Craig Walsh transfigured nights, surprising days

The artworks developed by Craig Walsh over the last sixteen years in Australia and around the world take the immediacy of the moving image and place it in unexpected places doing unexpected things. With a strong global profile he is increasingly being asked to participate in prestigious international events, most recently Drift 08 in London and Koganecho Bazaar in Yokohama.

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Jun Nguyen-Hatsushiba seduction and imponderability

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Deborah Kelly's gods, monsters and probable histories

Each of Deborah Kelly's projects has multiple identities and is cut to fit a certain idea. They are 'both nomadic and site-specific, traversing worlds from art institutions to supermarket shelves and creating multifarious audiences along the way'. Her best known work 'Beware of the God' was first projected over the MCA in 2005 and was last seen at the 2008 Singapore Biennale.

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Perils of the studio: inside the artistic affairs of bohemian Melbourne, Alex Taylor

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Performances at Biennale of Sydney 2008 Revolutions - Forms That Turn

Performance at Biennale of Sydney 2008 Revolutions - Forms That Turn Curator: Caroline Christov-Bakargiev 18 June 7 September 2008

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Biennale of Sydney 2008 Revolutions - Forms That Turn

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Helen Fuller: Domestic forensics

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Bal Tashchit: Thou Shalt Not Destroy

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Jon Cattapan: possible histories

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Uneasy: Recent South Australian Art

Uneasy: Recent South Australian Art Curator: Timothy Morrell Samstag Museum of Art, University of South Australia 20 June - 17 August 2008

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George Gittoes art and the war on terror

George Gittoes' latest film Miscreants was made in Pakistan and records the contradictions of life there with the polemic of Goya and the speed of an MTV music clip. This film follows his earlier cult films Soundtrack to War and Rampage. Gittoes is never a dispassionate observer, he continues to paint and to draw, making war art that is emotional as well as rich with the difficult truths of our time.

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Rose Farrell and George Parkin: home (operating) theatre

Rose Farrell and George Parkin's art consist of photographs of tableaux involving the artists in sets that they build in their home. They frequently copy old medical illustrations in which the reality of the past is both made to live and to seem ever more mythical. Dylan Rainforth takes an informative and affectionate approach to the complexity of Farrell and Parkin's modus operandi and their newest photographic series called Restoration.

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