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Wednesday 14 September , 6pm Speaker: It is not sold here in the United States. In English, it is not fully predictable: Grounded in research coming from the geo-humanities, this talk demonstrates that rather than being separate realms, the natural and social are deeply entangled and implicated in one another. The broad thematic of the Independence Project is collective, collaborative and interdisciplinary practice.

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ComiXology Thousands of Digital Comics. According to Zeffirelli, the move had doomed his production to an "infamous and brutal" fate. Aida continues to be a staple of the standard operatic repertoire. The libretto does not specify a precise time period, so it is difficult to place the opera more specifically than the Old Kingdom. The Egyptians have captured and enslaved Aida, an Ethiopian princess. An Egyptian military commander, Radamès, struggles to choose between his love for her and his loyalty to the King of Egypt.

To complicate the story further, the King's daughter Amneris is in love with Radamès, although he does not return her feelings. A hall in the King's palace; through the rear gate the pyramids and temples of Memphis are visible.

Ramfis, the high priest of Egypt, tells Radamès, the young warrior, that war with the Ethiopians seems inevitable, and Radamès hopes that he will be chosen as the Egyptian commander Ramfis, Radamès: Radamès dreams both of gaining victory on the battlefield and of Aida, the Ethiopian slave, with whom he is secretly in love Radamès: Se quel guerrier io fossi!

Aida, who is also secretly in love with Radamès, is the captured daughter of the Ethiopian King Amonasro, but her Egyptian captors are unaware of her true identity. Her father has invaded Egypt to deliver her from servitude. Amneris, the daughter of the Egyptian King, enters the hall. She too loves Radamès, but fears that his heart belongs to someone else Radamès, Amneris: Aida appears and, when Radamès sees her, Amneris notices that he looks disturbed.

She suspects that Aida could be her rival, but is able to hide her jealousy and approach Aida Amneris, Aida, Radamès: The King enters, along with the High Priest, Ramfis, and the whole palace court.

A messenger announces that the Ethiopians, led by King Amonasro, are marching towards Thebes. Upon receiving this mandate from the King, Radamès proceeds to the temple of Vulcan to take up the sacred arms The King, Radamès, Aida, Amneris, chorus: Reprise Guerra, guerra guerra!

Of Nilus' sacred river, guard the shores.. Reprise War, war, war! Alone in the hall, Aida feels torn between her love for her father, her country, and Radamès Aida: Solemn ceremonies and dances by the priestesses take place High Priestess, chorus, Radamès: This is followed by the installation of Radamès to the office of commander-in-chief High Priestess, chorus, Ramfis, Radamès: Dances and music to celebrate Radamès' victory take place Chorus, Amneris: However, Amneris is still in doubt about Radamès' love and wonders whether Aida is in love with him.

She tries to forget her doubt, entertaining her worried heart with the dance of Moorish slaves Chorus, Amneris: When Aida enters the chamber, Amneris asks everyone to leave. By falsely telling Aida that Radamès has died in the battle, she tricks her into professing her love for him. In grief, and shocked by the news, Aida confesses that her heart belongs to Radamès eternally Amneris, Aida: This confession fires Amneris with rage, and she plans on taking revenge on Aida.

Ignoring Aida's pleadings Amneris, Aida, chorus: Radamès returns victorious and the troops march into the city Chorus, Ramfis: The Egyptian king decrees that on this day the triumphant Radamès may have anything he wishes.

The Ethiopian captives are led onstage in chains, Amonasro among them. Aida immediately rushes to her father, who whispers to her to conceal his true identity as King of Ethiopia from the Egyptians. Amonasro deceptively proclaims to the Egyptians that the Ethiopian king referring to himself has been slain in battle. Destroy, O King, these ferocious creatures". Claiming the reward promised by the King of Egypt, Radamès pleads with him to spare the lives of the prisoners and to set them free.

The King grants Radamès' wish, and declares that he Radamès will be his the King's successor and will marry the King's daughter Amneris. At Ramfis' suggestion to the King, Aida and Amonasro remain as hostages to ensure that the Ethiopians do not avenge their defeat.

