From the Collection: National Anthem & A New Order, Exhibition Catalogue by The University of Melbourne Museums & Collections publications

08.03.2019 â&#x20AC;&#x201D; 07.07.2019

FROM THE COLLECTION NATIONAL ANTHEM A NEW ORDER

08.03.2019 â&#x20AC;&#x201D; 07.07.2019

FROM THE COLLECTION NATIONAL ANTHEM A NEW ORDER

From the Collection: National Anthem & A New Order Buxton Contemporary University of Melbourne 8 March – 7 July 2019 National Anthem Curated by Kate Just A New Order Curated by Linda Short Director Ryan Johnston Curator Melissa Keys Collection and Exhibition Manager Katarina Paseta Operations Manager Kate Fitzgerald Program and Visitor Services Coordinator Ashlee Baldwin Visitor Services Olga Bennett Anna Dunnill Camila Galaz  Anthea Kemp Rosie Leverton Anatol Pitt Eleanor Simcoe  Gail Smith Nikki Van der Horst Alex Walker

Title From the Collection: National Anthem & A New Order Authors Andy Butler, Kate Just, Sophie Knezic, Linda Short ISBN 978-0-6482584-4-5 Artists National Anthem: Abdul Abdullah, Kay Abude, Hoda Afshar, Tony Albert, Brook Andrew, Ali Gumillya Baker, Archie Barry, Richard Bell, Daniel Boyd, Juan Davila, Destiny Deacon, Janenne Eaton, Tony Garifalakis, Eugenia Lim, Tracey Moffatt, Callum Morton, Hoang Tran Nguyen, Raquel Ormella, Mike Parr, Steven Rhall, Tony Schwensen, Christian Thompson, Paul Yore, Siying Zhou A New Order: Stephen Bram, Tony Clark, Daniel Crooks, Emily Floyd, Marco Fusinato, Rosalie Gascoigne, Diena Georgetti, John Nixon, Rose Nolan, Mike Parr, Daniel von Sturmer, Constanze Zikos Editor Melissa Keys Copyediting and proofreading Clare Williamson Image credits All installation photography by Christian Capurro; pp. 32–33 photographs by Eugene Hyland; p. 35 photograph by Alex Cuffe; pp. 36–37 photograph by Bryony Jackson Design Studio Round, Melbourne Publication design Tristan Main Printing Print Graphics Stocks: Sovereign Silk 350gsm, Knight Digital Smooth 140gsm Edition: 600

Contributors — Andy Butler is an artist, writer and curator —D r Kate Just is an artist, academic and curator — Dr Sophie Knezic is a writer, scholar and visual artist who works between practice and theory —L inda Short is curator of exhibitions at State Library Victoria Published by Buxton Contemporary, University of Melbourne Cover image Daniel von Sturmer The truth effect 2003 (detail) installation of five single-channel videos in DVD format, five custom-made screens, table table 80 × 580 × 600 cm The University of Melbourne Art Collection, Michael Buxton Collection, donated through the Australian Government’s Cultural Gifts Program by Michael and Janet Buxton 2018 This work is copyright. Apart from any use as permitted under the Copyright Act 1968, no part may be reproduced by any process without written permission. Enquiries should be directed to the publisher. © Copyright 2019 Buxton Contemporary, University of Melbourne, the artists, the authors The views expressed in this publication are those of the contributing authors and not necessarily those of the publisher. Buxton Contemporary respectfully acknowledges the Boonwurrung and Wurundjeri peoples of the Eastern Kulin Nation, on whose land this book was produced. We acknowledge their ancestors and Elders, who are part of the longest continuing culture in the world. Buxton Contemporary Corner Southbank Boulevard and Dodds Street Southbank Victoria 3006 Australia www.buxtoncontemporary.com

Victorian College of the Arts

Director’s foreword — Ryan Johnston

Constitution and Re-constitution: An Activated Call and Response — Sophie Knezic

National Anthem — Kate Just

Enduring Visions — Andy Butler

A New Order — Linda Short

Artist biographies

List of works

Director’s foreword — Ryan Johnston

Images below: Installation view, A New Order, with Daniel von Sturmer, The truth effect 2003 (detail) pp. 6–7 Installation view, National Anthem, with (left to right) Siying Zhou, National anthem of AO-SSU-CH’IU-LEE-YA 2016; Ali Gumillya Baker, sovereignGODDESSnotdomestic (1) Natasha Wanganeen 2017; Daniel Boyd, Untitled (GMGCC) 2018 p. 12 Installation view, National Anthem, with Brook Andrew, Emu 2004 pp. 14–15 Installation view, National Anthem, with (left to right) Abdul Abdullah, Home #2 2012; Juan Davila, Un-Australian; Die elsewhere; Detained, all 2014 pp. 16–17 Installation view, National Anthem, with (left to right) Destiny Deacon, Protecting paradise 2001; Abdul Abdullah, Home #2 2012; Mike Parr, Aussie, Aussie, Aussie, oi, oi, oi [UnAustralian] 2003

While inspired by, and variously drawn from, the same collection, these exhibitions are very different. National Anthem focuses on artistic engagements with contested notions of contemporary Australian identity, particularly from a perspective of difference and/or exclusion, and foregrounds a multiplicity of artistic voices from both within and outside the collection loudly and simultaneously. A New Order, by contrast, subtly explores pattern-based and recursive artistic strategies as points from which to trace a series of similarly recursive intersections across mostly abstract works by artists spanning several generations. While different in approach, both exhibitions highlight the richness of recent Australian artistic practice as well as how finite collections can be animated in manifold and often surprising ways when subjected to diverse and rigorous curatorial interpretation.

The current exhibitions, National Anthem, curated by Kate Just, and A New Order, curated by Linda Short, were commissioned to mark the first anniversary of Buxton Contemporary. A key purpose of Buxton Contemporary, which was founded in 2018 to house the Michael Buxton Collection of contemporary art from Australia and New Zealand, is to make this once privately held collection widely accessible to the public while at the same time deploying it to enhance research and learning at the University of Melbourne. As a result, this collection and the artists represented within it provide the foundation for the museum’s programming, and it is therefore entirely apposite – indeed, important – that two curators, each with their own distinct voice, be engaged to interpret the collection afresh on this milestone occasion.

Finally, I thank both Kate Just and Linda Short for their exemplary work on these exhibitions and for their contributions to the catalogue, and for helping us mark our first anniversary by so substantially enhancing understanding of, and engagement with, the collection upon which this museum was founded.

Many people contributed to these exhibitions, as well as to the successes of Buxton Contemporary in its inaugural year. First and foremost, I would like to recognise all of the participating artists and contributors to our exhibitions, publications and public programs. I thank the museum staff, Melissa Keys, Katarina Paseta, Kate Fitzgerald, Ashlee Baldwin and our visitor services team for their professionalism and dedication. We have all appreciated the strong support of the Buxton Contemporary Committee, chaired by Michael Buxton and Professor Su Baker, and I extend a broader acknowledgement to the staff and students of the Faculty of Fine Arts and Music, who have warmly welcomed us to the University’s Southbank campus and have assisted us on so many fronts. I would also like to acknowledge and thank the private and public lenders, peer organisations, our supporters, suppliers and exhibition preparators who we have worked with over the past year. Sophie Knezic delivered an insightful opening address, published in essay form here, and I thank Andy Butler for his equally important contribution to this catalogue. These exhibitions would not have been possible without the generous financial support of both the newly established Centre of Visual Art (CoVA) here at the University and the Directorate of the Victorian College of the Arts. I would also like to express my appreciation to event partners Four Pillars Gin and Dody Oliver Catering for their generous hospitality.

Director’s foreword

Ryan Johnston

Constitution and Re-constitution: An Activated Call and Response — Sophie Knezic

Empathy with the victims of trauma and genocide – both First Peoples and asylum seekers fleeing persecution – is expressed in works such as Juan Davila’s delicately painted portraits captioned with the kinds of shaming taunts directed at refugees; Paul Yore’s kaleidoscopic textiles with their febrile and retaliatory visions of Parliament House in flames; and Mike Parr’s fearless acts of assisted self-mutilation – the stitching of his lips in solidarity with incarcerated asylum seekers, who have resorted to such desperate forms of protest. Both Parr and Davila use the term ‘un-Australian’, deploying the negating prefix to underline the structural prohibition implicit in the concept of nationalism, whose affiliation necessarily delineates a binary of inclusion and exclusion. Both artists foreground the word’s duplicity as a term of offence as well as an annulment of the category of this specific nation-state.

National Anthem and A New Order, curated respectively by Kate Just and Linda Short, form a double bill of exhibitions marking Buxton Contemporary’s first anniversary as a salient new player in the field of museums and contemporary art organisations in Victoria. Both exhibitions are maverick and resolute, and blaze with robust and savvy artworks. More consequentially, they bristle with a sense of urgency in contesting and redefining our contemporary condition of nationhood and pivot on examining the very idea of structure, rule and regulation.

Other modes of ethnic exclusion are spoken to in works such as Kay Abude’s aprons, which suggest the devalued forms of labour carried out by migrants and first-generation Australians, here reclaimed through the aprons’ screenprinted inscriptions and through the garments being worn on the opening night by invited artists of colour and their families. Notions of otherness are also conveyed by Eugenia Lim’s family portrait photographs writ large on gold-tinted mylar emergency blankets, which comment on the chequered experience of Chinese immigrants in the era of the gold rush. Other works more generally contest the violence of exclusion, such as Raquel Ormella’s cropped flag blistering with satirical text that calls out bigotry and exploitation in broader terms and Janenne Eaton’s dark enamelled panel inscribed with the double entendre ‘KEEP CLEAR’: an injunction policing a border but, contrarily, an imperative to remain lucid.

But what does it mean in the 21st century for us to belong to a nation, to exercise nationalism? We might answer this by focusing on the notion of constitution: a term that primarily denotes the body of fundamental principles or established precedents by which a state or other organisation is governed. But its secondary meaning is more structural, referring to the composition of something, that is, its arrangement, construction or configuration. Constitution, then, in its two-fold sense, is the principle of both governance and construction that National Anthem and A New Order simultaneously address.

If constitution is the cornerstone by which we are governed, the philosopher Jacques Rancière reminds us, in his ‘Ten theses on politics’, that political rule understood as the governmental exercise of power is the very opposite of politics. In its true sense, Rancière argues, politics is not a relationship enacted between subjects but a form of political partaking: a specific ‘mode of relation’ between a subject and the very potential for action and rule.

When the Australian Constitution was drafted, it was deeply discriminatory and Indigenous peoples had no place in it except by way of exclusion. Its current form still does not recognise Aboriginal or Torres Strait Islander peoples’ prior occupation and custodianship of this land – although, belatedly, the federal government has made awkward attempts to rectify this through acknowledging the proposal for a ‘First Nations Voice’ to be enshrined in the Australian Constitution. This is in spite of the ambivalence and scepticism expressed by some Indigenous communities regarding the value of such an amendment.

As Rancière also reminds us, the political mode of governance founded in ancient Greece known as democracy – etymologically, ‘rule by the people’ – was a term invented by democracy’s opponents: those with the accepted attributes of birth, seniority or wealth that granted them the authority to rule. The demos named those outside this circumscribed realm of privilege – the undifferentiated masses, the excluded. ‘To be of the demos’, Rancière writes, ‘is to be outside of the count, to have no speech to be heard.’ 1 To invalidate the political legitimacy of the demos – workers, women and slaves – it was enough to assert that they were merely part of an oikos, or domestic space, ‘from which only groans or cries expressing suffering, hunger or anger could emerge, but not actual speech’. 2 Politics, therefore, consists precisely in the re-qualification of the demos, a categorical shift in relation from one of exclusion to one of civic partaking, ‘in making what was unseen visible’, as Rancière puts it, and, perhaps more startlingly, ‘in making what was audible as mere noise heard as speech’.3

National Anthem squarely confronts this history of dispossession, perhaps best epitomised by Richard Bell’s A prelude to imagining victory – a restaging of the original Aboriginal Tent Embassy, installed on the lawns of Parliament House in 1972, as a call to reappraise the current state of Indigenous sovereignty. More witheringly, Brook Andrew’s neon emu vomiting the letters U-S-A over an image of the Union Jack emphasises the odious nature of imperialism, while Destiny Deacon’s enlarged polaroids of a dark-skinned doll and tourist boomerang exhume a material history of racial violence. With the simplest of means, Abdul Abdullah’s flag, inscribed with the word ‘HOME’ and gently blown by a fan, poignantly implies the continual agitation necessary to protect the idea of homeland.

Constitution and Re-constitution: An Activated Call and Response

This leads to the conceptual fulcrum of this exhibition: its invocation of an anthem. An anthem, of course, is a rousing song that bonds the members of a social group, but a national anthem represents an overt declaration of national

Sophie Knezic

It is now widely acknowledged that this continent is First Peoples’ sovereign land – which, by invoking the fiction of terra nullius, the nation-state of Australia has historically disavowed in order to claim the land as its own and, on this basis, justify a centuries-long campaign of racial violence, invasion and occupation, colonisation and assimilation, genocide and incarceration. The slipperiness, however, between nation and nation-state is pertinent here: as the concept of ‘nation’, denoting a cultural or ethnic community with a shared identity based on language, custom and history, is differentiated from ‘nation-state’, which conflates the meaning of ‘nation’ as a community based on shared language and culture with that of ‘state’, meaning the political institution of the modern polity in which sovereignty is embedded and exercised through constitutional rule.

identity: it is a resounding statement of patriotism – ostensibly, at least. Contrarily, the anthems represented in National Anthem do not manifest as chest-beating declarations of affiliation with Australia’s nation-state but as more attenuated and critically reflective modes of musical refrain.

Relatedly, the techniques of dividing, re-distributing and re-arranging extracted elements into new compositions also characterise Rosalie Gascoigne’s retroreflective grids cut from discarded road signs, Tony Clark’s modular panels of mutating oval forms and Daniel Crooks’s re-stitched, re-routed spatio-temporal sequences. These artists are bricoleurs at work, retrieving and re-composing selected structures and significations into abstract distillates. In so doing, they embody ‘new ways of thinking’ – the very title of Emily Floyd’s collaboratively conceived speculative sculpture.

Christian Thompson’s adaptation of David Bowie’s ‘Let’s Dance’ alongside Thompson’s own composed melody ‘Refuge’, both sung in the artist’s ancestral language of Bidjara, resound with haunting exquisiteness. Archie Barry’s sonic capturing of their own heartbeat as an amplified backdrop to their singing voice literalises the idea of a heartland while implicitly invoking the ‘Uluru Statement from the Heart’. Siying Zhou’s karaoke video transposes the lyrics of ‘Advance Australia Fair’ into Wade-Giles phonetics – the linguistic system for assisting English speakers to pronounce Mandarin Chinese – underscoring the ethnic diversity belied by the anthem’s official language. Finally, Tony Albert’s CLASH – not literally a sound work but another double entendre – riffs on the word’s dual meaning as both a cacophonous sound and a scenario of conflict.

The etymology of ‘anthem’ brings forth another nested element: the term derives from the Old English antefn (a composition sung antiphonally), which in turn issues from the Greek anti (return) and phōnē (sound). ‘Antiphon’ is the composite ‘return-sound’ – referring to a call-and-response style of song. Understood in light of this, ‘anthem’ becomes not merely a call to be heard but an overture seeking an active response. And so the works in National Anthem nimbly align with this term’s genealogy – as a chorus of voices that resound but, crucially, also solicit acknowledgement in return.

In pattern recognition, regularities are detected in a field of abstraction or a sea of random data. But could we view this sea of data another way, as the digital ‘white noise’ equivalent of the inaudible babble of the undifferentiated masses of the demos? If so, to whom might the task of pattern decoding – and recoding, for that matter – fall? Political and technocratic modalities of governmentality may predictably assume entitlement, but A New Order and National Anthem suggest that artists enact their own critical forms of pattern recognition, their own modes of articulation and decipherment.

Buxton Contemporary’s second exhibition, A New Order, might be seen generatively in light of this call-and-response mode of song, as an analogue for its own syntactical structure. Works in this exhibition enact a push and pull between systems of order and their own involution. Many of the works are by artists formerly linked to Store 5, the artist-run space existing in Melbourne between the years 1989 and 1993. Collectively, the Store 5 artists were known for their attraction to geometric abstraction, locating sources in 20th-century precedents that they positioned as springboards into a series of renegotiated explorations into a non-objective vernacular.

Viewed dialogically, both exhibitions dovetail the idea of constitution with the concept of re-constitution – as necessarily coexisting processes of re-construction and re-enfranchisement. The artists in these exhibitions each take a pre-existing order and re-shape it into a matrix of possibilities, while negotiating political, structural and formal tensions. Together they form a layered operating system, a proposition for new modes of relation, an emancipatory song, an activated call and response.

The Russian avant-garde, in particular, constituted a touchstone, with artists such as the suprematist painter Kasimir Malevich marking a common point of reference. Malevich’s assertive moves in renouncing figuration, supplanted by acts of honing in on a set of simplified geometric structures to be tilted, overlaid and set into modular relations, represented a set of radical gestures auguring the October Revolution. His relevance, however, as an acme of utopianism extended across hemispheres and generations to speak to these late 20th-century Store 5 artists.

This essay was originally presented as an opening night address on 7 March 2019, marking Buxton Contemporary’s first anniversary. Notes (1) Jacques Rancière, ‘Ten theses on politics’, Dissensus, (ed. and trans. by Steven Corcoran), Continuum, London and New York, 2010, p. 32. (2) ibid., p. 38.

John Nixon’s mixed-media assemblages cite Malevich’s Suprematist Compositions, Diena Georgetti’s architectonic compositions quote constructivist El Lissitzky’s Prouns, and the low-tech utilitarianism of Rose Nolan’s hessian banners reference Russian Revolution propagandist traditions as well as more generic forms of street protest and activism. Yet each of these artists recasts these revolutionary sources into sprightlier structures that set in train the potential for analytical re-modulations.

Constitution and Re-constitution: An Activated Call and Response

(3) Both quotes, ibid., p. 38. (4) Hito Steyerl, ‘A sea of data: apophenia and pattern (mis-)recognition’ in Duty Free Art: Art in the Age of Planetary Civil War, Verso, London and New York, 2017, p. 47.

Sophie Knezic

Each of the works in A New Order evokes a kind of iterative schema: elements in a system that are subject to repetitions, inversions and variations. We might call this the play of pattern, fluctuating across a suite of tactile materials. It might be said that the sensual materials of paint, pine, pencil and hessian, from which most of these artworks are made, are at odds with our 21st-century world of big data, ubiquitous digital interfaces and constant streams of algorithmic information – but both are realms of abstraction. As Hito Steyerl rhapsodises, ‘Electric charges, radio waves, light pulses encoded by machines for machines are zipping by at slightly subliminal speed. Seeing is superseded by calculating probabilities. Vision loses importance and is replaced by filtering, decrypting and pattern recognition.’ 4

NATIONAL ANTHEM

CURATED BY KATE JUST

National Anthem — Kate Just

National Anthem brings into dialogue twenty-four artists who critically address Australian national identity, and who answer Cheetham’s call to do better. Drawing from and building upon key works held in the Michael Buxton Collection at the University of Melbourne, this exhibition highlights how efforts throughout history to establish a singular unified identity have excluded First Nations peoples and communities and have failed to address the multiplicity of voices, cultures and experiences that enrich, contest and enhance contemporary Australian life.4 Through the use of humour, satire, acts of self-determination, ambiguity, play, intervention and confrontation, the artists represented in National Anthem hold a mirror up to contemporary Australia, prompting possibilities for new representations of who we are or who we might become.

who make a resonant contribution to this timely dialogue. Many of these artists radically challenge the destructive fantasy of a singular, cohesive national identity through artworks that translate or transform their own lived experience of exclusion and difference.

