Public Broadcasting Part I: Politics, Art and Student Unionism
Collaboration between Bus Projects and the George Paton Gallery

Featuring films by Gary Newman, Philip Brophy, [space] and Platform Films, in combination with student made protest artefacts selected from the UMSU Archive

Public Broadcasting is a two-part exhibition, presented in collaboration with Bus Projects.

This first iteration, responds to the institutional setting of the George Paton Gallery, Australia’s first Contemporary Art Space. Located in the heart of the University of Melbourne Student Union, the exhibition features a selection of socially-engaged films and artists moving image work in combination with student-made protest artefacts (2008 – 2019) selected from the Union archives.

Central to this project is ‘The State of the Union’ (2003), a documentary directed by journalist and filmmaker Gary Newman. ‘The State of the Union’ documents the infamously volatile 2003 Melbourne University Student Union (MUSU) elections. With allegations of corruption and all-out war between the campus’ left and right wing factions, the future of the union was at stake. The film provides an important  insight into the microcosm that is university politics at the time and remains relevant over 15 years later.

The exhibition will also feature an interview with Newman, recorded this year, in which the filmmaker reflects on the context of the documentary’s production and discusses the direction of future projects. ‘The State of the Union’ is featured alongside works by Melbourne based artist, academic, filmmaker, writer and musician, Philip Brophy, and documentary films by [space] and Platform Films that explore broader social themes of artists collective action and community activism.

The films are accompanied by an installation of student-made placards, effigies and banners selected form the Union archives, that exude a material immediacy and urgency for action on a range of topics and social issues. The exhibition will extend to the Rowden White Library through a suite of reading, viewing and listening lists that continue the exhibition’s themes.

This iteration of Public Broadcasting acts as a departure point for an extended enquiry into artists moving image practice and its engagement with ideas of the common good. The project will result in a second iteration at Bus Projects in 2020.

Public Broadcasting will be a valuable resource for current UMSU Office Bearers, students, activists and politically engaged film makers, in providing a recent historical framework for present day student unionism.

Bus Projects is an Melbourne-based Artist-Run organisation dedicated to supporting the critical, conceptual and interdisciplinary practices of Australian artists. In addition to its core gallery-based program of exhibitions, events and residencies, Bus Projects collaborates with a range of artists and arts organisations to produce projects off-site and within the public realm.

IMAGE:  ‘The State of the Union’, directed by Gary Newman.  Still from documentary, 2003



Opening event and launch of publication:

Union House – a photographic documentation, with photographs by Nick James Archer and Guy Grabowsky

Architecture as…
Nick James Archer, Kari Lee McInneny-McRae, Simone Nelson, Siii Projects, MSD students
Curated by Alex Walker and Sebastian Haeusler 

This exhibition explores the historical and affectual influence the Union House building has had upon those who enter it. Perhaps one of the last opportunities to encounter this strange architectural hybrid, ‘Architecture as…’ is an interlinking tapestry of artwork, design and experiential passage through what is, was and could be before the building is demolished forever. Featuring works by emerging artists, designs for future spaces by MSD students alongside historic plans reanimated with digital technology, this exhibition is Architecture as… an experience.

IMAGE: Johannes van Rijnberk, Spolia drawing of Union House building ground floor
Digital image, 2019

Supported by MSD and Curatorship studies University of Melbourne, ACP Projects through SSAF and Arts Programs, UMSU



The Care Project Network symposium

Care Symposium program: Saturday and Sunday 2-3 November, George Paton Gallery, University of Melbourne; exhibition opening Thursday 31 October 6-8 pm

The Care Project Network is calling for artists, researchers and inter-disciplinary practitioners interested in Care as a framework for ethical practice to propose ideas and provocations for a week-long symposium.

Open to students, artists, researchers, curators, academics and industry professionals across multiple disciplines including law, health, population, museum studies, political science and education. 

The Care Symposium features two days of presentations, discussions and workshops by a range of practitioners from different disciplinary perspectives responding to care as a way to develop an alternative ethics. The symposium complements an exhibition of works by artists in the Care Network which has been evolving throughout the year, informed by caring practices and theories of care. The symposium includes artists running workshops on nurturing a good death and on slowing down, presentations on environmental ethics, alternative economies, and on animals and care ethics, as well as talks by artists about their practices and theorists about the power of care as art to revolutionise values.

Part of the research project, Care: Feminism, art and ethics in neo-liberal times, the deadline for proposals is September 30.

