaiming the integrity of the now.

By disrupting system breakdown through a constellation of images, people, and symbols, we attempt to collapse the distance between art and solidarity. When we speak of building catastrophe resistance, we are speaking of the way we work together as curators and artists. This is a commitment to a ‘near horizon’ where the work is the sustenance. We offer these inter-narratives not as a promised solution, but as a disciplined methodology for navigating the everyday of crisis.

Dani Marti, Holly Childs + Gediminas Žygus, Joshua Petherick, Polly Borland, Rory Pilgrim, Susan Norrie, Wendy Hubert

Isabella Hone-Saunders and Paul Boyé ~ MADA Curators-in-Residence

hello, we made a cute catalogue ~ biggest thanks to audrey jo pfister for their essay, dennis grauel for his design, stray pages for the beautiful riso printing and to creative australia for the funds to produce this first of two publications ~

join us for the opening of ‘inter-narratives of hope: building catastrophe resilience’ next thursday 6–8pm at MADA gallery, caulfield

How does hope confront the denial of the future?

The ‘inter-narrative’ functions here as a navigational tool for approaching hope, a virtual idea that floats and haunts above us in the everyday of crisis. As a methodology, the inter-narrative refuses to be flattened into a single story; instead, it creates an arrangement of materially and geographically distinct experiences that act as anchors. This intentional commitment drives the formation of the many inter-narratives within this exhibition: human and non-human stories of tender dependence, visual parallels of environmental crisis, extractivism, and utopia.

In a void of footholds, hope confronts the denial of the future. Whether foreclosed by climate collapse, monstrous capitalism, or the erasure of marginalised life, hope cannot be a speculative investment in a ‘later’ that may never arrive. In this exhibition, hope is active because it is foundational; it is the infrastructure of resistance that allows us to act despite the lack of a guaranteed outcome. If capitalism denies us a future, hope responds by reclaiming the integrity of the now.

By disrupting system breakdown through a constellation of images, people, and symbols, we attempt to collapse the distance between art and solidarity. When we speak of building catastrophe resistance, we are speaking of the way we work together as curators and artists. This is a commitment to a ‘near horizon’ where the work is the sustenance. We offer these inter-narratives not as a promised solution, but as a disciplined methodology for navigating the everyday of crisis.

Dani Marti, Holly Childs + Gediminas Žygus, Joshua Petherick, Polly Borland, Rory Pilgrim, Susan Norrie, Wendy Hubert

Isabella Hone-Saunders and Paul Boyé ~ MADA Curators-in-Residence

hello, we made a cute catalogue ~ biggest thanks to audrey jo pfister for their essay, dennis grauel for his design, stray pages for the beautiful riso printing and to creative australia for the funds to produce this first of two publications ~

join us for the opening of ‘inter-narratives of hope: building catastrophe resilience’ next thursday 6–8pm at MADA gallery, caulfield

How does hope confront the denial of the future?

The ‘inter-narrative’ functions here as a navigational tool for approaching hope, a virtual idea that floats and haunts above us in the everyday of crisis. As a methodology, the inter-narrative refuses to be flattened into a single story; instead, it creates an arrangement of materially and geographically distinct experiences that act as anchors. This intentional commitment drives the formation of the many inter-narratives within this exhibition: human and non-human stories of tender dependence, visual parallels of environmental crisis, extractivism, and utopia.

In a void of footholds, hope confronts the denial of the future. Whether foreclosed by climate collapse, monstrous capitalism, or the erasure of marginalised life, hope cannot be a speculative investment in a ‘later’ that may never arrive. In this exhibition, hope is active because it is foundational; it is the infrastructure of resistance that allows us to act despite the lack of a guaranteed outcome. If capitalism denies us a future, hope responds by reclaiming the integrity of the now.

By disrupting system breakdown through a constellation of images, people, and symbols, we attempt to collapse the distance between art and solidarity. When we speak of building catastrophe resistance, we are speaking of the way we work together as curators and artists. This is a commitment to a ‘near horizon’ where the work is the sustenance. We offer these inter-narratives not as a promised solution, but as a disciplined methodology for navigating the everyday of crisis.

Dani Marti, Holly Childs + Gediminas Žygus, Joshua Petherick, Polly Borland, Rory Pilgrim, Susan Norrie, Wendy Hubert

Isabella Hone-Saunders and Paul Boyé ~ MADA Curators-in-Residence

hello, we made a cute catalogue ~ biggest thanks to audrey jo pfister for their essay, dennis grauel for his design, stray pages for the beautiful riso printing and to creative australia for the funds to produce this first of two publications ~

join us for the opening of ‘inter-narratives of hope: building catastrophe resilience’ next thursday 6–8pm at MADA gallery, caulfield

How does hope confront the denial of the future?

The ‘inter-narrative’ functions here as a navigational tool for approaching hope, a virtual idea that floats and haunts above us in the everyday of crisis. As a methodology, the inter-narrative refuses to be flattened into a single story; instead, it creates an arrangement of materially and geographically distinct experiences that act as anchors. This intentional commitment drives the formation of the many inter-narratives within this exhibition: human and non-human stories of tender dependence, visual parallels of environmental crisis, extractivism, and utopia.

In a void of footholds, hope confronts the denial of the future. Whether foreclosed by climate collapse, monstrous capitalism, or the erasure of marginalised life, hope cannot be a speculative investment in a ‘later’ that may never arrive. In this exhibition, hope is active because it is foundational; it is the infrastructure of resistance that allows us to act despite the lack of a guaranteed outcome. If capitalism denies us a future, hope responds by reclaiming the integrity of the now.

By disrupting system breakdown through a constellation of images, people, and symbols, we attempt to collapse the distance between art and solidarity. When we speak of building catastrophe resistance, we are speaking of the way we work together as curators and artists. This is a commitment to a ‘near horizon’ where the work is the sustenance. We offer these inter-narratives not as a promised solution, but as a disciplined methodology for navigating the everyday of crisis.

Dani Marti, Holly Childs + Gediminas Žygus, Joshua Petherick, Polly Borland, Rory Pilgrim, Susan Norrie, Wendy Hubert

Isabella Hone-Saunders and Paul Boyé ~ MADA Curators-in-Residence

hello, we made a cute catalogue ~ biggest thanks to audrey jo pfister for their essay, dennis grauel for his design, stray pages for the beautiful riso printing and to creative australia for the funds to produce this first of two publications ~

join us for the opening of ‘inter-narratives of hope: building catastrophe resilience’ next thursday 6–8pm at MADA gallery, caulfield

How does hope confront the denial of the future?