The Michael Buxton Collection holds works by some of the nation’s most accomplished and politically-driven artists. Many of these artists have spent much of their careers exploring Australia’s social and political legacy; they include Brook Andrew, Daniel Boyd, Juan Davila, Destiny Deacon, Tony Garifalakis, Tracey Moffatt, Callum Morton, Raquel Ormella, Mike Parr, Tony Schwensen and Paul Yore. Through their work, these artists ask us to consider: How can we acknowledge our colonial history and its impact on the present? How are personal and national identities formed in childhood? What are the issues and impacts of our ongoing connection to British rule? How effective are our national symbols, such as the Australian flag? How does queerness challenge and extend questions of national identity? How do we appear to other nations? How do our approaches to immigration and the treatment of refugees and asylum seekers define our sense of nationhood? The artists in National Anthem picture and contemplate Australia from many angles, examining the good, the bad and the ugly.

Across the exhibition, these critiques and challenges take shape in the form of possible new histories and emergent identities. Childhood is acknowledged as the time when personal and national identities cement themselves, sometimes in traumatic ways. Tracey Moffatt’s renowned Scarred for life I (1994) series of photolithographs is drawn from childhood memories, both her own and those of friends. Mimicking idealised photo spreads from American magazine Life, the series explores how ideas of race, class, gender and sexuality are imprinted on us in childhood. Destiny Deacon’s brightly coloured images also lure viewers into a nostalgic space. Through staged tableaux featuring dolls and toys, she examines the persistent effects of racism, colonial violence, Aboriginal deaths in custody and poverty. In the photograph Protecting paradise (2001), a black doll is depicted as a warrior standing against colonial invasion and occupation. Marcia Langton has observed that Deacon’s work ‘serves as a barometer of postcolonial anxiety, as a window of understanding for new generations of Australians turning away from the psychosis of the colonial relationship but seeking to establish a considered and meaningful grammar of images in an environment full of colonial memories’.5

To extend upon the works and ideas represented within the Buxton Collection, and to broaden the number and diversity of queer, Indigenous, female and migrant voices, the exhibition additionally includes works by a selection of artists

In Tony Garifalakis’s Untitled #1 (2014), from his Mob rule series, the faces of Queen Elizabeth II and Prince Philip are overwritten and redacted with black enamel spray paint. Throughout this expansive series, the artist blots out

National Anthem

Kate Just

A national anthem is a patriotic song adopted by a country as a formal expression of identity. ‘Advance Australia Fair’ – written and composed by Peter Dodds McCormick and first performed in 1878 – was officially proclaimed Australia’s national anthem on 19 April 1984, when it replaced the former anthem, ‘God Save the Queen’. At various times since then, it has been the catalyst for controversy and debate. In 2018, Queensland schoolgirl Harper Nielsen’s refusal to sing the national anthem at school, on the basis of its exclusion of Indigenous history, went viral. News media around the world likened her resistance to the kneeling protests initiated by NFL football star and US social justice campaigner Colin Kaepernick.1 Three years earlier, when invited to sing the national anthem at the 2015 AFL Grand Final, Aboriginal soprano, composer and activist Deborah Cheetham requested that she be permitted to replace the words ‘for we are young and free’ with ‘in peace and harmony’.2 When her request was turned down, Cheetham declined the (prestigious) invitation, stating that ‘as an Australian with a strong desire to deepen our nation’s understanding of identity and our place in the world, I believe we can and must do better’.3

Expressions of Aboriginal sovereignty and self-determination offer an antidote to the legacies of colonialism. Ali Gumillya Baker’s lightbox work sovereignGODDESSnotdomestic (1) Natasha Wanganeen (2017) highlights the underacknowledged history of the domestic servitude of Aboriginal women in Australia and transforms it into a heroic image of female agency. Awardwinning actor Natasha Wanganeen, who forged powerful Indigenous female roles in Australian films including Rabbit Proof Fence (2002) and Cargo (2017), is cast as a fiery goddess of resistance. Steven Rhall’s Every 1’s a winger (Bingo mode) (2018) also consciously adopts a decolonising stance. His flashing LED sign lists more than fifty themes explored within works shown in the 2017 Koorie Art Show, a salon-style annual exhibition of Aboriginal and Torres Strait Islander artists’ work at the Koorie Heritage Trust in Melbourne. Signalling a rich multiplicity of forms and ideas across the wide-ranging show, Rhall rejects the homogenous and singular categorisations of ‘Aboriginal Art’ and reclaims art by First Nations peoples from colonising frameworks. Works by Richard Bell and Eugenia Lim revisit or reconstitute key moments in Australian history to question how far we have, or have not, travelled towards justice and understanding with regard to Aboriginal land rights and the treatment of migrants. Richard Bell’s A prelude to imagining victory (2012–13) restages the original Aboriginal Tent Embassy, which was established in 1972 on the lawns of (what is now Old) Parliament House by Aboriginal activists Michael Anderson, Billy Craigie, Bertie Williams and Tony Coorey to protest the McMahon Liberal government’s rejection of land rights in favour of leases to Aboriginal communities.7 The addition of banana lounges, an esky and a television provides an apparently casual framing device within which to watch Bell’s video piece Broken English (2011). Featuring footage of the annual First Settlement Festival in Redcliffe, Queensland, which includes vox pop interviews with members of the public, the work exposes a culture of racism, white ignorance and denial. Eugenia Lim travels back in time to a moment of enduring personal significance. New Australians (Yellow Peril 1980/2015) reproduces a 1980 family photograph of Lim’s newly arrived Chinese-Singaporean parents standing proudly in the shadow of Ron Robertson-Swann’s sculpture Vault (1980), otherwise known

National Anthem

by the racist moniker ‘Yellow Peril’. In New Australians (Welcome Stranger 1869/2015), Lim poses in a custom-designed gold lamé Mao suit and holds a replica of a gold nugget, paying homage to Chinese presence in Australia during the gold rush and beyond. Printed on gold mylar emergency blankets, which are commonly used in survival and rescue situations, these works materially reflect the challenges inherent in adapting to another culture. Works by Hoda Afshar and Kay Abude consider the adverse impacts of a white, Western gaze upon the ‘other’ in constructions of self and national identity. With her Westoxicated works (2013–14), Hoda Afshar satirically ‘Westernises’ women in chadors with a range of stereotypical props, including a cigarette, a gun, a lapdog and a can of Coke, to explore the oppressive Western gaze imposed upon veiled Muslim women. By conflating supposedly binary images, Afshar challenges preconceived ideas about liberation and suppression that arise within nationalistic discourses. Kay Abude’s POWER (2019) uses clothing and performative intervention to challenge the middle-class, monocultural misogyny of the art world and the wider society. Abude has produced one hundred screenprinted smock-style aprons, each emblazoned with the word ‘POWER’ and a photograph of three women: Abude, Lara Chamas and Ceren Sinanoglu. These women are united as artists and as first-generation migrant women, and this group portrait manifests a sense of collective pride and solidarity. On the opening night of National Anthem, Abude invited artists of colour and their families to wear these garments, demonstrating the importance of community visibility for social change. 21

the features of powerful figures, an act that simultaneously destabilises and questions the semiotics of power, authority and control. Abdul Abdullah’s The re-introduction of Australian knighthood (2014) is a self-portrait of the artist shrouded in a balaclava and draped in nationalistic emblems. The work conflates the 2014 reinstatement of a ‘knighthood’ honour within the Order of Australia awards system with the use of crusader imagery by far-right Australian nationalist hate groups in order to confront the artist’s own experiences of exclusion as a Muslim man in contemporary Australia. Daniel Boyd’s Untitled (GMGCC) (2018) depicts Ferdinand II of Aragon and Isabella I of Castile, the Spanish king and queen who financed and supported Christopher Columbus’s voyages to the so-called New World. Boyd’s paintings investigate scenes of colonial, personal or art-historical significance. Painted in a monochromatic palette, the imagery is composed of complex layers of dots that suggest a subtle interplay between Western pointillist techniques and the stippling found in much Aboriginal painting. Boyd has said that he uses dots to ‘reference the idea of the cultural lens and the fact that we all have different points of view’.6

Juan Davila, Janenne Eaton and Abdul Abdullah each powerfully critique the xenophobic tendencies that arise from white Eurocentric definitions of Australian identity. For example, in Juan Davila’s poster-style paintings Die elsewhere, Detained and Un-Australian (all 2014), faces float above words that are often directed at migrants, refugees and asylum seekers as insults, each painted in a gentle, cursive script. Davila registers subtle emotional gazes in his subjects’ eyes, creating a deeply affectual response to ‘the intrinsic paranoia of the other’ that nationalism inspires.8 Nearby, Abdul Abdullah’s fan-powered flag bearing the word ‘HOME’ reiterates the tenuous definition of ‘home’ in a settler colonial society. The artist reflects, ‘As a Muslim, I feel I am part of a group that is perceived as an existential threat here. Regardless of my two hundred year lineage in this country, I am not at home, and am not afforded a welcome in public spaces.’9

Mike Parr’s cathartic performances attend to suppressed or underacknowledged forms of violence in the world, including colonialism, war and traumatic personal histories. In Aussie, Aussie, Aussie, oi, oi, oi [UnAustralian] (2003), Parr addresses Australian human rights abuses both here and internationally. His face is sewn up by an assistant (his wife, Felizitas Parr) as an Australian flag hangs from the stump of his arm. Parr grimaces and grunts in pain as the needle pierces his skin, viscerally evoking the act of sewing one’s mouth closed, a gesture of protest known to have been performed by incarcerated refugees and asylum seekers. Behind him, we see disturbing newspaper headlines, including ‘BLOODBATH’, ‘HUNTING PACK’, ‘FILLING HOLES IN A BULLET-RIDDLED NATION’, ‘KILLING ROOM’, ‘HUNDREDS OF VICTIMS IN COFFINS’, ‘CHILDREN WERE BURNED ALIVE’, ‘CRITICS BRANDED WITH HOT IRONS’, ‘END GAME’ and ‘PLEASE DON’T HATE OUR DADS’. The title Aussie, Aussie, Aussie, oi, oi, oi [UnAustralian] ironically imbues the work with a nationalistic jubilance that belies the stark brutalities within our nation’s past and present that we are being asked to confront. The efficacy of our national symbols and obsessions in representing the complex and fractured histories and diverse identities of the contemporary nation are also questioned throughout the exhibition. Raquel Ormella’s deconstructed textile flags suggest the potential for the Australian flag to be shaped in ways that better reflect our history. Wealth for toil #2 (2014) bears Australian coins, faded fabric from workers’ uniforms and a text that reads ‘WINNERS ONLY’. With this work, Ormella addresses a culture she believes is obsessed with venerating winners, not only in sport but also in the banking and mining industries, where labour and land are exploited for the gain of the few. In C’mon (2006), Tony Schwensen wanders back and forth across both sides of a tennis court for eight hours, serving across the net and repeatedly hollering ‘C’mon!’. Humorously referring to the larrikin Australian tennis player Lleyton Hewitt, the video engages with our national obsession with sport as well as Australia’s ‘ocker’ spirit. Schwensen has often incorporated

National Anthem

Kate Just

Janenne Eaton’s BORDERLANDS (2018–19) takes the form of a giant black fence that spans an entire gallery wall. The words ‘KEEP CLEAR’ are inscribed across the work’s dark, mirror-like surface, referencing the ‘barriers’ and zones of exclusion embedded in our societal structures. The words reverberate with multiple possible interpretations: they suggest either a refusal of entry or an appeal to maintain rational clarity.

Callum Morton’s Glenville souvenirs, Mt. Irvine, NSW (2001) depicts the commodified Australia that is promoted to tourists through a digitised image of a modernist home converted into a souvenir shop hawking stereotypical trinkets of ‘brand Australia’, including akubras, wombats, backpacks, koalas and keyrings. Brook Andrew also satirises and animates our national symbols with Emu (2004), in which a neon emu regurgitating the letters U-S-A stands on top of a Union Jack. The emu is an emblematic Australian animal that is prominent in both Aboriginal culture and settler iconography. Through the work’s flashing neon, Andrew suggests the ingestion and circulation – but also rejection – of American and British influences.

Kitsch, craft and text also emerge as materials and strategies for questioning our national identity. Tony Albert’s CLASH (2019) suggests both meanings of the word that constitutes its title: a mismatch of colours and a collision, fight or battle. The work is composed of black letters, ashtrays and a range of other ‘Aboriginalia’,11 continuing the artist’s provocative use of text and found objects to ‘interrogate the legacy of colonialism and examine the ways that legacy informs the construction of Indigenous and non-Indigenous identity in contemporary Australia’.12 Paul Yore’s triptych of intricately layered ‘quilts’ addresses issues of capitalism, Australian identity, colonisation, political corruption, pop culture and homophobia. The work replicates the structure of a traditional Christian altarpiece. THIS MOMENT IS CRITICAL, WELCOME TO HELL and TODAY AT THE EXPENSE OF TOMORROW / WHAT WAS STOLEN YESTERDAY IS SOLD (all 2014) were specifically inspired by German Renaissance artist Hieronymus Bosch’s masterwork The garden of earthly delights (1490–1500), which pictures Eden, Earth and Hell through a series of chaotic, otherworldly and hallucinatory scenes. Yore similarly manifests a topsy-turvy world in the throes of celebratory distress. The left panel replaces Bosch’s pink fountain with a giant spouting phallus, underscoring the phallocentric nature of Western thought and reclaiming visual iconography associated with queer identity. In his carnal depiction of everyday life on Earth in the central panel, Yore overlaps imagery of Parliament House on fire with graphic depictions of queer sexuality. The right panel features an upside-down map of Australia, layered with references to pre-invasion Aboriginal languages. This triptych pictures Australia as a wildly contested nation-state confronting its problems and undergoing radical revision. Through a number of works in the exhibition, voice and song are heralded as modes of producing and sustaining evocative new visions for personal and national identity. In a series of scheduled performances, Archie Barry turns a stethoscope into an instrument for capturing their heartbeat as musical accompaniment to their voice. The resulting song gently yields an appreciation of the way an individual body uniquely processes love, loss and change. Siying Zhou’s karaoke video National anthem of AO-SSU-CH’IU-LEE-YA (2016) invites viewers to sing along to the Australian anthem using Wade-Giles phonetics, a system widely used by English speakers in the pronunciation of Mandarin Chinese words. This work represents an act of resistance to government-defined protocols that demand the anthem be performed only in English. Karaoke also

National Anthem

figures in the Like a version suite of videos by Hoang Tran Nguyen. Featuring footage sourced from Australian popular culture juxtaposed with media produced by the Vietnamese diaspora, Nguyen humorously explores filmic and televisual representations of national identity and the role music can play in processing and reimagining it. In evocative videos across two galleries, Christian Thompson’s Dead tongue (2015) and Refuge (2014) feature the artist singing in his ancestral Bidjara language. The grace and dignity of Thompson’s expression and the eloquence of his singing act as testaments to the resilience of culture. Privileging a cacophonous array of artistic voices and perspectives, National Anthem invites viewers to contemplate and acknowledge the complexities of our multiple, fractured histories. The project seeks to reclaim forms of visibility, language, culture and community that are absent from or under-represented within mainstream concepts of national identity. You are invited to sing along, in your own voice and in your own language, and to contribute to the rich complexities of these histories and identities. Notes (1) Sarah Wiedersehn, ‘Nine-year-old Harper Nielsen’s anthem protest draws global attention’, SBS News, sbs.com.au/news/nine-year-old-harper-nielsen-s-anthem-protest-draws-global-attention, 13 September 2018; accessed 26 December 2018. (2) Deborah Cheetham, ‘Young and free? Why I declined to sing the national anthem at the 2015 AFL Grand Final’, The Conversation, theconversation.com/young-and-free-why-i-declined-to-sing-the-national-anthem-at-the2015-afl-grand-final-49234, 19 October 2015; accessed 15 December 2018. (3) ibid. (4) ‘The origins of Australian national identity can be found in the commonalities between its inhabitants … collective self-identification as British [historically] shaped Australian national identity providing a national myth of a country settled, occupied and ruled by white subjects of the British Empire – a “White Australia”. Such a monoculture was, in [the] era of the rising nation-state, the preferred norm. National identity is absolute by nineteenth-century definition, uniting a specific people; any other peoples are excluded from that identity, and the nation.’ Neville Meaney, ‘Britishness and Australian identity’, Australian Historical Studies, vol. 32, no. 116, 2001, p. 78. (5) Marcia Langton, Destiny Deacon: Walk and Don’t Look Blak, exhibition catalogue, Museum of Contemporary Art, Sydney, 2004, p. 45. (6) Daniel Boyd, artist’s statement, Art Gallery of New South Wales website, artgallery.nsw.gov.au/collection/ works/92.2014/; accessed 19 March 2019. (7) Tim Leslie, ‘A history of the Aboriginal Tent Embassy’, ABC website, 27 January 2012, abc.net.au/news/201201-27/the-history-of-the-aboriginal-tent-embassy/3796630; accessed 30 December 2018. (8) Juan Davila, in conversation with the author, 28 December 2018. (9) Abdul Abdullah, email to the author, 10 December 2018. (10) Andrew Frost, ‘Tony Schwensen’, Scanlines: Media Art in Australia Since the 1960s, scanlines.net/person/ tony-schwensen; accessed 18 March 2019. (11) Elizabeth Derby, ‘Shifting the difference: Aboriginal artist Tony Albert breaks through silence in “Brothers”’, C-Ville, c-ville.com/shifting-difference-aboriginal-artist-tony-albert-breaks-silence-brothers/#.XCgm9C1L3Uo, 7 August 2015; accessed 30 December 2018. (12) Tony Albert, email to the author, 21 December 2018.