More info here

Image: Sera Waters, Blindspot. Found frame, cotton, gold thread, 2019




Isabella Froebel, Jamie Harrop, Ariane Jaccarini, Taylah Kelly, Kaitlin Linke, David Lowe and Zea Rous
Curated by Kara Rodski

Through notions of beauty, authoritative power and surveillance, identity, food, body parts, and politics, seven artists explore the presence of the uncomfortable that is hidden and interwoven in our everyday lives. Seeking to provoke unsettling and uneasy feelings or reactions through exposure to familiar yet foreign or displaced aesthetics, we invite the audience to confront the uncomfortable.

IMAGE: Taylah Kelly, I am beautiful (detail). Digital colour print, 2018


6-15 MARCH
Snapshots of Simultaneity
Anna Kennedy


This project compresses static social media images from one year into a single moving image. Transforming this model of time narrated as a series of images, into an algorithmic model based on measuring a personal relation to each image (memory) and using that relationship as a new dimension within the film. The film replicates the function and cognitive behaviour of memory (fading in and out, its exemption from time and its relativity), while also commenting on our digital avatars as a substitution for our own memory.

Anna Kennedy, Snapshots of Simultaneity (detail). Digital video still, 2018

Project of Colour
Po Han Kung


This portrait series celebrates the existence, resistance, and persistence of People of Colour communities whose representations are often compromised or politicised. Through a collaborative process, the creator/photographer of this series and his participants explored the multifaceted construction of their identities, sharing personal stories of conflicts, negotiation, and harmony.

Po Han Kung, Olivia. Digital photograph, 2018


20-29 MARCH
The Gnomon Experiments #3
Lucia Rossi

The Gnomon Experiments #3 record and map an abstract notion of space and time in relation to systems of measurement and representation. Using the sun and a range of constructed apertures as a frame-of-reference, the works question our perception of reality and our sense of being located within a wider universe.

With thanks to the Faculty of Fine Arts & Music Stuart Black Memorial Scholarship

Lucia Rossi, Gnomon #1 Expansion (detail). Microscope slides and acrylic paint, 2018


3-12 APRIL
undoing (or collegially suggested obstructions)
VCA second year Photography students


We all have ways of doing things, whether these are evident to ourselves, or not. In this exhibition, pairs of second year VCA Photography students analyse each other’s works for patterns or repeated elements. From here they suggest to the other to either reverse, eliminate or change one element to create a quiet sort of havoc for the maker. Once the works are made, the colleague will then install the other’s work in the gallery, potentially undoing some of the intentions of the maker/artist.

Sanja Pahoki and Kiron Robinson, obstructed doorway
Digital image, 2018


1-14 MAY
 The Union Art Collection: Recent acquisitions 2016-18 and selected works
Tia Ansell, Lauren Brown, I-yen Chen, Miles Davis, Lauren Dunn, John Elcatsha, Jemi Gale, Guy Grabowsky, Casey Jeffery, Caitlin Patane, Sam Petersen, Carol Porter, Red Planet/Another Planet, Belinda Reid, Ben Stephens, Julia Stewart, Kenneth Suico, Marcus Volz, Evan Whittington and Chaohui Xie


Each year The Union Art Collection acquires new works from University of Melbourne students via commissions, and graduate exhibitions for display in spaces around the Student Union. This exhibition is an opportunity to display and celebrate our most recent acquisitions in the space of the George Paton Gallery.

This exhibition has been installed by Masters of Curation students in an installation workshop mentored by artist/installer Simon McGlinn.

Catalogue #122: Kenneth Suico, LAYER CUTZ (detail)
C-type photograph, 2015


A Lonely Crowd
Directed by Xanthe Beesley with collaboration from UHT’s Writer in Residence Emma Hall

Performances on 29, 30 May and 1 June.

Is it lonely in here? Or is that just me…
A sort-of dance work and talkfest of inaction about being lonely in a truly crowded world.


Equidistant Objects; A Cagean Experiment
Sandie Bridie, Melanie Irwin, Freya McGrath and Reis Low
Performance 30th May 5.30-6.15pm

Informed by John Cage’s seminal ‘happening’ Untitled Event, 1952 (later known as Theater Piece), Equidistant Objects is a non-narrative, cross-disciplinary project that will be performed in the Guild Theatre.




Bethany Joyce

In Unknowable? an interactive installation explores the possibilities and limitations of self-perception.  A common contemporary narrative is that the answer to many of life’s questions lies in truly knowing ourselves. This interactive artwork questions that idea by demonstrating the possibility of never really ‘seeing’ yourself. In this constructed experience a tantalising glimpse is all that is possible.