The ‘inter-narrative’ functions here as a navigational tool for approaching hope, a virtual idea that floats and haunts above us in the everyday of crisis. As a methodology, the inter-narrative refuses to be flattened into a single story; instead, it creates an arrangement of materially and geographically distinct experiences that act as anchors. This intentional commitment drives the formation of the many inter-narratives within this exhibition: human and non-human stories of tender dependence, visual parallels of environmental crisis, extractivism, and utopia.

In a void of footholds, hope confronts the denial of the future. Whether foreclosed by climate collapse, monstrous capitalism, or the erasure of marginalised life, hope cannot be a speculative investment in a ‘later’ that may never arrive. In this exhibition, hope is active because it is foundational; it is the infrastructure of resistance that allows us to act despite the lack of a guaranteed outcome. If capitalism denies us a future, hope responds by reclaiming the integrity of the now.

By disrupting system breakdown through a constellation of images, people, and symbols, we attempt to collapse the distance between art and solidarity. When we speak of building catastrophe resistance, we are speaking of the way we work together as curators and artists. This is a commitment to a ‘near horizon’ where the work is the sustenance. We offer these inter-narratives not as a promised solution, but as a disciplined methodology for navigating the everyday of crisis.

Dani Marti, Holly Childs + Gediminas Žygus, Joshua Petherick, Polly Borland, Rory Pilgrim, Susan Norrie, Wendy Hubert

Isabella Hone-Saunders and Paul Boyé ~ MADA Curators-in-Residence

hello, we made a cute catalogue ~ biggest thanks to audrey jo pfister for their essay, dennis grauel for his design, stray pages for the beautiful riso printing and to creative australia for the funds to produce this first of two publications ~

join us for the opening of ‘inter-narratives of hope: building catastrophe resilience’ next thursday 6–8pm at MADA gallery, caulfield

How does hope confront the denial of the future?

The ‘inter-narrative’ functions here as a navigational tool for approaching hope, a virtual idea that floats and haunts above us in the everyday of crisis. As a methodology, the inter-narrative refuses to be flattened into a single story; instead, it creates an arrangement of materially and geographically distinct experiences that act as anchors. This intentional commitment drives the formation of the many inter-narratives within this exhibition: human and non-human stories of tender dependence, visual parallels of environmental crisis, extractivism, and utopia.

In a void of footholds, hope confronts the denial of the future. Whether foreclosed by climate collapse, monstrous capitalism, or the erasure of marginalised life, hope cannot be a speculative investment in a ‘later’ that may never arrive. In this exhibition, hope is active because it is foundational; it is the infrastructure of resistance that allows us to act despite the lack of a guaranteed outcome. If capitalism denies us a future, hope responds by reclaiming the integrity of the now.

By disrupting system breakdown through a constellation of images, people, and symbols, we attempt to collapse the distance between art and solidarity. When we speak of building catastrophe resistance, we are speaking of the way we work together as curators and artists. This is a commitment to a ‘near horizon’ where the work is the sustenance. We offer these inter-narratives not as a promised solution, but as a disciplined methodology for navigating the everyday of crisis.

Dani Marti, Holly Childs + Gediminas Žygus, Joshua Petherick, Polly Borland, Rory Pilgrim, Susan Norrie, Wendy Hubert

Isabella Hone-Saunders and Paul Boyé ~ MADA Curators-in-Residence

hello, we made a cute catalogue ~ biggest thanks to audrey jo pfister for their essay, dennis grauel for his design, stray pages for the beautiful riso printing and to creative australia for the funds to produce this first of two publications ~

join us for the opening of ‘inter-narratives of hope: building catastrophe resilience’ next thursday 6–8pm at MADA gallery, caulfield

How does hope confront the denial of the future?

The ‘inter-narrative’ functions here as a navigational tool for approaching hope, a virtual idea that floats and haunts above us in the everyday of crisis. As a methodology, the inter-narrative refuses to be flattened into a single story; instead, it creates an arrangement of materially and geographically distinct experiences that act as anchors. This intentional commitment drives the formation of the many inter-narratives within this exhibition: human and non-human stories of tender dependence, visual parallels of environmental crisis, extractivism, and utopia.

In a void of footholds, hope confronts the denial of the future. Whether foreclosed by climate collapse, monstrous capitalism, or the erasure of marginalised life, hope cannot be a speculative investment in a ‘later’ that may never arrive. In this exhibition, hope is active because it is foundational; it is the infrastructure of resistance that allows us to act despite the lack of a guaranteed outcome. If capitalism denies us a future, hope responds by reclaiming the integrity of the now.

By disrupting system breakdown through a constellation of images, people, and symbols, we attempt to collapse the distance between art and solidarity. When we speak of building catastrophe resistance, we are speaking of the way we work together as curators and artists. This is a commitment to a ‘near horizon’ where the work is the sustenance. We offer these inter-narratives not as a promised solution, but as a disciplined methodology for navigating the everyday of crisis.

Dani Marti, Holly Childs + Gediminas Žygus, Joshua Petherick, Polly Borland, Rory Pilgrim, Susan Norrie, Wendy Hubert

Isabella Hone-Saunders and Paul Boyé ~ MADA Curators-in-Residence

hello, we made a cute catalogue ~ biggest thanks to audrey jo pfister for their essay, dennis grauel for his design, stray pages for the beautiful riso printing and to creative australia for the funds to produce this first of two publications ~

join us for the opening of ‘inter-narratives of hope: building catastrophe resilience’ next thursday 6–8pm at MADA gallery, caulfield

How does hope confront the denial of the future?

The ‘inter-narrative’ functions here as a navigational tool for approaching hope, a virtual idea that floats and haunts above us in the everyday of crisis. As a methodology, the inter-narrative refuses to be flattened into a single story; instead, it creates an arrangement of materially and geographically distinct experiences that act as anchors. This intentional commitment drives the formation of the many inter-narratives within this exhibition: human and non-human stories of tender dependence, visual parallels of environmental crisis, extractivism, and utopia.

In a void of footholds, hope confronts the denial of the future. Whether foreclosed by climate collapse, monstrous capitalism, or the erasure of marginalised life, hope cannot be a speculative investment in a ‘later’ that may never arrive. In this exhibition, hope is active because it is foundational; it is the infrastructure of resistance that allows us to act despite the lack of a guaranteed outcome. If capitalism denies us a future, hope responds by reclaiming the integrity of the now.

By disrupting system breakdown through a constellation of images, people, and symbols, we attempt to collapse the distance between art and solidarity. When we speak of building catastrophe resistance, we are speaking of the way we work together as curators and artists. This is a commitment to a ‘near horizon’ where the work is the sustenance. We offer these inter-narratives not as a promised solution, but as a disciplined methodology for navigating the everyday of crisis.

