Past Exhibitions

Lorna Crane
echo Nacht – night Echoes

19 November – 19 December 2010

echo Nacht – night Echoes is a direct, responsive video installation that travels through media and the alternate histories of Crane’s recent journey to Berlin. Twenty-one years ago the Berlin Wall fell, giving birth to the reunification of contemporary Germany. During her 2009 residency in Berlin, Crane was confronted by the remnants of its war torn history and by the new identity of Berlin that had sprung forth since the collapse of the infamous Wall. Crane spent a month in this moving, dynamic and energetic city, traversing daily through the Brandenburg Gate, the Berlin Cathedral, the Reichstag, the Jewish Museum and the Kaiser Wilhelm
Memorial Church. With each daily journey into the city via these historic beacons, the universal ramifications of war echoed loudly to Crane.

So moved by her Berlin experience that Crane utterly changed her artistic practice, moving into the fluidity of video and also enlisting the genius of German composer Professor Andreas Herrmann, to develop echo Nacht–night Echoes to its full potency. Crane eloquently fuses the past, present, ready-made and online collaboration together in each of the three projections and intimate installation at Propaganda Window and Blender Projeckt.


Georgie Roxby Smith

Georgia on my Mind (The Facebook Project)

22 October – 12 November 2010

Georgia Smith (Missouri) is 66 years old. She is a hardcore Christian and occasional racist. Her grandson Tyler has just had a liver transplant. He is OK.

Georgie Roxby Smith randomly selects another ‘Georgia Smith’ to research from the 500 active Georgia Smiths on Facebook.  Exploring  her new ‘Georgia Smith’ profile, she trawls through the personal data freely available online, collecting as much information as possible, but to what extent?

Georgia on my Mind (The Facebook Project) is at once an exposé of the artist’s subjects and a massive self portrait of the artist herself revealing her own flawed digital identity in her attempt to create the perfect online profile.


Lisa O’Flynn + Herman Fluit


17 September – 17 October 2010

Rising Marbles officially marks Lisa O’Flynn and Herman Fluit’s first foray into the art world as a collaborative duo. Their dynamic partnership is a surreal coupling of talent: O’Flynn has a background in fine art and Fluit, an aeronautical engineer.  Between the two of them they experiment with a playful precision, using the most unlikely of  materials on digital and spatial platforms. Rising Marbles is a testimony to the fluidity of their practice and a brilliantly executed video concept.


Robin Healing

The Gaze

12 – 28 August

Robin Healing, a unique individual who possesses a divinely magnificent gift that defies scientific understanding and human comprehension. Are we ready as a species to accept this gift that spans beyond our conventionally accepted normality?  Are we ready to open our hearts without the boundaries our minds so easily impose to become childlike again in our ability to receive nourishment divinely offered as our birthright? Find out for yourselves in a once in a lifetime opportunity to meet Healing.


Simon O’Carrigan


2 July – 8 August 2010

In the Bear Cycle, a bear rides a bicycle attached to a strange contraption around a pedestal where a matador stands. Stuck in a perpetual loop, the bear endlessly chases the matador’s flag as the matador continuously spins away from the bear. The Bear Cycle continues O’Carrigan’s ongoing investigation of the integral ‘loop’ in video art. Simon O’Carrigan is a visual artist and animator, based in Melbourne. His practice spans hand-drawn cel animation, collage, painting, and photography. Regardless of medium, all his work contains a layered aesthetic. Despite using ‘high tech’ methods, all his work retains a sense of the handmade, revealing the hand of the maker.


Brendan Lee

The Beautiful Badlands

21 May –  27 June 2010

The Beautiful Badlands by Brendan Lee is a critical examination of contemporary society through the residual memories of historic Australian film locales. This iconic video work uses the mythologies and political circumstances evoked by the first Mad Max film as an analogy to our own society’s anguish, isolation and pursuit of the new. A lone, die hard Fan walking and driving through the backdrop of cult Australian film history sets the pace for the Beautiful Badlands video. Helicopters, muscle cars and the foreboding Australian landscape intertwine as the Fan navigates through his own actuality appropriated from a filmic reality.


Scott Morrison

a song between around and through

9 April – 14 May 2010

a song between around and through came about from the development of two live audiovisual performances Morrison executed in 2009. It was his expanding approach towards the moving image and a desire to find work beyond the natural environment that led Morrison to find performers Eleanor and Rowan Witt, fraternal twins who both sing to create this site-specific Propaganda Window exhibition.

“I was interested in how aspects of the human face could be sampled and played back live; the performances involved my solo interpretations of the samples and also with the twins as live accompaniment. The opportunity to expand these performances into a composed piece proper has come about with Propaganda Window.”

In this beautiful new digital work, Morrison sequenced detailed loops of the twin performers’ left and right eyes and their mouths to convert the front three windows of 110 Franklin Street into a giant abstracted face. These loops continuously flicker across chaotically, generating a videoscape of notes disjointedly sung by Rowan and Eleanor to the Melbourne night.


