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Join us for the opening of ‘Parádeisos’, the first solo institutional exhibition by Jordan Gogos, this Friday at UNSW Galleries.

📍 6–8pm, Friday 29 May
🔗 Register via the link in our bio
🥂 Free entry

Australian artist and fashion designer Jordan Gogos transforms ephemera into visions of paradise. His practice is open-ended and improvisational, collaging colour and texture, folk traditions with queer sensibilities, and domestic craft with pop exuberance, to reimagine oddments as an opportunity for invention.

‘Parádeisos’ is framed around the Greek vision of a cultivated paradise, at once real and imagined. Here, it becomes a metaphor for the deeply personal and joyfully collective worlds Gogos creates.

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Image Courtesy of the artist. Photo: Jordan Drysdale

Join us for the opening of ‘Kalisolaite ‘Uhila: Koe tenga tete to tete utu pe koia’ this Friday.

📍 6–8pm Friday 29 May
🔗 Register via the link in our bio
🥂 Free entry

‘Uhila marks the opening with a durational performance, peeling and offering oranges to visitors as a gesture of community.

‘Koe tenga tete to tete utu pe koia’ sees the artist retrace a formative period of time spent in Mildura as a teenager. The project explores how memory, labour, and tenderness intertwine, inviting an intimate encounter with ‘Uhila’s practice, and revealing how the seeds of our past continue to bear fruit in unexpected ways.

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Image: Kalisolaite ‘Uhila, Koe tenga tete to tete utu pe koia’, 2026. Install documentation: Te Uru Waitakere Contemporary Gallery, Aotearoa

Join us for the opening of ‘Kalisolaite ‘Uhila: Koe tenga tete to tete utu pe koia’ this Friday.

📍 6–8pm Friday 29 May
🔗 Register via the link in our bio
🥂 Free entry

‘Uhila marks the opening with a durational performance, peeling and offering oranges to visitors as a gesture of community.

‘Koe tenga tete to tete utu pe koia’ sees the artist retrace a formative period of time spent in Mildura as a teenager. The project explores how memory, labour, and tenderness intertwine, inviting an intimate encounter with ‘Uhila’s practice, and revealing how the seeds of our past continue to bear fruit in unexpected ways.

—
Image: Kalisolaite ‘Uhila, Koe tenga tete to tete utu pe koia’, 2026. Install documentation: Te Uru Waitakere Contemporary Gallery, Aotearoa

Join us for the opening of ‘Kalisolaite ‘Uhila: Koe tenga tete to tete utu pe koia’ this Friday.

📍 6–8pm Friday 29 May
🔗 Register via the link in our bio
🥂 Free entry

‘Uhila marks the opening with a durational performance, peeling and offering oranges to visitors as a gesture of community.

‘Koe tenga tete to tete utu pe koia’ sees the artist retrace a formative period of time spent in Mildura as a teenager. The project explores how memory, labour, and tenderness intertwine, inviting an intimate encounter with ‘Uhila’s practice, and revealing how the seeds of our past continue to bear fruit in unexpected ways.

—
Image: Kalisolaite ‘Uhila, Koe tenga tete to tete utu pe koia’, 2026. Install documentation: Te Uru Waitakere Contemporary Gallery, Aotearoa

IORDANES SPYRIDON GOGOS AT AUSTRALIAN FASHION WEEK⁠
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Can you see a world in a button? @jordangogos can. ⁠
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Arts-Matter was so excited to see our arts community come out — and take to the runway — for designer Jordan Gogos' AFW Resort 2027 show, 'Act VI. The Trojan Horse Held in Buttons', at UNSW Galleries. ⁠
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Not even a fire alarm or an evacuation could stop the show ⁠🚨⁠
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Featuring artists @remy.faint @tonyalbert@vickileelee @ramesh__mario @kirshakaechele @nellartist 🌟⁠
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@iordanesspyridongogos
@jordangogos
⁠

