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Issues
Indonesia Focus
Issue 43:1 | Parnati–Kudlila / Autumn–Winter 2023
Experiment
Issue 32:3 | September 2012
Fuel for Thought
Issue 28:1 | March 2008
Hybrid World
Issue 24:4 | December 2004
The China Phenomenon
Issue 23:4 | December 2003
Art & Enterprise
Issue 22:3 | September 2002
Best Practice: Export Quality
Issue 21:4 | December 2001
The Big Pond: Australian Artists Overseas
Issue 18:4 | December 1998
Contemporary Arts of the Region: SE Asia & Australia
Issue 13:3&4 | December 1993
Articles
Editorial
This country is broader than our accents and older than almost any other place on the planet, yet there is a great untruth at its heart that we are still not confronting as a people.
On seeing the pattern
Emeritus Professor of Visual Arts at Flinders University and Founder of the Experimental Art Foundation, Donald Brook takes on the March 2012 issue of Artlink titled 'Pattern and Complexity' and guest edited by well-known curator Margot Osborne.
Street legal: unmediated exchange
Eco-architect Paul Downton gets down with street artist Peter Drew who endorses Adelaide's mayor Stephen Yarwood's statement: “Art isn’t just for art galleries… Cities are the best art galleries you could possibly have.” Yet Drew also thinks that street art will maintain its authenticity “because there’s always going to be an illegal aspect to it…"
Trying to burn a rainbow
Artist, writer, history/theory lecturer at RMIT’s School of Architecture and Design, and ex-Director of West Space, Phip Murray riffs on and includes comments from curators and artists about experimentality and ARIs, including the contradictions of their potential radicality and their co-option as incubators.
Why the Guerilla Girls don't have to be naked to get into the Met
Curator Laura Castagnini interviews Guerilla Girls founding members Frida Kahlo and Käthe Kollwitz on the past, the present, the legacy of feminist activism and the institutionalisation of experimental practices.
The grey space between art and politics
Curator and Artistic Director of LUMA, La Trobe University Museum of Art, Vincent Alessi discusses art that is political and experimental focusing on the recent work of Melbourne-based Carl Scrase who describes the Occupy Movement as: “one of the greatest social art experiments the world has ever seen."
Artist run spaces of the future
Christopher Lee Kennedy plays inside a living museum called Elsewhere, and is pursuing a PhD at the University of North Carolina. Here he culture-jams with Erica Curry of Lousiana, Paula Damasceno of Brazil, Aislinn Pentecost-Farrin of North Carolina, Wythe Marschall and Ethan Gould of New York, and Capp Larsen of Halifax, California, about their experiences of artist-run spaces, their passions, joys, discontents and plasticities.
Writing with art
Melbourne-based writer and curator Anusha Kenny discusses the writing about art that she likes by poets Ken Bolton, Alex Selenitsch and John Forbes and contrasts it with the situation described by Adrian Martin in a recent article in 'Discipline' lamenting the fact that so much art writing is chained to “the hit-parade values of the art market”.
The original model - Australian Experimental Art Foundation
Long term resident artist at the department of Medical Biotechnology, Flinders University in Adelaide, Niki Sperou describes the fluidity of the Experimental Art Foundation (now the Australian Experimental Art Foundation)which is now almost four decades old.
No hotheads in this hothouse - Adhocracy
Self-confessed techno-evangelist and nomadic geek artist Fee Plumley is about to head off on a reallybigroadtrip. Before she left Adelaide she participated and revelled in Vitalstatistix's live art incubator Adhocracy. She suggests: "We should [all] take full advantage of Regional Arts Australia’s conference, Kumuwuki,(18-21 October 2012 in Goolwa, South Australia) where Sara Diamond (the creator of the Banff New Media Institute) will speak.
Every map has an agenda? PVI
Kellie McClusky is an artist, writer and Head Girl of the celebrated PVI Collective in Perth. She describes their new work 'deviator' and some of the experimental thinking and working processes of PVI including a wiki-map of connections.
On SafARI in Sydney
SafARI is the unofficial fringe event to the Biennale of Sydney, presenting the work of unrepresented Australian artists across multiple artist-run initiatives and public spaces in Sydney. It was founded in 2004 by Lisa Corsi and Margaret Farmer. Artists are selected after an open call for submissions.