Outside, Aida waits to meet with Radamès as they had planned Aida: As Crary puts it in a resonant turn of phrase: The other work in the show is much the same — although it is much more elaborately expressed. We see in a series of large-scale photographs a group of men and women holding a motorbike up off the ground on a wooden support, almost as if it were a religious procession.

But what exactly is it they are doing? What could be the point of this strange ceremonial? It is at this attenuated latitude, apparently, that a rider on a good enough bike is able to travel at sufficient speed against the turning of the earth that they are able to remain in effect still, their shadow staying immobile under the gaze of the farway sun.

It means that the earth is rushing by in a blur under the wheels of an unmoving motorbike, or put otherwise that the motorbike has to go at something like mph counter-clockwise in order to remain perfectly motionless. It is a beautiful emblem of the utter pointlessness of art, so far ahead of the rest of the world in consuming all of that energy while remaining in the same spot.

But perhaps in another way art forms a kind of Archimedean point, a pivot or fulcrum around which everything turns and from where we can reflect as though in a magical bubble upon all of that relentless activity around us.

From meteorite to meteor — does art not trace something of the same trajectory, allowing us to float free, if only for a moment, from the weight of the world below us? Gertrude Contemporary is pleased to announce the appointment of two new roles. For the last thirty years, Gertrude Contemporary has been instrumental in supporting artists within Australia, and has built a worldwide reputation as an influential centre for experimental contemporary art.

As we prepare for our upcoming move to a new location, these new roles will be at the heart of our continued position as a highly regarded and integral part of the Australian arts community. In relation to her departure, Emma states: Mark Feary brings to the role of Artistic Director a wealth of experience in curating, having worked within the visual art sector for fifteen years in a range of contemporary art centres, universities, museums and artist-led initiatives with an emphasis on contemporary art.

He joins us following his position as Curator of Exhibitions and Australian Projects at the Australian Centre for Photography, after many years of curating at institutions such as Artspace, the CCP and West Space, as well as maintaining an independent curatorial practice. With his dynamic breadth of experience throughout art institutions, Mark will be well placed to develop exciting new programs and exhibitions for Gertrude Contemporary, reinforcing our history of fostering emerging artists and experimental art.

In response to his appointment, Mark said: Gertrude is the creative engine room of the visual arts in Australia, its alumni of exhibitors and studio artists is remarkable in its scope and critical contribution to culture and discourse across the past three decades.

This significant history is the vital foundation upon which the organisation has been built, but its fundamental asset is not the past; rather what it is yet to contribute to the future of contemporary art and thinking in Melbourne, Australia and in our expanded region. Prior to this, she worked as a Strategy and Operations Management Consultant for Deloitte, supporting client organisations across a range of industries to make strategic, financially robust business decisions and to grow their business models.

She said of her appointment: With an emphasis on allowing the students to work with an area that is part of their immediate environment and community, the project will take place on the football pitch centrally located in the Atherton Gardens housing estate, on Napier Street, Fitzroy. This work will be an ephemeral turf painting created by all the students from the school alongside Tully Moore, and aims to activate this particular space in ways yet to be explored, claiming a patch of turf within an area where gardens and open space are limited.

They will be joined by players Mohammed Amin and Faisal Aden, who are both Yarra Young residents with local teams, and Wilson Poni, current Yarra Young Citizen of the Year, who has played a leadership role in bringing young people together from across Fitzroy, Collingwood and Richmond housing estates.

The students from Fitzroy Primary School will then participate in soccer matches against one another, wearing the uniforms that they have created in collaboration with Tully Moore. This is a public event and all members of the community are invited to come along and join in.

The clinics are for students of middle years. Open to the public, all welcome. The collective of artists come from diverse backgrounds and art practices, such as live video, synth building, hacker collectives, experimental music, traditional craft, fashion, bio-hacking, sculpture and live art.

It has been curated and produced by Kristi Monfries, and forms part of Gertrude Contemporary's ongoing cultural exchange program titled The Independence Project, which, in , has taken place in collaboration with independent Jogjakarta-based curators, Kristi Monfries and Grace Samboh.