@IORDANESSPYRIDONGOGOS Act VI. The Trojan Horse Held in Buttons. AFC Australian Fashion Week presented by Shark Beauty @afcaustralianfashionweek.
Presented by @unswgalleries @unsw
UNSW Galleries Director @inventaire
Music by @nickwalesmusic
Sponsored by @masterfoods
Official Skin Partner @skincontrol
Official Hair Partner @schwarzkopfproanz Hair Director @jasonfassbender @deeparkersttwood
Makeup Director @susanlillianmakeup
Head of Design @mary.argy
Shoes @schooloffootwear @josephboticaDee
Headwear @ccharliehope
Knitwear @billie.ronis
Weaving @austapestryworkshop
Couture Hand Work @valjhans
Producer - UNSW Galleries & Curatorial Assistant @emiroebuckk
Invitation design/ Look 6 Artwork @brittanywyper
With special thanks to @powerhousemuseum @unswgalleries @austapestry @brandpartnerau
2025/26 Interns #MartaNunes #TeddyMcRitchie #ElizabethTran #LillianJut #JennaGill CharlotteThomson

@IORDANESSPYRIDONGOGOS Act VI. The Trojan Horse Held in Buttons. AFC Australian Fashion Week presented by Shark Beauty @afcaustralianfashionweek.
Presented by @unswgalleries @unsw
UNSW Galleries Director @inventaire
Music by @nickwalesmusic
Sponsored by @masterfoods
Official Skin Partner @skincontrol
Official Hair Partner @schwarzkopfproanz Hair Director @jasonfassbender @deeparkersttwood
Makeup Director @susanlillianmakeup
Head of Design @mary.argy
Shoes @schooloffootwear @josephboticaDee
Headwear @ccharliehope
Knitwear @billie.ronis
Weaving @austapestryworkshop
Couture Hand Work @valjhans
Producer - UNSW Galleries & Curatorial Assistant @emiroebuckk
Invitation design/ Look 6 Artwork @brittanywyper
With special thanks to @powerhousemuseum @unswgalleries @austapestry @brandpartnerau
2025/26 Interns #MartaNunes #TeddyMcRitchie #ElizabethTran #LillianJut #JennaGill CharlotteThomson

Announcing: On 14 May, UNSW Galleries will present the latest collection by Iordanes Spyridon Gogos as part of the 2026 AFC Australian Fashion Week.

Founded in 2021, ISG is a fashion house that merges research‑based, practice‑led sustainability with textile innovation and avant‑garde design. Led by designer Jordan Gogos, the label is recognised for its bold, sculptural garments that challenge conventional fashion norms.

For the first time in three years, ISG will also reprise the presentation for a special public audience. Tickets are available from the AFC website.

Following AFW, Jordan Gogos will also present his first institutional exhibition at UNSW Galleries. Opening on 29 May, ‘Parádeisos’ offers unprecedented insight into Gogos’s interdisciplinary practice, revealing the ambitious scale, technical complexity, and emotional intensity that define his work.

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Jordan Gogos, 2026. Photo: Jordan Drysdale

See Lillian O’Neil’s work in ‘All the World’s Memories’ before the exhibition closes this Sunday 3 May 2026.

In the exhibition’s accompanying text, Judy Annear writes on O’Neil’s practice:

“Variations in the dot screens of component images are preserved, reflective of differing origins. The titles are often laconic, redolent of the mundane, yet serve to emphasise the emotional complexity of the severed and reassembled imagery. The usual life of images is to never say what they are, only to reflect what we want to see. In O’Neil’s works, we are tantalised by the formal structures, the strength of the cuts and the montaged imagery, all of which lead us elsewhere.”

📍 Visit the exhibition this weekend:
Sat–Sun 12pm–5pm

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Photo: Jacquie Manning

See Lillian O’Neil’s work in ‘All the World’s Memories’ before the exhibition closes this Sunday 3 May 2026.

In the exhibition’s accompanying text, Judy Annear writes on O’Neil’s practice:

“Variations in the dot screens of component images are preserved, reflective of differing origins. The titles are often laconic, redolent of the mundane, yet serve to emphasise the emotional complexity of the severed and reassembled imagery. The usual life of images is to never say what they are, only to reflect what we want to see. In O’Neil’s works, we are tantalised by the formal structures, the strength of the cuts and the montaged imagery, all of which lead us elsewhere.”

📍 Visit the exhibition this weekend:
Sat–Sun 12pm–5pm

–
Photo: Jacquie Manning

See Lillian O’Neil’s work in ‘All the World’s Memories’ before the exhibition closes this Sunday 3 May 2026.