ARIna spaces for the unexpected
Curator Brianna Munting, who co-organised (with Georgie Meagher) the We Are Here Symposium of ARIs in Sydney in 2011, describes the new ARI online resource ARIna and asks: "Perhaps what we really need is to spend a lot more time asking each other whether our architectures and images, our hierarchies and ambitions, our ideas and narratives, are really any good for us or simply cultural fictions?"
Biennale of Sydney - Catherine De Zegher
Guest editor of Artlink and writer Din Heagney interviews Catherine De Zegher, one of the Directors of the 18th Biennale of Sydney (the first she curated) who is now the Director of the 5th Moscow Biennale 2013. De Zegher acknowledges the balancing act between the conventions of Biennales and attempting to experiment and step beyond them.
Adelaide Biennale of Australian Art - Alexi Glass-Kantor & Natasha Bullock
Artlink Experiment Guest Editor, writer and critic Din Heagney probes the curators of the 2012 Adelaide Biennale of Australian Art and in particular their approach to the embedding of artworks in the colonial Elder Wing of the Gallery.
Experimental International Biennial of Media Art - Abigail Moncrieff
Guest Editor of Artlink on Experiment and writer Din Heagney interviews Abigail Moncrieff, the curator of the '2012 Experimenta: speak to me' which explores 'interconnectivity' through the commissioning of new works and their location around Melbourne.
Remembering: Rethinking a place in the sun
Alice Springs-based writer Kieran Finnane writes a tribute and homage to the work of Pamela Lofts who died on July 4 2012 of motor neurone disease. Since 1992 Lofts held 27 solo shows across Australia and was the founder in 1993 of the Alice Springs artist-run initiative 'Watch This Space'. Her legacy in the desert is profound with a singular and generous body of work arising from the contact zone between white and Aboriginal Australia. She will be deeply missed.
Contemporary Australia: Women
Gallery of Modern Art (GoMA) and Queensland Art Gallery (QAG), Brisbane 21 April – 22 July 2012
dOCUMENTA (13)
Artistic Director: Carolyn Christov-Bakargiev Kassel, Germany 9 June – 16 September 2012
Theatre of the World
Curator: Jean-Hubert Martin MONA (Museum of Old and New Art) in collaboration with TMAG (Tasmanian Museum and Art Gallery), Hobart 23 June 2012 – 8 April 2013
18th Biennale of Sydney: all our relations
Artistic Directors: Catherine de Zegher and Gerald McMaster Museum of Contemporary Art, Cockatoo Island, Art Gallery of New South Wales, Pier 2/3, Carriageworks 27 June – 16 September 2012
18th Biennale of Sydney: all our relations
Artistic Directors: Catherine de Zegher and Gerald McMaster Museum of Contemporary Art, Cockatoo Island, Art Gallery of New South Wales, Pier 2/3, Carriageworks 27 June – 16 September 2012
unDisclosed: second National Indigenous Art Triennial
Curator: Carly Lane National Gallery of Australia, Canberra 11 May – 22 July 2012
Camouflage: Visual Art and Design in Disguise
Kiasma Museum of Contemporary Art Helsinki, Finland 15 June – 7 October 2012
No Added Sugar: Engagement and Self-determination
Curator: Rusaila Bazlamit Casula Powerhouse Arts Centre 12 May – 18 July 2012
The Kick Ass Painting Show
Curators: Brigid Noone, Ben Leslie Fontanelle, Adelaide 24 May – 30 June 2012
In-Habit (Project Another Country)
Sherman Contemporary Art Foundation, Sydney 22 June – August 2012
South Australia Illustrated: Colonial painting in the Land of Promise
Curator: Jane Hylton Art Gallery of South Australia 2 June – 5 August 2012
We are all Flesh: Berlinde De Bruckyere
ACCA (Australian Centre for Contemporary Art), Melbourne 2 June – 29 July 2012
A rusty sign at the end of a bloody empire
At Magnet Gallery in Quezon City Filipino artist Norberto Roldans exhibition Oil goes beyond the local situation and deals with the theme of peak oil as the root of all geopolitical evil, with the United States of America as the primary agent of ill intent. Lourd de Vera vividly describes it as a deliberate exercise in propaganda and sloganeering. Roldan takes a broad historical view and reflects on US policy in the Philippines over time while the rusting Caltex sign embedded in the exhibition asserts a warning: no empire lasts forever.