Dani Marti, Holly Childs + Gediminas Žygus, Joshua Petherick, Polly Borland, Rory Pilgrim, Susan Norrie, Wendy Hubert

Isabella Hone-Saunders and Paul Boyé ~ MADA Curators-in-Residence

hello, we made a cute catalogue ~ biggest thanks to audrey jo pfister for their essay, dennis grauel for his design, stray pages for the beautiful riso printing and to creative australia for the funds to produce this first of two publications ~

join us for the opening of ‘inter-narratives of hope: building catastrophe resilience’ next thursday 6–8pm at MADA gallery, caulfield

How does hope confront the denial of the future?

The ‘inter-narrative’ functions here as a navigational tool for approaching hope, a virtual idea that floats and haunts above us in the everyday of crisis. As a methodology, the inter-narrative refuses to be flattened into a single story; instead, it creates an arrangement of materially and geographically distinct experiences that act as anchors. This intentional commitment drives the formation of the many inter-narratives within this exhibition: human and non-human stories of tender dependence, visual parallels of environmental crisis, extractivism, and utopia.

In a void of footholds, hope confronts the denial of the future. Whether foreclosed by climate collapse, monstrous capitalism, or the erasure of marginalised life, hope cannot be a speculative investment in a ‘later’ that may never arrive. In this exhibition, hope is active because it is foundational; it is the infrastructure of resistance that allows us to act despite the lack of a guaranteed outcome. If capitalism denies us a future, hope responds by reclaiming the integrity of the now.

By disrupting system breakdown through a constellation of images, people, and symbols, we attempt to collapse the distance between art and solidarity. When we speak of building catastrophe resistance, we are speaking of the way we work together as curators and artists. This is a commitment to a ‘near horizon’ where the work is the sustenance. We offer these inter-narratives not as a promised solution, but as a disciplined methodology for navigating the everyday of crisis.

Dani Marti, Holly Childs + Gediminas Žygus, Joshua Petherick, Polly Borland, Rory Pilgrim, Susan Norrie, Wendy Hubert

Isabella Hone-Saunders and Paul Boyé ~ MADA Curators-in-Residence

hello, we made a cute catalogue ~ biggest thanks to audrey jo pfister for their essay, dennis grauel for his design, stray pages for the beautiful riso printing and to creative australia for the funds to produce this first of two publications ~

join us for the opening of ‘inter-narratives of hope: building catastrophe resilience’ next thursday 6–8pm at MADA gallery, caulfield

How does hope confront the denial of the future?

The ‘inter-narrative’ functions here as a navigational tool for approaching hope, a virtual idea that floats and haunts above us in the everyday of crisis. As a methodology, the inter-narrative refuses to be flattened into a single story; instead, it creates an arrangement of materially and geographically distinct experiences that act as anchors. This intentional commitment drives the formation of the many inter-narratives within this exhibition: human and non-human stories of tender dependence, visual parallels of environmental crisis, extractivism, and utopia.

In a void of footholds, hope confronts the denial of the future. Whether foreclosed by climate collapse, monstrous capitalism, or the erasure of marginalised life, hope cannot be a speculative investment in a ‘later’ that may never arrive. In this exhibition, hope is active because it is foundational; it is the infrastructure of resistance that allows us to act despite the lack of a guaranteed outcome. If capitalism denies us a future, hope responds by reclaiming the integrity of the now.

By disrupting system breakdown through a constellation of images, people, and symbols, we attempt to collapse the distance between art and solidarity. When we speak of building catastrophe resistance, we are speaking of the way we work together as curators and artists. This is a commitment to a ‘near horizon’ where the work is the sustenance. We offer these inter-narratives not as a promised solution, but as a disciplined methodology for navigating the everyday of crisis.

Dani Marti, Holly Childs + Gediminas Žygus, Joshua Petherick, Polly Borland, Rory Pilgrim, Susan Norrie, Wendy Hubert

Isabella Hone-Saunders and Paul Boyé ~ MADA Curators-in-Residence

hello, we made a cute catalogue ~ biggest thanks to audrey jo pfister for their essay, dennis grauel for his design, stray pages for the beautiful riso printing and to creative australia for the funds to produce this first of two publications ~

join us for the opening of ‘inter-narratives of hope: building catastrophe resilience’ next thursday 6–8pm at MADA gallery, caulfield

How does hope confront the denial of the future?

The ‘inter-narrative’ functions here as a navigational tool for approaching hope, a virtual idea that floats and haunts above us in the everyday of crisis. As a methodology, the inter-narrative refuses to be flattened into a single story; instead, it creates an arrangement of materially and geographically distinct experiences that act as anchors. This intentional commitment drives the formation of the many inter-narratives within this exhibition: human and non-human stories of tender dependence, visual parallels of environmental crisis, extractivism, and utopia.

In a void of footholds, hope confronts the denial of the future. Whether foreclosed by climate collapse, monstrous capitalism, or the erasure of marginalised life, hope cannot be a speculative investment in a ‘later’ that may never arrive. In this exhibition, hope is active because it is foundational; it is the infrastructure of resistance that allows us to act despite the lack of a guaranteed outcome. If capitalism denies us a future, hope responds by reclaiming the integrity of the now.

By disrupting system breakdown through a constellation of images, people, and symbols, we attempt to collapse the distance between art and solidarity. When we speak of building catastrophe resistance, we are speaking of the way we work together as curators and artists. This is a commitment to a ‘near horizon’ where the work is the sustenance. We offer these inter-narratives not as a promised solution, but as a disciplined methodology for navigating the everyday of crisis.

Dani Marti, Holly Childs + Gediminas Žygus, Joshua Petherick, Polly Borland, Rory Pilgrim, Susan Norrie, Wendy Hubert

Isabella Hone-Saunders and Paul Boyé ~ MADA Curators-in-Residence

hello, we made a cute catalogue ~ biggest thanks to audrey jo pfister for their essay, dennis grauel for his design, stray pages for the beautiful riso printing and to creative australia for the funds to produce this first of two publications ~

join us for the opening of ‘inter-narratives of hope: building catastrophe resilience’ next thursday 6–8pm at MADA gallery, caulfield

How does hope confront the denial of the future?

The ‘inter-narrative’ functions here as a navigational tool for approaching hope, a virtual idea that floats and haunts above us in the everyday of crisis. As a methodology, the inter-narrative refuses to be flattened into a single story; instead, it creates an arrangement of materially and geographically distinct experiences that act as anchors. This intentional commitment drives the formation of the many inter-narratives within this exhibition: human and non-human stories of tender dependence, visual parallels of environmental crisis, extractivism, and utopia.