The sheer passage of time may create differing and sometimes contrasting layers of someone’s identity. The assumption of varied and competing roles, the impact of experiences, the influence of social context, and the possibility of protective self-delusions all potentially cloud the vision of someone attempting to truly know themselves. A partial understanding of self may be all that is truly possible. This limitation may be a common thread that unites us. Are these glimpses enough?

This is the first solo exhibition of Bethany Joyce, who is currently undertaking a Graduate Certificate of Visual Art at the Victorian College of the Arts. Reoccurring themes in her work reflect an ongoing interest in identity, interpersonal conflict, transience and feminism. Her love of painting and drawing is complemented by her growing curiosity in the wide range of mediums embraced in contemporary art. Bethany was awarded the Drawing Prize in the 2018 Dora McRae Winter Intensive group exhibition.

IMAGE: Bethany Joyce, Unknowable? Interactive installation piece-wood, paint, web cam, USB extension cord, laptop, media player, 2018. Photograph by Amanthi Lynch

Scotty So


06:00/18:00 is an exhibition that reflects the resolution of Scotty So’s research into ideas of the hybridity of living space. Inspired by his experience of relocation from the urban environment of Hong Kong to Melbourne’s suburbia, So looks into the road trip, the backyard party, and the signposts as means of representing the transition from urban to suburban. In order to challenge conventional experiences of place, the artist brings in installations and sculptures of reconstructed and repurposed outdoor objects. Alongside these objects, So brings a sense of play into the white cube of the gallery space.

With the displacement of the repurposed objects, So hopes to create a cinematic uncanniness, reflecting the alienation and senselessness that comes with translocation – from urban to suburban, and back again. By making strange the daily objects which normally encapsulate a sense of joy, familiarity, and time, So hopes the visitors can experience a sense of timelessness and spaceless-ness through the manipulated recognisable scenario.

Scotty So is an artist interested in the sense of camp and irony through appropriated objects and identities. He works across mediums, using painting, photography, 3D printing, site-specific installation, video, and sound to provoke humour and irony on the construct of the identity through appropriations of already known objects and site. Born and raised in Hong Kong, So is currently  a BFA Honours student at the Victorian College of the Arts. To date, So has presented two solo exhibitions and taken part in several group shows; including charity exhibitions about social housing issues and queer rights in Greater China.

IMAGE: Scotty So, FORTUNE AND PROPERITY. LED lightbox and rock chips, 2019

Article on 0:600 / 18:00 by Tyler Meredith



The Emission of a Succession of Repetitive Beats
Evan Whittington

The Emission of a Succession of Repetitive Beats explores the generation of forms in space and time. The work is inspired by the artist’s investigation of the ways in which electronic music, and dancing, creates, occupies, and responds to space.

The Emission of a Succession of Repetitive Beats focuses on repetition as a form of rhythm, and how it can be used to respond to and occupy the gallery space. To achieve this painted, anodised aluminium poles are arranged within the entrance gallery as a response to, and exploration of the gallery space. The poles disrupt, reinforce, and amplify the visual, and experiential, coherence of the gallery space, creating rhythms and forms that engage the viewer both temporally and spatially.

The poles will be re-configured throughout the show, giving rise to new experiences of form and space, reflecting the way rhythm and dance occupy and define space through repetition. The Emission of a Succession of Repetitive Beats is an evolving, performative engagement with the gallery environment that invites the viewer to reflect upon how the objects in the gallery influence their temporal experience of the space.

Evan Whittington is an emerging artist, based in Melbourne, currently studying Honours at The Victorian College of the Arts. Evan’s practice centers around a sustained engagement with drawing as a method for developing work that explores embodied movement, rhythm and dancing as expressions and manifestations of space, time, and subjectivity. Evan’s studio outcomes take the form of paintings, drawings, prints, video works and spatial explorations.

IMAGE: Evan Whittington, The Emission of a Succession of Repetitive Beats. Oil paint on anodised aluminium, 2018

Don’t Let the Bastards Grind You Down
Curated by Lisa Jacomos and Cathryn Ross

Don’t Let the Bastards Grind You Down is a new exhibition examining social justice and political activism through zines and other self-published materials.

Curated by Lisa Jacomos and Cathryn Ross, this exhibition brings together self-published materials by Melbourne and New York City artists which explore political issues central to life in each city.  By presenting materials gathered in Melbourne and New York City
together, this exhibition explores the commonalities and differences within activism, and seeks to capture the defining characteristics of what it means to be politically active in each city.