Conducting Mobility
Artists thinking and making work about fuel span the globe and delve into a wide range of ramifications. UK-based PLATFORM have done a multi-pronged report called Unraveling the Carbon Web on four oil-producing hot spots, Iraq, Nigeria, Russia and the Caucasus. Chicago-based Laurie Palmers Notions of Expenditure solicits renderings of exercise equipment and gyms redesigned for the production of electricity. Brian Collier wanders the edges of Illinois highways to locate thriving non-human life forms. kanarinka documented her running of the official evacuation route out of Boston while collaborators Kim Stringfellow, Amy Balkin, Tim Halbur, Pond and Greenaction made an audio guide for a Californian highway drawing its military, residential and agricultural stories together.
Watching as the enchanted land meets its end: Qiu Anxiong
With traditional Chinese brush painting skills Qiu Anxiong's three screen video animation New Book of Mountains and Seas, Part 1 shows the history of the world from its genesis as a vast sea to cities on the edge of destruction. It shows cycles of animal, bird and human life, oil drums and pipes, trees, mountains, the last ten yeas in China and the Great Wall of China. A modern version of the Shanhai Jing (The Classic of Mountains and Sea) the two thousand year old Chinese fanciful geography, Qiu Anxiong's animations brilliantly use scale to combine drawing with political comments.
Hyperlexic, desalinated but not scary
Separate performance works by The Collective (Alana Hunt, Sylvia Schwenk, Ingrid Dernee, Megan Brewster, Susie Fraser, Anna Williams), Tony Schwensen and Zina Kaye confront the complexity of the interlinked flashpoints of oil, energy, human rights, global warming, rampant flows of predatory capital and the war on terror with notions of resistance and how individuals can act. Schwensen was at Artspace, The Collective in Trajectories of Dissent at Little Fish Gallery and Mori Gallery while Zina Kaye in a Terminus Project at Westfield Bondi Junction broadcast her own comments on the massive LED signs hanging in the atrium of the mall.
Obscure dimensions of conflict
Lyndell Brown and Charles Green travelled in early 2007 for five weeks to the Middle East, Afghanistan and the Persian Gulf as the Australian War Memorials official war artists. The artists will make a series of oil paintings for the War Memorial from some of the many photos they took as well as developing a series of photos outside the official commission. The photos show an abstracted ruined world, shadows, machinery, stockpiles of weapons behind barbed wire, aircraft, campsites and deserts. The Ziggurat of Ur is evident in two photographs of Iraq and eloquently symbolises the rise and fall of cultures and armies across the land.
Power and art in East Timor
Recent art made by East Timorese artists is contrasted with work by Australian war artists Wendy Sharpe and Rick Amor. Artworks made by artists from the Arte Moris Free Art School in Dili are full of passion and deep knowledge of the incongruities of war and the poverty of their lives while the artworks made by Sharpe and Amor seem remote and generalised.
The winding way
Cairns-based artist Tijn Meulendijks considers the plant world as his medium. His exhibition, Natura est ars, held at Umbrella Studio in Townsville in 2007, was concentrated around a single plant community gathered while walking in a coastal Melaleuca swamp after fire had affected the environment.
The error of our ways: Madeleine Kelly
Brisbane-based artist Madeleine Kelly's oil paintings approach big issues through precise depictions of incongruous narratives which draw on both personal and mythological sources. Her comments on global issues like oil and pollution, human folly and its consequences, are framed like dream scenarios that touch us all. Kelly came to Australia from Germany when she was two and the celebrated 19th century German childrens story Struwwelpeter written and vividly illustrated by Heinrich Hoffmann echoes in her imaginative paintings of cautionary tales and surreal spaces.
The whistleblower of Discovery Bay
Carmel Wallace makes artworks with flotsam and jetsam. They comment on the immense amount of human debris she finds on the shoreline as well as on the scarred ecologies of the sea and the land. She also instigated the Great Southern West Walk project (a NETS Victoria exhibition touring throughout 2008) that brought a diverse range of artists to the chain of beaches, national parks and state forests located to the west of Portland near the Victoria-South Australian border. The project was driven by her need to develop her own knowledge and affinity for the land, to explore how art might contribute to environmental solutions and to explore walking as an all-encompassing method of experiencing the environment.
World tree: sounds of a bigger picture. Alison Clouston and Boyd
Alison Clouston and Boyd use sound and sculpture in layered and immersive installations that draw attention to delicate and complex systems in nature and what humans have made of them. 2007 is the first year they have made an artwork with a formal carbon audit and offset. Their recent art-making has caused them to become vegetarian. They believe that Today we humans need to relinquish this deeply embedded sense that we will be saved by some force beyond us, we alone have to sort out the mess we have made of this planet Earth, our only home.
