Catalogue for a season of film screenings at Melbourne Cinematheque focusing on the work of Harun Farocki, presented by 1856.

Designed by Lucas Quigley.

You can find more on the program here.

Catalogue for an exhibition of new work made by Patricia L. Boyd in Melbourne, presented across two locations: at Victorian Trades Hall and a coworking creative office space 225 Queensberry St, Carlton.

Designed by Beaziyt Worcou.

You can find more on the exhibition here.

In his catalogue essay, curator Anthony Huberman explains that the works in this exhibition ‘reflect on what it could mean to contest the regime of the machine’. That is, they question the worship of usefulness in modern scientific civilisation, which is refused or even ridiculed by each piece on show. It’s a strong concept, and potentially extends to how the works are placed in the labyrinthine space of the Secession. If the point is to produce friction, then the disorganisation of Other Mechanisms—the inability of its parts to add up to a coherent whole—is a paradoxical form of success.

Concept: Anthony Huberman. Texts: Jennifer Alexander, Franco Berardi, Benjamin H. Bratton, Gilles Châtelet, Gilles Deleuze, Keller Easterling, Vilém Flusser, Sigfried Gideon, Martin Heidegger, Anthony Huberman, K.G. Hultén, Maurizio Lazzarato, Pamela Lee, Les Levine, Jean-François Lyotard, Robert King Merton, Meredith Meredith, Lewis Mumford, Gerald Raunig, Nishant Shah, Robert Snowden, Joseph Vogl. Images: Zarouhie Abdalian, Lutz Bacher, Nairy Baghramian, Eva Barto, Patricia L. Boyd, Nina Canell & Robin Watkins, Jay DeFeo, Trisha Donnelly, Harun Farocki, Howard Fried, Jacob Kassay, Garry Neill Kennedy, Frederick Kiesler, Pope.L, Louise Lawler, Sam Lewitt, Park McArthur, Jean-Luc Moulène, Cameron Rowland, Sturtevant, Danh Vo.

Produced on the occasion of Kansuke Yamamoto: Conveyor of the Impossible, 22 August–24 September, 2001.

Kansuke Yamamoto was a photographer and poet. He was a prominent Japanese surrealist born in Nagoya, Japan.

Yamamoto’s early experiments in collage and photomontage utilized the techniques of the Surrealists in tandem with his own artistic philosophies, beginning a lifelong dialogue in internalizing an internationally inherited art form into his own. While it is known that artists such as Man Ray, László Moholy-Nagy, Yves Tanguy and René Magritte were inspirational to Yamamoto during his artistic development, his photographic works and skills from the outset were strongly innovative and equally comparable to the European artists who he studied

This highly original work represents the socio political situation of the 1930s through a veil of whimsy, sexuality and lampoonery, signature themes in Yamamoto’s practice. By the end of the 1930s, he was leading the Nagoya avant-garde scene as an influential center in Japan. During the Pacific War and until the end of World War II artistic activities were forbidden, and it was after the war’s end that Yamamoto continued to create singular works; working in different mediums including photography, drawing, painting and poetry.—Taka Ishii Gallery

Produced on the occasion of Minimal Art at Akademie der Künste, Berlin 23 March–27 April, 1969. Including artists; Sol Lewitt, Robert Morris, Robert Smithson, Donald Judd, Carl Andre, Dan Flavin, Ronald Blades, Robert Grosvenor, Tony Smith, Michael Steiner.

Robert Hunter was arguably Australia’s pre-eminent Minimalist painter. In 1968, at age twenty-one, he was the youngest artist represented in The Field, the inaugural and now-legendary exhibition at the new National Gallery of Victoria, which announced the arrival of late modernist abstraction in the Australian context. Hunter was also one of very few Australian artists to participate in an international art movement, exhibiting in Eight Contemporary Artists at the Museum of Modern Art, New York in 1974, and continuing to be involved in significant exhibitions in Australia and internationally throughout his career.

This publication, which is now unfortunately out of print, surveys Hunter’s unswerving commitment to a singular aesthetic position, evident in his earliest white-on-white paintings through to the mature works for which he is best known. Robert Hunter contains more than forty colour illustrations as well as essays by Jane Devery, Tom Nicholson, Ann Stephen and Jennifer Winkworth.