For the duration of the exhibition, George Paton Gallery will be transformed into an activist reading room where visitors are invited to browse the collection, meet, or just relax. Visitors are encouraged to contribute to the exhibition by using available materials to create badges and zine pages on issues that are important to them.

Lisa Jacomos is a Melbourne-based writer and curator. She is studying Art Curatorship at the University of Melbourne and holds history degrees from the University of Adelaide and the University of New England. Her special interest is in art as a reflection of society, and how curatorship can be used to influence those societies.

Cathryn Ross is a curator & arts worker from Perth, Western Australia. She holds a Master of Art Curatorship from the University of Melbourne. She is passionate about collection management and contemporary art, as well as print media and curatorial activism.

For more information on the project, visit

IMAGE: Nicky Minus, Women on Strike. Printed tea towel, 2018

Tyler Meredith article on Don’t Let the Bastards Grind You Down 



The 2019 Mudfest Arts Festival Visual Arts Program is curated by Clare Ellison Jakes, and will present the work of thirteen artists across multiple venues.

Maya Britbart, Meezaan Muzaffer, Brendan Pinches, Natasha Salkin and Jordan Sibley

The cross-disciplinary exhibition Regeneration features emerging student artists from Mudfest Arts Festival. From different backgrounds and experiences, artists respond to the dire need for radical change amongst the frightening reality of our contemporary world.

IMAGE: Jordan Sibley, Humanoid-Wolf. Mixed media, 2019

Jeanette Chan, Ramsay Mahony and Charanja Thavendran

Kaijern Koo, Madeleine Minack, Raisa Mclean and HeeJoon Youn

IMAGE: HeeJoon Youn, unlearn everything. Oil on wood panel, 2018

For more information on Mudfest visit



That Time I was a Telemarketer
Olivia Floate

We have all received multiple dreaded phone calls from a telemarketer, but have you ever thought about being one? Produced over a six week period while working in outbound electricity sales, Floate’s suite of text-based illustrations reflect on the repetitive, demeaning and time consuming nature of entry level work.

That Time I was a Telemarketer hopes to bring awareness to the demeaning nature and time-consuming task of unskilled work. Over the six weeks she worked in outbound electricity sales, Olivia used the time to create a series of highly colourful notepad pages, all of which feature some kind of quote heard from a customer, an answering machine, or her own thoughts. The detail of the illustrations convey the repetitiveness of entry level work, which will resonate among young people and minimum wage workers.

Olivia is a Melbourne-based artist whose work is inclusive of a range of practices and materials – from photography to ceramics. She is currently in her third year studying a Bachelor of Arts, majoring in Art History and Russian Studies. In 2014 Olivia completed her Bachelor of Fine Arts at the VCA, where she was shortlisted for the Majlis Travelling Scholarship and the recipient of a solo show at Chin Chin restaurant’s Wall of Art. Since graduating she has taken part in projects with the Melbourne based puppet company Snuff Puppets.

Olivia’s full body of work can be seen at

IMAGE: Olivia Floate, “I Absolutely Hate and Detest Unsolicited Calls”. Coloured pencil, coloured texta and biro on A4 paper, 2015

Tyler Meredith Review: That Time I was a Telemarketer

Jemi Gale, Rumer Guario, Jennifer Mathews and  Brayden van Meurs
Curated by Jemi Gale

How can we unsettle a contemporary ideal of the home? The object of the home holds a powerfully emotional latency; a personal and political quality that imbues our lives with a level of sensory and psychological attachment. Our homes provide us with a sense of security and fulfillment and without a fixed home -a sense of detachment and displacement. A life can contextualise a space, and a body can be measured by its dwellings. The exhibition hous presents a collection of sculptural works that use tactile materials to interpret the theme of home, presenting an abstracted, disassembled view of shelter.

Jemi Gale works with painting, poetry, and bread. Her art is about feeling trapped, maternity, and chaos.

Rumer Guario makes windows, flowers, tiles, books, words, and many more.

Jennifer Mathews’ work uses salvaged and constructed materials to create new symbolic arrangements.

For this exhibition Brayden van Meurs has tried to use stuff that really fit together. The work, in his opinion has some sad, relaxed and also uplifting feelings to it. Make sure to share your opinion in the comments!

IMAGE: Rumer Guario + Jemi Gale, all houses should be round. Acrylic paint and spray paint on found fabric, 2018