In a void of footholds, hope confronts the denial of the future. Whether foreclosed by climate collapse, monstrous capitalism, or the erasure of marginalised life, hope cannot be a speculative investment in a ‘later’ that may never arrive. In this exhibition, hope is active because it is foundational; it is the infrastructure of resistance that allows us to act despite the lack of a guaranteed outcome. If capitalism denies us a future, hope responds by reclaiming the integrity of the now.

By disrupting system breakdown through a constellation of images, people, and symbols, we attempt to collapse the distance between art and solidarity. When we speak of building catastrophe resistance, we are speaking of the way we work together as curators and artists. This is a commitment to a ‘near horizon’ where the work is the sustenance. We offer these inter-narratives not as a promised solution, but as a disciplined methodology for navigating the everyday of crisis.

Dani Marti, Holly Childs + Gediminas Žygus, Joshua Petherick, Polly Borland, Rory Pilgrim, Susan Norrie, Wendy Hubert

Isabella Hone-Saunders and Paul Boyé ~ MADA Curators-in-Residence

hello, we made a cute catalogue ~ biggest thanks to audrey jo pfister for their essay, dennis grauel for his design, stray pages for the beautiful riso printing and to creative australia for the funds to produce this first of two publications ~

join us for the opening of ‘inter-narratives of hope: building catastrophe resilience’ next thursday 6–8pm at MADA gallery, caulfield

How does hope confront the denial of the future?

The ‘inter-narrative’ functions here as a navigational tool for approaching hope, a virtual idea that floats and haunts above us in the everyday of crisis. As a methodology, the inter-narrative refuses to be flattened into a single story; instead, it creates an arrangement of materially and geographically distinct experiences that act as anchors. This intentional commitment drives the formation of the many inter-narratives within this exhibition: human and non-human stories of tender dependence, visual parallels of environmental crisis, extractivism, and utopia.

In a void of footholds, hope confronts the denial of the future. Whether foreclosed by climate collapse, monstrous capitalism, or the erasure of marginalised life, hope cannot be a speculative investment in a ‘later’ that may never arrive. In this exhibition, hope is active because it is foundational; it is the infrastructure of resistance that allows us to act despite the lack of a guaranteed outcome. If capitalism denies us a future, hope responds by reclaiming the integrity of the now.

By disrupting system breakdown through a constellation of images, people, and symbols, we attempt to collapse the distance between art and solidarity. When we speak of building catastrophe resistance, we are speaking of the way we work together as curators and artists. This is a commitment to a ‘near horizon’ where the work is the sustenance. We offer these inter-narratives not as a promised solution, but as a disciplined methodology for navigating the everyday of crisis.

Dani Marti, Holly Childs + Gediminas Žygus, Joshua Petherick, Polly Borland, Rory Pilgrim, Susan Norrie, Wendy Hubert

Isabella Hone-Saunders and Paul Boyé ~ MADA Curators-in-Residence

'The exploration of a fixed spatial field entails establishing bases and calculating directions of penetration'
— Guy Debord

Over the last two weeks, HART3330 Art Writing students (unit coordinator Paul Boyé) have been undertaking a residency at _____g.s.
‘Northbridge Dérive’ asks students to respond to the geography of Northbridge as a site of spontaneous and intentional culture, and develop their writing skills as a form of field-work research. As art history and curatorial studies students, we will be drawing from an archive of artist writing relating to built environments, movement and access, assembly and ‘the public’.
The two-week residency will entail writing, reading groups, ephemera and image gathering. It will culminate in a live reading event, and exhibition in the _____g.s gallery space.
You are cordially invited to the closing event, this Sunday 29 March, from 5pm. Along with readings from the residency, guest speakers Chandler Abrahams, Samuel Beilby, Maile Bowen, Robert Cook, Rachel Ciesla, Kate Moss and Paul Sutherland.

_____g.s is located on unceded Whadjuk Noongar Boodja. We pay our respects to Elders past and present and acknowledge their continuing sovereignty, culture and law. Always was, always will be, Aboriginal land.

'The exploration of a fixed spatial field entails establishing bases and calculating directions of penetration'
— Guy Debord

Over the last two weeks, HART3330 Art Writing students (unit coordinator Paul Boyé) have been undertaking a residency at _____g.s.
‘Northbridge Dérive’ asks students to respond to the geography of Northbridge as a site of spontaneous and intentional culture, and develop their writing skills as a form of field-work research. As art history and curatorial studies students, we will be drawing from an archive of artist writing relating to built environments, movement and access, assembly and ‘the public’.
The two-week residency will entail writing, reading groups, ephemera and image gathering. It will culminate in a live reading event, and exhibition in the _____g.s gallery space.
You are cordially invited to the closing event, this Sunday 29 March, from 5pm. Along with readings from the residency, guest speakers Chandler Abrahams, Samuel Beilby, Maile Bowen, Robert Cook, Rachel Ciesla, Kate Moss and Paul Sutherland.

_____g.s is located on unceded Whadjuk Noongar Boodja. We pay our respects to Elders past and present and acknowledge their continuing sovereignty, culture and law. Always was, always will be, Aboriginal land.

'The exploration of a fixed spatial field entails establishing bases and calculating directions of penetration'
— Guy Debord

Over the last two weeks, HART3330 Art Writing students (unit coordinator Paul Boyé) have been undertaking a residency at _____g.s.
‘Northbridge Dérive’ asks students to respond to the geography of Northbridge as a site of spontaneous and intentional culture, and develop their writing skills as a form of field-work research. As art history and curatorial studies students, we will be drawing from an archive of artist writing relating to built environments, movement and access, assembly and ‘the public’.
The two-week residency will entail writing, reading groups, ephemera and image gathering. It will culminate in a live reading event, and exhibition in the _____g.s gallery space.
You are cordially invited to the closing event, this Sunday 29 March, from 5pm. Along with readings from the residency, guest speakers Chandler Abrahams, Samuel Beilby, Maile Bowen, Robert Cook, Rachel Ciesla, Kate Moss and Paul Sutherland.

_____g.s is located on unceded Whadjuk Noongar Boodja. We pay our respects to Elders past and present and acknowledge their continuing sovereignty, culture and law. Always was, always will be, Aboriginal land.

Feeling particularly excited to finally announce this first of two exhibitions curated by myself and Paul Boyé as part of the MADA Curator-in-Residence program.

‘Inter-narratives of hope: building catastrophe resilience’ will open on April 16 at MADA gallery, featuring works by; Holly Childs + Gediminas Žygus, Rory Pilgrim, Dani Marti, Wendy Hubert, Susan Norrie, Joshua Petherick and Polly Borland.

