This absorbing exhibition of 150 still and moving images invites us to tumble through associations and visual puns, ahistorical couplings and thematic resonances that question how the ordering of artworks affects our interpretation of the world and images themselves.
Starting with the first Australian press photograph, Body of Joe Byrne by J.W. Lindt, the exhibition flows like dominos toppling and meaning takes on its own momentum as onlookers pass through a large-scale survey of the state of Australian photography not by chronology or style, but through novel logics of engagement and revelation.
Art, advertising, scientific photography and surveillance—this democracy of images rethinks the contemporary gallery itself, with enlightening results.
Sat 07 October from 1—3PM
Opening event including remarks from Melbourne Festival Artistic Director, Jonathan Holloway.
Night Projection Window
Sat 30 September—Thu 12 November, after dark
Ectomorphia I (2015) conjures the utopian and dystopian, presenting an endlessly rotating point-of-view of a circular construction which is populated by an ever-expanding taxonomy of animated figures, plants, and objects, often simultaneously fixed and unstable, trapped in ceaseless loops and cycles in a form of animated stasis.
This rotating circular form is a staging ground for a series of psychological vignettes. Using 3D animation and motion capture (whereby live performers movements are recorded in 3D and applied directly to digital figures) the artist references and reconfigures sources such as the Greek myth of the flaying of Marsyas, from Ovid’s Metamorphoses.
PHOTO ONE | Janina Green, Self Portrait 1996, courtesy the artist and M.33, Melbourne.
PHOTO TWO | Gregory Bennett, 'Ectomorphia I' (2015).