Images p. 19 Installation view, National Anthem, with (left to right) Tracey Moffatt, Doll birth, 1972; Useless, 1974; Job hunt, 1976, all 1994; Callum Morton, Glenville souvenirs, Mt. Irvine, NSW 2001 p. 21 Installation view, National Anthem, with (foreground) Richard Bell, A prelude to imagining victory 2012–13; (background, left to right) Tracey Moffatt, Job hunt, 1976 1994; Callum Morton, Glenville souvenirs, Mt. Irvine, NSW 2001; Tony Albert, CLASH 2019; Hoda Afshar, The Westoxicated #1, #2, #4, #5 (detail), all 2013–14 p. 22 Installation view, National Anthem, with (top to bottom) Paul Yore, THIS MOMENT IS CRITICAL; WELCOME TO HELL; TODAY AT THE EXPENSE OF TOMORROW / WHAT WAS STOLEN YESTERDAY IS SOLD, all 2014; Janenne Eaton, BORDERLANDS 2018–19

Kate Just

colloquialisms and everyday yet unseemly behaviours into his performance works to create biting, satirical commentary on Australia’s social and cultural shortcomings.10

Everyone wants to talk about identity. National Anthem is one of several exhibitions staged in Australia over the past year that have tackled the subject. We’re in a period where more and more artists from outside the dominant culture are being placed in institutional shows. There’s a desire to talk about the political potential of art and to contribute to a broader national conversation in a time of political divisiveness – when it feels as though the public rhetoric is far removed from how we go about living our lives. The works included in National Anthem play an important role in contributing to our discourses on belonging, on issues of unequal power in Australia and on our history of structural exclusion. We need to be careful, however, to clearly lay out the context within which this work is made and to understand the politicised nature of cultural institutions and Australian life.

The Australian national identity has long defined itself by who does and doesn’t belong. ‘Advance Australia Fair’ has only been our nation’s anthem since 1984 – when it officially replaced ‘God Save the Queen’ – but the roots of the homogenous and narrow understanding of what it means to be Australian, of the unequal distribution of the capacity to contribute to and participate in a national cultural life, hark back to the values that defined us at Federation. The song itself was written in the late nineteenth century, at a time when there had already been almost a century of frontier wars following British invasion, the introduction of Aboriginal Protection Acts throughout the colonies – which controlled all aspects of Aboriginal peoples’ lives – and immigration legislation aimed at keeping Chinese people out of Australia. In line with the vision of Australia being a place for whites, immigration policies also increasingly targeted Japanese people, South Asians and Pacific Islanders.1 The White Australia policy and the myth of terra nullius are indicative of a very clear vision of what the country would be. In this context, the anthem lyrics ‘For we are young and free’ and ‘Advance Australia fair’ take on more loaded meanings. We’re still living in the shadow of the idea of Australia being a white country – and our political, economic and cultural spheres are still shaped by this history. In 2018 the Australian Human Rights Commission released a report that found that across business, politics, government and the university sector, ninety-five per cent of senior leaders in Australia come from an Anglo-Celtic or European background.2 In places where you find concentrations of institutional power, you find white people, even while politicians make statements about Australia being the most successful multicultural country in the world. While the report didn’t focus on our arts and cultural sector, there has been more and more discussion recently about the cultural homogeneity of our arts institutions and their gatekeepers, audiences and supporters, even while diversity is a topic that’s on trend. I’ve heard many within these institutional spaces discuss the polarised nature of our political climate and state that our ‘political elite’ are weaponising difference

Enduring Visions

to drive us apart. The reality is, however, that our cultural institutions have been polarised and inequitable since colonisation. These characteristics of division and inequality don’t exist somewhere ‘over there’; rather, they are at the heart of much of what we do in the cultural sector. This sort of discussion isn’t new either, even though it seems to have only been in the spotlight in contemporary art discourse over the past couple of years. Back in the 1990s, the same decade that the earliest works in this exhibition were produced, Ghassan Hage was writing about the limits of how we understood multiculturalism in Australia – that even though we were debating what the Australian identity could be, the discussion on both sides was being led and managed by white people. White people, for Hage, were the ‘overwhelming occupiers of the centre of national space’;3 he posited that the central role this particular ethnic group played in national life endured because our social reality was engineered to allow it. We have a long history of trying to have nuanced discussions about race in Australia, and a long history of nothing being done. The recent spotlight on ‘diversity’ hasn’t come out of nowhere, and the artists in this exhibition speak to something that has been felt and experienced by many for generations. The open discussion about division in political life and society is only new to some. What’s exciting now, however, is that the work of these artists is making clearer just how worn out many institutional spaces are. There is a generation of people coming through who seem committed to change. Our art schools, museums, galleries, artist-run spaces and funding bodies can no longer exist in a ‘bizarro world’ where it feels like the White Australia policy was never repealed; there is too loud a cacophony of voices from various experiences demanding more of us.

Enduring Visions — Andy Butler

This work is often framed as political within contemporary art discourse. While this may be the case for some of the artists, it can be a disservice to the works and to the broader issues that they engage with to place the responsibility for political change solely on the shoulders of artists. While the work of many of the artists provides a reframing of parts of the Australian identity, which is inherently political and has been engineered to be so, it is not exclusively the remit of artists to agitate for change.

The divisiveness of Australia’s national identity and the social reality it creates are reproduced within the range of institutions and spaces that shape our political, cultural and economic lives. While this division has become amplified and more prominent in recent years, it is hardly new, or abnormal, in our country’s history. The progressive change that many are calling for is not inevitable – it will take work and a clear understanding of the structures of power that still define us, and that continue to exclude many outside the dominant culture. In approaching the works in National Anthem, with their various perspectives that rile up against the limits of how we understand ourselves as a nation, we can’t place the expectation of political labour on artists alone. As members of audiences, institutions and the broader contemporary arts community, many of us have a proximity to power – especially in the context of a museum such as Buxton Contemporary. At a time when the arts can’t get enough of diversity, we should be coming together to agitate for real structural and ongoing change. Notes (1) Amy Tikkanen ‘White Australia Policy’, Encyclopaedia Britannica, 2017, britannica.com/event/White-AustraliaPolicy; accessed 16 February 2019. (2) Australian Human Rights Commission, Leading for Change: A Blueprint for Cultural Diversity and Inclusive Leadership Revisited, 2018, humanrights.gov.au/our-work/racediscrimination/publications/leading-changeblueprint-cultural-diversity-and-inclusiv-0; accessed 15 February 2019. (3) Ghassan Hage, White Nation: Fantasies of White Supremacy in a Multicultural Society, Pluto Press Australia, Melbourne, 1998, p. 19.

Images pp. 26–27 Installation view, National Anthem, with (left to right) Abdul Abdullah, The re-introduction of Australian knighthood 2014; Tony Schwensen, C’mon 2006 (detail); Raquel Ormella, Wealth for toil #2 2014 p. 29 Installation view, National Anthem, with (left to right) Janenne Eaton, BORDERLANDS 2018–19 (detail); Hoang Tran Nguyen, Like a version 2009 (detail); Eugenia Lim, New Australians (Yellow Peril 1980/2015) 2015 p. 30 Installation view, National Anthem, with Christian Thompson, Dead tongue 2015 (detail) pp. 32–33 Performance stills, National Anthem, Eugenia Lim, The Ambassador performances 2019 (detail) p. 35 Performance still, National Anthem, Archie Barry, BREATH MARK AND MUSCLE SONG: rest and only say what’s necessary 2019 (detail) pp. 36–37 Performance still, National Anthem, Kay Abude, POWER 2019 (detail); (background) Hoda Afshar, The Westoxicated #1, #2, #4, #5, #6, #7, #9 2013–14

Andy Butler

Diversity is on trend, but it remains to be seen whether it will reshape how we understand Australian identity and belonging in the long run. The various perspectives that are opened up by the artists in National Anthem are important in enabling us to think critically about who we are and where we’re going, but the structures of power that shape us as a country have a reach far beyond the work of artists.

A NEW ORDER

CURATED BY LINDA SHORT

(1) The exhibition In the spirit of this exhibition, which places much of its focus on patterns and systems, we might begin by discussing it in terms of numbers. A New Order brings together sixteen works by twelve artists, all of which have been selected from the Michael Buxton Collection at the University of Melbourne. Since its inception in 1995, this collection of contemporary art from Australia and New Zealand has progressively grown and, at the time of writing, comprises more than 300 works with several new acquisitions underway. From this carefully thought-out group, countless arrangements can be conceived and shared in exhibitions such as this one, which joins a series of projects reaching back to 2002.

One of the guiding principles behind any collection-based exhibition is the potential for variation on a theme. A collection, be it of art or other collectables, comes with limitations set in place by its size, at the very least. And yet, it is open to free interpretation within its realm. Or, put another way, by working with its constraints we can create possibility. This idea is the simple starting point from which A New Order has evolved. The exhibition presents a modest number of works in an intentionally quiet, contemplative environment. Nonetheless, the ideas and interactions prompted by the works are complex and expansive, and they resound loudly. And with careful, close attention we find there are innumerable ways to build connections between them and their makers. (2) The artists The artists in the exhibition are linked by much more than the parameters of a collection. In many instances, their connections intertwine the contexts of friendship, collaboration, studio initiatives, exhibition spaces, biennales, gallery representation and more. One core group formed an association around Store 5, a small but incredibly significant artist-run space operating in Melbourne between 1989 and 1993. A rollcall of those who exhibited there and who also feature in this exhibition includes Stephen Bram, Tony Clark, Marco Fusinato, Diena Georgetti, John Nixon, Rose Nolan and Constanze Zikos. No one type of art was argued for or against at Store 5; however, at a distance of several decades, we can identify strong leanings towards geometric abstraction, conceptual aesthetics and a do-it-yourself irreverence. These predilections went hand in hand with the thinking that artists should be able to freely draw on the art of the past and rearticulate its styles and concepts for the present. In A New Order, the aforementioned artists are represented with works made after the life of Store 5. However, we can still sense in their more recent endeavours what was absorbed and understood from one another during that formative period, as well as the discourses of art that were influential. An engagement with the revolutionary aesthetics of early twentieth-century abstraction and the later, concurrent movements of minimalism, conceptual art and performance have all left their mark. At the same time, it is important to recognise the singularity of these artists and the ways their individual practices have evolved as the result of their own sensibilities, experiences and interests.

A New Order

Peer association extends beyond the Melbourne locale. Sydney-based artist Mike Parr has been collaborating on projects with John Nixon since 1989; however, Parr has also nominated an alternative date of 1987, the year a public debate developed between him and art critic John McDonald about Nixon’s artistic intent and the purpose of art criticism more broadly.1 By comparison, Rosalie Gascoigne was a decidedly solo practitioner, working from her home in Canberra and outdoors in the surrounding countryside, where she would spend time gathering natural and discarded materials to repurpose in her work. Gascoigne came to art late in life, holding her first exhibition in 1974 at the age of fifty-seven after transferring her compositional skills in ikebana flower arranging to ambitious assemblages of found materials. She quickly immersed herself in the critical dialogues of the time, exhibiting her constructions at Gallery A in Sydney in 1976 and at Bruce Pollard’s Pinacotheca Gallery in Melbourne from 1981. These two galleries were important platforms for experimental and abstract art during the late 1960s through to the 1980s. Parr and Nixon both exhibited at Pinacotheca in the early 1970s when they were setting out as artists. Emily Floyd, Daniel von Sturmer and Daniel Crooks are part of a generation of artists in Melbourne who first came to prominence at the turn of the millennium. The values and focus of art as it found a footing in the twenty-first century were the departure points for Floyd’s sculpture in this exhibition, which she made in response to an essay-style question composed by philosopher Justin Clemens as part of a collaborative project begun in 2003. Daniel von Sturmer’s video installation The truth effect was commissioned in 2003 for the inaugural NEW exhibition at the Australian Centre for Contemporary Art. Former artistic director Juliana Engberg conceived the series as a yearly event to successively strengthen the visibility of emerging artists and provide a meaningful new context for exhibiting their work (Emily Floyd and Marco Fusinato are also members of the NEW alumni).2 Daniel Crooks’s An embroidery of voids similarly resulted from a special commission by one of Melbourne’s sister institutions. The video featured as a central work in the National Gallery of Victoria’s Melbourne now exhibition, held over the summer of 2013–14. The exhibition traced creative activity in the city and arguably set a benchmark for the kind of immersive, experiential work that has helped contemporary art find a positive reception in the public domain. (3) The works and us The works in A New Order step through the categories of painting, sculpture, video and installation. Rather than coalescing around a particular style or theme, they are linked by a range of ideas, intentions and material properties. One meeting point in a network of relationships is the fact that each can be seen to rely on a tension or play of opposites. For instance, we encounter the commonly opposing concepts of order and dissent in the methods of artists as diverse as Rosalie Gascoigne and Marco Fusinato. Gascoigne’s eye-catching arrangement of cut-up road signs in the assemblage Conundrum (1990) follows the organising principles of the grid, but also the ‘lyrical derailments’ that pleased her eye as she composed the word and letter fragments3 – a push and pull we also get to experience as we instinctively try to decode the text. Similarly, Fusinato’s reworking of musical scores in his ongoing series of drawings Mass black implosion follows a graphic process that is methodical and disciplined, but what it asks us to imagine through the visual realm

Linda Short

A Text in 3 Parts — Linda Short

is truly anarchic – a room-shaking onslaught of sound. Interplays of silence and noise, systems and chance are also present in Mike Parr’s Blind obedience / Silent majority (1998),a two-part video work in which words and numbers combine to speak volumes about the potency, complexity and ambiguity of language. Rose Nolan’s aesthetic choices stem from a shifting back and forth between such extremes as big and small, precise and rough, public and private, quiet and loud, word and image. Her method builds a momentum that makes itself felt upon the surface of her large painted banner, which occupies the centre of the gallery. Nolan’s clever combination of opposites not only draws our attention to the object’s materiality but its coexistence in space and time with us and the surrounding architecture. Because of its scale we need to stand back and view it from a distance so as to fully appreciate its geometric order and decipher its text. And yet, to fully sense its physical qualities – the labour-intensive handiwork involved in the collaged pieces that comprise the whole, the rich textures of oil paint on hessian and the distinctive scents of both – we have to alter our position and move in close. The same physical to-and-fro occurs as we scan the expanse of Fusinato’s framed drawings and let their intricate patterns draw us forward to study them further. This also occurs when viewing Constanze Zikos’s construction Intercity 4 (2000), which at first glance, or from a distance, might appear to be a perfectly executed abstract painting. Close-up, however, we find

A New Order

its seamless geometry is hand-built from pieces of laminex, a material that signals domestic interior before work of art. Unsettling the boundaries between high and low aesthetics is all part of Zikos’s catch-all form of abstraction. Spatial situations, both real and constructed, prompt engagement throughout the exhibition. Along with Nolan’s banner, we have to navigate Daniel von Sturmer’s installation in the round to access his ‘studio tests’, a series of videos that are playing on custom-made screens von Sturmer has set atop an oddly tilted structure. Gravitational forces go awry in the videos too. Workaday objects from the artist’s studio have been brought to life in ways that challenge the eye and the mind. For instance, in one video, a roll of tape, a plastic cup and a sanding block confound us as they slip, slide and tumble inside a white box. The objects perform movements that seem to defy the laws of physics, made possible only by unseen forces beyond the frame of the camera. Von Sturmer has compared his methods of delivery in this particular ‘test’ to Stanley Kubrick’s illusionistic scenes of slow-paced life aboard the spacecraft in 2001: A Space Odyssey, a movie which explored how far cinematic illusion could go prior to the digital era.4 Albeit an unexpected analogy, it serves to highlight something of von Sturmer’s own mission. By working with the simplest of objects and camera techniques, he shows us that the contradictions between what we see and what we believe are as common as the most mundane materials and routine occurrences.

Linda Short

Stephen Bram’s long engagement with abstraction has been sustained by questions concerning what is real and what is represented. The hard-edge shapes creating spatial depth in his painting Untitled (two-point perspective) (2012) conform to a geometric logic that he has followed for years. It is grounded in a process of nominating two or three vanishing points (usually outside the picture plane) and drawing lines across the surface of the canvas towards these points in order to determine the forms and sense of depth within the painting. The visual results are what we have come to describe as abstract, yet Bram considers them a form of realism.6 Here he is referring to the spatial relationships his paintings have with the physical world: how they might encourage us to reflect on the tensions that exist between a painting’s ability to present an illusion of space and its actual existence as an object we interact with in real time. He is also alluding to the ambiguous identity of the geometric schema he returns to time and again, of which he himself asks: ‘Do the vanishing points exist as part of the work or not? Are they unique and fixed or not? Identifiable and real or notional?’ For many of the artists, patterns become structures that are more than compositional; they are intrinsic to the content of a work or even its central subject. Tony Clark’s twelve-panelled composition Lontani (1999) could easily be mistaken for an abstract turn in his long career as a painter of landscapes, albeit a painter who brings an unconventional approach to the genre. However, his momentary shift to abstract imagery is not a stylistic diversion. It is, rather, a continuation of an ongoing concern. For Clark, no subject is an end in itself but a vehicle for a conceptual framework. As such, his orchestration of simple elliptical shapes across multiple (and interchangeable) panels enables him to expand his preoccupation with questions of pattern and variation, colour and form, reductivism and ornamentation. ‘My own perception of my work as a whole is that it is a kind of Heretical Abstraction and I have often felt that I have more in common with my hardline abstract peers than with anyone else’, he has said.8 John Nixon’s Experimental Painting Workshop (EPW) is underpinned by the open-ended possibilities resulting from serial and systematic methods. In progress since 1978, his EPW is a theoretical space in which to build an intellectual framework for expanding the field of non-objective painting. Nixon limits his enquiry to the constituent elements of painting – colour, texture, dimension and form – using these basic principles to generate multiple ideas that are explored as variations on a theme. Works with a common aesthetic are

A New Order

Daniel Crooks tests our perceptual faculties in his video An embroidery of voids, on display in the gallery’s project room. Using an editing technique that he refers to as a ‘time-slice’, Crooks manipulates the moving image to construct a simulated journey full of incisive play between reality and illusion. The immaterial becomes material as he alters the course of time, challenging Western representations of it moving in one direction. ‘The future is always at the right’, he has said in reference to the linear formats typically found in filmmaking and in Western writing.5 However, as our eye tunnels through his video’s collaged spaces, multiple moments are unfolding on screen simultaneously. Crooks’s strategy is not dissimilar to Gascoigne’s disruption of text in her assemblage of sawn-up road signs. The blocks of letters are oriented in horizontal and vertical directions, reconfiguring the Western manner of reading something laterally and invoking an experience much closer to the multifaceted dimensions of language.

Other artists look to pre-existing structures as kinds of assisted readymades, from simple found objects to complex systems such as language and musical notation. Indeed, the systems of art itself are reconsidered and reconstituted in Emily Floyd’s sculpture New ways of thinking (2006). The work forms part of a larger series in which Floyd proposes an alternative approach to art-making, one that finds a place for the value of education, play, community and diversity. Her sculptures have come to be described as ‘philosophical toys’, a term that references both their playful appearance and the progressive schools of thought that inform them, such as the community movements Floyd grew up with and a language of toy-making and design inherited from her grandmother. These in turn have their lineage in avant-garde art movements such as the Bauhaus and Russian constructivism. Reformatting knowledge to make it hands-on and meaningful is at the heart of Floyd’s practice, and Diena Georgetti brings an equally democratic and open approach to her chosen medium of painting. She tunes in daily to other people’s visual accomplishments in art, architecture, design and fashion and then edits her findings into new compositions until she conceives a painting that feels ‘alive’.9 Her unrestrained copycat style is driven by politics and creative agency; she can react against art criticism’s push for originality, distance herself from authorship and thus classification, and let the work belong to ‘any time, place, gender or age’.10 Most of all, she can acknowledge her place in an aesthetic lineage and in the ongoing connections we make as a society through art – an endeavour that chimes with Floyd’s emphasis on embodied learning.