Chance encounters: Pamela Kouwenhoven and Peter McKay
Two South Australian writers work with discarded materials to make strong commentaries on contemporary life. Pamela Kouwenhoven uses old empty plastic car battery cases to make Rosalie Gascoigne-like collages of faded colour and worn histories. Like her signature works using malthoid taken from beneath rainwater tanks, they have a strong environmental agenda, drawing attention to beauty as well as responsibility. Peter McKay makes playful works with serious messages. At night he makes patterns in oil stains on the road with glitter and photographs them. These works collapse the infinite into the accidental as galaxies appear on the ground.
Writing images with words: an inheritance of ambiguous faces
Beirut-based artist and writer Walid Salek's book of essays, called Jane-Loyse Tissier, deals with stereotyping in art. He is concerned with the way the Third World is often treated as a cliche of constant emergency and crisis and not as a subjective and historical space. His essays reinterpret some canonical works of Western art by artists like Titian, Courbet, Ensor, Giotto and David. His claim is that all pictures and all interpretations are contingent and thus in defending the Third World's right to its own interpretations based on its own values the entire world is being defended.
Rabih Mroué and Lina Saneh interview
Rabih Mrou and Lina Saneh are Lebanese performance artists. In their work called Whos Afraid of Representation?, currently touring Europe, they describe the work of over fifteen well-known performance artists from Chris Burden and Marina Abramovic to Stelarc and Rudolf Scwharzkogler whose violence occurs within the safe and sanctioned space of the art world. They contrast this symbolic violence with descriptions of violent murders in Beirut. The work draws attention to the way violent deaths in Beirut are as ephemeral as the newspapers they are reported in while the violence practiced by the performance artists becomes history and the artists gain authority.
The revolution will not be televised: the changing landscape of film and video production in the Arab world
The situation of Arab cinema today, while it varies from Morocco to Abu Dhabi, is at an interesting turning point due to digital technology and political and economic events. In spite of censorship there are increasingly more film festivals and a burgeoning audience of cinephiles. The 2007 Cinema East Film Festival in New York celebrated independent film production: At a moment when mainstream news seems helplessly captive to global conflicts, the war on terror and the clash of fundamentalisms, independent cinema has come to be regarded as a substitute for representing people, places and their stories. Filmmakers from the region are the most enchanting human rights activists, the most playful analysts, the most imaginative historians but first and foremost, the most generous and emboldening artists.
Handling the Adelaide Biennial
Stephanie Britton interviewed Felicity Fenner, curator of the 2008 Adelaide Biennial of Australian Art, to find out what Handle with Care really means in the twenty-first century.
Biennale of Sydney 2008: Carolyn Christov-Bakargiev
Tracey Clement interviews Carolyn Christov-Bakargiev, curator of the 2008 Biennale of Sydney, and finds out what she thinks about the Stendhal Syndrome, Biennale Syndrome and the politics of language.
Fierce or Friendly: Humans in the Animal World
Curators: Craig Judd, Kathryn Medlock, Peter J. Hughes, Vicky Farmery Tasmanian Museum and Art Gallery (TMAG) 14 December 20076 April 2008
Migratory Projects: The Drive Out Cinema
Andrew Sunley Smith Perth Institute of Contemporary Arts (PICA) 6 December 2007 - 27 January 2008
Economy
Anthony Kelly, Pilar Mata Dupont & Tarryn Gill, Bennett Miller, Tom Muller, Anna Nazzari, Mark Parfitt, Ric Spencer, Brendan van Hek (WA) Curator: Consuelo Cavaniglia PICA 1 - 25th November 2007
[the space in between] Book project
Curated by Tara Gilbee VCA Margaret Lawrence Gallery, Melbourne 13 July -4 August 2007 Sidney Myer Work on Paper Gallery, Bendigo Art Gallery 15 March - 13 April 2008 Umbrella Studio Contemporary Arts 8 August - 14 September 2008
Our Lucky Country - (Still Different)
Nuha Saad, Soda_Jerk, Ron Adams, Mimi Tong, Nana Ohnesorge, Liam Benson, George Tillianakis, Huseyin Sami, Adam Norton, Ruark Lewis, Maria Cruz, Elizabeth Day, Michelle Hanlin, Sarah Goffman, Anna Peters Hazelhurst Regional Gallery 8 December 2007 - 3 February 2008
Making it Modern The Watercolours of Kenneth McQueen
Curator: Samantha Littley Queensland Art Gallery 10 November 2007 5 May 2008
from time to time one talks to the moon: Aldo Iacobelli
Curator: Linda Marie Walker Experimental Art Foundation, Adelaide 15 November - 15 December 2007
Robert MacPherson, Vernon Ah Kee and Jeremy Hynes
Institute of Modern Art, Brisbane 8 December 2007 - 2 February 2008
Replay: Christian Marclay
Australian Centre for the Moving Image (ACMI) Melbourrne 19 November 2007 - 2 February 2008
A Response by a Fringe Dweller
Debates about what is mainstream, whether in global or national terms, seem to perennial. Some have claimed Aboriginal art is now mainstream. Stephanie Radok takes this notion apart.
