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June 2021
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12am PROGRAM 4 - Snack Syndicate + Madeline Bishop
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12am PROGRAM 4 - Snack Syndicate + Madeline Bishop
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12am PROGRAM 4 - Snack Syndicate + Madeline Bishop
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12am PROGRAM 4 - Snack Syndicate + Madeline Bishop
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12am PROGRAM 4 - Snack Syndicate + Madeline Bishop
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12am PROGRAM 4 - Snack Syndicate + Madeline Bishop
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12am PROGRAM 4 - Snack Syndicate + Madeline Bishop
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12am PROGRAM 4 - Snack Syndicate + Madeline Bishop
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12am PROGRAM 4 - Snack Syndicate + Madeline Bishop
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12am PROGRAM 4 - Snack Syndicate + Madeline Bishop
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12am PROGRAM 4 - Snack Syndicate + Madeline Bishop
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12am PROGRAM 4 - Snack Syndicate + Madeline Bishop
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12am PROGRAM 4 - Snack Syndicate + Madeline Bishop
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12am PROGRAM 4 - Snack Syndicate + Madeline Bishop
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12am PROGRAM 4 - Snack Syndicate + Madeline Bishop
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12am PROGRAM 4 - Snack Syndicate + Madeline Bishop
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12am PROGRAM 4 - Snack Syndicate + Madeline Bishop
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12am PROGRAM 4 - Snack Syndicate + Madeline Bishop
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12am PROGRAM 4 - Snack Syndicate + Madeline Bishop
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12am PROGRAM 4 - Snack Syndicate + Madeline Bishop
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12am PROGRAM 4 - Snack Syndicate + Madeline Bishop
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Bus
Projects

35 Johnston st,
Collingwood
VIC 3066 AUST.

Opening Hours
12–6PM TUE–FRI
10AM–4PM SAT

FB, TW, IG.

Engages,

Christo Crocker, G-Eunuch, Nathan Gray, Salmon Barrel Bus Projects at Meyers Place

Opening: Sunday 20 January, 3-9pm Dates: Sunday 20 January 2013

As part of Bus Projects Summer Series, on Sunday 20 January, 3-9pm, Meyers Place Bar will host an art event featuring new work by Christo Crocker, as well as DJ sets by artists G-Eunuch (aka Christopher LG Hill), Nathan Gray and Salmon Barrel (Simon Barry). Meyers Place will generously donate all proceeds from the bar to help raise funds for the renovation of BUS Projects’ new space at Rokeby Street.

Christo Crocker’s practice consists of site-specific interventions and happenings. His temporally and perceptually motivated works explore and dissect the’ decisive moment’. Crocker imposes an inherent risk upon the material, objects and the spaces he engages, challenging a predetermined success and highlighting the inherent performative potential of any space. Extending upon this context-based practice, Crocker implicates the perception of the viewer, and the subsequent ‘here say’ derived, as the content of each work.