Creatively produced this touring exhibition showcasing audio-visual and sculptural works that grapple with questions of sentience, inviting contemplation on human and non-human nature, technology and First Nations epistemologies.
Artists: Brad Darkson, Dominic Redfern, Thomas Marcusson, Betty Sargeant, Justin Dwyer, Uyen Nguyen, Mas Piantoni, Matthew Riley, Daniel Boyd, Michael Candy, Donna Davis, Justine Emard, Anton Hasell, Floris Kaayk, Helen Pynor, Theresa Schubert, Rebecca Selleck, Agat Sharma, Miranda Smitheram, Oron Catts, Ionat Zurr, Lynn Mowson, Bruce Mowson, Laura Woodward, Suzanne Kite, Devin Ronneberg.
Toured to museums and galleries across Australia between 2021-23
Co-curated and creatively produced an immersive journey of public art commissions and site-specific displays presented along a 1.2km promenade flanking Docklands Harbour.
Audio-visual installations, performances, generative and participatory artworks explored relationships between the self and others, nature and culture, the physical world and digital realm.
Artists: Michaela Gleave, Universal Everything, Jarra Karilinar Steel, Jon McCormack, Theatre of Thunder, Justine Emard, Georgie Pinn
Presented at Docklands, by Experimenta in partnership with the City of Melbourne for the Now or Never festival 2023
Creative Producer for this living arts laboratory and exhibition presenting generative, robotic and Virtual Reality artworks.
Hosted and activated daily by artists from SensiLab, the project illuminated the human labour, material engagements, design and conceptual processes involved in the creation of participatory and autonomous digital works.
Artists: Lucija Ivšić, Monika Schwarz, Jon McCormack, Elliot Wilson, Nina Rajcic
Presented in the Library at the Dock Gallery, by Experimenta in partnership with the City of Melbourne for the Now or Never festival 2023
Curated an outdoor, after dark exhibition examining the entanglement of human beings, other species and our environment to ask how the speculative and often contradictory self builds fluid, non-binary relationships with the other.
Public art commissions and site-specific displays were presented across four acres of architectural and garden landscapes, including work by: Megan Cope, Abdul Abdullah and David Charles Collins, Atlanta Eke, Lyndal Jones, Tony Albert, Dylan Martorell, Geoff Robinson, Shan Turner-Carroll, Zanny Begg, Karrabing Film Collective, Almagul Menlibayeva, Marianna Simnett and Yeo Siew Hua.
Abbotsford Convent, Melbourne, 2022
Curated an episodic exhibition that unfolded in five chapters, showcasing contemporary Australian and international video art, addressing questions of identity, proximity and place through diverse cultural and gender positionalities.
Artists: Candice Breitz, Oliver Beer, Shaun Gladwell, Daniel Crooks, Chiharu Shiota, Angelica Mesiti, Lida Abdul, David Noonan, Mike Parr, Daniel von Sturmer, Gabriella and Silvana Mangano and Lauren Brincat
Presented in partnership with Anna Schwartz Gallery, as part of Channels Festival: International Biennial of Video Art, Melbourne, 4 – 7 September 2019
Curated an exhibition featuring multi-channel video works by London-Istanbul based duo Noor Afshan Mirza and Brad Butler, Kamilaroi/Australian artist Reko Rennie and Kazakhstani artist Almagul Menlibayeva, which examined critical moments of social transformation across different eras, cultures and topographies.
Paying homage to cinematic genres such as the road movie and film noir, the artworks drew on cosmology, crash theory, symbolism and myth to address questions about cultural identity, inequality and agency.
Presented at The Substation as part of Channels Festival: International Biennial of Video Art, Melbourne, 27 August – 21 September 2019
Commissioned a work by Australian artist David Rosetzky examining the relationships between language and desire, social dynamics and power.
The video was exhibited in conjunction with a suite of sculptural objects by Sean Meilak.
A performance choreographed by Jo Lloyd with dancers Shelley Lasica and Harrison Ritchie-Jones, as well as a live rendition of the film’s soundtrack by composer Duane Morrison accompanied the exhibition.
Presented in the North Magdalen Laundry, Abbotsford Convent, as part of Channels Festival: International Biennial of Video Art, Melbourne, 21 September 2019
Exhibited a video work by Dutch, New York based performance artist Kira Nova (aka Ieva Misevičiūtė), which is set in the streets and metro stations of New York city.
Cheekily subverting the hip-hop music video genre by parodying the overt sexualisation of women, It’s Time to Debeef deconstructs patriarchal paradigms and commuter social norms.