This king from the twelfth century predicted many truths about the twenty-first century, such as the shift to e-commerce, the push for transgender marriage, the existence of parallel universes, environmental disasters, mistrust of religion, and the eternal battle between good and evil forces.

Drawing on traditional Javanese systems of belief, this contemporary interpretation of Jayabaya prophesies will be presented within the framework of a subversive new pantomime using song, dance, and live electronic music and video. View the Facebook event here. Anja Kanngieser 'Listening to the Anthropocene: This talk argues that these delineations are critical to perceptions of climate change, and its uneven human causations and effects.

Fundamental to this investigation is the claim that such delineations affect the ability to listen to, and take care of, the myriad and complex ecosystems of which humans are a part.

Grounded in research coming from the geo-humanities, this talk demonstrates that rather than being separate realms, the natural and social are deeply entangled and implicated in one another. As this talk emphasises, sound, as a medium that brings the world into proximity and envelops us, is uniquely placed to approach and communicate these critical, and ever more urgent, entanglements.

Her work focuses on the intersections of political economy and ecology, sound and social movements. She is primarily interested in the ways in which people strategise, antagonise and collaborate to create the living and working conditions they desire.

Bringing into dialogue political economic theory with audio practices, she is engaged in the experimentation and invention of sound-based methods in the social sciences. Gertrude Contemporary is delighted to announce the studio artists: These artists will enter the Gertrude Contemporary Studio Program in to join the ongoing group of eight artists in residence.

Since its inception in , Gertrude Contemporary's Studio Residency Program has provided professional support and advocacy for many of Australia's leading contemporary artists. The program, which consists of sixteen non-residential studios, is available for early to mid career contemporary artists and is provided in two-year tenures.

Studio Artists are given a unique opportunity to be at the heart of a high calibre network of artists, writers and visiting international curators. The Gertrude Contemporary Studio Residency Program is the only program of its kind in Australia to offer long term studio tenures and many of Australia's preeminent visual artists have significantly benefited from their two-year residencies.

The annual Open Studios day is an exclusive opportunity to visit the sixteen studios upstairs, view works in progress, and meet with the artists. A series of cross-cultural exchanges between Gertrude Contemporary and colleague organisations, curators and artists throughout Asia, The Independence Project this year is held in partnership with Yogyakarta-based curators Kristi Monfries and Grace Samboh.

The project has been unfolding throughout , with iterations in Yogyakarta, Jakarta, Sydney, and Melbourne. The artists included in Part 1 were: Artists included in Part 2 are: The program, which consists of sixteen non-residential studios, is available to emerging and mid-career artists, and is provided for two-year tenures. Gertrude Contemporary celebrates its 30th anniversary with a special fundraising event on the evening of Friday the 13th of November As part of the event, we are holding a silent auction with works generously donated by alumni artists: In addition, we are auctioning two Art—Dining Experiences.

This Experience also includes an intimate in-conversation between Virginia Trioli and contemporary Australian artist, Bill Henson. For more details, download the pdf catalogue. As per tradition, the Gertrude Edition will be on display at the event.

For more details about Johnson's edition, visit the Editions page of our website, or download the pdf flyer. Bids for the silent auction are now open, closing at 9pm on Friday the 13th of November. Art and Unwaged Labour,' which takes places at 6. What kinds of emotional, affective and otherwise-hidden forms of unwaged labour hold up the art industry? To whom is this work relegated? Following the discussion, DJ and artist Lisa Lerkenfeldt will play a selection of music taking inspiration from notions of anachronism and lesser-known female music histories.

More information about the event can be found on M-Pavilion's website here. Drawing upon audible and not so audible projects by a variety of artists including Melissa Dubbin and Aaron S. Amelia Barikin is a contemporary art historian currently living in Brisbane, Australia. She has worked as a writer and curator on numerous exhibitions and arts projects both independently and with broader cultural organisations, most recently with TarraWarra Museum of Art as co-curator of Pierre Huyghe: TarraWarra International with Victoria Lynn, and has published extensively.

