An Exhibition in Four Acts: Acts 1 & 4

An exhibition in Four Acts is a program that offers students from Honours in the School of Art at The Victorian College of the Arts, the opportunity to partner with students from The Curatorship Program at the School of Culture and Communication. Each Act presents one of four curatorial projects being exhibited at the VCA Artspace and the George Paton Gallery. An exhibition in Four Acts will be developed through studio visits, a curatorial workshop, and a mentorship process that underpins the evolution of each Acts’ final outcome. This program is supported by ACP Projects, Arts Programs UMSU and The University of Melbourne.



Meeting Place visualises human interaction with congregational space. These spaces are identified as ones in which people come together in order to address their needs, vulnerabilities or desires. When active, these spaces provide a service to those who seek them.

Michael Sandford, Meeting Place. Digital image, 2018

Man is inextricable from nature. Exploring this connection can be a humbling experience as human existence assimilates into the cycles of life at large. Through contemplating life on a meta-scale the responsibility we have to feed sustainable energies back into the shared ecosystem becomes apparent.

Ultimately, nature’s fate is not discrete from our own.

Marcelle Bradbeer, Tyre on Pink Lake. Archival Inkjet print, 2016


There is a metaphor in rabbinic literature that describes the Torah as black fire on white fire. This collaborative project aims to explore the boundaries between these fires: between the text and non-text, between poetic language, sound, voice, and space; between the ways in which language is always already physicalised and the ways it is soliciting physicalisation.

Eitan Ritz & Jack Palmer & Louis Klee, Small Rooms. Digital photograph, 2018


MU$CLE explores that Strong (TM) branded version of ourselves that we feel we have to present to the world or the art world in order to hustle (make money) or get a name for ourselves. We have to flex our muscles to get anywhere, we have to compete and muscle our way in, bumping others out of the way to get to the top.

Phil Solimon, Belly Dancer, 2017. Still from interactive multi-media performance

Inspired by aesthetics and mythology of Eastern Europe, the series portrays queer/trans women/non-binary persons of the Melbourne music and art scene.

Stepanka Cervinkova, Lara. Photographic print, 2017

Grey Voices interrogates feminism’s inclusivity, expanding its dialogue into culturally diverse contexts. The exhibition investigates the overlap of cultural backgrounds and personal experiences shaping female identity through explorations of social connotations accompanying language and women’s movement within their respective cultural contexts.

Yesol Ma, If you know how to sit like a polite Korean Woman. Video still, 2018



‘Everyday Utopia’ is an exhibition that reveals the ways in which artists enact conventional activities in unusual ways, to actualize alternative models to mainstream social and political practices. The exhibition maps the paradoxical contours of ‘everyday’ and ‘utopia’ to reveal the subversive potentials anchored in the local, domestic, personal and right-now.

Tita Salina & Irwan Ahmett, Jakarta Stories – 1001st island. Video still, 2015-2016




Executed between 1989 and 1992 in Melbourne, Edinburgh and Italy, vas spirituel / a melisima by Marc-Antoine Charpentier is a large artwork divided into eighteen sections. Never previously exhibited in its entirety, the work’s structure is informed by the memory theatre of the late Renaissance, as well as early Baroque musical theory.

Two items on loan from Edinburgh Public Library to the artist since 1989. Digital image, 2018