Curator Francesco Stocchi drew an analogy between artists and sociologists when he was interviewed about the work of Marco Fusinato, noting Fusinato’s preoccupation with ‘how systems work and how humans behave in groups’.11 When Fusinato was himself asked by the journalist what the purpose of art was in the larger scheme, he replied, with a hint of defiance, ‘To ask questions and not get answers’.12 The point he makes is substantiated by all of the works in A New Order. Rather than offer foregone conclusions, they prompt questions and propose actions, asking something of us; if we engage with them, we can sharpen our senses and challenge our perceptions. Notes (1) Following a one-line entry John McDonald made in a Sydney Morning Herald gallery listing for a John Nixon exhibition at Roslyn Oxley9, Mike Parr had called for more serious art criticism in an interview he held with Xpress magazine in 1986. Parr’s comment prompted a back-and-forth exchange between the critic and artist in issues of Art Monthly the following year. Reflecting on the episode in an interview almost twenty-five years later, Parr concluded that the debate marked the beginning of his focused engagement with Nixon’s work. Mike Parr in interview with Susan Gibb, Sydney, 15 December 2011, welcome-to-society.com/Left%20Overs; accessed 29 January 2019. (2) Juliana Engberg, ‘The NEW Series’, Australian Centre for Contemporary Art, Melbourne, acca.melbourne/ explore/text/acca-history/the-new-series, accessed 30 January 2019. (3) In an artist’s statement published in 1972, Gascoigne used the term ‘lyrical derailments’ to describe her ways of finding materials and working with them, explaining, ‘I can fly off at tangents and be diverted by the unexpected’. Rosalie Gascoigne, quoted in Fay Bottrell, The Artist Craftsman in Australia, Jack Pollard, Sydney, 1972, p. 39. Mary Eagle expands on the idea in her text ‘Rosalie Gascoigne’s lyrical derailments’, in Lynne Sears and Julie Ewington (eds), Brought to Light II: Contemporary Australian Art 1966–2006 from the Queensland Art Gallery Collection, Queensland Art Gallery, Brisbane, 2007, p. 203. (4) Daniel von Sturmer in conversation with the author, Buxton Contemporary, Melbourne, 10 December 2018. (5) Daniel Crooks speaking in ‘Daniel Crooks: Phantom Ride’, Australian Centre for the Moving Image, Melbourne, published 15 March 2016, youtube.com/watch?v=4FrOoxz71Zg; accessed 17 January 2019. (6) Stephen Bram in interview with Sue Cramer, November 2002, in Christopher Kramatschek (ed.), Stephen Bram: Oberföhringer Strasse 156, 2001, Collage, Munich, 2003, p. 37. (7) Stephen Bram, email to the author, 14 January 2019. (8) Tony Clark, email to the author, 21 December 2018. (9) Diena Georgetti in interview with Tai Snaith, ‘A world of one’s own: painting yourself out of the dark – Diena Georgetti’, Australian Centre for Contemporary Art, Melbourne, soundcloud.com/acca_melbourne/aworld-of-her-own-painting-yourself-out-of-the-dark-diena-georgetti?utm_source=soundcloud&utm_ campaign=share&utm_medium=email; accessed 3 January 2019. (10) Diena Georgetti in interview with Tai Snaith. (11) Francesco Stocchi, quoted in Miriam Cosic, ‘Marco Fusinato’s sound and vision’, The Saturday Paper, 26 September 2015, thesaturdaypaper.com.au/culture/art/2015/09/26/marco-fusinatos-sound-andvision/14431896002417; accessed 8 January 2019. (12) Marco Fusinato, quoted in Miriam Cosic, ‘Marco Fusinato’s sound and vision’.

Images p. 38 Installation view, A New Order, with (left to right) Diena Georgetti, Cartoon kapowee bouquet; Photographers ocular record cover; Split panelled shadow chart, all 2011; Rose Nolan, Big word combos – RN 4 ME/DILL 1998 pp. 42–43 Installation view, A New Order, with (left to right) Mike Parr, Blind obedience / Silent majority 1998; Marco Fusinato, Mass black implosion (Anestis Logothetis) 2008 p. 45 Installation view, A New Order, with (top to bottom) Constanze Zikos, Intercity 4 2000; Tony Clark, Lontani 1999 p. 46 Installation view, A New Order, with Daniel Crooks, An embroidery of voids 2013 (detail) pp. 48–49 Installation view, A New Order, with (left to right) Emily Floyd, New ways of thinking 2006; Stephen Bram, Untitled (two-point perspective) 2012; Rosalie Gascoigne, Conundrum 1990 pp. 50–51 Installation view, A New Order, with Daniel von Sturmer, The truth effect 2003 (detail) p. 58 Installation view, A New Order, with John Nixon, Untitled (black and white monochrome) 2013; Untitled (white monochrome) 2011; Untitled (pink monochrome) 2012 p. 64 Installation view, National Anthem, with Steven Rhall, Every 1’s a winger (Bingo mode) 2018

Linda Short

developed and exhibited together as installations, and a distinguishing feature running through the set will invariably suggest the artist’s next move. A New Order includes three individual works, each an iteration of the EPW. While all have a three-dimensional quality, they operate firmly within the realm of painting. Their canvas frames act as foundations for their scaffolded forms.

2013; New Babylon, Craft Victoria, Melbourne, 2012; Kerameikou 32, ReMap3, Athens, Greece, 2011; Think Tank – Artists Books, Academy Gallery, University of Tasmania, Launceston, 2011; Super Market, Gertrude Contemporary Art Spaces, Melbourne, 2010. Abude’s work is included in private collections in Australia and New Zealand.

NATIONAL ANTHEM

— Abdul Abdullah Abdul Abdullah was born in 1986 in Perth, Western Australia, and currently lives in Sydney. Abdullah holds a Master of Fine Art, University of New South Wales, Sydney, 2017, and Bachelor of Fine Art, Curtin University of Technology, Western Australia, 2008. His recent solo exhibitions include Waiting Room, Yavuz Gallery, Art Basel Hong Kong, Hong Kong, 2019; Jangan Sakiti Hatiku: Don’t Break My Heart, Yavuz Gallery, Singapore, 2018; Terms of Engagement: Examining the Rhetoric of Radicalisation, UNSW Galleries, Sydney, 2017; Rationally Benevolent Gods, Lisa Fehily Contemporary Art at Sydney Contemporary, Sydney, 2017; Coming to Terms, Chasm Gallery, New York, NY, USA, 2015; I See a Darkness, Future Perfect, Singapore, 2014; Homeland, Fehily Contemporary, Melbourne, 2013; Mongrel, Fehily Contemporary, Melbourne, 2012; Them and Us, Kings Artist-Run, Melbourne, 2011. Abdullah has exhibited in many group exhibitions in Australia and internationally, including Not Just Australian, Artspace, Sydney, 2019; Stories We Tell to Scare Ourselves With, Museum Of Contemporary Art Taipei, Taiwan, 2018; Dark Horizons, Te Uru Waitakere Contemporary Gallery, Auckland, New Zealand, 2018; Gebrochene Welten, Galerie Oqbo, Berlin, Germany, 2018; Infinite Conversations, National Gallery of Australia, Canberra, 2018; DIASPORA: Exit, Exile, Exodus Of Southeast Asia, MAIIAM Contemporary Art Museum, Chiang Mai, Thailand, 2018; Jogja Calling, 4A Centre of Contemporary Asian Art, Sydney, 2017; Beauty and the Beast: The Animal in Photography, Museum Of Photographic Arts, San Diego, CA, USA, 2017; Painting. More Painting, Australian Centre for Contemporary Art, Melbourne, 2017; 8th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery | Gallery of Modern Art, Brisbane, 2015; Primavera, Museum of Contemporary Art Australia, Sydney, 2015; Video Stage, Art Stage, Singapore, 2015; The List, Campbelltown Arts Centre, New South Wales, 2014; Being Eurasian, Fremantle Arts Centre, Western Australia, 2013. Abdullah’s work is held in several public collections, including MAIIAM Contemporary Art Museum, Chiang Mai, Thailand; National Gallery of Australia, Canberra; Art Gallery of Western Australia, Perth; Queensland Art Gallery | Gallery of Modern Art, Brisbane; Museum of Contemporary Art Australia, Sydney; Artbank; Islamic Museum of Australia, Melbourne. Abdullah is represented by Yavuz Gallery, Singapore.

— Kay Abude Kay Abude was born in 1985 in Manila, the Philippines, and arrived in Australia in 1986. Abude currently lives in Melbourne. She holds a Master of Fine Art (Research), 2010, Bachelor of Fine Art (Honours), 2008, and Bachelor of Fine Art (Sculpture and Spatial Practice), 2007, all from the Victorian College of the Arts, University of Melbourne. Abude’s recent exhibitions include State of the Union, Ian Potter Museum of Art, University of Melbourne, 2018; Class Act, Outerspace ARI, Brisbane, 2018; Projects 2018, Auckland Art Fair 2018, The Cloud, Auckland, New Zealand, 2018; LOVE THY LABOUR, in collaboration with Stewart Russell and Spacecraft Studio, Bus Projects, Melbourne, 2017; 9x5 NOW, Margaret Lawrence Gallery, Victorian College of the Arts, University of Melbourne, 2017; Fabrik: conceptual, minimalist and performative approaches to textiles, Margaret Lawrence Gallery, Victorian College of the Arts, University of Melbourne, 2016; Melbourne Prize for Urban Sculpture 2014, Federation Square, Melbourne, 2014; Deakin University Contemporary Small Sculpture Award 2014, Deakin University Art Gallery, Melbourne, 2014; Innovators 2, Linden Centre for Contemporary Arts, Melbourne, 2014; Repeat Offender, The Gallery @ Bayside Arts and Cultural Centre, Melbourne, 2013; Keith and Elisabeth Murdoch Travelling Fellowship, Margaret Lawrence Gallery, Victorian College of the Arts, University of Melbourne, 2011 and 2013; Powerplay [en]counters 2013, Bandra West, Mumbai, India,

Art Gallery of South Australia, Adelaide; Art Gallery of Western Australia, Perth; Australian War Memorial, Canberra; Hood Museum of Art, Dartmouth College, Hanover, NH, USA; Museum and Art Gallery of the Northern Territory, Darwin; National Gallery of Australia, Canberra; National Gallery of Victoria, Melbourne; National Museum of Australia, Canberra; Queensland Art Gallery | Gallery of Modern Art, Brisbane. Albert is represented by Sullivan+Strumpf, Sydney | Singapore.

— Hoda Afshar Hoda Afshar was born in 1983 in Tehran, Iran, and arrived in Australia in 2007. She currently lives in Melbourne. Afshar holds a Bachelor of Fine Art (Photography), Azad University of Art and Architecture, Tehran, Iran, 2006. Afshar’s work has been exhibited locally and internationally, and her solo exhibitions include Behold, Centre for Contemporary Photography, Melbourne, 2017, Horsham Regional Art Gallery, Victoria, 2018, Mars Gallery, Melbourne, 2018, and Perth Centre for Photography, 2019; In the exodus, I love you more, Brightspace Gallery, Melbourne, 2016, and Wallflower Photomedia Gallery, Mildura Arts Centre, Victoria, 2017; Fables of Change, Month of Photography in Minsk, Belarus, 2016; Under Western Eyes, Edmund Pearce Gallery, Melbourne, 2014; In-Between Spaces, Mori Gallery, Sydney, 2010, Pingyao International Photography Festival, China, 2011, Edmund Pearce Gallery, Melbourne, 2012, PhotoVisa International Festival of Photography, Krasnodar Institute of Contemporary Art, Russia, 2013. Recent group exhibitions include Beyond Place: Australian Contemporary Photography, Museum of Photographic Arts, San Diego, CA, USA; Just not Australian, Artspace, Sydney, 2019; PRIMAVERA 2018, Museum of Contemporary Art Australia, Sydney, 2018; All We Can’t See: Illustrating the Nauru Files, fortyfivedownstairs, Melbourne, 2018; Khalas, UNSW Galleries, Sydney, 2018; Waqt al tagheer: Time of Change, ACE Open, Adelaide, 2018; Obscura Festival, Penang, Malaysia, 2016; Gaffa Photo Festival, Sydney, 2016; Double Vision, Brightspace Gallery, Melbourne, 2014. Afshar’s work is included in several private and public collections, including the National Gallery of Victoria, Melbourne; Murdoch University Art Collection, Perth; Monash Gallery of Art, Melbourne.

— Tony Albert Tony Albert, Girramay/Yidinji/Kuku Yalanji, was born in 1981 in Townsville, Queensland, and currently lives in Brisbane. He holds a Bachelor of Visual Arts (Contemporary Indigenous Australian Art), Queensland College of Art, Griffith University, Brisbane, 2004. Albert’s recent solo exhibitions include Visible, Queensland Art Gallery | Gallery of Modern Art, Brisbane, 2018; Unity, Sullivan+Strumpf, Sydney, 2018; The Hand You’re Dealt, Sydney Contemporary, Carriageworks, Sydney, 2017; Unalienable, Tandanya National Aboriginal Cultural Institute, Adelaide, 2017, and Sullivan+Strumpf, Sydney, 2016; We Come in Peace, Sullivan+Strumpf, Sydney, 2014; Projecting Our Future, Art Gallery of New South Wales, Sydney, 2013; Be Deadly, Cairns Indigenous Art Fair, Cairns Regional Gallery, Queensland, 2011; Pay Attention, City Gallery Wellington, Te Whare Toi, New Zealand, 2010; Must Have Been Love, Canberra Contemporary Art Space, 2008. Group exhibitions include We Can Be Heroes, Queensland Art Gallery | Gallery of Modern Art, Brisbane, 2018; Engender, Alaska Projects, Sydney, 2017; Defying Empire: 3rd National Indigenous Art Triennial, National Gallery of Australia, Canberra, 2017; Fleurieu Art Prize Finalists’ Exhibition, Samstag Museum of Art, University of South Australia, Adelaide, 2016; Tarnanthi, Festival of Contemporary Aboriginal & Torres Strait Islander Art, Art Gallery of South Australia, Adelaide, 2015; Vivid Memories: An Aboriginal Art History, Musée d’Aquitaine, Bordeaux, France, 2013; String Theory, Museum of Contemporary Art Australia, Sydney, 2013; The Trickster, Gyeonggi Museum of Modern Art, Seoul, South Korea, 2010; 10th Biennial of Havana, Cuba, 2009. In 2015, Albert completed a City of Sydney commission for a public artwork in Hyde Park that commemorates the service of Indigenous soldiers. His work is represented in a number of collections, including the Art Gallery of New South Wales, Sydney;

Artist biographies

— Brook Andrew Brook Andrew, Wiradjuri, was born in 1970 in Sydney and currently lives in Melbourne, Berlin and Oxford. He holds a Master of Fine Art (Research), College of Fine Arts, University of New South Wales, Sydney, 1999, and Bachelor of Visual Arts, University of Western Sydney, 1993. Andrew has exhibited extensively, both nationally and internationally, since 2000. Recent solo exhibitions include Rethinking Antipodes, Geelong Gallery, Victoria, 2018; Stretching the Guidelines of Glue, Künstlerhaus Bethanien, Berlin, 2018; AHYKON-UH-KLAS-TIK, Van Abbemuseum, Eindhoven, the Netherlands, 2017; Fuselage, Musée d’ethnographie de Genéve, Switzerland, 2017; The Right to Offend is Sacred, National Gallery of Victoria, Melbourne, 2017; Assemblage, Galerie Nathalie Obadia, Brussels, Belgium, 2017; Sanctuary: Tombs of the Outcasts, Ian Potter Museum of Art, University of Melbourne, 2015; Witness, Lyon Housemuseum, Melbourne, 2014; Anatomie de la mémoire du corps: au-delà de la Tasmanie, Galerie Nathalie Obadia, Paris, France, 2014. Selected group exhibitions include the Honolulu Biennial 2019, HI, USA, 2019; SUPERPOSITION: Equilibrium & Engagement, 21st Biennale of Sydney, Sydney, 2018; Colony: Frontier Wars, National Gallery of Victoria, Melbourne, 2018; National Indigenous Art Triennial: Defying Empire, National Gallery of Australia, Canberra, 2017; Sovereignty, Australian Centre for Contemporary Art, Melbourne, 2016; Antipodes, Cambridge Museum of Archaeology and Anthropology, University of Cambridge, UK, 2016; Artist and Empire, Tate Britain, London, UK, 2015; Global Imaginations, Museum de Lakenhal, the Netherlands, 2015; Un saber realmente útil (Really Useful Knowledge), Museo Nacional Centro de Arte, Reina Sofia, Madrid, Spain, 2014–15; Vivid Memories: An Aboriginal Art History, Musée d’Aquitaine, Bordeaux, France, 2014; in.print.out., Kunstlerhaus, Vienna, Austria, 2012; The Floating Eye, Sydney Pavilion, 9th Shanghai Biennale, China, 2012; Tell me tell me: Australian and Korean Art 1976–2011, Museum of Contemporary Art, Sydney, and Museum of Contemporary Art, Seoul, South Korea, 2011; The Beauty of Distance: Songs of Survival in a Precarious Age, 17th Biennale of Sydney, Sydney, 2010. Andrew’s work is held in numerous private and public collections including the National Gallery of Australia, Canberra; Art Gallery of Western Australia, Perth; National Portrait Gallery, Canberra; Art Gallery of New South Wales, Sydney; Museum of Contemporary Art, Sydney; National Gallery of Victoria, Melbourne; Queensland Art Gallery | Gallery of Modern Art, Brisbane; Art Gallery of South Australia, Adelaide; The Vizard Foundation Collection, Melbourne; Benalla Art Gallery, Victoria; Museums Victoria, Melbourne; Northern Territory University Art Collection, Darwin; Griffith University Art Collection, Brisbane; Monash University, Melbourne. Andrew is represented by Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; Galerie Nathalie Obadia, Paris and Brussels.

— Ali Gumillya Baker Ali Gumillya Baker, Mirning, was born in 1975 in Rose Park, Adelaide,Tarndanyangga Kaurna Yarta, where she continues to live. Baker holds a Doctor of Philosophy (Cultural Studies, Creative Arts), Flinders University, Adelaide, 2018; Master of Arts (Screen Studies), Flinders University, Adelaide, 2002; Bachelor of Visual Arts (Honours), University of South Australia, 1997. She has participated in numerous group exhibitions, including Head to Head, Shifting Perspectives in Australian Portraiture, Flinders University

Art Museum, Adelaide, 2018; Next Matriarch, Koorie Heritage Trust, Melbourne, 2018, and ACE Open, Adelaide, 2017; Unfinished Business: Perspectives on Art and Feminism, Australian Centre for Contemporary Art, Melbourne, 2017–18; Resolution: New Indigenous Photomedia, National Gallery of Australia, Canberra, and national tour, 2016–18; Illusions of History, Hugo Michell Gallery, Adelaide, 2016; Bound and Unbound: Sovereign Acts – Act II, Art Gallery of South Australia, Adelaide, and tour, 2015; Kaurna Entry Screens Commission, Royal Adelaide Hospital, 2015; Bound and Unbound: Sovereign Acts – Decolonising Methodologies of the Lived and Spoken, Act 1, Fontanelle Gallery, Adelaide, 2014; Historia, Adelaide Town Hall, 2014; Beyoncé is a Feminist, Fontanelle Gallery, Adelaide, 2013; From the Street, Art Gallery of South Australia, Adelaide, 2012; ALIAN: Bow Down to the Sovereign Goddess, Inside the Museum of Un-Natural History, Tandanya National Aboriginal Cultural Institute, Adelaide, 2011. Between 1998 and 2005, Baker was a member of performance group Shimmeeshok with artists Linda Lou Murphy and Yoko Kajio. Her works are included in several collections, including the Art Gallery of South Australia, Adelaide; National Gallery of Australia, Canberra; Flinders University Art Museum Collection, Adelaide.