John Berger once remarked, “It’s in hell where solidarity is important, not in heaven.”

However, from shared experiences of catastrophe within the Australian settler-colonial context, can solidarity be our highest hope without imagining a better alternative?

‘Inter-narratives of hope: building catastrophe resilience’ takes on major themes of survival and belonging as a starting point, folding in a constellation of materially and geographically distinct works into conceptual alignment.

Through actual and potential forms of community collaboration and mutual affirmation – taken as solidarity frameworks for resilience – this exhibition poses a counter-narrative to the catastrophes of resource extraction, environmental devastation, grief and crisis. Inter-narratives of hope, building catastrophe resilience is a project that invites reflection on what support structures, both metaphorical and structural, are needed to navigate and mitigate harm in the uncertain collective present.

The exhibition folds in a new commission, current work, representations and MUMA Collection works.

Design by Dennis Grauel.

This exhibition will be accompanied by a text from Audrey Pfister.

Feeling particularly excited to finally announce this first of two exhibitions curated by myself and Paul Boyé as part of the MADA Curator-in-Residence program.

‘Inter-narratives of hope: building catastrophe resilience’ will open on April 16 at MADA gallery, featuring works by; Holly Childs + Gediminas Žygus, Rory Pilgrim, Dani Marti, Wendy Hubert, Susan Norrie, Joshua Petherick and Polly Borland.

John Berger once remarked, “It’s in hell where solidarity is important, not in heaven.”

However, from shared experiences of catastrophe within the Australian settler-colonial context, can solidarity be our highest hope without imagining a better alternative?

‘Inter-narratives of hope: building catastrophe resilience’ takes on major themes of survival and belonging as a starting point, folding in a constellation of materially and geographically distinct works into conceptual alignment.

Through actual and potential forms of community collaboration and mutual affirmation – taken as solidarity frameworks for resilience – this exhibition poses a counter-narrative to the catastrophes of resource extraction, environmental devastation, grief and crisis. Inter-narratives of hope, building catastrophe resilience is a project that invites reflection on what support structures, both metaphorical and structural, are needed to navigate and mitigate harm in the uncertain collective present.

The exhibition folds in a new commission, current work, representations and MUMA Collection works.

Design by Dennis Grauel.

This exhibition will be accompanied by a text from Audrey Pfister.

Feeling particularly excited to finally announce this first of two exhibitions curated by myself and Paul Boyé as part of the MADA Curator-in-Residence program.

‘Inter-narratives of hope: building catastrophe resilience’ will open on April 16 at MADA gallery, featuring works by; Holly Childs + Gediminas Žygus, Rory Pilgrim, Dani Marti, Wendy Hubert, Susan Norrie, Joshua Petherick and Polly Borland.

John Berger once remarked, “It’s in hell where solidarity is important, not in heaven.”

However, from shared experiences of catastrophe within the Australian settler-colonial context, can solidarity be our highest hope without imagining a better alternative?

‘Inter-narratives of hope: building catastrophe resilience’ takes on major themes of survival and belonging as a starting point, folding in a constellation of materially and geographically distinct works into conceptual alignment.

Through actual and potential forms of community collaboration and mutual affirmation – taken as solidarity frameworks for resilience – this exhibition poses a counter-narrative to the catastrophes of resource extraction, environmental devastation, grief and crisis. Inter-narratives of hope, building catastrophe resilience is a project that invites reflection on what support structures, both metaphorical and structural, are needed to navigate and mitigate harm in the uncertain collective present.

The exhibition folds in a new commission, current work, representations and MUMA Collection works.

Design by Dennis Grauel.

This exhibition will be accompanied by a text from Audrey Pfister.

Feeling particularly excited to finally announce this first of two exhibitions curated by myself and Paul Boyé as part of the MADA Curator-in-Residence program.

‘Inter-narratives of hope: building catastrophe resilience’ will open on April 16 at MADA gallery, featuring works by; Holly Childs + Gediminas Žygus, Rory Pilgrim, Dani Marti, Wendy Hubert, Susan Norrie, Joshua Petherick and Polly Borland.

John Berger once remarked, “It’s in hell where solidarity is important, not in heaven.”

However, from shared experiences of catastrophe within the Australian settler-colonial context, can solidarity be our highest hope without imagining a better alternative?

‘Inter-narratives of hope: building catastrophe resilience’ takes on major themes of survival and belonging as a starting point, folding in a constellation of materially and geographically distinct works into conceptual alignment.

Through actual and potential forms of community collaboration and mutual affirmation – taken as solidarity frameworks for resilience – this exhibition poses a counter-narrative to the catastrophes of resource extraction, environmental devastation, grief and crisis. Inter-narratives of hope, building catastrophe resilience is a project that invites reflection on what support structures, both metaphorical and structural, are needed to navigate and mitigate harm in the uncertain collective present.

The exhibition folds in a new commission, current work, representations and MUMA Collection works.

Design by Dennis Grauel.

This exhibition will be accompanied by a text from Audrey Pfister.

Feeling particularly excited to finally announce this first of two exhibitions curated by myself and Paul Boyé as part of the MADA Curator-in-Residence program.

‘Inter-narratives of hope: building catastrophe resilience’ will open on April 16 at MADA gallery, featuring works by; Holly Childs + Gediminas Žygus, Rory Pilgrim, Dani Marti, Wendy Hubert, Susan Norrie, Joshua Petherick and Polly Borland.

John Berger once remarked, “It’s in hell where solidarity is important, not in heaven.”

However, from shared experiences of catastrophe within the Australian settler-colonial context, can solidarity be our highest hope without imagining a better alternative?

‘Inter-narratives of hope: building catastrophe resilience’ takes on major themes of survival and belonging as a starting point, folding in a constellation of materially and geographically distinct works into conceptual alignment.

Through actual and potential forms of community collaboration and mutual affirmation – taken as solidarity frameworks for resilience – this exhibition poses a counter-narrative to the catastrophes of resource extraction, environmental devastation, grief and crisis. Inter-narratives of hope, building catastrophe resilience is a project that invites reflection on what support structures, both metaphorical and structural, are needed to navigate and mitigate harm in the uncertain collective present.

The exhibition folds in a new commission, current work, representations and MUMA Collection works.

Design by Dennis Grauel.

