4  - 26 APRIL 2014

    Opening: Friday 4 April, 6 – 9pm
    dudproject #1
    Sam Fagan, Channon Goodwin, Fountain Gate (Aodhan Madden & Ellen Fairbairn), Lou Hubbard, Alison Ingamells, Annabelle Kingston, Nina Mulhall, Jimmy Nutall,
    Kiron Robinson, Madé Spencer-Castle & Lyndal May Stewart.
    Curated by DUDSPACE.
    Friday 4th April 6-9pm
    Saturday 12th April 2-3pm
    Thursday 24th April 6-Late
        this dudproject is supported by The City of Melbourne through the Arts Grants Program



  2. 7 FEBRUARY – 1 MARCH 2014

    Opening: Friday 7 February, 6 – 9pm
    Charles Ives Singers (David Palliser, Victor Meertens & Alexis Ensor)
    Subject to Sound
    Formed in 1992, The Charles Ives Singers have become a Melbourne Underground Institution. The group consists of renowned visual artists David Palliser, Alexis Ensor & Victor Meertens & Breadman (above). They released their first recording (cassette) as Those Naughty Rays, Yarraville 001, in 1992 & first performed live at The Toff on The Town in 2008, curated by Marco Fusinato. They do not rehearse or plan a gig as they rely on the stealth of being alive… They approach sound out of love for it. They are totally ready to fail in concert & sometimes come close. To be untrained in sound construction they consider a blessing. They view amateurism as a gift & intuition as their illogical ally. But as the man said, ”See them before they get better”. They play a mix of homemade & customary instruments with Victor performing free stream of consciousness vocals, his monologues often integrating daily news with touching personal observations with David P. on sax & percussion; Alexis as the cigar-box guitar virtuoso… It’s almost like driving a car on familiar roads & terrain but blindfolded. David Palliser was the heart of the legendary People With Chairs Up Their Noses. Alexis is one of the most important chroniclers of the Melbourne 80’s visual arts scene through his photographic archive. Victor cut his solo performance teeth during his Australia council fellowship year at Kuenstlerhaus Bethanien in Berlin 94/95. The Charles Ives Singers present an exhibition of new work as well as a series of live performances. Together they make mayhem an appellation.
    David Palliser is represented by Block Projects, Melbourne.
    Charles Ives Singers’ Performances:
    Friday 7th of Feb, 8pm. (Opening night)
    Thursday 13th, 8pm.
    Thursday 20th, 8pm.
    Thursday 27th, 8pm.
    David Attwood, Rebecca Baumann, Marco Bruzzone, Shannon Lyons and Thomas Rentmeister

    Art historian Ursula Panhans-Bühler once used the term ‘impure minimalism’ to describe the sculptural works of German artist Thomas Rentmeister. For Panhans-Bühler, Rentmeister at once adapted the pictorial and stylistic vocabulary of Minimalism and at the same time dirtied it through the use of common and inexpensive materials. Panhans-Bühler’s terminology eventually evolved into ‘dirty minimalism’, which has in turn become a kind of catch phrase that currently follows Rentmeister around the world regularly popping up in the catalogue essays and press releases that accompany the exhibition of his work.

    Co-curated by West Australian artists David Attwood and Shannon Lyons, Dirty is a reflection on and extension of the notion of ‘dirty minimalism’. The exhibition will present the works of a group of artists who employ the tenets of Minimalism in conjunction with historical, social, cultural and political content. These artists strive to evade the art historical readings of Minimalism’s Modernist heritage (as in its cold austerity, internal inflection and material objectivity) by infusing their work with external reference, reveling in disorder, politics, humour and the abject body.

    The exhibition Dirty draws on a selection of protagonists working within the field of ‘dirty minimalism’ in Australia and beyond, bringing these convergent practices into conversation. Exhibiting artists include David Attwood, Rebecca Baumann and Shannon Lyons who live and work in Perth, WA and Marco Bruzzone and Thomas Rentmeister who both live and work in Berlin, Germany.

    Exhausted Ideals 4
    Bianca Tainsh
    Exhausted Ideals

    Detachment is a necessary evil.  Emotion impairs good judgement. The enemy is calculating, cunning and cold.  One year to learn the game.  One year to beat the corporates.

    In a bid to save a doomed lake in Queensland artist Bianca Tainsh joined forces with a throw together army of locals called Friends of Lake Weyba.  With the aim of using creativity to power a feel-good form of activism the Friends found themselves in a battle where promotion and public popularity could just vanquish the big dollar clout of a cunning development company.

    Exhausted Ideals uses video and installation to revisit a year of unexpected outcomes and personal trials.  Utilising documentation Bianca re-presents her project through the eyes of the media, and examines what began as a political agenda but became a game in which lies, defamation and deceit versus arts shows, photo comps and the charms of a good-looking environmental scientist.

    Bianca Tainsh is a Melbourne based artist who’s interdisciplinary practice reflects on the implications of contemporary life and examines commodification, technology and the environment. Many of her projects discount conventional expectations of artistic practice in their function, and often in their intent to elicit public action and involvement.  Bianca has exhibited in solo and group shows both nationally and internationally, and she recently participated in a residency with LIA in Leipzig, Germany.