Her book Parallel Presents: She is currently researching the relation between art and science fiction as a Postdoctoral Research Fellow in Art History at the University of Queensland, where she also teaches. Melissa Dubbin and Aaron S. Audio interviews, electroplated records, diamonds, rubies, sapphires, emeralds, 22k gold, and texts contributed by an actress, an artist, a curator, a geologist, a hypnotist, a psychoanalyst, a singer and a writer after contact with the objects.

Helen's work will be reconfigured at intermittent intervals across two spaces: This event also includes a live performance by Duo, Alice Bennett and Vincent Giles, of music composed by Vincent Giles based upon soil surrounding Carlton Connect and year-old soil samples provided by Dr Tony Weatherley.

The event is ticketed , and runs from 6—7pm. The Audible Image,' the exhibition 22 September til 1 November The exhibition will run until October 10th. As an extension of Ishmael Marika's Slide exhibition, please join us for a screening of a selection of short film works: Galka ; the land rights documentary Wanga Watangumirri Dharuk ; and the stop-motion animation featured in Slide.

The films will be screening in Studio 18 at Gertrude Contemporary between 5. An interview with Ishmael about his practice, including his motivations for making Galka , is available here. Ishmael is currently a director, editor, and production officer at The Mulka Project in Yirrkala. He has worked on numerous cultural productions for the Yolngu including documentations of dhapi , bapurru , and other ceremonial events.

He is best know for his documentary on Yolngu land rights entitled Wanga Watangumirri Dharuk , which has screened at many festivals as well as a private screening with the East Timor President Ramos Horta. He has recently released his second film a drama depicting Yolngu sorcery entitled Galka. This film was launched to standing ovations at Garma More information about Ishmael's Slide exhibition, curated by Fayen d'Evie, is available here.

Gertrude has sixteen low-cost artist studios available for artists living in Melbourne, and is currently accepting applications for the intake of Studio Artists. General Information The sixteen non-residential studios located at Gertrude Contemporary are available to emerging and mid-career artists. They range in size from 30 to 72 square metres. Submission Date Studios For studios becoming available in , please submit applications by Friday 11 September by 5.

Applicants will be notified of outcomes by the end of November Eligibility All visual artists are eligible to apply, provided they are not enrolled in undergraduate or postgraduate study. Applicants must treat studio rental responsibilities as a priority. Successful applicants are chosen on the basis of quality of work, perceived potential, and space requirements.

The organisation also attempts to create a balance of media, gender and age in the studio artist community. One CV no more than one A4 page 3. Visual materials see below 4. Image details and credits no more than one A4 page. Visual Materials Please submit work that has been completed in the past two years.

Material in excess of the limits below will not be viewed by the committee. Not accepted Slides, catalogues, photographs, colour photocopies, or any other printed material; VHS tapes; Powerpoint presentations; images saved in a PDF document.

Decisions Selection is made by the Studio Selection Panel, whose members include gallery staff, a current studio artist, a member of the Board of Management, and two external arts professionals. Applicants will be advised of results in writing. Panel decisions are final and cannot be negotiated.

Please address submissions to: On the whole, the exhibition is an exercise in creating an atmospheric experience rather than a series of discrete objects. Working as a musician and sound artist, Coster has a particular focus on published audio releases and live performance. He uses a modular synthesizer, audio cassettes, and other electronics to create melodic and layered sound environments.

She plays with synths and keyboards, with an interest in improvisation and wonky electronic music. She plays in experimental synth band Video Ezy with Del Lumanta, who released a cassette earlier this year on Sydney label Paradise Daily.

His musical performances use analogue electronics, lights and various found sounds and are often improvisation. As a curator, Joel has been responsible for festivals, publications, exhibitions, screenings and concerts in Australia and internationally for over ten years.