— Archie Barry Archie Barry was born in 1990 in Sydney and currently lives in Melbourne. Barry holds a Master of Contemporary Art, Victorian College of the Arts, University of Melbourne, 2017, and Bachelor of Art Education (Honours), College of Fine Arts, University of New South Wales, Sydney, 2013. Their solo exhibitions and performances include I found this hat on the ground three years ago, performed as part of Queer Economies, Bus Projects, Melbourne, 2019; Escarpment, performed as part of Unspoken Rule, Contemporary Art Tasmania, Hobart, 2019, and for the launch of Art + Australia, Issue Three (54.2): Unnaturalism, Neon Parc, 2018; Hushaby Telephone, as part of ARTBAR performance program, Museum of Contemporary Art Australia, Sydney, 2018; Lexicon of a body, performed at Anywhere & Elsewhere conference, Parsons Fine Arts, New York, NY, USA, 2018; Hypnic, performed as part of The Public Body .03, Artspace, Sydney, 2018; Time Sick Big T-Shirt, Meat Market Stables, Melbourne, 2018; Hypnic and Phrenic, performed as part of Bodies of Evidence, Australian Centre for Contemporary Art, Melbourne, 2018; Language Very Small, performed as part of We Are Here, State Library Victoria, Melbourne, 2018; Blood, Take a Bow, Studio Brunswick, Melbourne, 2017.

— Richard Bell Richard Bell, Jiman/Kooma/Kamilaroi/Gurang Gurang, was born in 1953 in Charleville, Queensland, and currently lives in Brisbane. He has held more than thirty solo exhibitions, including, most recently, Old Aboriginal Sayings, Milani Gallery, Brisbane, 2018; Dredging up the Past, Milani Gallery, Brisbane, 2017, and Gertrude Contemporary, Melbourne, 2018; Richard Bell: Imagining Victory, Casula Powerhouse Arts Centre, Liverpool, New South Wales, and national tour, 2016; Embassy, Performa 15, New York, NY, USA, 2015; Embassy, Perth Institute of Contemporary Arts, 2014; Imagining Victory, Artspace, Sydney, 2013; Lessons on Etiquette and Manners, Monash University Museum of Art, Melbourne, 2013. Bell’s work has been included in significant group exhibitions in Australia and internationally, including Frontier Imaginaries ed. 5: Trade Markings, Van Abbemuseum, Eindhoven, the Netherlands, 2018; Indigenous Australia: Masterworks from the National Gallery of Australia, Collectors Room, Berlin, Germany, 2017; The National: New Australian Art, Carriageworks, Sydney, 2017; The future is already here — it’s just not evenly distributed, 20th Biennale of Sydney, Museum of Contemporary Art Australia, Sydney, 2016; BELL invites..., SMBA Stedelijk Museum, Amsterdam, the Netherlands, 2016; Neither Back Nor Forward: Acting in the Present, 16th Jakarta Biennale 2015, Indonesia, 2015; 8th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery | Gallery

Artist biographies

— Daniel Boyd Daniel Boyd, Kudjala/Gangalu/Kuku Yalanji/Waka Waka/ GubbiGubbi/Wangerriburra/Bandjalung, was born in 1982 in Cairns, Queensland, and currently lives in Sydney. He holds a Bachelor of Arts, School of Art, Australian National University, Canberra, 2005. Boyd has exhibited extensively since graduating, with solo exhibitions including Daniel Boyd: Bitter Sweet, Cairns Regional Gallery, 2017; Floating Forest, Roslyn Oxley9 Gallery, Sydney, 2017; Daniel Boyd, Institute of Modern Art, Brisbane, 2016; Treasure Island, STATION, Melbourne, 2014; Daniel Boyd: History Is Made at Night, Artspace, Sydney, 2013; Daniel Boyd: A Darker Shade of Dark, Glasshouse Port Macquarie Regional Gallery, New South Wales, 2013; Up In Smoke Tour, Natural History Museum, London, UK, 2012. Group exhibitions include 2018 Biennial of Australian Art: Divided Worlds, Art Gallery of South Australia, Adelaide, 2018; Defying Empire, 3rd National Indigenous Art Triennial, National Gallery of Australia, Canberra, 2017; Painting. More Painting, Australian Centre for Contemporary Art, Melbourne, 2016; Panorama, TarraWarra Museum of Art, Healesville, Victoria, 2016; The future is already here – it’s just not evenly distributed, 20th Biennale of Sydney, 2016; All the World’s Futures, 56th Venice Biennale, Italy, 2015; A Time for Dreams, 4th Moscow International Biennale for Young Arts, Russia, 2014; Bungaree: The First Australian, Lake Macquarie City Art Gallery, New South Wales, 2013; Future Primitive, Heide Museum of Modern Art, Melbourne, 2013; 7th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery | Gallery of Modern Art, Brisbane, 2012; One Caption Hides Another, Bétonsalon, Paris, France, 2011; We Call Them Pirates Out Here, Museum of Contemporary Art, Sydney, 2010; Contemporary Australia: Optimism, Queensland Art Gallery | Gallery of Modern Art, Brisbane, 2008; Culture Warriors: National Indigenous Art Triennial, National Gallery of Australia, Canberra, 2007. Boyd is represented by STATION, Melbourne, and Roslyn Oxley9 Gallery, Sydney.

— Juan Davila Juan Davila was born in 1946 in Santiago, Chile, and arrived in Australia in 1974. He currently lives in Melbourne. Davila studied law at the University of Chile between 1965 and 1969 and holds a Bachelor of Fine Art, Fine Arts School, University of Chile, 1972. Davila has exhibited extensively, both nationally and internationally, and his solo exhibitions include The Moral Meaning of Wilderness, Monash University Museum of Art, Melbourne, 2011; Juan Davila: A Panorama of Melbourne, State Library of Victoria, Melbourne, 2009; Juan Davila: Graphic!, Queensland College of Art, Brisbane, 2009; Juan Davila, National Gallery of Victoria, Melbourne, and Museum of Contemporary Art, Sydney, 2006. Group exhibitions include Melbourne Now, National Gallery of Victoria, Melbourne, 2013; Premonitions: Monash University Collection 1961–2007, McClelland Gallery and Sculpture Park, Langwarrin, Victoria, 2008; Andy and Oz: Parallel Visions, The Andy Warhol Museum, Pittsburgh, PA, USA, 2007; documenta 12, Kassel, Germany, 2007; Arte Contemporaneo Chile: Desde el Otro Sitio/Lugar, National Museum of Contemporary Art,

Seoul, South Korea, and Museo de Arte Contemporáneo, Santiago, Chile, 2006; This & Other Worlds: Contemporary Australian Drawing, National Gallery of Victoria, Melbourne, 2005; Home and Away: Place and Identity in Recent Australian Art, Monash University Museum of Art, Melbourne, 2003; See Here Now: The Vizard Foundation Art Collection of the 1990s, Ian Potter Museum of Art, University of Melbourne, 2003; Icon Interior: Howard Arkley and Juan Davila, Drill Hall Gallery, Australian National University, Canberra, 2001; Chile 100 Anos de Artes Visuales, Museo de Bellas Artes, Santiago, Chile, 2000; On the Road: The Car in Australian Art, Heide Museum of Modern Art, Melbourne, 1999; Don’t Leave Me This Way: Art in the Age of AIDS, National Gallery of Australia, Canberra, 1994. Davila’s work is held in numerous state, regional and national collections in Australia as well as New York’s Metropolitan Museum of Art and the Museo Extremeño e Iberoamericano de Arte Contemporáneo in Spain. Davila is represented by Kalli Rolfe Contemporary Art, Melbourne.

— Destiny Deacon Destiny Deacon, Kuku/Erub/Mer, was born in 1957 in Maryborough, Queensland, and currently lives in Melbourne. She holds a Diploma of Education, La Trobe University, Melbourne, 1981, and Bachelor of Arts (Politics), University of Melbourne, 1979. Deacon has exhibited extensively since 1990, and her solo exhibitions include Not Just Fun and Games, Roslyn Oxley9 Gallery, Sydney, 2017; Snap Out of It, Roslyn Oxley9 Gallery, Sydney, 2014; Destiny Deacon: Walk and Don’t Look Blak, Museum of Contemporary Art, Sydney, 2004, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, 2005, Ian Potter Museum of Art, University of Melbourne, and Tokyo Metropolitan Museum of Photography, Japan, 2006. Group exhibitions include Sovereignty, Australian Centre for Contemporary Art, Melbourne, 2017; Who’s Afraid of Colour?, National Gallery of Victoria, Melbourne, 2016; My Country, I Still Call Australia Home, Queensland Art Gallery | Gallery of Modern Art, Brisbane, 2016; Whisper in My Mask, TarraWarra Biennial 2014, TarraWarra Museum of Art, Healesville, Victoria, 2014; Direct Democracy, Monash University Museum of Art, Melbourne, 2013; Melbourne Now, National Gallery of Victoria, Melbourne, 2013; Art + Soul, Art Gallery of New South Wales, Sydney, 2010; Culture Warriors: National Indigenous Art Triennial, National Gallery of Australia, Canberra, 2007; Points of View: Australian Photography 1985–95, Art Gallery of New South Wales, Sydney, 2006; I Thought I Knew But I was Wrong: New Video Art from Australia, Australian Centre for the Moving Image, Melbourne, and touring, 2004; Second Sight: Australian Photography in the National Gallery of Victoria, National Gallery of Victoria, Melbourne, 2002. Deacon’s work is included in numerous national and international collections, including the Art Gallery of New South Wales, Sydney; Art Gallery of South Australia, Adelaide; Art Gallery of Western Australia, Perth; National Museum of Australia, Canberra; Monash University Museum of Art, Melbourne; Museum Moderner Kunst Stiftung Ludwig Wien (MUMOK), Vienna, Austria; Museum Sammlung Essl, Klosterneuburg, Austria; Museums Victoria, Melbourne; Museum of Contemporary Art Australia, Sydney; National Gallery of Australia, Canberra; National Gallery of Victoria, Melbourne; National Library of Australia, Canberra; University of Tasmania, Hobart; Queensland Art Gallery | Gallery of Modern Art, Brisbane; State Library Victoria, Melbourne; University of Queensland Art Museum, Brisbane. Deacon is represented by Roslyn Oxley9 Gallery, Sydney.

— Janenne Eaton Janenne Eaton was born in 1950 in Melbourne, where she continues to live. She holds a Master of Art (Fine Art), RMIT University, Melbourne, 1995; Bachelor of Arts (Prehistory/Art History), Australian National University, Canberra, 1984; Diploma of Art & Design, Caulfield Institute of Technology, Melbourne, 1970. Eaton has held numerous solo exhibitions since 1980, including, most recently, FENCES BORDERS

Artist biographies

WALLS – Keep Clear, Canberra Contemporary Art Space, 2018; Shadowlands, Nancy Sever Gallery, Canberra, 2018; The Yellow Brick Wall, The Back Room at Kim’s Corner Food, Chicago, IL, USA, 2018; FENCES B/ORDERS WALLS, TCB, Melbourne, 2016; Reef, Nancy Sever Gallery, Canberra, 2015; Road to the Hills — A Text for Everything and Nothing, NKN Gallery, Melbourne, 2014; Superradiant, Block Projects, Melbourne, 2012; Bella Vista, John Buckley Gallery, Melbourne, 2009. Recent group exhibitions include Selected Works, Shakespeare Grove Artist Studios, Melbourne, 2018; Celebration: 20 years of collecting visual art at CMAG, Canberra Museum and Gallery, 2018; As Long as the Night Is Dark, Wagga Wagga Art Gallery, New South Wales, and Mars Gallery, Melbourne, 2017; 8th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery | Gallery of Modern Art, Brisbane, 2015–16; Reading the Space: Contemporary Australian Drawing #2, New York Studio School, NY, USA, 2016; Pictures at an Exhibition, West Space, Melbourne, 2013; Negotiating This World, National Gallery of Victoria, 2012; Contemporary Australian Drawing, University of the Arts, London, UK, 2012. Eaton’s work is held in many public and private collections, including the National Gallery of Australia, Canberra; National Gallery of Victoria, Melbourne; Heide Museum of Modern Art, Melbourne; National Portrait Gallery, Canberra. Eaton is represented by Nancy Sever Gallery, Canberra.

— Tony Garifalakis Tony Garifalakis was born in 1964 in Melbourne, where he continues to live. He holds a Master of Fine Art, RMIT University, Melbourne, 2000, and Diploma in Graphic Design, Victoria College, Melbourne, 1985. Garifalakis has exhibited extensively, and his recent solo exhibitions include Tony Garifalakis: Information Discharge Systems, Sarah Scout Presents, Melbourne, 2018; Mob Rule, Art Gallery of New South Wales, Sydney, 2014; Angels of the Bottomless Pit, Centre for Contemporary Photography, Melbourne, 2014; Warlords, Hugo Michell Gallery, Adelaide, 2014; Affirmations, Daine Singer, Melbourne, 2012; The Misery of Philosophy, Curro Y Poncho, Guadalajara, Mexico, and The Philosophy of Misery, Yautepec Gallery, Mexico City, both 2011. Group exhibitions include Repertoires of Contention: Tony Garifalakis & Joaquin Segura, Gertrude Contemporary, Melbourne, 2017; Pleasure and Reality, National Gallery of Victoria, Melbourne, 2015; Neverwhere, Gaia Gallery, Istanbul, Turkey, 2015: Dark Heart, 2014 Adelaide Biennial of Australian Art, Adelaide, 2014; Whisper in My Mask, TarraWarra Biennial 2014, TarraWarra Museum of Art, Healesville, Victoria, 2014; Melbourne Now, National Gallery of Victoria, Melbourne, 2013; Theatre of the World, Museum of Old and New Art (Mona), Hobart, 2012; Everything Falls Apart, Part II, Artspace, Sydney, 2012; Negotiating this World: Contemporary Australian Art, National Gallery of Victoria, Melbourne, 2012. Garifalakis’s work is held in many public collections in Australia, including Monash University, Melbourne; Art Gallery of South Australia, Adelaide; Museum of Old and New Art, Hobart (Mona); National Gallery of Victoria, Melbourne. Garifalakis is represented by Sarah Scout Presents, Melbourne, and Hugo Michell Gallery, Adelaide.

— Eugenia Lim Eugenia Lim was born in 1981 in Melbourne, where she continues to live. She holds a Bachelor of Media Arts (Honours), RMIT University, Melbourne, 2006, and Bachelor of Creative Arts, Victorian College of the Arts, University of Melbourne, 2002. Lim’s solo exhibitions include The Ambassador, Samstag Museum of Art, University of South Australia, Adelaide, 2019; The Australian Ugliness, Open House Melbourne and Melbourne School of Design, Melbourne, 2018; The People’s Currency, 4A Centre for Contemporary Asian Art x Asia TOPA, Federation Square, Melbourne, 2017; Artificial Islands (Interior Archipelago), Firstdraft, Sydney, 2017; Yellow Peril, Metro Arts, Brisbane, and Bus Projects, Melbourne, 2015; Sunfade: a room of one’s own, Schoolhouse Studios, Melbourne Festival,

2012; Stay Home Sakoku: The Hikikomori Project, West Space, Melbourne, 2012; Oasis, Dianne Tanzer Gallery + projects, Melbourne, 2011; 100 Proofs the Earth is Not a Globe, with Tape Projects, Next Wave Festival, Melbourne, 2010, and NOWHERELAND: the Paris Human Flesh Incident, Blindside, Melbourne, 2010. Recent group exhibitions and screenings include The National 2019: New Australian Art, Museum of Contemporary Art Australia, Sydney, 2019; Lucky?, Bundoora Homestead Art Centre, Melbourne, 2018; Hyphenated, The Substation, Melbourne, 2018; Unfinished Business: Perspectives on Art and Feminism, Australian Centre for Contemporary Art, Melbourne, 2017–18; Our Selves, CTRL + SHFT, Oakland, CA, USA, 2017; Big Walk to Golden Mountain, Punctum x Asia TOPA, 2017; EXiS, Seoul International Experimental Film Festival, Seoul, South Korea, 2016; Video Contemporary, Sydney Contemporary, 2015; La Movida, Bibliotheca Municipal de Barranco, Lima, Peru, 2015; Experimental Congress, Gertrude Contemporary, Melbourne, 2013; Dark Mofo / Dark Faux Mo, Odeon, Hobart, 2013. Lim’s work is held in private and public collections, including the City of Melbourne and City of Darebin.

— Tracey Moffatt Tracey Moffatt was born in 1960 in Brisbane, and currently lives between Sydney and New York. Moffatt holds an Honorary Doctor of Philosophy from Griffith University, 2004, and Bachelor of Arts (Visual Communications), Queensland College of Art, Brisbane, 1982. She was made an Officer of the Order of Australia in 2015. Moffatt has held more than 100 solo exhibitions since 1989, including, more recently, Tracey Moffatt Montages, MASP, São Paulo, Brazil, 2017; Laudanum and other works, Art Gallery of New South Wales, Sydney, 2016; Tracey Moffatt: In the Gallery and on TV, Queensland Art Gallery | Gallery of Modern Art, Brisbane, 2014; Spirit Landscapes, Tyler Rollins Fine Art, New York, NY, USA, 2013; Tracey Moffatt, Museum of Modern Art, New York, NY, USA, 2012; Tracey Moffatt: Up in the Sky, Art Gallery of New South Wales, Sydney, 2011; Tracey Moffatt: Montages, Bronx Museum, New York, NY, USA, 2010. In 2017, Moffatt represented Australia at the 57th Venice Biennale, Italy. Recent group exhibitions include Praying for Time, Rose Art Museum, Waltham, MA, USA, 2018; Every Brilliant Eye: Australian Art of the 1990s, National Gallery of Victoria, Melbourne, 2017; Drawing Freedom, Haifa Museum of Art, Israel, 2017; What We Call Love, Prospectif Cinema Screening, Centre Pompidou, Paris, France, 2016; What We Call Love: From Surrealism to Now, Irish Museum of Modern Art, Dublin, Ireland, 2015; The Photograph and Australia, Art Gallery of New South Wales, Sydney, 2015; Australia, Royal Academy of Arts, London, UK, 2013; Ladies and Gentlemen!, Moderna Museet, Malmö, Sweden, 2012; 21st Century: Art in the First Decade, Gallery of Modern Art, Brisbane, 2010. Moffatt’s work is held in state, national and international collections, including the Art Gallery of New South Wales, Sydney; Art Gallery of South Australia, Adelaide; Art Gallery of Western Australia, Perth; National Gallery of Australia, Canberra; Bard College, Annandale on Hudson, NY, USA; Brooklyn Museum of Art, New York, NY, USA; Guggenheim Museum, New York, NY, USA; Houston Museum of Fine Arts, TX, USA; Louisiana Museum of Contemporary Art, Humlebæk, Denmark; Ministère de la Culture, Paris, France; Moderna Museet, Stockholm, Sweden; Monash University, Melbourne; Museet for Samtidskunst, Oslo, Norway; Museum Moderner Kunst Stiftung Ludwig Wien (MUMOK), Vienna, Austria; Museum of Contemporary Art, Los Angeles, CA, USA; Museum of Contemporary Art Australia, Sydney; Museum of Contemporary Photography, Tokyo, Japan; Museum of Fine Arts Boston, MA, USA; Museum of Modern Art, New York, NY, USA; National Gallery of Victoria, Melbourne; National Portrait Gallery, Canberra; Parliament House Collection, Canberra; Queensland Art Gallery | Gallery of Modern Art, Brisbane; Stedelijk Museum, Amsterdam, the Netherlands; Tate Gallery, London, UK; National Museum of Photography, Copenhagen, Denmark; University of Queensland Art Museum, Brisbane. Moffatt is represented by Roslyn Oxley9 Gallery, Sydney, and Tyler Rollins Fine Art, New York.