This exhibition will be accompanied by a text from Audrey Pfister.

post 2 post
Go and see it and view the movie at Goolugatup heathcote. It’s a nice show for anyone 💙

post 2 post
Go and see it and view the movie at Goolugatup heathcote. It’s a nice show for anyone 💙

post 2 post
Go and see it and view the movie at Goolugatup heathcote. It’s a nice show for anyone 💙

post 2 post
Go and see it and view the movie at Goolugatup heathcote. It’s a nice show for anyone 💙

post 2 post
Go and see it and view the movie at Goolugatup heathcote. It’s a nice show for anyone 💙

post 2 post
Go and see it and view the movie at Goolugatup heathcote. It’s a nice show for anyone 💙

post 2 post
Go and see it and view the movie at Goolugatup heathcote. It’s a nice show for anyone 💙

post 2 post
Go and see it and view the movie at Goolugatup heathcote. It’s a nice show for anyone 💙

post 2 post
Go and see it and view the movie at Goolugatup heathcote. It’s a nice show for anyone 💙

post 2 post
Go and see it and view the movie at Goolugatup heathcote. It’s a nice show for anyone 💙

post 2 post
Go and see it and view the movie at Goolugatup heathcote. It’s a nice show for anyone 💙

post 2 post
Go and see it and view the movie at Goolugatup heathcote. It’s a nice show for anyone 💙

post 2 post
Go and see it and view the movie at Goolugatup heathcote. It’s a nice show for anyone 💙

is very excited to invite you to attend the opening night of ‘Metalux’ on Thursday, December 4th, 6 - 9 pm at Shop 13, 375 William Street, Boorloo 6000.

'Metalux', curated by Jo Law and Redmond Bridgeman, and facilitated by Paul Boyé, is a series of experimental cameraless films and experimental video from 1990’s Western Australia. These works represent a scene of filmic experimentation with materialist methodologies, influenced by the late Peter Mudie. The program considers perception construction, identity formation, and structures of consciousness through an investigation of the material of film.

The gallery is located on the ground floor and is wheelchair accessible. If you’re after dinner, please consider eating at one of our neighbours restaurants.

_____g.s is located on unceded Whadjuk Noongar Boodja. We pay our respects to Elders past and present and acknowledge their continuing sovereignty, culture and law. Always was, always will be, Aboriginal land.

is very excited to invite you to attend the opening night of ‘Metalux’ on Thursday, December 4th, 6 - 9 pm at Shop 13, 375 William Street, Boorloo 6000.

'Metalux', curated by Jo Law and Redmond Bridgeman, and facilitated by Paul Boyé, is a series of experimental cameraless films and experimental video from 1990’s Western Australia. These works represent a scene of filmic experimentation with materialist methodologies, influenced by the late Peter Mudie. The program considers perception construction, identity formation, and structures of consciousness through an investigation of the material of film.

The gallery is located on the ground floor and is wheelchair accessible. If you’re after dinner, please consider eating at one of our neighbours restaurants.

_____g.s is located on unceded Whadjuk Noongar Boodja. We pay our respects to Elders past and present and acknowledge their continuing sovereignty, culture and law. Always was, always will be, Aboriginal land.

is very excited to invite you to attend the opening night of ‘Metalux’ on Thursday, December 4th, 6 - 9 pm at Shop 13, 375 William Street, Boorloo 6000.

'Metalux', curated by Jo Law and Redmond Bridgeman, and facilitated by Paul Boyé, is a series of experimental cameraless films and experimental video from 1990’s Western Australia. These works represent a scene of filmic experimentation with materialist methodologies, influenced by the late Peter Mudie. The program considers perception construction, identity formation, and structures of consciousness through an investigation of the material of film.

The gallery is located on the ground floor and is wheelchair accessible. If you’re after dinner, please consider eating at one of our neighbours restaurants.

_____g.s is located on unceded Whadjuk Noongar Boodja. We pay our respects to Elders past and present and acknowledge their continuing sovereignty, culture and law. Always was, always will be, Aboriginal land.

is very excited to invite you to attend the opening night of ‘Metalux’ on Thursday, December 4th, 6 - 9 pm at Shop 13, 375 William Street, Boorloo 6000.

'Metalux', curated by Jo Law and Redmond Bridgeman, and facilitated by Paul Boyé, is a series of experimental cameraless films and experimental video from 1990’s Western Australia. These works represent a scene of filmic experimentation with materialist methodologies, influenced by the late Peter Mudie. The program considers perception construction, identity formation, and structures of consciousness through an investigation of the material of film.

The gallery is located on the ground floor and is wheelchair accessible. If you’re after dinner, please consider eating at one of our neighbours restaurants.

_____g.s is located on unceded Whadjuk Noongar Boodja. We pay our respects to Elders past and present and acknowledge their continuing sovereignty, culture and law. Always was, always will be, Aboriginal land.

un Magazine 19.1: Resonant imaginaries and sound clashes: contemporary – political – disruptive – polyrhythmic. Ed. Lucreccia Quintanilla 

WA Launch event
_____g.s
Shop 13, 375 William Street, Boorloo
Friday, September 19,
5 - 9pm

Featuring a panel talk with WA writers:
Ross Bolleter & Eduardo Cossio,
Samuel Beilby,
and mgmgmgmg (Chandler Abrahams, Paul Boye, Levi Mclean & Samuel Beilby).
Facilitated by Dr. Sarah Collins.

Also featuring live performances by:
Ross Bolleter & Eduardo Cossio,
mgmgmgmg

Un magazine 19.1 features contributions on experimental walking radio work, polyrhythms and singeli music, decolonising legacy sound art, Taiwanese noise scenes, ecological-focused sound workshops, and more. 

Please join us for a night of noise, experimental music, performance art and discussion. The publication will be available to purchase at the event.

@un_projects
@lucrecciaquintanilla
@eduardo__cossio
@samuelbeilby 
@custom_chrome_decal
@__pb_________
@__serge_de_nimes

The world is all cut-outs then
27 July - 7 September

Featuring Clara Joyce, Marcus Camphoo, Jimi DePriest & Nate Wood, Michael Snow.

Thank you to all the artists, Goolugatup Heathcote, Arlpwe Art Centre, Stray Pages, Toni Parkinson, Aaron Claringbold, Steve Berrick, Hugo Blomley, Karl Halliday, AGWA Collection, Kenta McGrath, Robert Cook & Rachel Cieśla. Exhibition Photos by Aaron Claringbold @waterrunningslowlyoverrocks

The world is all cut-outs then
27 July - 7 September

Featuring Clara Joyce, Marcus Camphoo, Jimi DePriest & Nate Wood, Michael Snow.

Thank you to all the artists, Goolugatup Heathcote, Arlpwe Art Centre, Stray Pages, Toni Parkinson, Aaron Claringbold, Steve Berrick, Hugo Blomley, Karl Halliday, AGWA Collection, Kenta McGrath, Robert Cook & Rachel Cieśla. Exhibition Photos by Aaron Claringbold @waterrunningslowlyoverrocks

The world is all cut-outs then
27 July - 7 September

Featuring Clara Joyce, Marcus Camphoo, Jimi DePriest & Nate Wood, Michael Snow.