I see information around me, a writing workshop hosted by Gwynneth Porter with special guests— Thursday 27 August , 11am — 5. Those who gather for singing do so for themselves. Participants are encouraged to write freely in scraps and fragments, impressions and sketches, which will later be compiled as a written document of the exhibition itself. In , she has taught in in art theory at Monash, and from to was the editor of Clouds, a visual arts press based in Auckland. Gertrude Contemporary is proud to announce the launch of a new off-site gallery and project space, Gertrude Glasshouse, which opens to the public on Friday, 24 July with an exhibition: What noise does a pig make?

The Glasshouse venture is supported by long-term Gertrude Contemporary patrons Michael Schwarz and David Clouston, who own the new venue. In talking about the project Schwarz and Clouston explain that, 'Our hopes are the space will be a joint venture with Gertrude Contemporary for a couple of years supporting contemporary art practice in Australia.

It is intended to be available for their transition period from their current premises to their next venture. For Gertrude Contemporary, Gertrude Glasshouse is a new and innovative approach in an ever-changing climate in the arts sector that will enable more responsive, nimble programming to complement the exhibitions and artist residency program at the Gertrude Street site.

Gertrude Glasshouse is an inspiring example of how partnerships can drive creative development and increase the capacity of the creative industries. We are particularly excited by the potential this stunning space offers for our Studio Artists to undertake ambitious projects during their residencies at Gertrude,' said Gertrude Contemporary Director, Emma Crimmings. Gertrude Contemporary is unique in Australia for its combination of studio and exhibition spaces, placing an equal emphasis on the production and presentation of cutting-edge contemporary art.

More than just a space in which to work, the Gertrude studios are highly sought after by both emerging and mid-career artists for the opportunities they provide for mentorship, network development and exhibitions both in Australia and abroad. Gertrude Glasshouse is an extension of the values of Gertrude Contemporary to support the development, production and presentation of new forms of artistic practice.

Art Talking Melbourne - New Geographies. The Bogong Centre for Sound Culture warmly invites you to the launch of our latest output - a new publication New Geographies , cd series Topologies 1 and new website. It is part of a series of projects facilitated by the BCSC focusing on the processes and impacts of sustainable energy production; effects of climate change in wilderness areas; ethnographic studies of remote communities; the chronicling of vanishing industrial procedures; and systems of representation used to render natural and built environments.

This CD is the first of a series that will be regularly produced to highlight the creative research occurring at the BCSC concentrating on the history and ecology of the Australian Alps, and attendant social and environmental issues. His practice is centred on connection to place, indigeneity, memory, erasure, queer possibility, body sovereignty, and multilingual plurality. The Program provides a unique opportunity for emerging visual arts writers nation-wide to develop their writing practice, publish their work, and gain further insight into the field of contemporary art writing through a year-long mentorship with an established art historian, curator or writer.

Surely it means retaining a modicum of hope? But what is it to have hope in such dire political times? This double-approach carries with it an understanding that artists have the power and the right to have an encounter with politics today: This lecture will look at the problematic of how art might approach political questions in its continuing encounter with neo-liberal capitalism.

Her recent publications are: Daniel Cass has many years experience working in green politics and renewable energy. He has an honours degree in history of science and was Curator of Science and Society at Scienceworks. Dan was a member of the Melbourne art group Damp. He is an honorary associate at Sydney Business School. Each speaker will present a short statement, followed by an open discussion. The broad thematic of the Independence Project is collective, collaborative and interdisciplinary practice.

Thoms and Wok interviewed numerous people who either attended the concert or are members of Indonesian Metallica fan clubs. Their project suggests a trajectory from the riot to the student reformasi protests right up to the more recent election of Indonesian President Joko Widodo in , a proud metalhead who famously attended an August Metallica concert in Jakarta.

On Wednesday June 3 at 6. Banks's lecture is 5 in the 'Histories and Theories of Sound' series that began last year, and has featured lectures by Branden W.

Kate Newby The more I listen to it the more I love it , edition of 15 ink on paper 28 x The more I listen to it the more I love it concerns travel, interpretation and storytelling. The edition consists of two A4 text works.