Artist biographies

of Modern Art, Brisbane, 2015–16; See you at the barricades, Art Gallery of New South Wales, Sydney, 2015; Fifth Moscow Biennale of Contemporary Art, Russia, 2013; Sakahàn, National Gallery of Canada, Ottawa, Canada, 2013; My Country, I Still Call Australia Home, Queensland Art Gallery | Gallery of Modern Art, Brisbane, 2013. Bell’s work is included in public collections throughout Australia, including the Art Gallery of New South Wales, Sydney; Art Gallery of South Australia, Adelaide; Art Gallery of Western Australia, Perth; Museum of Contemporary Art Australia, Sydney; National Gallery of Australia, Canberra; National Gallery of Victoria, Melbourne; Queensland Art Gallery | Gallery of Modern Art, Brisbane; University of Queensland Art Museum, Brisbane. Bell is represented by Milani Gallery, Brisbane.

— Raquel Ormella

Callum Morton was born in 1965 in Montreal, Canada, and arrived in Australia in 1967. He currently lives in Melbourne. Morton holds a Master of Fine Art (Sculpture), RMIT University, Melbourne, 1999; Bachelor of Fine Art (Painting), Victoria College, Melbourne, 1988; Bachelor of Architecture, RMIT, Melbourne, 1985. Morton has exhibited extensively within Australia and internationally since 1989, and his solo exhibitions include Callum Morton: In Memoriam, Heide Museum of Modern Art, Melbourne, 2011; Ghost World, Queensland Art Gallery | Gallery of Modern Art, Brisbane, 2010; Grotto, Fundament Foundation, Tilburg, the Netherlands, 2009; Smokescreen, Anna Schwartz Gallery, Melbourne, 2009; Babylonia, Australian Centre for Contemporary Art, Melbourne, 2005. In 2007, Morton was one of three artists to represent Australia at the Venice Biennale. Group exhibitions include You Imagine What You Desire, 19th Biennale of Sydney, 2014; Australia, Royal Academy of Arts, London, UK, 2013; Negotiating this World: Contemporary Australian Art, National Gallery of Victoria, Melbourne, 2012; De-building, Christchurch Art Gallery Te Puna o Waiwhetū, New Zealand, 2011; Mirror Mirror: Then and Now, Institute of Modern Art, Brisbane and Samstag Museum of Art, University of South Australia, Adelaide, 2010; Before & After Science, 2010 Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide, 2010; 21st Century: Art in the First Decade, Queensland Art Gallery | Gallery of Modern Art, 2010; The Dwelling, Australian Centre for Contemporary Art, Melbourne, 2009; Cinema Paradiso, Australian Centre for Contemporary Art, Melbourne, 2007; Everywhere: Busan Biennale 2006, South Korea. Morton’s work is held in numerous national and international collections, including the Art Gallery of New South Wales, Sydney; Monash University, Melbourne; National Gallery of Victoria, Melbourne; Museum of Old and New Art (Mona), Hobart; Queensland Art Gallery | Gallery of Modern Art, Brisbane; Art Gallery of Western Australia, Perth; Samstag Museum of Art, University of South Australia, Adelaide; Govett Brewster Art Gallery, New Plymouth, New Zealand; Heide Museum of Modern Art, Melbourne; TarraWarra Museum of Art, Healesville, Victoria; Lyon Housemuseum, Melbourne; Fondazione Morra Greco, Naples, Italy. Morton is represented by Anna Schwartz Gallery, Melbourne, and Roslyn Oxley9 Gallery, Sydney.

Raquel Ormella was born in 1969 in Sydney and currently lives in Canberra. Ormella holds a Doctor of Philosophy (Visual Arts), Australia National University, Canberra, 2013; Master of Fine Art, University of Western Sydney, Nepean, 2005; Bachelor of Visual Arts (First Class Honours), University of Western Sydney, Nepean, 1996; and also studied at Akademie der Bilden Kunst, Vienna, Austria,1997. Ormella has held more than 18 solo exhibitions since 1998, including I hope you get this: Raquel Ormella, Shepparton Art Museum, Victoria, and national tour, 2018–19; Golden Soil, Milani Gallery, Brisbane, 2016; New Constellation, Milani Gallery, Brisbane, 2013; She went that way, Artspace, Sydney, 2009. Her work has been included in numerous national and international group exhibitions, including State of the Union, Ian Potter Museum of Art, University of Melbourne, 2018; MCA Collection: Word, Museum of Contemporary Art Australia, Sydney, 2017; Limitless Horizon: Vertical Perspective, Queensland Art Gallery | Gallery of Modern Art, Brisbane, 2017; 1917: The Greatest Strike, Carriageworks, Sydney, 2017; Material Politics, Institute of Modern Art, Brisbane, 2017; The Dust Never Settles, University of Queensland Art Museum, Brisbane, 2017; The National, Art Gallery of New South Wales, 2017; Dissenting Voices, Art Gallery of Western Australia, Perth, 2016; Artist Making Movement: 2015 Asian Art Biennial, National Taiwan Museum of Fine Arts, Taichung, Taiwan, 2015; More love hours: contemporary artists and craft, Ian Potter Museum of Art, University of Melbourne, 2015; See you at the barricades, Art Gallery of New South Wales, Sydney, 2015; California-Pacific Triennial, Orange County Museum of Art, Los Angeles, CA, USA, 2013; Pavilions Project – Sydney, 9th Shanghai Biennale, China, 2012; Social Networking, Queensland Art Gallery | Gallery of Modern Art, Brisbane, 2012; Universes in Universe, Aichi Triennale, Nagoya, Japan, 2010; Revolutions – Forms That Turn, 16th Biennale of Sydney, Art Gallery of New South Wales, Sydney, 2008; Contemporary Australia: Optimism, Queensland Art Gallery | Gallery of Modern Art, Brisbane, 2008. Ormella’s work is held in many public collections, including the National Gallery of Australia, Canberra; Queensland Art Gallery | Gallery of Modern Art, Brisbane; Art Gallery of Western Australia, Perth; Art Gallery of New South Wales, Sydney; University of Queensland Art Museum, Brisbane; Museum of Contemporary Art Australia, Sydney; Monash University, Melbourne; University of Wollongong, New South Wales; Casula Powerhouse Regional Gallery, Liverpool, New South Wales; Warrnambool Art Gallery, Victoria; Sir James and Lady Cruthers Collection, Perth. Ormella is represented by Milani Gallery, Brisbane.

— Hoang Tran Nguyen Hoang Tran Nguyen was born in 1974 in Vung Tau, Vietnam, and arrived in Australia in 1982. He currently lives in Melbourne. He holds a Bachelor of Industrial Design, RMIT University, Melbourne, 1998. Nguyen’s solo exhibitions include Of Work and Time (A Mapping), The Substation, Melbourne, 2013; Footscray By Night, Big West Festival, Melbourne, 2011; Darkroom, Red Gallery, Melbourne, 2010; Local Migration 2, Big West Festival, Melbourne, 2005; Overnight in Amsterdam 3, Seoul Fringe Festival, Seoul, South Korea, 2004; Local Migration, Next Wave Festival, Melbourne, 2004; Show Me How To Flykick, Fringe Festival, Melbourne, 2003; Six Months of Happiness, VinaBar Restaurant, Melbourne, 2003; Night Shopping, Footscray Community Arts Centre, Melbourne, 2002; Karaoke Caravan, Big West Festival, Melbourne, 2001; Sugar Cane Juice, Bilo Artspace, Melbourne, 2001; 7 Paintings, Bilo Artspace, Melbourne, 2001. Group exhibitions include Unseen Habitation, Goodtime Studios, Melbourne, 2013; The Substation Contemporary Art Prize, The Substation, Melbourne, 2011, 2012 and 2013; Everywhere But Here, Blindside, Melbourne, 2012; Vernacular Cultures & Contemporary Art from Australia, India & the Philippines, La Trobe University Museum of Art, Melbourne, 2011; Translations/ Generations, Big West Festival, Melbourne, 2009; F.A.C.T. 4, Footscray Community Arts Centre, Melbourne, 2009; I Love Pho, ArtPlay, Melbourne, and Footscray Community Arts Centre, Melbourne, 2008; Ho Chi Minh City Artists, City Library, Melbourne, 2008; Ten Thousand Views, fauxPho Artspace, Melbourne, 2006; Open for Inspection, private home, Melbourne, 2002.

— Mike Parr Mike Parr was born in 1945 in Sydney, where he continues to live. Parr studied at the University of Queensland, Brisbane, 1965, and the National Art School, Sydney, 1968. He has exhibited extensively throughout Australia and internationally since the 1970s. Recent solo exhibitions and performances include Underneath the Bitumen the Artist at Dark Mofo, Hobart, 2018; Mike Parr: Left Field, Anna Schwartz Gallery, Melbourne, 2017; Give the People What They Want / Ideal Unions / Nazi Milk, Campbelltown Arts Centre, New South Wales, 2016; Foreign Looking, National Gallery of Australia, Canberra, 2016; Asylum at Dark Mofo, former Royal Derwent Hospital, Hobart, 2016; Towards a Blind Self Portrait, Anna Schwartz Gallery, Melbourne, 2015; Dark Cave, Anna Schwartz Gallery, Melbourne, 2015; Deep North, Anna Schwartz Gallery, Sydney, 2015; Easter Island, Anna Schwartz Gallery, Sydney, 2013; Blind Self Portraits, ARNDT, Berlin, Germany, 2013. Recent group exhibitions include Versus Rodin: Bodies Across Space and Time, Art Gallery of South Australia, Adelaide, 2017; Red Green Blue: A History of Australian Video Art, Griffith University Art Gallery, Brisbane, 2017; The future is already here – it’s just not evenly distributed, 20th Biennale of Sydney, Carriageworks,

Artist biographies

Sydney, 2016; The Ghost Who Talks, Palazzo Mora, Venice, 2015; The Marked Self: Between Annihilation and Masquerade, Neue Galerie Graz, Universalmuseum Joanneum, Graz, Austria, 2015; The Red Queen, Museum of Old and New Art (Mona), Hobart, 2014; Damage Control: Body Art and Destruction 1968–1972, BRUSEUM, Neue Galerie, Graz, Austria, 2014. Parr represented Australia at the Venice Biennale, Italy, in 1980. His work is held in numerous national and international collections, including the National Gallery of Victoria, Melbourne; Museum of Contemporary Art Australia, Sydney; Art Gallery of New South Wales, Sydney; National Gallery of Australia, Canberra; Art Gallery of Western Australia, Perth; Queensland Art Gallery | Gallery of Modern Art, Brisbane; Parliament House, Canberra; Monash University, Melbourne; Art Gallery of South Australia, Adelaide. Parr is represented by Anna Schwartz Gallery, Melbourne.

— Steven Rhall Steven Rhall, Taungurung, was born in 1974 in Geelong and currently lives in Melbourne. Rhall holds a Master of Contemporary Art, Victorian College of the Arts, University of Melbourne, 2015; Bachelor of Media and Communication (Honours), RMIT University, Melbourne, 2013; Bachelor of Arts (Photography), RMIT University, Melbourne, 2012. Rhall’s solo exhibitions include MariMoments, Five Walls Projects, Melbourne, 2018; Defunctionalised Autonomous Objects, The Substation, Melbourne, 2018; Event / Affect, Seventh Gallery, Melbourne, 2018; Every 1’s a Winger, c3 Contemporary Art Space, Melbourne, 2018; WODDA LOADA, Wyndham Art Gallery, Melbourne, 2017; GIVBAX, Bundoora Homestead Art Centre, Melbourne, 2016; The Six Stages of Aboriginal Art Tattoos, Charcoal Lane, Melbourne, 2016; We Specializes in Authentic Aboriginal Art, Footscray Community Arts Centre, Melbourne, 2015; Tea, Trocadero Art Space, Melbourne, 2013; Kulin Project, Centre for Contemporary Photography, Melbourne, 2013. Group exhibitions include EcoLuxx$, Kings Artist-Run, Melbourne, 2018; Boxed Light, Mars Gallery, Melbourne, 2018; An unorthodox flow of images, Centre for Contemporary Photography, Melbourne, 2017; Semionauts, King’s Leap, New York, NY, USA, 2017; 9x5 NOW, Margaret Lawrence Gallery, Victorian College of the Arts, University of Melbourne, 2017; Sovereignty, Australian Centre for Contemporary Art, Melbourne, 2016; Octoroon, Ateneo Art Gallery, Manila, the Philippines, 2016; My Country: Hermannsburg and Beyond, National Gallery of Victoria, Melbourne, 2015; In debt: saving seeds: Dave Jones and Steven Rhall respond to the Australian Grains Genebank, Horsham Regional Art Gallery, Victoria, 2015; From Where I Stand, Melbourne Museum, 2014; Melbourne Now, National Gallery of Victoria, Melbourne, 2013–14. Rhall’s work is held in several public collections, including Museums Victoria, Melbourne; National Gallery of Victoria, Melbourne; City of Melbourne; Horsham Regional Art Gallery, Victoria; Ateneo de Manila University, the Philippines.

— Tony Schwensen Tony Schwensen was born in 1970 in Sydney and currently lives in Jamaica Plain, MA, USA. Schwensen holds a Doctor of Philosophy, Sydney College of the Arts, University of Sydney, 2007; Certificate in TESOL (Adult Teaching), Australian Catholic University, Melbourne, 1997; Graduate Diploma of Visual Arts, Sydney College of the Arts, University of Sydney, 1991; Bachelor of Arts (Art History and Criticism), University of Western Sydney, 1990. Since 1993, he has held more than 70 solo exhibitions and performances, including Victory Tour Boogie Woogie, Sarah Cottier Gallery, Sydney, 2017; Great America, Bus Projects, Melbourne, 2015; Historical Revisionism Or: How I Learned to Stop Worrying & Embrace Australian Values, Sarah Cottier Gallery, Sydney, 2015; Drawings from SUBSERVIENCE, McGladrey Art Gallery, Bentley University, Waltham, MA, USA, 2015; SUBSERVIENCE, Mobius, Cambridge, MA, USA, 2015; An Alien’s

History of the United States, Mobius, Cambridge, MA, USA, 2014; How Xenophobia Affects Aliens, Mobius, Cambridge, MA, USA, 2013; Creationism Triptychs (Notes on Idiocracy), Sarah Cottier Gallery, Sydney, 2013; Monument, Waterloo Center for the Arts, IA, USA, 2010; Regret, Remorse, Repent, Le Lieu, Québec City, Canada, 2010; Plowing Back, Collingwood House, Liverpool Regional Museum, New South Wales, 2007; Complain about Australia to an Australian, Michael Lett Gallery, Auckland, New Zealand, 2006. Recent group exhibitions and performance festivals include the International Festival of Radical Performance, Museum of Contemporary Art, Tehran, Iran, 2017; How the Body Traces Language and Culture: Profiles of Performativity, Dhaka Live Art Biennale, Bangladesh, 2017; Borders, Barriers, Walls, Monash University Museum of Art, Melbourne, 2016; Support materials, soft furnishings, RMIT Project Space, Melbourne, 2016; Art as a Verb, Monash University Museum of Art, Melbourne, 2014; Salt Lake City Performance Art Festival, Salt Lake City Library, UT, USA, 2014. Schwensen’s work is held in a number of public collections, including the Museum of Contemporary Art Australia, Sydney; Art Gallery of New South Wales, Sydney; Queensland Art Gallery | Gallery of Modern Art, Brisbane; Museum of Old and New Art (Mona), Hobart; Musée d’Art Moderne et Contemporain, Geneva, Switzerland; and private collections in Australia, Germany, the Netherlands, Austria, New Zealand, USA and Canada. Schwensen is represented by STATION, Melbourne, and Sarah Cottier Gallery, Sydney.

— Christian Thompson Christian Thompson, Bidjara, was born in 1978 in Gawler, South Australia, and currently lives in Melbourne. Thompson holds a Doctor of Philosophy (Fine Art), Trinity College, University of Oxford, UK, 2015; Master of Fine Art, RMIT University, Melbourne, 2004; Bachelor of Visual Arts (Honours), RMIT University, Melbourne, 1999; Bachelor of Visual Arts, University of Southern Queensland, Toowoomba, Queensland, 1996; and has undertaken Advanced Studies in Performing Arts, DasArts, Amsterdam School of the Arts, the Netherlands, 2008. In 2018, Thompson was made an Officer of the Order of Australia for distinguished service to the visual arts and as a role model for young Indigenous artists. Thompson has exhibited regularly since 2002, and recent solo exhibitions include Equinox, Michael Reid Berlin, Germany, 2018; Lake Dolly, Michael Reid Sydney and Sydney Opera House, 2017; Christian Thompson: Ritual Intimacy, Monash University Museum of Art, Melbourne, 2017, and national tour, 2017–18; Museum of Others, Photo London Fair, London, UK, Michael Reid Berlin, Germany, and Michael Reid Sydney, 2016; Christian Thompson, Bega Valley Regional Gallery, Bega, New South Wales, 2016; Mystic Renegade – Christian Thompson, Chasm Gallery in collaboration with Michael Reid, New York, NY, USA, 2015; Christian Thompson, Dead Tongue, Koorie Heritage Trust, Melbourne, 2015. Recent group exhibitions include Queer as Folk Lore, National Art School, Sydney, 2019; Earth/Sky, National Gallery of Australia, Canberra, 2018; Colony: Frontier Wars, National Gallery of Victoria, Melbourne, 2018; Divided Worlds, 2018 Adelaide Biennial of Australian Art, Adelaide, 2018; Why not ask again, 11th Shanghai Biennale, China, 2016; Light Moves: Contemporary Australian Video Art, National Gallery of Australia, Canberra, 2016; Everywhen: The Eternal Present in Indigenous Art from Australia, Harvard Art Museums, Cambridge, MA, USA, 2016; 8th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery | Gallery of Modern Art, Brisbane, 2015–16; The Other and Me, Sharjah Museum, United Arab Emirates, 2014. Thompson’s work is held in many national and international collections, including the Pitt Rivers Museum, Oxford, UK; Trinity College, Oxford, UK; Art Gallery of New South Wales, Sydney; Art Gallery of Western Australia, Perth; Museum of Contemporary Art Australia, Sydney; National Gallery of Australia, Canberra; National Gallery of Victoria, Melbourne; Queensland Art Gallery | Gallery of Modern Art, Brisbane. Thompson is represented by Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin.