In the exhibition’s accompanying text, Judy Annear writes on O’Neil’s practice:

“Variations in the dot screens of component images are preserved, reflective of differing origins. The titles are often laconic, redolent of the mundane, yet serve to emphasise the emotional complexity of the severed and reassembled imagery. The usual life of images is to never say what they are, only to reflect what we want to see. In O’Neil’s works, we are tantalised by the formal structures, the strength of the cuts and the montaged imagery, all of which lead us elsewhere.”

📍 Visit the exhibition this weekend:
Sat–Sun 12pm–5pm

–
Photo: Jacquie Manning

See Lillian O’Neil’s work in ‘All the World’s Memories’ before the exhibition closes this Sunday 3 May 2026.

In the exhibition’s accompanying text, Judy Annear writes on O’Neil’s practice:

“Variations in the dot screens of component images are preserved, reflective of differing origins. The titles are often laconic, redolent of the mundane, yet serve to emphasise the emotional complexity of the severed and reassembled imagery. The usual life of images is to never say what they are, only to reflect what we want to see. In O’Neil’s works, we are tantalised by the formal structures, the strength of the cuts and the montaged imagery, all of which lead us elsewhere.”

📍 Visit the exhibition this weekend:
Sat–Sun 12pm–5pm

–
Photo: Jacquie Manning

See Lillian O’Neil’s work in ‘All the World’s Memories’ before the exhibition closes this Sunday 3 May 2026.

In the exhibition’s accompanying text, Judy Annear writes on O’Neil’s practice:

“Variations in the dot screens of component images are preserved, reflective of differing origins. The titles are often laconic, redolent of the mundane, yet serve to emphasise the emotional complexity of the severed and reassembled imagery. The usual life of images is to never say what they are, only to reflect what we want to see. In O’Neil’s works, we are tantalised by the formal structures, the strength of the cuts and the montaged imagery, all of which lead us elsewhere.”

📍 Visit the exhibition this weekend:
Sat–Sun 12pm–5pm

–
Photo: Jacquie Manning

Grant Stevens’ large‑scale projection presents a sequence of evocative words set against a shifting field of colour. The work unfolds like a PowerPoint presentation, moving back and forth through a dataset of more than 1,300 words that describe a broad spectrum of human emotions.

For the exhibition reader, Katie Dyer writes: “Somewhere in this strange cycle of abstracting and cataloguing our inner worlds, ‘Feelings’ provides a space for catharsis.”

📍 Hear from Grant Stevens in conversation with Ana Iti and Katie Dyer this Thursday 30 April.

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Photo: Jacquie Manning

Grant Stevens’ large‑scale projection presents a sequence of evocative words set against a shifting field of colour. The work unfolds like a PowerPoint presentation, moving back and forth through a dataset of more than 1,300 words that describe a broad spectrum of human emotions.

For the exhibition reader, Katie Dyer writes: “Somewhere in this strange cycle of abstracting and cataloguing our inner worlds, ‘Feelings’ provides a space for catharsis.”

📍 Hear from Grant Stevens in conversation with Ana Iti and Katie Dyer this Thursday 30 April.

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Photo: Jacquie Manning

The text fragments depicted in Ana Iti’s video work ‘A dusty handrail on the track’ (2021) are drawn from the fictional writing of three wāhine Māori (Māori women): June Mitchell, Keri Hulme, and JC Sturm.

Working from digital scans of these texts, Ana Iti uses the search function to trace words she has returned to throughout her practice: looking, path, search, track, trying, waiting, undo, progress.

“For Iti, the search function becomes a way of listening rather than a tool of extraction: an attunement to how these words resonate as they pass between different voices, across history and time,” writes Catherine Woolley in the ‘All the World’s Memories’ reader.

📍 Hear from Ana Iti in conversation with Grant Stevens and Katie Dyer this Thursday 30 April.

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Photo: Jacquie Manning

The text fragments depicted in Ana Iti’s video work ‘A dusty handrail on the track’ (2021) are drawn from the fictional writing of three wāhine Māori (Māori women): June Mitchell, Keri Hulme, and JC Sturm.

Working from digital scans of these texts, Ana Iti uses the search function to trace words she has returned to throughout her practice: looking, path, search, track, trying, waiting, undo, progress.

“For Iti, the search function becomes a way of listening rather than a tool of extraction: an attunement to how these words resonate as they pass between different voices, across history and time,” writes Catherine Woolley in the ‘All the World’s Memories’ reader.

📍 Hear from Ana Iti in conversation with Grant Stevens and Katie Dyer this Thursday 30 April.