Thank you to all the artists, Goolugatup Heathcote, Arlpwe Art Centre, Stray Pages, Toni Parkinson, Aaron Claringbold, Steve Berrick, Hugo Blomley, Karl Halliday, AGWA Collection, Kenta McGrath, Robert Cook & Rachel Cieśla. Exhibition Photos by Aaron Claringbold @waterrunningslowlyoverrocks

The world is all cut-outs then
27 July - 7 September

Featuring Clara Joyce, Marcus Camphoo, Jimi DePriest & Nate Wood, Michael Snow.

Thank you to all the artists, Goolugatup Heathcote, Arlpwe Art Centre, Stray Pages, Toni Parkinson, Aaron Claringbold, Steve Berrick, Hugo Blomley, Karl Halliday, AGWA Collection, Kenta McGrath, Robert Cook & Rachel Cieśla. Exhibition Photos by Aaron Claringbold @waterrunningslowlyoverrocks

The world is all cut-outs then
27 July - 7 September

Featuring Clara Joyce, Marcus Camphoo, Jimi DePriest & Nate Wood, Michael Snow.

Thank you to all the artists, Goolugatup Heathcote, Arlpwe Art Centre, Stray Pages, Toni Parkinson, Aaron Claringbold, Steve Berrick, Hugo Blomley, Karl Halliday, AGWA Collection, Kenta McGrath, Robert Cook & Rachel Cieśla. Exhibition Photos by Aaron Claringbold @waterrunningslowlyoverrocks

The world is all cut-outs then
27 July - 7 September

Featuring Clara Joyce, Marcus Camphoo, Jimi DePriest & Nate Wood, Michael Snow.

Thank you to all the artists, Goolugatup Heathcote, Arlpwe Art Centre, Stray Pages, Toni Parkinson, Aaron Claringbold, Steve Berrick, Hugo Blomley, Karl Halliday, AGWA Collection, Kenta McGrath, Robert Cook & Rachel Cieśla. Exhibition Photos by Aaron Claringbold @waterrunningslowlyoverrocks

The world is all cut-outs then
27 July - 7 September

Featuring Clara Joyce, Marcus Camphoo, Jimi DePriest & Nate Wood, Michael Snow.

Thank you to all the artists, Goolugatup Heathcote, Arlpwe Art Centre, Stray Pages, Toni Parkinson, Aaron Claringbold, Steve Berrick, Hugo Blomley, Karl Halliday, AGWA Collection, Kenta McGrath, Robert Cook & Rachel Cieśla. Exhibition Photos by Aaron Claringbold @waterrunningslowlyoverrocks

The world is all cut-outs then
27 July - 7 September

Featuring Clara Joyce, Marcus Camphoo, Jimi DePriest & Nate Wood, Michael Snow.

Thank you to all the artists, Goolugatup Heathcote, Arlpwe Art Centre, Stray Pages, Toni Parkinson, Aaron Claringbold, Steve Berrick, Hugo Blomley, Karl Halliday, AGWA Collection, Kenta McGrath, Robert Cook & Rachel Cieśla. Exhibition Photos by Aaron Claringbold @waterrunningslowlyoverrocks

The world is all cut-outs then
27 July - 7 September

Featuring Clara Joyce, Marcus Camphoo, Jimi DePriest & Nate Wood, Michael Snow.

Thank you to all the artists, Goolugatup Heathcote, Arlpwe Art Centre, Stray Pages, Toni Parkinson, Aaron Claringbold, Steve Berrick, Hugo Blomley, Karl Halliday, AGWA Collection, Kenta McGrath, Robert Cook & Rachel Cieśla. Exhibition Photos by Aaron Claringbold @waterrunningslowlyoverrocks

The world is all cut-outs then
27 July - 7 September

Featuring Clara Joyce, Marcus Camphoo, Jimi DePriest & Nate Wood, Michael Snow.

Thank you to all the artists, Goolugatup Heathcote, Arlpwe Art Centre, Stray Pages, Toni Parkinson, Aaron Claringbold, Steve Berrick, Hugo Blomley, Karl Halliday, AGWA Collection, Kenta McGrath, Robert Cook & Rachel Cieśla. Exhibition Photos by Aaron Claringbold @waterrunningslowlyoverrocks

The world is all cut-outs then
27 July - 7 September

Featuring Clara Joyce, Marcus Camphoo, Jimi DePriest & Nate Wood, Michael Snow.

Thank you to all the artists, Goolugatup Heathcote, Arlpwe Art Centre, Stray Pages, Toni Parkinson, Aaron Claringbold, Steve Berrick, Hugo Blomley, Karl Halliday, AGWA Collection, Kenta McGrath, Robert Cook & Rachel Cieśla. Exhibition Photos by Aaron Claringbold @waterrunningslowlyoverrocks

It’s the last week to see our exhibition SNEAK OUT at TCB, Brunswick. The exhibition text can be read via the link in my bio.

Featuring Dan Bourke, Oliver Hull, Chloe Nolan, Ella Valentine and a screening of Nightcleaners by Berwick Street Collective.

The opening night also staged a performance work by Grace Connors, titled ‘Keith’.

SNEAK OUT pathologises the blurred boundaries between home and work spaces as domains of limit, and looks to heighten and/or mitigate anxieties felt in such spaces.

Thanks to TCB, Viva and Camille, Berwick St Collective/Lux London, Dan, Chloe, Grace, Oli, Ella and Seb.

Exhibition closes after 17 August. Also exhibiting alongside Anita Cummins’ ‘Taper’ in gallery 1.

Exhibition documentation by Seb Kainey @sebastiankainey @dan__bourke @ellavalentine____ @tcb_gallery @gracecorners @c.hloe.nolan @oliverhullllll

It’s the last week to see our exhibition SNEAK OUT at TCB, Brunswick. The exhibition text can be read via the link in my bio.

Featuring Dan Bourke, Oliver Hull, Chloe Nolan, Ella Valentine and a screening of Nightcleaners by Berwick Street Collective.

The opening night also staged a performance work by Grace Connors, titled ‘Keith’.

SNEAK OUT pathologises the blurred boundaries between home and work spaces as domains of limit, and looks to heighten and/or mitigate anxieties felt in such spaces.

Thanks to TCB, Viva and Camille, Berwick St Collective/Lux London, Dan, Chloe, Grace, Oli, Ella and Seb.