Artist biographies

— Callum Morton

— Siying Zhou

Paul Yore was born in 1989 in Melbourne and currently lives in regional Victoria. He holds a Bachelor of Fine Art (Painting), Monash University, Melbourne, 2009. Yore’s recent solo exhibitions include OUR CAPITAL IS AT RISK, Neon Parc, Melbourne, 2018; Paul Yore, Sunday Art Fair London, Stems Gallery, London, UK, 2017; OBSCENE, Hugo Michell Gallery, Adelaide, 2017; Paul Yore, NADA Miami Beach, FL, USA, 2016; Love Is Everything, Neon Parc, Melbourne, 2016; Fountain of Knowledge, Neon Parc, Melbourne, 2013; Boys Gone Wild, Gertrude Contemporary, Melbourne, 2012; Panta Rei, Anna Pappas Gallery, Melbourne, 2012; ANTHROPOP, Blindside, Melbourne, 2011; The Big Rainbow Funhouse Of Cosmic Brutality Part 2, Heide Museum of Modern Art, Melbourne, 2009. Group exhibitions include POP! Reflections on Popular Culture, Wangaratta Art Gallery, Victoria, 2019; Craftivism. Dissident Objects and Subversive Forms, Shepparton Art Museum, Victoria, and national tour, 2018–19; WORD, Hugo Michell Gallery, Adelaide, 2018; It Takes a Village, Humber Street Gallery, Hull, UK, 2018; Suburbia, Cement Fondu, Sydney, 2018; Art Karlsruhe, Axel Pairon Gallery, Karlsruhe, Germany, 2018; PAN Amsterdam Rai, Axel Pairon Gallery, Karlsruhe, Germany, 2017; Can’t Touch This, Verge Gallery, Sydney, 2017; Mad Love, Arnt Art Agency, Berlin, Germany, 2017; Soft Core, Casula Powerhouse Arts Centre, New South Wales, 2016, and national tour, 2017; The Public Body .01, Artspace, Sydney, 2016; Loose Canon, Artbank, Sydney, 2015; Primavera, Museum of Contemporary Art Australia, Sydney, 2014; Melbourne Now, National Gallery of Victoria, Melbourne, 2013; Poetry, Dream and the Cosmos: The Heide Collection, Heide Museum of Modern Art, Melbourne, 2013; Here, There and Everywhere, Seoul Art Space Geumcheon, South Korea, 2013; Like Mike, Linden Contemporary, Melbourne, 2013. Yore’s work is held in several public collections, including Artbank; Ararat Gallery TAMA, Victoria; Heide Museum of Modern Art, Melbourne; Wangaratta Art Gallery, Victoria; and many private collections in Australasia and Europe. Yore is represented by Neon Parc, Melbourne, and Hugo Michell Gallery, Adelaide.

Siying Zhou was born in 1980 in Nanjing, China, and arrived in Australia in 2003. She currently lives in Melbourne. Zhou holds a Master of Fine Art, Victorian College of the Arts, University of Melbourne, 2017; Master of Contemporary Art, Victorian College of the Arts, University of Melbourne, 2015; Bachelor of Visual Art, Nanjing Art Institute, China, 2002. Zhou has participated in residencies in Barcelona and Berlin. Solo exhibitions include To Master Your Mother Tongue, Pavement Projects, Melbourne, 2018; Hair Caught in Kangaroo Paw, Loop Project Space & Bar, Melbourne, 2017; The Consequences of Success II, Kings ArtistRun, Melbourne, 2016; The Consequences of Success, The Food Court ARI, Melbourne, 2014; The comforting promise, Northern Centre for Contemporary Art, Darwin, 2014; Kitchen God’s Overseas Office, Ryan Renshaw Windowbox, Brisbane, 2013. Selected group exhibitions include Utopian Tongues, Seventh Gallery, Melbourne, 2018; Rifts: Particulate Matter, Testing Ground, Melbourne, 2017; Video Visions 2017, Channels Festival, Australian Centre for the Moving Image, Melbourne, 2017; Chinese Whispers and Other Stories, Huw Davies Gallery, Manuka Arts Centre, Canberra, and Blindside, Melbourne, 2017; The Context Is Complicated, Firstdraft, Sydney, 2017; Ohrwurm, Meinblau Projektraum, Berlin, Germany, 2016; Channels 2015 Festival, Melbourne, 2015; West Projections 2015, Melbourne, 2015; Pass-time, Innovators 2, Linden Centre for Contemporary Arts, Melbourne, 2014; Come as you are, The Food Court ARI, Melbourne, 2014; Testing Ground, Salamanca Arts Centre, Hobart, 2013; Envisioning Gods, Rubicon, Melbourne, 2013.

A NEW ORDER — Stephen Bram Stephen Bram was born in 1961 in Melbourne, where he continues to live. He holds a Master of Fine Art, (Sculpture), RMIT University, Melbourne, 1994; Graduate Diploma of Fine Art, Victorian College of the Arts, Melbourne, 1987; Bachelor of Art, Chisholm Institute of Technology, Melbourne, 1985; and has undertaken the Graduate Program, Akademie der Bildenden Künste, Munich, Germany, 1999. Bram has held more than 65 solo exhibitions since 1988 and been included in more than 100 group exhibitions in that time. Recent solo exhibitions include Anna Schwartz Gallery, Melbourne, 2016; Hamish McKay Gallery, Wellington, New Zealand, 2015; 200 Gertrude Street, Gertrude Contemporary, Melbourne, 2014; Anna Schwartz Gallery, Melbourne, 2009; New Work, Hamish McKay Gallery, Wellington, 2008; Incident in the Museum 1: Stephen Bram, Monash University Museum of Art, Melbourne, 2004; Hebel_121, Basel, Switzerland, 2002; Oberföhringer Strasse 156, 2001, PS, Amsterdam, the Netherlands, 2002; PS Project, Van Reekum Museum, Apeldoorn, the Netherlands, 2000. Group exhibitions include Every Brilliant Eye: Australian Art of the 1990s, National Gallery of Victoria, Melbourne, 2017; Call of the Avant-Garde: Constructivism and Australian Art, Heide Museum of Modern Art, Melbourne, 2017; I.L., PS Project Space, Amsterdam, the Netherlands, 2017; Factory Installed: Stephen Bram, Ezra Masch, Christopher Meerdo, Mohammed Musallam, Mattress Factory, Pittsburgh, PA, USA, 2017; Factory Installed, 500 Sampsonia Way, Mattress Factory, Pittsburgh, PA, USA, 2016; Melbourne Now, National Gallery of Victoria, Melbourne, 2013. Bram’s work is held in many public and private collections, including the Art Gallery of New South Wales, Sydney; Museum of Contemporary Art Australia, Sydney; DaimlerChrysler Collection, Berlin, Germany; BHP Collection, Melbourne; Monash University, Melbourne; University of Queensland, Brisbane; Queensland Art Gallery | Gallery of Modern Art, Brisbane; RMIT University, Melbourne; National Gallery of Victoria, Melbourne. Bram is represented by Anna Schwartz Gallery, Melbourne, and Hamish McKay Gallery, Wellington.

— Tony Clark Tony Clark was born in 1954 in Canberra and for many years has lived between Melbourne, Italy and Germany. Clark holds a Bachelor of Arts (Honours), University of Reading, UK, 1975. In a career spanning four decades, Clark has exhibited extensively, both nationally and internationally. A major retrospective of his work, Tony Clark – Public and Private Paintings 1982–1998, was held at Heide Museum of Modern Art, Melbourne, in 1998. In 1992, he was included in the prestigious documenta IX in Kassel, Germany. Recent solo exhibitions include Clark’s Myriorama and Other Projects, Sullivan+Strumpf, Sydney, 2016; Jesus, Roslyn Oxley9 Gallery, Sydney, 2014; Buehenbilder, Roslyn Oxley9 Gallery, Sydney, 2012; Sections from Clark’s Myriorama, Murray White Room, Melbourne, 2012; Shakespeare, Roslyn Oxley9 Gallery, Sydney, 2011; Tony Clark, Murray White Room, Melbourne, 2009; Prix de Rome, Roslyn Oxley9 Gallery, Sydney, 2008. Selected group exhibitions include Spring 1883, The Hotel Windsor, Melbourne, 2014; Contemporary Perspectives, Mall Galleries, London, UK, 2012; Forever Young: 30 Years of the Heide Collection, Heide Museum of Modern Art, Melbourne, 2011; Wilderness: Balnaves Contemporary Painting, Art Gallery of New South Wales, Sydney, 2010; Melbourne><Brisbane: Punk, Art and After, Ian Potter Museum of Art, University of Melbourne, 2010; Sweet Spot, Ian Potter Museum of Art, University of Melbourne, 2009; Lost and Found: An Archaeology of the Present, TarraWarra Biennial 2008, TarraWarra Museum of Art, Healesville, Victoria, 2008; Nick Cave – The Exhibition, Arts Centre Melbourne, 2007; Snap Freeze: Still Life Now, TarraWarra Museum of Art, Healesville, Victoria, 2007; A Bird in the Hand: Paintings by Tony Clark and John Wolseley, La Trobe University Visual Arts Centre, Bendigo, and Art

Gallery of New South Wales, Sydney, 2006. His work is included in numerous public collections internationally and in Australia, including the National Gallery of Australia, Canberra; National Portrait Gallery, Canberra; Art Gallery of New South Wales, Sydney; National Gallery of Victoria, Melbourne; Heide Museum of Modern Art, Melbourne. Clark is represented by Murray White Room, Melbourne, and Sullivan+Strumpf, Sydney | Singapore.

— Daniel Crooks Daniel Crooks was born in 1973 in Hastings, New Zealand, and currently lives in Melbourne. Crooks holds a Post Graduate Diploma of Animation, Victorian College of the Arts, 1994, and Bachelor of Design, Auckland Institute of Technology, 1993. Crooks has exhibited extensively, both nationally and internationally, and his solo exhibitions include Parabolic, Anna Schwartz Gallery, Melbourne, 2017; Daniel Crooks, Ian Potter Moving Image Commission, Australian Centre for the Moving Image, Melbourne, 2015; Daniel Crooks, Samstag Museum of Art, University of South Australia, Adelaide, 2013; Daniel Crooks: A Garden of Parallel Paths, Monash University Museum of Art, Melbourne, 2013; Imaginary Objects, Institute of Modern Art, Brisbane, 2008; Pan No. 2 (One Step Forwards, One Frame Backwards), Centre for Contemporary Photography, Melbourne, 2007; The Computational Sublime, Blur + Sharpen, University of Southern California, Los Angeles, CA, USA, 2005; Daniel Crooks: Train No.1, Level 2 Project Space, Art Gallery of New South Wales, Sydney, 2005; 2 videos & 2 devices, Rijksakademie van Beeldende Kunsten, Amsterdam, the Netherlands, 2005. Group exhibitions include On the Origin of ART, Museum of Old and New Art (Mona), Hobart, 2016; 24 Frames Per Second, Carriageworks, Sydney, 2015; Melbourne Now, National Gallery of Victoria, Melbourne, 2013; Australia, Royal Academy of Arts, London, UK, 2013; Marking Time, Museum of Contemporary Art Australia, Sydney, 2012; oZone, London Australian Film Festival, Barbican Centre, London, UK, 2011; 2010 Move on Asia, Tate Modern, London, UK, 2010. Crooks’s work is held in numerous national and international collections, including the National Gallery of Australia, Canberra; Parliament House, Canberra; Museum of Contemporary Art Australia, Sydney; Art Gallery of New South Wales, Sydney; Australia Council for the Arts, Sydney; Murdoch University, Perth; Australian Centre for the Moving Image, Melbourne; Monash University Museum of Art, Melbourne; Heide Museum of Modern Art, Melbourne; City of Melbourne; Lyon Housemuseum, Melbourne; Art Gallery of Western Australia, Perth; University of Queensland Art Museum, Brisbane; Art Gallery of South Australia, Adelaide; Museum of Old and New Art (Mona), Hobart; Queen Victoria Museum and Art Gallery, Launceston; Chartwell Collection, Auckland, New Zealand; Christchurch Art Gallery Te Puna o Waiwhetū, Christchurch, New Zealand. Crooks is represented by Anna Schwartz Gallery, Melbourne, and Starkwhite, Auckland.

— Emily Floyd Emily Floyd was born in 1972 in Melbourne, where she continues to live. Floyd holds a Bachelor of Fine Art (Sculpture), RMIT University, Melbourne, 1999, and Bachelor of Arts, Swinburne University of Technology, Melbourne, 1992. She has exhibited extensively since 2000, and her solo exhibitions include Artist Room, Museum of Contemporary Art Australia, Sydney, 2018; Icelandic Puffins, Anna Schwartz Gallery, Melbourne, 2017; Field Libraries, Town Hall Gallery, Melbourne, 2016; Emily Floyd: The Dawn, National Gallery of Victoria, Melbourne, 2014; Far Rainbow, Heide Museum of Modern Art, Melbourne, 2014; The Garden (here small gestures make complex structures), Jackson Bella Room Commission, Museum of Contemporary Art, Sydney, 2011; This Place Will Always Be Open, Monash University Museum of Art, Melbourne, 2012; It’s Time, Australian Print Workshop, Melbourne, 2008; The New Silhouette, Institute of Modern Art, Brisbane, 2006. Group exhibitions include

Artist biographies

— Paul Yore

— Marco Fusinato Marco Fusinato was born in 1964 in Melbourne, where he continues to live. He has exhibited extensively throughout Australia and overseas. His recent solo exhibitions include Mass Black Implosion, Anna Schwartz Gallery, Melbourne, 2017; Parallel Collisions, Museum of Contemporary Art Australia, Sydney, 2016; The Infinitives, Anna Schwartz Gallery, Sydney, 2015; Constellations, Institute of Contemporary Arts Singapore, 2015; Mass Black Implosion (Treatise, Cornelius Cardew), Anna Schwartz Gallery, Melbourne, 2013; The Color of the Sky has Melted, Institute of Modern Art, Brisbane, and Artspace, Sydney, 2012; Noise & Capitalism, Anna Schwartz Gallery, Melbourne, 2010; THIS IS NOT MY WORLD, Sarah Cottier Gallery, Sydney, 2010; Double Infinitives, Anna Schwartz Gallery, Melbourne, 2009; Mass Black Implosion, Sarah Cottier Gallery, Sydney, 2008. Recent group exhibitions include SUPERPOSITION: Equilibrium and Engagement, 21st Biennale of Sydney, 2018; Iconography of Revolt, City Gallery Wellington Te Whare Toi, New Zealand, 2018; The National 2017: New Australian Art, Museum of Contemporary Art Australia, Sydney, 2017; Continuous Drift: Balance, Meeting House Square, Dublin, Ireland, 2017; The End of Time. The Beginning of Time., Gertrude Contemporary, Melbourne, 2017; Shout Whisper Wail! The 2017 Chartwell Show, Auckland Art Gallery Toi o Tāmaki, New Zealand, 2017; Every Brilliant Eye: Australian Art of the 1990s, National Gallery of Victoria, Melbourne, 2017; The Score, Ian Potter Museum of Art, University of Melbourne, 2017; 2016 MCA Collection: Today Tomorrow Yesterday, Museum of Contemporary Art Australia, Sydney, 2016; Negative Approach, Gertrude Glasshouse, Melbourne, 2016; All the World’s Futures, 56th Venice Biennale, Italy, 2015; See you at the barricades, Art Gallery of New South Wales, Sydney, 2015; The Kaleidoscopic Turn, National Gallery of Victoria, Melbourne, 2015; Monditalia, 14th International Architecture Exhibition, Venice Architecture Biennale, Italy, 2013–14; Soundings: A Contemporary Score, Museum of Modern Art, New York, NY, USA, 2013; Melbourne Now, National Gallery of Victoria, Melbourne, 2013; The Imminence of Poetics, 30th São Paulo Biennial, Brazil, 2012; Parallel Collisions, 2012 Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide, 2012. Fusinato’s work is held in public collections throughout Australia, including the National Gallery of Victoria, Melbourne; Museum of Contemporary Art Australia, Sydney; Art Gallery of New South Wales, Sydney; Lyon Housemuseum, Melbourne. Fusinato is represented by Anna Schwartz Gallery, Melbourne, and Hamish McKay Gallery, Wellington, New Zealand.

— Rosalie Gascoigne

— John Nixon

— Daniel von Sturmer

Rosalie Gascoigne was born in 1917 in Auckland, New Zealand, where she completed a Bachelor of Arts, Auckland University, 1937. She arrived in Australia in 1943 and lived in Canberra and its surrounds until her death in 1999. Gascoigne’s work was the subject of numerous solo exhibitions from 1974, including a major survey, Rosalie Gascoigne, National Gallery of Victoria, Melbourne, 2009; Rosalie Gascoigne: Plain Air, City Gallery Wellington Te Whare Toi, New Zealand, 2004; From the Studio of Rosalie Gascoigne, Drill Hall Gallery, Australian National University, Canberra, 2000; Material as Landscape, National Gallery of Australia, Canberra, 1998, and Art Gallery of New South Wales, Sydney, 1997. Recent group exhibitions include Every Brilliant Eye: Australian Art of the 1990s, National Gallery of Victoria, Melbourne, 2017; Vibrant Matter, TarraWarra Museum of Art, Healesville, Victoria, 2013; Australia, Royal Academy of Arts, London, UK, 2013. In 1982, Gascoigne was the first female artist to represent Australia at the Venice Biennale and in 1994 she was made a Member of the Order of Australia for her services to art. Her works are held in numerous national and international public collections, including the National Gallery of Australia, Canberra; New Parliament House, Canberra; Art Gallery of New South Wales, Sydney; National Gallery of Victoria, Melbourne; Queensland Art Gallery | Gallery of Modern Art, Brisbane; Art Gallery of Western Australia, Perth; Art Gallery of South Australia, Adelaide; Museum of New Zealand Te Papa Tongarewa, Wellington, New Zealand; and Metropolitan Museum of Art, New York, NY, USA. Gascoigne’s estate is represented by Roslyn Oxley9 Gallery, Sydney.