Bridget Riley on Bridget Riley
Bridget Riley is an artist who has pursued her own agenda for over thirty years with no concessions and has made a place for herself within the heart of the art world not only with her work but through her extraordinary desire and willingness to communicate. On the occasion of her major survey exhibition in Sydney in the summer of 2004 at the Museum of Contemporary Art she kindly assembled for Artlink some excerpts from some of these interviews.
The Importance of Being 'Un-Australian'
Melbournes Moomba festival held in 1956 replaced the annual celebration of the winning of the eight-hour day. Thus an occasion that had originally been devised to commemorate an important victory of the Australian labour movement was transformed into a bipartisan celebration of civic pride and family values.
The New Cosmopolitans
During his visit to Melbourne in April this year, Bombay-born, Oxford-educated, Harvard professor, Homi Bhabha spoke of Vernacular Cosmopolitanism, the global citizenry of refugees, economic migrants and minorities within cultures who must learn about translation because you survive that way.
Location Location Location
The position of long-term visitor or unfaithful citizen affords a view from both within a culture and outside it. The art of Pasifika is as diverse as its people, it is a 21st Century hybrid reality. Pasifika is urban.
Shifting Gears: Asian Traffic
Asian Traffic was, outside the Asia-Pacific Triennial (APT), one of the most ambitious efforts undertaken in Australia aimed at exploring the multifarious nature of new Asian art and its complex intersection with contemporary Australian culture. Visitors were forced to join the Asian Traffic coming and going from the Asia-Australia Centre in Chinatown, Sydney, and in its ever-changing guises and fluid shifts in direction, the project successfully circumvented any traffic jams.
Towards Ubuntu: The Way of the South
Melbourne is the host city of the South Project, a project designed to celebrate the creative energies of people living in the southern hemisphere and create south-south dialogue between artists of the countries of the south. South 1 encouraged all kinds of responses: philosophical and whimsical, creative and conceptual, contesting and renewing ideas, in the first gathering of its kind.
Exchange Value # 1. If It's Tuesday it Must be a Conference on Art and Globalism
As with Feminism in the 1970s certain ideas are in the air and finding widespread expression amongst artists and art institutions. Globalism impacts upon artists options and this phenomenon of artists and curators on the move is the result of the explosion of communication around art. Peers looks at the influx in globalism and its various influences in the Australian and international art scene.
Exchange Value # 2. Keeping up the Momentum
Britton follows up from Peers examination of Art and Globalism to discuss the trends of international art residencies and the evident exchange in cultural values and creative receptibility that comes as a result of working in a foreign country; the buying of time away from other strategies for staying solvent - part time or full time jobs, or feeling under pressure to make work with commercial appeal .
The In-Between: Hybrid Arts Laboratories as Places to Question
Hybrid art laboratories - both funded and semi-funded - are dotting themselves around the Australian arts landscape. Most of them involve time away from the everyday, where experience can be intensified and where a new set of meetings between artists can take place. It is an experimental environment encouraging a mode of artmaking that struggles to exist between art form and another, one identity and another, one technology and another, one world and another.
Sutapa Biswas: Birdsong
Sutapa Biswas was born in Santinekethan, India, in 1962 and immigrated to the UK with her family at the age of three. Her subsequent life and studies in Britan have resulted in a truly cross-cultural, multi-layered dialogue within her work. Her 2004 film Birdsong encapsulates the realisation of a young boys dream (in this case her son). Sutapa believes for a child, there is nothing that holds them back if you allow them to dream....
