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12am PROGRAM 5 - Liam Denny. + Kelly Doley
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12am PROGRAM 6 - Katherine Hattam, Macushla Robinson, Ellen Koshland, Victoria Hattam, Shevaun Wright, Danica Knezevic and Sarah Contos.
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12am PROGRAM 6 - Katherine Hattam, Macushla Robinson, Ellen Koshland, Victoria Hattam, Shevaun Wright, Danica Knezevic and Sarah Contos.
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12am PROGRAM 6 - Katherine Hattam, Macushla Robinson, Ellen Koshland, Victoria Hattam, Shevaun Wright, Danica Knezevic and Sarah Contos.
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12am PROGRAM 6 - Katherine Hattam, Macushla Robinson, Ellen Koshland, Victoria Hattam, Shevaun Wright, Danica Knezevic and Sarah Contos.
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12am PROGRAM 6 - Katherine Hattam, Macushla Robinson, Ellen Koshland, Victoria Hattam, Shevaun Wright, Danica Knezevic and Sarah Contos.
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12am PROGRAM 6 - Katherine Hattam, Macushla Robinson, Ellen Koshland, Victoria Hattam, Shevaun Wright, Danica Knezevic and Sarah Contos.
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12am PROGRAM 6 - Katherine Hattam, Macushla Robinson, Ellen Koshland, Victoria Hattam, Shevaun Wright, Danica Knezevic and Sarah Contos.
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12am PROGRAM 6 - Katherine Hattam, Macushla Robinson, Ellen Koshland, Victoria Hattam, Shevaun Wright, Danica Knezevic and Sarah Contos.
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Bus
Projects

35 Johnston st,
Collingwood
VIC 3066 AUST.

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

FB, TW, IG.

Exhibits,

Agnes So, Amy May Stuart, Masato Takasaka MONOTONY

Opening: Wednesday 4 September, 6-8pm Dates: 4-21 September 2013

Reiteration, ingemination.

“There is no such thing as repetition, only insistence” – Gertrude Stein

The title ‘Monotony’ is not to be taken too literally. The work of each of these three artists captures lyricism in the everyday and poetry of looking again. In the words of Gertrude Stein, “there is no such thing as repetition, only insistence”.

Agnes So tests the functionality of everyday objects in a series of choreographed performances. Recurrence grants multiple views and places the artist body into a position where it begins to replicate the role of the object itself.

Permanently on a treasure hunt, Amy May Stuart finds fascination in often overlooked aspects of lived experience. Collected images of handwritten ‘Cash Only’ signs draw attention to both their similarities and their differences.

Masato Takasaka revisits and reconfigures his own earlier artworks and returns to what’s in storage as an antidote to continual production. A bootleg recording of an exhibition of a bootleg recording of an exhibition opens this practice up, and reframes his work yet again, while simultaneously allowing things to break down just a little.