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Photo: Jacquie Manning

Memo Magazine Issue 4 Sydney Launch

Friday 1 May 2026, UNSW Galleries, Cnr Oxford St & Greens Rd Paddington, 6-8PM

Having an ‘editorial line’ is the backbone of any successful publication. But what exactly is Memo’s? What critical values and aesthetic standards does it seek to uphold? Which artistic practices are deemed worthy of comment, and which are not? With whose interests is it aligned, or rather misaligned? And what is the role of a publication like Memo in today’s uncertain times?

To mark the launch of Issue 4, Memo editors Amelia Winata, Hilary Thurlow, and Paris Lettau will lay all their cards on the table in this discussion. Who holds what cards, and whether they even agree on anything, remains unclear.

Come to join the conversation, grab a copy of the latest issue, and enjoy the generous hospitality provided by UNSW Galleries.

Free. Registration link in bio.

@pliteau @winnyyoyo @hildiddy @unswgalleries #memoreview

For 'All the World’s Memories', Tim Riley Walsh writes on Matthew Harris’ work:

“The artist began this work following two visits to international museums. An Aboriginal skull encountered within these collections represents one example among many thousands of First Nations remains consigned to the oblivion of the archive.

When on view, the dark realities of their procurement go unspoken, and the ongoing human and cultural toll of their absence from home remains unseen. When not on view, their forms are erased from sight and light altogether, packed away in concrete boxes designed to house as many smaller white boxes as required. Inaccessible to their rightful custodians. A very different kind of abstraction.”

📍 We’re open today, 25 April, from 12–5pm. Harris’ work will be on view at UNSW Galleries until Sunday, 3 May 2026.

Hear from artists Grant Stevens and Ana Iti in conversation with Katie Dyer as they discuss their works in the exhibition ‘All the World’s Memories’ at UNSW Galleries.

📅 5.30pm Thursday 30 April 2026
🔗 Free, register via the link in our bio

Working across moving image and screen-based media, their practices reflect on how memory is mediated through language, text, and systems of knowledge. The conversation explores affective registers and embodied archives, tracing how memory circulates between inner worlds and shared realities.
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Images courtesy of the artist

Hear from artists Grant Stevens and Ana Iti in conversation with Katie Dyer as they discuss their works in the exhibition ‘All the World’s Memories’ at UNSW Galleries.

📅 5.30pm Thursday 30 April 2026
🔗 Free, register via the link in our bio

Working across moving image and screen-based media, their practices reflect on how memory is mediated through language, text, and systems of knowledge. The conversation explores affective registers and embodied archives, tracing how memory circulates between inner worlds and shared realities.
—
Images courtesy of the artist

Hear from artists Grant Stevens and Ana Iti in conversation with Katie Dyer as they discuss their works in the exhibition ‘All the World’s Memories’ at UNSW Galleries.

📅 5.30pm Thursday 30 April 2026
🔗 Free, register via the link in our bio

Working across moving image and screen-based media, their practices reflect on how memory is mediated through language, text, and systems of knowledge. The conversation explores affective registers and embodied archives, tracing how memory circulates between inner worlds and shared realities.
—
Images courtesy of the artist

“Astral and terrestrial are words that spring to mind when experiencing the work of Aṉangu artist Desmond Woodforde…

drawn in water (one of his many elemental references) on a silkscreen, before being inked and transferred onto paper as crisply delineated forms.

The high‑pressure water is percussive, eroding the masking agent and exposing an entire constellation,” explains Lisa Slade in the ‘All the World’s Memories’ exhibition reader.

📍 You can view Desmond Woodforde’s silkscreens and prints at UNSW Galleries in ‘All the World’s Memories’, until Sunday 3 May.

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Photo: Jaquie Manning

“Astral and terrestrial are words that spring to mind when experiencing the work of Aṉangu artist Desmond Woodforde…

drawn in water (one of his many elemental references) on a silkscreen, before being inked and transferred onto paper as crisply delineated forms.

The high‑pressure water is percussive, eroding the masking agent and exposing an entire constellation,” explains Lisa Slade in the ‘All the World’s Memories’ exhibition reader.

📍 You can view Desmond Woodforde’s silkscreens and prints at UNSW Galleries in ‘All the World’s Memories’, until Sunday 3 May.

—

Photo: Jaquie Manning