Continuous Moment: Le Desir… is part of Bertoli’s ongoing research and investigation into Picasso’s play Le Désir Attrapé par la Queue (Desire Captured by the Tail). Referring to both a 1944 reading of the play and a staging of the play in 1967 by Jean Jacques Lebel, Bertoli’s work addresses ideas of repetition, reprise and continuity. Like Picasso’s text and Lebel’s production, Bertoli draws on a vast network of references and influences. In this light,Continuous Moment: Le Desir… can be understood as an assemblage of existing voices through which Bertoli is part of the aggregating authorship around ‘Le Désir’.

Text by Chris Sharp. Designed by Warren Taylor.

Produced on the occasion ofContinuous Moment: Sordid’s Hotel, Centre for Contemporary Photography, 7 February–23 March, 2014.

Continuous Moment: Sordid’s Hotel is part of Bertoli’s ongoing research and investigation into Picasso’s play Le Désir Attrapé par la Queue (Desire Captured by the Tail). Referring to both a 1944 reading of the play and a staging of the play in 1967 by Jean Jacques Lebel, Bertoli’s work addresses ideas of repetition, reprise and continuity. Like Picasso’s text and Lebel’s production, Bertoli draws on a vast network of references and influences. In this light, Continuous Moment: Sordid’s Hotel can be understood as an assemblage of existing voices through which Bertoli is part of the aggregating authorship around ‘Le Désir’.

Text by Helen Johnson. Designed by Warren Taylor.

Poster/invitation produced on the occasion of Experimental Jetset’s exhibition Posters, 13 July–4 August, 2007 at the Narrows, Melbourne.

Experimental Jetset is a small, independent, Amsterdam-based graphic design studio, founded in 1997 by (and still consisting of) Marieke Stolk, Erwin Brinkers and Danny van den Dungen. Focusing on printed matter and site-specific installations, and describing their methodology as “turning language into objects”, Experimental Jetset have worked on projects for a wide variety of institutes.

More information on the exhibition can be found here.

Produced the occasion of the screening of Tom Zubrycki’s unfinished documentary film on the history of the Australian labour movement, from the 1850’s up until the bicentenary of 1988. Originally sponsored by the Australian Council for Trade Unions, produced by Film Australia, and funded by the Australian Bicentennial Authority, the film was effectively censored when the ACTU rejected the film’s representation of union history.

With an excerpt from John Hughes’ manuscript for his essay Zubrycki’s Point: Amongst Equals, utilitarian film in the Australian labour movement, on the controversy surrounding the production of Amongst Equals.

Designed by Ziga Testen.

More information on the screenings can be found here.

Produced on the occasion of Lisa Adkins’ talk discussing how we might rethink the maintenance and reproduction of the household today. She preposes that we think of this as a relationship between the household and its necessary, contracted payments to finance capital (for utilities and services, as loan repayments, rent, etc.)

The talk was co-presented with Benison Kilby, as a part of her exhibition “Bodies of Work”. The exhibition looked at how a group of artists respond to the intersections of reproductive, care, and feminised labour that maintain, and increasingly define, our current living conditions.

Designed by Ziga Testen.

More information on the talk can be found here and a recording of the talk can be found here.

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.