In Molecular Red, McKenzie Wark creates philosophical tools for the Anthropocene, our new planetary epoch, in which human and natural forces are so entwined that the future of one determines that of the other.

Wark explores the implications of Anthropocene through the story of two empires, the Soviet and then the American. From the Russian revolution, Wark unearths the work of Alexander Bogdanov—Lenin’s rival—as well as the great Proletkult writer and engineer Andrey Platonov.

The Soviet experiment emerges from the past as an allegory for the new organizational challenges of our time. From deep within the Californian military-entertainment complex, Wark retrieves Donna Haraway’s cyborg critique and science fiction writer Kim Stanley Robinson’s Martian utopia as powerful resources for rethinking and remaking the world that climate change has wrought.

Poster/invitation produced on the occasion of KAREL MARTENS OASE/, 6–21 April, 2011, Faculty Gallery, Monash University, Melbourne. Curated by Warren Taylor.

The exhibition focused on Martens contribution to the graphic style of OASE, Journal for Architecture. From 1990 (Issue 28) Martens took over the art direction of the journal, often working with students from the Werkplaats Typografie—an experimental typography school he founded in 1998 with Wigger Bierma. What began as a student magazine, evolved into an international professional journal in which a reflective and critical approach to architecture, urban design and landscape architecture is the mainstay. Recently celebrating its 75th issue, the success of OASE is, in part, due to Martens refined graphic statement, often absorbing his print and typographic experiments and upholding the dialogue between graphic design and architecture.

More information on the exhibition can be found here.

Produced on the occasion of the exhibition Jason Dodge with Ishion Hutchinson: The Broad Church of Night, 25 September–21 December, 2018 at the University of Chicago, Neubauer Collegium for Culture.

The title of this exhibition was suggested to the artist by the Jamaican poet Ishion Hutchinson, who composed and recited a poem of the same name for the exhibition’s ceremonial dismantling on December 1. An audio recording of the reading replaced the sculptural installation for the final three weeks of the show.

Edition of 200. hand bound with 4 inserts. Each copy is unique.

Produced on the occasion of the exhibition AS SOON AS THE INVENTED LANGUAGE ENTERS US SOMETHING ELSE WILL VIBRATE IN OUR SKIN at Fondazione Morra Greco, Napoli, 19 December, 2019–20 February, 2020. With a text by Raimundas Malašauskas.

The title of this exhibition was written by CAConrad.

More information on the show can be found here.

Working together since the early 1980s, Janet Burchill and Jennifer McCamley have developed an expansive framework of formal and thematic concerns drawing broadly on the histories of art and design, film, literature and cultural theory. Influenced by feminism, and applying an appreciation and critique of modernism, they make visually stunning artworks across an ever-expanding repertoire of mediums—from painting and sculpture, photography and printmaking, to neon light and textile works.

Essay contributions by Sue Cramer, Justin Clemens, Helen Hughes, Juan Davila, Kyla McFarlane and Rex Butler.

Pamphlet for the exhibition of one work by Charlotte Posenenske, exhibited in-situ in a training room at the offices of the United Workers Union. The work was from her “DW Series” (1967), a minimal set of square cardboard tubes which are collaboratively put together by participants in the context where they are exhibited.

Wednesday 18 December 2019 6–8pm
United Workers Union
Lvl 1, 833 Bourke St, Docklands, VIC 3008

Organised by Nicholas Tammens with Imogen Beynon and Eloise Sweetman. The first configuration was made by Cameron Stops, Bridget Erin Flack, Megan Berry, Jenna Christie, Kate O’Brien, Zarah and Rhodes—all union organisers at the United Workers Union.

Designed by Ziga Testen.

You can find more on the exhibition here