Exhibition closes after 17 August. Also exhibiting alongside Anita Cummins’ ‘Taper’ in gallery 1.

Exhibition documentation by Seb Kainey @sebastiankainey @dan__bourke @ellavalentine____ @tcb_gallery @gracecorners @c.hloe.nolan @oliverhullllll

It’s the last week to see our exhibition SNEAK OUT at TCB, Brunswick. The exhibition text can be read via the link in my bio.

Featuring Dan Bourke, Oliver Hull, Chloe Nolan, Ella Valentine and a screening of Nightcleaners by Berwick Street Collective.

The opening night also staged a performance work by Grace Connors, titled ‘Keith’.

SNEAK OUT pathologises the blurred boundaries between home and work spaces as domains of limit, and looks to heighten and/or mitigate anxieties felt in such spaces.

Thanks to TCB, Viva and Camille, Berwick St Collective/Lux London, Dan, Chloe, Grace, Oli, Ella and Seb.

Exhibition closes after 17 August. Also exhibiting alongside Anita Cummins’ ‘Taper’ in gallery 1.

Exhibition documentation by Seb Kainey @sebastiankainey @dan__bourke @ellavalentine____ @tcb_gallery @gracecorners @c.hloe.nolan @oliverhullllll

It’s the last week to see our exhibition SNEAK OUT at TCB, Brunswick. The exhibition text can be read via the link in my bio.

Featuring Dan Bourke, Oliver Hull, Chloe Nolan, Ella Valentine and a screening of Nightcleaners by Berwick Street Collective.

The opening night also staged a performance work by Grace Connors, titled ‘Keith’.

SNEAK OUT pathologises the blurred boundaries between home and work spaces as domains of limit, and looks to heighten and/or mitigate anxieties felt in such spaces.

Thanks to TCB, Viva and Camille, Berwick St Collective/Lux London, Dan, Chloe, Grace, Oli, Ella and Seb.

Exhibition closes after 17 August. Also exhibiting alongside Anita Cummins’ ‘Taper’ in gallery 1.

Exhibition documentation by Seb Kainey @sebastiankainey @dan__bourke @ellavalentine____ @tcb_gallery @gracecorners @c.hloe.nolan @oliverhullllll

It’s the last week to see our exhibition SNEAK OUT at TCB, Brunswick. The exhibition text can be read via the link in my bio.

Featuring Dan Bourke, Oliver Hull, Chloe Nolan, Ella Valentine and a screening of Nightcleaners by Berwick Street Collective.

The opening night also staged a performance work by Grace Connors, titled ‘Keith’.

SNEAK OUT pathologises the blurred boundaries between home and work spaces as domains of limit, and looks to heighten and/or mitigate anxieties felt in such spaces.

Thanks to TCB, Viva and Camille, Berwick St Collective/Lux London, Dan, Chloe, Grace, Oli, Ella and Seb.

Exhibition closes after 17 August. Also exhibiting alongside Anita Cummins’ ‘Taper’ in gallery 1.

Exhibition documentation by Seb Kainey @sebastiankainey @dan__bourke @ellavalentine____ @tcb_gallery @gracecorners @c.hloe.nolan @oliverhullllll

Opening 26 July at Goolugatup Heathcote . . .
THE WORLD IS ALL CUT-OUTS THEN
 
The container spelt out boundaries of control, negotiation, contract and expectation. Air and other such affordances permeated the membrane/squalled the gates. There is action between what is ‘inside’ and what is ‘outside’.
 
•

A window to the south is rough with raindrops 
That, caught in the screen, spell out untranslatable glyphs
 
- James Schuyler, Hymn to Life


Featuring work by Kaytetye and Alywarr man Marcus ‘Double O’ Camphoo Kemarre; painting by Melbourne-based Clara Joyce; a new collaboration of soft robotics sculpture and sound by Jimi DePriest & Nate Wood; and an exhibition screening of ‘Solar Breath (Northern Caryatids)’ (2002) by late Canadian filmmaker Michael Snow, borrowed from the Art Gallery of Western Australia; curated by Goolugatup Gallery Curator Paul Boye.

Image: Jimi DePriest, ‘Critical Mass’, courtesy of the artist.
Exhibition opens 26 July and runs until 7 September. More information on our website goolugatup.com

Opening 26 July at Goolugatup Heathcote . . .
THE WORLD IS ALL CUT-OUTS THEN
 
The container spelt out boundaries of control, negotiation, contract and expectation. Air and other such affordances permeated the membrane/squalled the gates. There is action between what is ‘inside’ and what is ‘outside’.
 
•

A window to the south is rough with raindrops 
That, caught in the screen, spell out untranslatable glyphs
 
- James Schuyler, Hymn to Life


Featuring work by Kaytetye and Alywarr man Marcus ‘Double O’ Camphoo Kemarre; painting by Melbourne-based Clara Joyce; a new collaboration of soft robotics sculpture and sound by Jimi DePriest & Nate Wood; and an exhibition screening of ‘Solar Breath (Northern Caryatids)’ (2002) by late Canadian filmmaker Michael Snow, borrowed from the Art Gallery of Western Australia; curated by Goolugatup Gallery Curator Paul Boye.

Image: Jimi DePriest, ‘Critical Mass’, courtesy of the artist.
Exhibition opens 26 July and runs until 7 September. More information on our website goolugatup.com

In solidarity with @peacefender

In solidarity with @peacefender

In solidarity with @peacefender

You picture the beginning of a story. (Anyone can do that.) You try to describe it. (And anyone can try.) Your mind offers up a word, or three, or a dozen. (It’s not much different from what happens when you write a friend in a letter what you did yesterday morning.) You write the words down, the first, the second, the third, fourth, fifth, sixth, seventh—suddenly you doubt.

— Samuel R. Delany, About Writing: Seven Essays, Four Letters, & Five Interviews
🪄🪄🪄
As a part of our Out-Of-Office Night Courses, two writing workshops will be held for artists, arts writers and other word-interested people. February 15, 6-9pm at FORM Gallery and Cafe. Limited spaces!

This first workshop will be focused on ‘worldbuilding’ - a set of imaginative and ideational processes for character creation, exposition, setting and cosmic thinking. We will be asking questions such as: what role does fantasy play in writing about and around art? Is there something we can learn from our favourite sci-fi movies that can be applied to the artistic interrogation of the world we live in?

Facilitated by Kieron Broadhurst and Paul Boyé, this workshop will take its structure from a tabletop game designed to prompt writers to consider characters, themes, motivations and worlds.

$10 workshop fee (optional, email hello@coolchange.net.au to reserve a place without a ticket), classes run from 6pm - 9pm.
Refreshments provided. More information: link in bio.