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

A comprehensive exhibition guide for The scene in which I find myself / Or, where does my body belong at the Govett Brewster Art Gallery, New Plymouth, curated by Ruth Buchanan.

Presenting the largest number of collection works ever shown at the Govett-Brewster Art Gallery, including treasured highlights, the project seeks to break (open) the mechanisms of collecting and challenges the role and success of the museum. If a collection is meant to reflect the society that creates it, there are problems with the methodologies if amongst this highly regarded collection, so few perspectives are captured.

This conflict in motion is made visible through the lens of a gallery collection, and provides a crucial course alteration for the future. Here, the collection becomes the scene, and the body in attendance is dynamically addressed, and each of us – the institution, the visitor, and the artist herself are implicated in what these future procedures may be.

A PDF of the publication can be downloaded here.