Mode and Mode is a periodical that addresses printed matter in fashion practice. Each issue explores experimental publishing in fashion with an interview around a print-based project at the margins—one that has critical effects to fashion as a discourse—with the aim to level alternative, lesser-known fashion practices with contemporary fashion discourse.

Mode and Mode six ‘Art for All’ featuring an interview with Hans Ulrich Obrist on the publication point d’ironie co-founded with artist Christian Boltanski and agnès b., and a foldout poster created by Kate Meakin and Jessie Kiely.

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.

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.

Exhibition guide produced to accompany Mutlu Çerkez: 1988–2065, an exhibition that surveyed the art and life of Mutlu Çerkez, the Turkish Cypriot Australian artist who lived and worked in Melbourne until his death in 2005 at MUMA (Monash University Art Museum), Melbourne.

Çerkez was an influential artist who, during his lifetime, had a significant impact on the Australian and international art worlds. His work incorporated traditions of conceptual art, minimalism and monochrome painting but made its own internal logic its primary reference point while strenuously resisting a reduction to any single style.

His practice explored its own temporality and sought to create a conversation between past actions and future scenarios. Each new work was ascribed a future date on which he intended to remake the work. Working in a range of mediums including printmaking, painting and sculptural installations, Çerkez employed abstract designs and aphoristic symbols to expound upon time and reality and build upon the conversation between past actions and future scenarios. In 2005, Çerkez passed away in his Melbourne home.