To the south of the Church is Plaza Santo Domingo, a district populated with scribes who often produce written documents for illiterate clients. The district is also renowned for the production of false documents. Since then, Newby has returned several times to create new text works of which The more I listen to it the more I love it is the latest. Newby repeated the exercise a few days later with a different friend who did not modify her handwriting.

On this occasion, the transcription tends to read: Recent group exhibitions include: Kate Newby, The more I listen to it the more I love it , San Francisco Museum of Modern Art. Virginia was associated with Gertrude in its earliest stages, working alongside founding Director Louise Neri when the organisation launched in the early s.

Virginia re-joins Gertrude at a significant moment in our thirty-year history, as we relocate the organisation to a new home that enables us to dramatically expand the capacity and reach of our programs. In response to her appointment Trioli states, 'I am thrilled to be back at Gertrude after being involved at the very beginning of this important cultural institution. As an independent, practice-based space for emerging and mid-career artists, Melbourne can be very proud of the continuing success of this place.

Our move to Collingwood to be part of a new arts precinct is a great vote of confidence by this and previous governments in the importance of local, creative work that can be appreciated by all Australians. At the heart of the organisation is its unique combination of artist studios and exhibition spaces, which enables an equal emphasis on the production and presentation of contemporary art.

Former Gertrude Studio Artist Emily Floyd, recently the subject of a major solo survey exhibition at the National Gallery of Victoria, describes the experience of holding a coveted Gertrude Studio as follows; 'Gertrude was an iconic moment.

Not just a studio, it was a launching pad into a community of artists, writers and curators who would come to set the agenda for contemporary Australian art. Across many artistic disciplines she has reported on and critiqued exhibitions, organisations and institutions. Her interviews have become an important chronicle. This tremendous experience will be invaluable as Gertrude begins its new future. In she again won a Walkley Award for her interview with former defence minister Peter Reith over the Children Overboard issue.

This reading group on laziness is held in conjunction with Hao Guo's current Slide exhibition — 2 art habits , an occasionally changing work, intended to relaunch a habit of art practice out of a daily habit of phone tapping. The reading group will focus on two texts that espouse the merits of laziness and waiting. Schweizer draws together the parallels between the act of reading, writing and waiting, ruminating on the delays and detours that are embedded in these processes.

Schweizer describes the way that: Christina recently launched a collection of stories Stationary , co-edited with Heman Chong, conceived as an opportunity for invited artists and writers to 'take stock in a suspended moment that provides a recess from productive practice. Yildiz will discuss his current program at Artspace focusing on relationships between artistic research, exhibition methodology, and public audience.

In the summer of he realised the exhibition A History of Inspiration organised within the scope of Nouvelles Vagues at the Palais de Tokyo. During this time he also worked as a curatorial collaborator of the 13th Istanbul Biennial. Chapter One at Warnambool Art Gallery.

This collaborative exhibition will place the WAG collection in the hands of four leading contemporary artists: From x-rays of royal hands, to jars of python eggs and assorted Zulu artefacts, the WAG collection offers an enlightening insight into the aspirations and curiosities of early Warrnambool settlers.

The potential stories are myriad, the voices and gestures profound, and each of the commissioned artists has unearthed, extrapolated or even imagined some of these stories in their making of new work. From a piece of Irish turf long ago transported and long since held in the Warrnambool Museum, to a painting of the unfinished span of the Sydney Harbour Bridge, this work brings to light a vast array of things that are found to stand in for the otherwise absent.

The Telepathy Project Sean Peoples and Veronica Kent , on the other hand, has drawn on the romance and tragedy of the local love story of Eva and Tom for their commission. The Telepathy Project has searched the WAG collection creating unlikely love stories and hopeful flirtations between portraits of those whose paths would otherwise have never crossed.

This exhibition offers a rare opportunity for audiences to reconsider their own regional collections, opening up new pathways for engagement and exploration, and highlighting the collection as a site of wide open imagining. Each of the artworks, acts, poems and performances considers how bodies move through space, such as down a street or boulevard.

Read more and book here. This is the first public outcome of a new body of work developed with blind collaborators, considering epistemological and aesthetic opportunities from this perspective. March 5 , 6: March 21 , 2: The play will be performed and recorded live in the central gallery at Gertrude on the evening of Tuesday 10 March , beginning promptly at 6.

