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.

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 single poster contribution from the original publication On Taking a Normal Situation and Retranslating it Into Overlapping and Multiple Readings of Conditions Past and present.

An exhibition devised by Yves Aupetitallot, Iwona Blazwick and Carolyn Christov-Bakargiev within the framework of ANTWERP 93. Its title was inspired by Gordon Matta Clark who made one of his final works in the city, and which in turn led to the foundation of M HKA. In some ways the subject of this exhibition was ‘the exhibition’. What it proposed, however, was a new relation between structure, location, context, artist and audience.

Exhibition poster/pamphlet produced on the occasion of Maria Hassabi’s STAGING: Solo #2 (2017), 9 December 2017 – 21 January 2018, which reimagines and adapts her multi-sited installation STAGING (2017). STAGING was previously exhibited at the Walker Art Center, Minneapolis and in documenta 14, Kassel. This new iteration will feature a lone dancer on an expanse of vivid pink carpet, enacting highly concentrated, protracted, at times barely perceptible movements. Like nearly in all of her works, STAGING: Solo #2 (2017) is a site of negotiation for her powerfully subversive performances: between the performer and their task, the spectacular and the everyday; between subject and object, bystander and viewer. In consistent ways, her pieces undermine media boundaries, clear classifications, and perceptual habits, replacing these with new, not necessarily decipherable images, while activating the viewer’s sensibilities and self-reflection to an extreme degree.

Exhibition booklet produced on the occasion of Maria Hassabi’s STAGING: Solo #2 (2017), 9 December 2017 – 21 January 2018, which reimagines and adapts her multi-sited installation STAGING (2017). STAGING was previously exhibited at the Walker Art Center, Minneapolis and in documenta 14, Kassel. This new iteration will feature a lone dancer on an expanse of vivid pink carpet, enacting highly concentrated, protracted, at times barely perceptible movements. Like nearly in all of her works, STAGING: Solo #2 (2017) is a site of negotiation for her powerfully subversive performances: between the performer and their task, the spectacular and the everyday; between subject and object, bystander and viewer. In consistent ways, her pieces undermine media boundaries, clear classifications, and perceptual habits, replacing these with new, not necessarily decipherable images, while activating the viewer’s sensibilities and self-reflection to an extreme degree.

Invitation card produced on the occasion of Ken Price’s exhibition Sculpture and Drawings at Matthew Marks Gallery, New York, 22 September–4 November, 2006

For over 50 years, Ken Price produced small-scale, brightly colored ceramic sculptures with exquisitely worked glazed and painted surfaces in which he achieved a balance between form and surface. In recent years, Price began making works in much larger sizes. His youthful experiences as a surfer in Los Angeles greatly influenced his art, which he explained as the manifestation of that which he found pleasurable.