Brie Trenerry


28 January – 28 February 2010

Trenerry’s three screen projection Ascent at Propaganda Window is the digital extension of her installation, simultaneously exhibiting at Westspace for the Office of Utopic procedures exhibition: The Aesthetics of Joy. In the work at Westspace, Trenerry will incorporate live doves into a custom-built environment for the duration of opening night. After years of working with dark material and grey walls, Trenerry will walk into the light to explore a psychological state other than fear and anxiety. Trenerry’s works have often utilised animals, insects and plants as metaphors to explore ideas surrounding mortality, the psychology of emotions and humankind’s uneasy relationship with the natural world. In this exhibition doves were chosen as a symbolic representation of joy. Traditionally the dove represents the soul leaving the body, undergoing a transformation process to transcend corporeal constraints and represent a divine being- one beyond earthly experience.



Ross Coulter & Michael Georgetti

We Only Ever Meet On The Astral Plane

16 October – 8 November 2009

A long pipe emerges from the ceiling and dives into a sea of tennis balls. A makeshift trap balances precariously, perpetually waiting for a victim in an environment devoid of wildlife. A pump in a paddle pool quietly creates a painting in the corner. Everything is tense with potential movement… The New Recycling Aesthetic meets Arte Povera in the exhibition: We Only Ever Meet On The Astral Plan. Created collaboratively by Michael Georgetti and Ross Coulter, this exhibition explores the interactions, relationships and tensions of new aesthetics and contemporary object making. The dualities of space and matter, the real and the pictorial, and stillness and movement are juggled and juxtaposed in a series of large-scale installations.


Seb Guzman-Ramirez and Benjamin L. Schmidt

Egocentricity, the logic of schizophrenia

4 September – 9 October 2009

Those who cannot remember the past are condemned to repeat it -George Santayana Transgressive creative force Benjamin Schimidt  and Seb Guzman-Ramirez  have notoriously captured the attention of many with their ongoing visual, musical and multimedia projects. Exploring and confronting the mechanisms in atheism and religion, mental illness, mind control, corrupt politics, war and disease, Schimidt and Guzman-Ramirez present the symptoms of a failing world through the eyes of the individual and society simultaneously.


Michael John Winter Meneghetti

I heart you

17 July – 31 August 2009

‘Feeling lonely and isolated, I watched from afar the endless parade of freshly married couples and their wedding parties photographed at the same spot under the Manhattan Bridge. It was at that moment I began to understand the desire to fuse oneself to a landmark by photography and how it could validate our communal experiences and rites of passages imposed on the individual to be individual.’ Michael John Winter Meneghetti utilises video, sculpture and performance in his practice. He chases masculine archetypes and myths.

Benjamin Xavier Last


17 July – 31 August 2009

Benjamin Xavier Last’s work explores the symbiotic nature of opposites and their relationships within our mindscape. Using intriguing juxtapositions, Last’s practice is an ongoing search for visual resolutions between well worn polarities: light and dark, beauty and horror, good and evil, pleasure and pain, life and death. Lifeblood is a short animation of a tree-like growth sprouting from a human hand. As the tree rapidly grows, it oddly beats in rhythm with the hand, and then slowly ceases to beat, blackening the hand as it dies.


Nicole Breedon

End Game

17 July – 31 August 2009

End Game is a looped video projection, revealing a never-ending sequence of recognizable characters from computer/video games from the 1980’s and 90’s meeting their demise. The work reflects the distinctive graphics and colours of the computer games from that era. End Game is a metaphor for the simplicity in humankind’s own constant mortality. Nicole Breedon employs painting, woodwork, video and new media installation to explore the esoteric nature of our cosmos and the human psyche, such as the mind, the origins of the universe and creation, the future, time and space. Her work examines humankind’s infinitesimal position within the orders of magnitude, in contrast to the richness and depth of the human experience.


Jenny Hall

Hair Today

5 June – 12 July 2009

Confronting and narcissistic, Hall skilfully plays out her visceral act whilst maintaining a poker face. Hair Today sounds light and playful, but its nature is quite far from it.  Hair Today explores loss of the emotional and physical through an obsession with the feminine appearance. The voyeur is invited to watch Hall’s private and personal engagement with her own reflected image. In this incarnation of the artist self portrait, the moving images explore a passive, yet disturbing performance of Hall pulling her own hair out before the camera, oscillating between an act of self-grooming to that of self-harm. The saying ‘I feel like pulling my hair out’ will resonate differently after seeing Hair Today.


Pip Ryan

machine compilation 15

29 April – 28 May 2009

Pip Ryan: Recording between space, sound and sight.

Ryan’s artistic practice involves a combination of installation and screen-based work. In machine compilation 15 the construction of temporary machines from hard rubbish and discarded toys modulate the recording camera through motion, direction and location, resulting in a complex and pictorially loaded videoscape. machine compilation 15 is an ongoing investigation into the relationship between space and sight and is a juxtaposition of fast and loud imagery that challenges the conventional camera as a recorder of sight.


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