John Nixon was born in 1949 in Sydney and lives in Melbourne. He has exhibited extensively, both nationally and internationally, since the 1970s. Recent solo exhibitions include John Nixon: Abstraction, Auckland Art Gallery Toi o Tāmaki, New Zealand, 2017; EPW: Selected Paintings, Two Rooms, Auckland, New Zealand, 2015; EPW, PS, Amsterdam, the Netherlands, 2014; EPW, Minus Space, New York, NY, USA, 2014; John Nixon: Selected Works, Hamish McKay Gallery, Wellington, New Zealand, 2013; Black White and Grey Photographic Studies, Centre for Contemporary Photography, Melbourne, 2012; EPW + HPF, Carlstensen Studio, Copenhagen, Denmark, 2011; EPW: POLYCHROME, TarraWarra Museum of Art, Healesville, Victoria, 2007. Recent group exhibitions include Call of the Avant-Garde: Constructivism and Australian Art, Heide Museum of Modern Art, Melbourne, 2017; Reinventing the Wheel: the Readymade Century, Monash University Museum of Art, Melbourne, 2013; Mix Tape: 1980s Appropriation, Subculture, Critical Style, National Gallery of Victoria, Melbourne, 2013; Negotiating this world: Contemporary Australian Art, National Gallery of Victoria, Melbourne, 2012; Forever Young: 30 Years of the Heide Collection, Heide Museum of Modern Art, Melbourne, 2011; John Nixon/David Tremlett, Goddard de Fiddes Gallery, Perth, 2010; Wham –Painting and Beyond, Den Frei, Copenhagen, Denmark, 2009; Australia: contemporary non-objective art, Museum in Kulturspeicher, Würzburg, Germany, 2008; 21st Century Modern, 2006 Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide, 2006. Nixon’s work is held in the national collection and all major state museum collections in Australia. Selected international public collections include Solomon R. Guggenheim Museum, New York, NY, USA; Muzeum Sztuki, Lodz, Poland; Foire Internationale d’Art Contemporain, Paris, France; Stiftung für Konkrete Kunst, Reutlingen, Germany; Herning Kunstmuseum, Denmark; DaimlerChrysler Collection, Berlin, Germany; Esbjerg Kunstmuseum, Denmark and Espace d’Art Contemporain, Demigny, France. Nixon is represented by Anna Schwartz Gallery, Melbourne; Sarah Cottier Gallery, Sydney; Hamish McKay Gallery, Wellington, New Zealand; Two Rooms, Auckland, New Zealand.

Daniel von Sturmer was born in 1972 in Auckland, New Zealand, and has lived in Melbourne since the early 1990s. He studied at the Sandberg Instituut, Amsterdam, the Netherlands, 2002–03, and holds a Master of Arts (Research), RMIT University, Melbourne, 1999, and Bachelor of Arts (Fine Art, Honours), RMIT University, Melbourne, 1996. He has held more than 30 solo exhibitions since 1997, including Luminous Figures, Starkwhite Gallery, Auckland, New Zealand, 2017; Focus & Field and Camera Ready Actions, Young Projects, Los Angeles, CA, USA, 2014; After Images, Centre for Contemporary Photography, Melbourne, 2013; Daniel von Sturmer, as part of Ground Control series, Columbus Museum of Art, OH, USA, 2013; Video Works 2008–2009, Karsten Schubert Gallery, London, UK, 2010; Screen Test, Dunedin Public Gallery, New Zealand, 2004. Von Sturmer represented Australia at the 2007 Venice Biennale, Italy. Selected group exhibitions include Spacemakers and Roomshakers, Art Gallery of New South Wales, Sydney, 2018; Shut Up and Paint, National Gallery of Victoria, Melbourne, 2016–17; The Brain, Te Uru Waitakere Contemporary Gallery, Auckland, New Zealand, 2015; Optical Mix, Australian Centre for Contemporary Art, Melbourne, 2014; Melbourne Now, National Gallery of Victoria, Melbourne, 2013; Don’t Hold Your Breath, AIVA Angelholm International Video Art Festival, Sweden, 2012; Old Genes, Govett-Brewster Art Gallery, New Plymouth, New Zealand, 2011; Gestures & Procedures, Australian Centre for Contemporary Art, Melbourne, 2010; Rising Tide: Film and Video Works, MCA Collection, Museum of Contemporary Art, San Diego, CA, USA, 2009; Repetitions, Plimsoll Gallery, Centre for the Arts, University of Tasmania, Hobart, 2008; The Secret Life of Paint, Dunedin Public Art Gallery, New Zealand, 2007. Von Sturmer is represented by Anna Schwartz Gallery, Melbourne.

— Diena Georgetti Diena Georgetti was born in 1966 in Alice Springs and currently lives in Melbourne. She holds a Diploma of Art from Queensland College of Art, Brisbane, 1986, and has held more than 40 solo exhibitions since then, including, most recently, ART as COMPANION, The Commercial, Sydney, 2016; Foyer, Hamish McKay Gallery, Wellington, New Zealand, 2014; Folk Modern, Sarah Cottier Gallery, Sydney, 2013; Brutalist Geometry Set 1 & 2, Hamish McKay Gallery, Wellington, New Zealand, 2011; Composa, Michael Lett Gallery, Auckland, New Zealand, 2010; The Enthusiast, Darren Knight Gallery, Sydney, 2010; Diena Georgetti: The Humanity of Abstract Painting 1988–2008, Monash University Museum of Art, Melbourne, and Institute of Modern Art, Brisbane, 2008. Georgetti has also been included in significant group exhibitions, including Call of the Avant-Garde: Constructivism and Australian Art, Heide Museum of Modern Art, Melbourne, 2017; Redlands Konica Minolta Art Prize, National Art School Gallery, Sydney, 2017; Painting. More Painting, Australian Centre for Contemporary Art, Melbourne, 2016; New Geometries, Fleisher/Ollman Gallery, Philadelphia, PA, USA, 2016; The Kaleidoscopic Turn, National Gallery of Victoria, Melbourne, 2015; Born to Concrete: Visual Poetry from the Collections of Heide Museum of Modern Art and the University of Queensland, University of Queensland Art Museum, Brisbane, 2013, and State Library of New South Wales, Sydney, 2013–14; Before and After Science, 2010 Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide, 2010; Cubism and Australian Art, Heide Museum of Modern Art, Melbourne, 2009. Georgetti’s work is held in numerous private and public collections, including the Art Gallery of South Australia, Adelaide; Art Gallery of Western Australia, Perth; Chartwell Collection, Auckland, New Zealand; Griffith University Art Collection, Brisbane; Heide Museum of Modern Art, Melbourne; Monash University, Melbourne; National Gallery of Australia, Canberra; National Gallery of Victoria, Melbourne; Queensland Art Gallery | Gallery of Modern Art, Brisbane; University of Queensland Art Museum, Brisbane; Wesfarmers Collection, Perth. Georgetti is represented by The Commercial, Sydney.

Artist biographies

— Rose Nolan Rose Nolan was born in 1959 in Melbourne, where she continues to live. She has held more than 20 solo exhibitions since the mid-1980s, including a major survey exhibition, Rose Nolan: Work in Progress #3, at the Ian Potter Museum of Art, University of Melbourne, 2002; Why Do We Do the Things We Do, Artspace, Sydney, and Institute of Modern Art, Brisbane, 2008. She has been included in numerous major group exhibitions, most recently, The National 2017: New Australian Art, Museum of Contemporary Art Australia, Sydney, 2017; Fabrik: conceptual, minimalist and performative approaches to textiles, Ian Potter Museum of Art, University of Melbourne, 2016; Image Worth Reading, Key Projects, New York, NY, USA, 2015; Taking it all away: MCA Collection, Museum of Contemporary Art Australia, Sydney, 2014; Melbourne Now, National Gallery of Victoria, Melbourne, 2013; Contemporary Australia: Women, Queensland Art Gallery | Gallery of Modern Art, Brisbane, 2012; Forever Young: 30 Years of the Heide Collection, Heide Museum of Modern Art, Melbourne, 2011; 21st Century Modern, 2006 Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide, 2006. Nolan’s is held in many public and private collections, including the National Gallery of Victoria, Melbourne; Art Gallery of New South Wales, Sydney; Art Gallery of South Australia, Adelaide; Museum of Contemporary Art Australia, Sydney; Heide Museum of Modern Art, Melbourne; Monash University, Melbourne; Chartwell Collection, Auckland, New Zealand; Lyon Housemuseum, Melbourne; National Gallery of Australia, Canberra; QUT Art Museum, Brisbane. Nolan is represented by Anna Schwartz Gallery, Melbourne, and Hamish McKay Gallery, Wellington, New Zealand.

— Constanze Zikos Constanze Zikos was born in 1962 in Dilofon, Greece, and arrived in Australia in 1966. He lives in Melbourne. Zikos holds a Master of Arts (Fine Art), Victorian College of the Arts, Melbourne, 1996; Post Graduate Diploma (Fine Art), Victorian College of the Arts, Melbourne, 1986; Bachelor of Arts, Victoria College, Melbourne, 1984. He has held more than 25 solo exhibitions since 1995, including Anathematic 2, Lyon Housemuseum, Melbourne, 2015; Constanze Zikos, Murray White Room, Melbourne, 2013; Empire + Union, Tolarno Galleries, Melbourne, 2011; The is The Dud of a Diamond Studded Collar, 179 Canal St, New York, NY, USA, 2010; Fit For Flogging: Constanze Zikos, Contemporary Projects, Art Gallery of New South Wales, Sydney, 2006; Anathematic: Constanze Zikos 1990–2003, Monash University Museum of Art, Melbourne, 2003; Fake Project, Australian Centre for Contemporary Art, Melbourne, 1995. Selected group exhibitions include Cubism and Australian Art, Heide Museum of Modern Art, Melbourne, 2009; Field Work: Australian Art 1968–2002, National Gallery of Victoria, Melbourne, 2002; Plastic Fantastic, Museum of Contemporary Art, Sydney, 1997; Ornamentalism, Institute of Modern Art, Brisbane, 1997; Australian Perspecta, Art Gallery of New South Wales, Sydney, 1993; Primavera: The Belinda Jackson Exhibition of Young Artists 1992, Museum of Contemporary Art, Sydney, 1992. Zikos’s work is held in many private and public collections, including the National Gallery of Victoria, Melbourne; Art Gallery of New South Wales, Sydney; Museum of Contemporary Art Australia, Sydney; University of Melbourne; Monash University, Melbourne. Zikos is represented by Murray White Room, Melbourne.

Artist biographies

Working Model of the World, LifeSpace Science Art Research Gallery, University of Dundee, Scotland, 2018; Divided Worlds, 2018 Adelaide Biennial of Australian Art, Samstag Museum of Art, University of South Australia, Adelaide, 2018; Unfinished Business: Perspectives on Art and Feminism, Australian Centre for Contemporary Art, Melbourne, 2017–18; Call of the Avant-Garde: Constructivism and Australian Art, Heide Museum of Modern Art, Melbourne, 2017; The Language of Ornament, National Gallery of Victoria, Melbourne, 2017; Telling Tales, Museum of Contemporary Art Australia, Sydney, 2016; If People Powered Radio, Gertrude Contemporary, Melbourne, 2016; All the World’s Futures, 56th Venice Biennale, Italy, 2015; Harvest, Queensland Art Gallery | Gallery of Modern Art, Brisbane, 2014; Melbourne Now, National Gallery of Victoria, Melbourne, 2013; Negotiating this World: Contemporary Australian Art, National Gallery of Victoria, Melbourne, 2012; Colour Bazaar, Heide Museum of Modern Art, Melbourne, 2011; In the Balance: Art for a Changing World, Museum of Contemporary Art, Sydney, 2010; Make it Modern, Australian Centre for Contemporary Art, Melbourne, 2005; Fraught Tales: Four Contemporary Narratives, National Gallery of Victoria, Melbourne, 2004. Floyd’s works are held in numerous public and private collections, including Monash University, Melbourne; National Gallery of Australia, Canberra; National Gallery of Victoria, Melbourne; Queensland Art Gallery | Gallery of Modern Art, Brisbane; Victoria and Albert Museum, London, UK. Floyd is represented by Anna Schwartz Gallery, Melbourne.

List of works

Abdul Abdullah Home #2 2012 textile flag, flag pole, electric fan flag 88 × 155 cm; overall installation dimensions variable Courtesy of the artist and Yavuz Gallery, Singapore

Abdul Abdullah The re-introduction of Australian knighthood 2014 giclée print 145 × 110 cm Courtesy of the artist and Yavuz Gallery, Singapore

A NEW ORDER Richard Bell A prelude to imagining victory 2012–13 synthetic grass, beach umbrella, signs, outdoor chairs, esky, digital video installation dimensions variable Courtesy of the artist and Milani Gallery, Brisbane Daniel Boyd Untitled (GMGCC) 2018 oil pastel and archival glue on canvas 86.5 × 86.5 cm Michael Buxton Collection

Kay Abude POWER 2019 hand-printed silkscreen on linen, sewn into 100 garments dimensions variable

Juan Davila Detained 2014 oil on canvas 60 × 50 cm Michael Buxton Collection

Hoda Afshar The Westoxicated #1, #2, #4, #5, #6, #7, #9 2013–14 digital prints 7 parts, each 100 × 87 cm Courtesy of the artist

Juan Davila Die elsewhere 2014 oil on canvas 60 × 50 cm Michael Buxton Collection

Tony Albert CLASH 2019 collaged Aboriginalia on aluminium 118 × 550 × 8 cm Courtesy of the artist and Sullivan+Strumpf, Sydney | Singapore Brook Andrew Emu 2004 animated neon on anodised aluminium edition 4/5 120 × 164.2 × 15.5 cm Ali Gumillya Baker sovereignGODDESSnotdomestic (1) Natasha Wanganeen 2017 digital print on lightbox 140 × 110 cm Courtesy of the artist Archie Barry BREATH MARK AND MUSCLE SONG: rest and only say what’s necessary 2019 performance Courtesy of the artist

Juan Davila Un-Australian 2014 oil on canvas 60 × 50 cm Michael Buxton Collection Destiny Deacon Protecting paradise 2001 LightJet print from polaroid original 95 × 77 cm Janenne Eaton BORDERLANDS 2018–19 enamel, Hi-Impact Styrene, wood, metal 120 × 773 cm Courtesy of the artist and Nancy Sever Gallery, Canberra Tony Garifalakis Untitled #1 from the series Mob rule (Family) 2014 enamel on C Type print 60 × 40 cm Michael Buxton Collection Eugenia Lim New Australians (Welcome Stranger 1869/2015) 2015 screenprint on mylar emergency blanket 210 × 160 cm Courtesy of the artist

Eugenia Lim New Australians (Yellow Peril 1980/2015) 2015 screenprint on mylar emergency blanket 210 × 160 cm Courtesy of the artist

Steven Rhall Every 1’s a winger (Bingo mode) 2018 LED display device, loop of 51 text entries 19 × 99 × 5 cm Courtesy of the artist

Eugenia Lim The Ambassador performances 2019 performance Courtesy of the artist

Tony Schwensen C’mon 2006 digital video duration 8:00:00

Tracey Moffatt Doll birth, 1972 from the series Scarred for life I 1994 offset print, edition 19/50 80 × 60 cm Tracey Moffatt Job hunt, 1976 from the series Scarred for life I 1994 offset print, edition 19/50 80 × 60 cm Tracey Moffatt Useless, 1974 from the series Scarred for life I 1994 offset print, edition 19/50 80 × 60 cm Callum Morton Glenville souvenirs, Mt. Irvine, NSW 2001 digital print, edition 2/30 59.4 × 84 cm Hoang Tran Nguyen Like a version 2009 digital video sequence durations: 00:04:08; 00:03:38; 00:04:51 Courtesy of the artist Raquel Ormella Wealth for toil #2 2014 cotton, acrylic and Australian currency 164.5 × 206 cm Courtesy of the artist and Milani Gallery, Brisbane Mike Parr Aussie, Aussie, Aussie, oi, oi, oi [UnAustralian] 2003 video documentation of a performance at Artspace, Sydney duration 00:38:04

List of works

Christian Thompson Refuge 2014 digital video duration 00:04:19 Courtesy of the artist and Sarah Scout Presents, Melbourne Christian Thompson Dead tongue 2015 digital video duration 00:03:40 Courtesy of the artist and Sarah Scout Presents, Melbourne Paul Yore THIS MOMENT IS CRITICAL 2014 mixed media textile: found objects/material, beads, buttons, sequins, felt, wool, cotton thread 290 × 250 cm Michael Buxton Collection Paul Yore TODAY AT THE EXPENSE OF TOMORROW / WHAT WAS STOLEN YESTERDAY IS SOLD 2014 mixed media textile: felt, wool thread, cotton thread 280 × 260 cm Michael Buxton Collection Paul Yore WELCOME TO HELL 2014 mixed media textile: found objects/material, beads, buttons, sequins, plastic flowers, felt, wool, cotton thread 290 × 260 cm Michael Buxton Collection Siying Zhou National anthem of AO-SSU-CH’IU-LEE-YA 2016 digital video duration 00:02:13 Courtesy of the artist

Stephen Bram Untitled (two-point perspective) 2012 synthetic polymer paint on canvas 198 × 152 cm Tony Clark Lontani 1999 synthetic polymer paint on canvas boards 12 parts, each 30.5 × 22.9 cm Daniel Crooks An embroidery of voids 2013 single-channel digital video, 16:9, colour, stereo sound duration 00:19:25 Michael Buxton Collection Emily Floyd New ways of thinking 2006 MDF, hoop pine, huon pine, paint, lacquer 132 × 60 × 53 cm Marco Fusinato Mass black implosion (Anestis Logothetis) 2008 ink on archival facsimiles of scores 10 parts, each 81.9 × 102.7 cm Rosalie Gascoigne Conundrum 1990 sawn retro-reflective road signs on wood 183 × 152.5 cm Diena Georgetti Cartoon kapowee bouquet 2011 acrylic paint, pencil, crayon and marker pen on canvas board 94 × 94 cm Diena Georgetti Photographers ocular record cover 2011 acrylic paint, pencil, crayon and marker pen on canvas board 73 × 73 cm

John Nixon Untitled (white monochrome) 2011 enamel on canvas and wood 62 × 76 × 4 cm John Nixon Untitled (pink monochrome) 2012 enamel on canvas and wood 60 × 45 × 4.5 cm John Nixon Untitled (black and white monochrome) 2013 enamel on canvas and wood 75 × 60 × 4.5 cm Rose Nolan Big word combos – RN 4 ME/ DILL 1998 oil paint on hessian with embroidery thread 330 × 220 cm Mike Parr Blind obedience / Silent majority 1998 two-channel digital video duration 00:05:24 Daniel von Sturmer The truth effect 2003 installation of five singlechannel videos in DVD format, five custom-made screens, table table 80 × 580 × 600 cm Constanze Zikos Intercity 4 2000 laminex on board 70 × 140 cm Unless otherwise stated, all works are The University of Melbourne Art Collection, Michael Buxton Collection, donated through the Australian Government’s Cultural Gifts Program by Michael and Janet Buxton 2018

Diena Georgetti Split panelled shadow chart 2011 acrylic paint, pencil, crayon and marker pen on canvas board 83 × 63 cm

List of works

NATIONAL ANTHEM