Free, no bookings required. It will take place on Thursday the 12th of March at 5pm in the gallery. The second Gertrude Contemporary—Discipline lecture for will be given by Patricia Reed on Tuesday the 3rd of March, at 6pm for a 6. Her paper is titled 'Diagrammes and Futurity', and will include a response by Sean Dockray. More information about Patricia's lecture can be found here.

The book is only being distributed by a gift economy; if you would like to be mailed a free copy, sign up at www. To celebrate, a key focus of the exhibition program is the work of past and current Studio Artists, several of whom have been invited to stage major solo or curated exhibitions.

The year closes with reflections on the diverse array of artistic practices that have defined Gertrude's history, with an exhibition of past and current Studio Artists curated by the alumnus Christian Thompson. In addition, Gertrude Contemporary will launch a number of new initiatives, including a new off-site project space in Glasshouse Lane, Collingwood, and a series of online artwork commissions. Meanwhile, the latest instalment of Gertrude's international cultural exchange program begins this month, with artists Dan Bell, Tom Nicholson, Raquel Ormella, and Lara Thoms all undertaking residencies in Indonesia.

This project has been organised in collaboration with independent Jogjakarta-based curators Grace Samboh and Kristi Monfries. These exhibitions will be staged in Warrnambool, Morewell, and Benalla. Mununggurr and Egan will speak about their work in a public discussion on Saturday 31 January.

Mununggurr will also give demonstrations of her painting process and Yolngu string figures. On Tuesday 10 March, there will be a live performance and audio recording of a radio play written by American science fiction writer and art critic Mark von Schlegell, produced especially for Egan's exhibition.

Drawing upon their mutual interest in mediations of the body, Lambe and Eke will explore different environments tensioned by the interplay between transformative materials including live dance and film and static forms. Former Studio Artist Alex Vivian presents a new solo exhibition of sculptures, paintings and installation that, by contrast, engages materials inscribed by traces of an absent body.

These include modifying worn clothes and 'pre-loved' toys found in op-shops, and painting on pillow cases and bed sheets that have absorbed years of bodily contact. The 15th edition of Gertrude Contemporary's flagship curatorial exhibition, Octopus, is curated by Daniel Mudie Cunningham.

Dr Daniel Mudie Cunningham is a Sydney-based curator, artist and writer. New Zealand artist Kate Newby will present a large-scale solo exhibition across all the galleries in addition to an off-site project, and will undertake a residency in Studio 18 concomitantly.

Newby is renowned for her architectural and atmospheric interventions, which art critic Jennifer Kabat has described as 'radically slight'. Launching a joint initiative between Melbourne's Centre for Contemporary Photography and Gertrude Contemporary, this exhibition is the first in an ongoing series exploring crossovers between documentary film and contemporary art.

The exhibition is curated by Emma Crimmings and will premiere a new work by acclaimed Australian filmmaker Amiel Courtin-Wilson. In celebration of the thirty-year anniversary, Gertrude Contemporary is innovating the format of the annual Studio Artists exhibition.

These will screen in a loop on a single channel in ACMI's Gallery 2 on the night of 21 February , between 7pm and 7am.

Trecartin was born in in Texas, and lives and works in Los Angeles, California. Recent solo exhibitions include: Read the review here. The exhibition reflects on the history of artist-organised exhibitions between and in Shanghai. Local and international artists have been invited to re-examine and respond to an archive of materials relating to such exhibitions. The exhibition runs until 28 February For the show, crowEST will exhibit a series of canvases loosely based on a less well-known body of work by Swiss modernist Sophie Taeuber-Arp, modified to incorporate spectres of conversation and encounter — with studio visitors, Belgian linen, shiny pleather and a tumbleweed methodology.

A detailed overview of events is available here. Hamishi Farah, still from Marginal Aesthetics , Soren will present a paper and attend discussions. It adopts an experimental approach to exploring new interdisciplinary cultures of knowledge and education.

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