  3. kingsari:

    29 NOVEMBER - 21 DECEMBER 2013

    Opening Night 29 Nov, 6pm


    The Greek word “Menis’ is one of the first words in the Iliad and it is variously translated as a kind of all consuming ‘wrath’ or ‘rage’ that transcends reason onto a…


  4. Final KINGS exhibition for 2013 Opening FRIDAY 29 NOV 6-9PM

    29 NOVEMBER - 21 DECEMBER 2013

    Opening Night 29 Nov, 6pm


    The Greek word “Menis’ is one of the first words in the Iliad and it is variously translated as a kind of all consuming ‘wrath’ or ‘rage’ that transcends reason onto a level that changes all it touches.

    It is a word that resonates deeply with Philip Faulks since the life altering secrets that were revealed by the death of his parents in 2010 and 2012.

    Menis is an extension of Faulks’ drawing practice, and consists of ornate images cut from black paper emphasising a graphically oriented exploration of ideas of ancestry, mortality and genetic inheritance via stylistically patterned figurative panoramas.

    The real purpose of this work only gradually revealed itself to Faulks as he carved his way through layers of black paper, like a termite excavating a circuitous route through the topography of secrets to shed light on the true nature of the duality of familial love.

    The Parataxic Sublime

    Josh Foley is interested in using objectifying calculative strategies to position him somewhere contemporaneously in relation to the activity of painting today. In a way, it is a sociopath type of endeavor – sociopathic painting. To transcribe his formulations into visual data Foley will attempt to create a painting that moves! Then, reviewing the fraught concept of original expression, Josh will create two pictures using the same brushstrokes; one abstract and the other one of a rooster. There will also be a giant-sized computer screen painted onto a wall using brushes, air, tape, sponges, ink and determination. This represents analog painting, backed up against a wall, adjusting itself before the digitized virtual realms and platforms that humans are increasingly ensconced by.

    Parataxic distortion, a psychiatric label, is the tendency for one to skew perceptions of others based on fantasy. Regarding the title of this exhibition, parataxic refers to – maladjustment. Conflating the term with “sublime” the artist seeks to quantify his thoughts about contemporary painting; he is eluded by conventional terminology that satisfactorily describes them. But elusiveness plays a big part too.

    Melbourne Video Art Society
    Index A

    MVAS: Index A presents an international assortment of contemporary videos that embody a plethora of local and global video art histories. This exhibition favors border crossing, multiplicity and hybridity, eschewing the constraints of thematic screenings and binary paradigms. Referring to a multitude of cannons and pointing out to a plurality of practices, these works are indexical of a fractured past that reveals the heterogeneity of the present. This is the first of many entries that The Melbourne Video Art Society will facilitate to strengthen a dialogue in Melbourne surrounding video art histories.

    Claudia Campus, Victor Arroyo, Bernd Lützeler, Netty Gibson, Joacélio Batista, Chris Freeman, John Woods, Todd Herman, Tom Parsons, Mariah Lee, Natasha Cantwell, Trans-Q Television, Avni Dauti, Raina Kim, Nathan Ceddia, Polly Stanton, Spencer Lai, Hamish M Storrie, Jonathan Nokes, Byron Huang-Dean

    Curated by MVAS (Matthew Berka and Diego Ramirez)

  5. At the Opening to our current show My Avant-Garde is Bigger than Yours cheeky DAMP chipped away at a 19th Century marble bust.

    A fitting and thoughtful response to an exhibition which examines the role of humour in political subversion.

    Curated by Nik Papas, My Avant-Garde is Bigger Than Yours features the work of Boe-Lin Bastian, Damiano Bertoli, Jessie Bullivant, CJ Conway, DAMP, Sue Dodd, Marco Fusinato, Tamsin Green, Raafat Ishak, Danius Kesminas, Yvette King, Lucas Maddock and Madé Spencer-Castle.

    There has been tremendous interest for this exhibition, maybe because we all need to find a way to laugh at the horrors of contemporary politics?

    Closes this weekend: Go see it!

  6. Nothing remains, nothing abides is a one night group exhibition exploring ideas of material transformation and decay in the gallery space. The shared ethos of the exhibition is a re-examination of the artist as a deliberate mediator of the work. Instead, the artists opt to relinquish control over the materials and prepare a procedure whereby it is possible to observe the transformation of their materials through a process. The performances set up a dialectic between aesthetic choice and chance operations as the artists create the pre-conditions for the experiment; yet surrender the performance to unknowable changes.

  8. J.F Payne: Girl Chewing Gum by John Smith 

    "In The Girl Chewing Gum a commanding voice over appears to direct the action in a busy London street.  As the instructions become more absurd and fantasised, we realise that the supposed director (not the shot) is fictional; he only describes - not prescribes - the events that take place before him.  Smith embraced the ‘spectre of narrative’ (suppressed by structural film), to play word against picture and chance against order. Sharp and direct, the film anticipates the more elaborate scenarios to come; witty, many-layered, punning, but also seriously and poetically haunted by drama’s ineradicable ghost.”    A.L. Rees, ‘A Directory of British Film & Video Artists’ 1995  



  9. A star is born…

    Thank you very much to Canberra Contemporary Art Spaces for their review of our current shows:


    Yep, Inez is a star, all the shows are extremely professional and MAN was it crowded at the opening!!!!


  10. Opening Night July 5, 6-9pm

    FRONT GALLERY: Listen To This (Phasing Out) an installation by Kristy Milliken, Hannah Smith, Michael John Joseph, Michaela Züge-Bruton

    MIDDLE GALLERY: Dying Not to Be, new work by Inez De Vega

    REAR GALLERY: Robert’s your father’s brother, new work by Ryan Wilson

    Come and join us for a drink to celebrate the openings of three new exhibitions at Kings, 1/171 King Street, Melbourne.


    Inez De Vega, Dying Not to Be, video still 2013