Audience Implication: PVI Collection
Back in 1998, the PVI (Performance, Video, Installation) Collective were a neat group and a fledgling collective. In 2004, seven years and eighteen major works later, the group has expanded to include new members, in addition to remote cells and networks of groups and individuals across Australia. The PVI refer to themselves as shape-shifters, and in this sense the shifting evolution of the collective has been influenced as much by the consequences of their national and international residencies as their addoption of new technologies.
Virtuous Networks
While many art institutions are just coming to terms with incorporating networked media into their exhibition programs, the genres have been exponentially expanding and mutating. In recognition of the newly hatched species that is networked media art, the ISEA2004 (the nomadic biennial festival held in Finland, Estonia and onboard a Baltic cruise ship) and the Australian ARS ELECTRONICA, dedicated a stream of their conference and exhibition programs to networked themes.
The City of Light: Video Projection and Public Art in Adelaide
The recent initiative of the Adelaide City Councils Public Art Program Luminosity has seen the commissioning and exhibition of five temporal public art projections between June and December of 2004. The objectives of the initiative aim to foster the Citys image as a centre of creativity and innovation, supporting established and emerging artists through the encouragement of quality new media art, thus making a contribution to the social and cultural substance of the city space.
Fakery and Fabrication in Photomedia
A series of photographs, still images from Monika Tichaceks 2002 video/performance work Lineage of the Divine, were exhibited in Japan in Supernatural Artificial, an exhibition of nine contemporary Australian photomedia artists. Tichacek exploits a heightened intimacy between viewer and work to construct complex and ambiguous scenarios that simultaneously delight, unsettle and confound.
SenseSurround: Empathy Between Human and Machine
The artists featured in ACMIs latest exhibition of new media work, SenseSurround, both use and develop cutting edge audio/visual technology to enhance sensorial experience for the spectator. The idea was to use the film soundtrack to trigger massively boosted low frequency signals, below the audible threshold, in the theatres. This would cause vibrations of the ear-drum and the body of the spectator and provide the sensation of earth tremors.
'Aboriginalism' in Europe: On the Way Out?
Subsequent to Nicholls three month residency in several European regions, she has been examining some of the ways in which Australian Aboriginal art is currently being perceived, received and curated in this part of the world. As she states, the Salzburger Kunstvereins programme, juxtaposing photographic works and video installations by Destiny Deacon and Lisl Ponger was the only one of the four European Indigenous art exhibitions she saw that made any serious and genuine effort to address the postcolonial legacy of Anglo-European colonialism.
SameDifference: 04 Biennale of Electronic Arts, Perth (BEAP)
SameDifference 04 Biennale of Electronic Arts, Perth (BEAP). Director: Paul Thomas www.beap.org DistributedDifference: Cultures of Conflict The Bank, Midland, Perth, 10 Sept -12 Nov. Curator: Jeremy Blank. SonicDifference: Resounding the World The Moores Building Contemporary Art Gallery, Fremantle, 9 Sept 10 Oct. Curator: Nigel Helyer. Drift Perth Institute of Contemporary Art, 26 Aug -26 Sept. Curator: Bec Dean.
SameDifference: 04 Biennale of Electronic Arts, Perth (BEAP)
PerceptualDifference John Curtin Gallery, Perth 8 September - 12 December Curator: Chris Malcolm BigDifference Lawrence Wilson Art Gallery, Perth 12 September - 3 October Curators: Oron Catts and Ionat Zurr
Out of the Dark
Out of the dark - night shots from indigenous artists is an exhibition I experienced online via the cyberTribe website. If you have not browsed the site, then you should. WiseART Gallery in Brisbane presented the physical exhibition from 7 –27 August.
Instinct
Emily Floyd, Sharon Goodwin, Irene Hanenbergh, Louise Hearman, Rebecca Ann Hobbs, Ronnie Van Hout, David Noonan, Lisa Roet, Kathy Temin. Curator Lisa Vasiliou Faculty Gallery, Monash University 9 September - 5 November 2004
[in]stall(s)
Rebecca Coote, jonathan Hodgkin, Kylie Johnson, Nick Maxwell, Mish Metjers, Hanna Parssinen. Sally Rees, Tristan Stowards, Tricky Walsh, Matt Warren and Tiffany Winterbottom Long Gallery, Salamanca Arts Centre, Hobart 19 August - 5 September 2004 A Tasmanian Living Artists' Week Exhibition
1/2 Way: Scott Redford the Collages
Dell Gallery at Griffith University Queensland College of Art, Brisbane 13 August - 19 September 2004