Presented in partnership with Blindside Gallery as part of Channels Festival: International Biennial of Video Art, Melbourne, 28 August – 14 September 2019
Commissioned a video work by Australian artist Archie Barry that explores the fluid nature of personality, while eroding the linguistic and visual constructs that govern identity politics.
Continuing the artist’s interest in self-portraiture, the video centres on the adventures of a fictional alter-ego named ‘Fisti’ – a bright pink superhuman who sleeps in a t-shirt, wears frilly socks and speaks in drum rolls and English.
Presented in partnership with Blindside Gallery as part of Channels Festival: International Biennial of Video Art, Melbourne, 28 August – 14 September 2019
Presented an exhibition of video, photography, installation and Virtual Reality works by Australian and international First Nations artists. Drawing links between history, our present and the future, Digital Nations explored the relationships between tradition and technology, connection and country.
Artists: Allen Vili (Onesian) (Aotearoa, NZL/Ngati Awa, Ngai Tuhoe, WSM), Brett Leavy (Kooma/AUS), Jody Haines (Tommeginner/AUS) and Tamara Whyte (Waggamay/ASSI/AUS). Co-curated with Kimba Thompson and Jessica O’Brien.
Presented in partnership with Blak Dot Gallery as part of of Channels Festival: International Biennial of Video Art, Melbourne, 22 August – 8 September 2019
Curated an exhibition highlighting the spatiotemporal tendencies evident within contemporary Australian art practice by foregrounding artists working across video, performance, photography and installation.
Operating in dialogue with the history and fabric of a unique heritage venue, the participating artists enacted a series of material and corporeal investigations into notions of agency, displacement, entanglement and time.
Artists: Angelica Mesiti, Bridie Lunney, Jill Orr, Gabriella and Silvana Mangano, Helen Grogan, S. J. Norman, Katie Lee and Clare Rae.
Presented in the North and South Magdalen Laundry, Abbotsford Convent, Melbourne, 1 – 3 March 2019
Executively produced a temporary public art installation by Tyrone Sheather titled Giidanyba.
Drawing on ancestral stories regarding the Gumbaynggirr people’s rite of passage rituals, Giidanyba took form as a cluster of interactive sculptural objects created out of ochre encrusted fiberglass.
Set in Hobart’s botanical gardens, the work was activated with sonic textures and pulses of illumination in response to the movement of visitors.
Co-commissioned by SITUATE and the Museum of Old and New Art as part of Dark Mofo, Royal Botanic Gardens, Hobart 2015
Commissioned five new works and curated a solo exhibition examining the sensory effects of volume, density and scale by Gabriella and Silvana Mangano.
Presented as an immersive five-screen installation exploring the body in relation to its environment, these newly commissioned works were produced by filming a set of physical interventions within a labyrinth of tunnels and machine rooms, which lay hidden beneath Melbourne’s State Theatre.
The works were installed in a site-specific location and displayed in a manner that highlighted the unique architectural features of the building.
Arts Centre Melbourne, 2013
Commissioned a new work and curated a solo exhibition by Raqs Media Collective.
Combining the presentation of a two-channel video, archival correspondence, photographs and an assemblage of furniture, the exhibition examined how collectivity and anonymity have been represented over time, and how the conditions of postcolonialism and globalisation contribute to an ongoing crisis of identity and entitlement.
Presented as part of Art Now at Tate Britain, London and subsequently toured to the e-flux Gallery, New York 2009
Associate Curator for this exhibition presenting thirty-four international artists.
Synthetic Times explored what it means to be human at the threshold of human-machine symbiosis and at the vortex of convergent media, which blur the boundary between the physical and digital.
Installation, screen-based and sound art works were presented throughout the museum’s galleries and on the forecourt, with an adjunct program of film and electronic music.
Presented at the National Art Museum of China (NAMoC), as part of the Beijing Olympics Cultural Program 2008
Curated an exhibition of 1970s video art from the Netherlands Media Arts Institute collection.
Demonstrating artists’ use of direct address and instruction-based action, the exhibited artworks exemplified a particular moment in art history when the line between performance and televisual imagery began to blur. Each of the artists employed the use of task-orientated action filmed within a studio or domestic environment.
Artists: Joan Jonas, Nan Hoover, Vito Acconci, Allan Kaprow, Douglas Davies and Ulrike Rosenbach
Netherlands Media Arts Institute, Amsterdam 2008
Commissioned and toured this new work by Marek Walzek and Martin Wattenberg.
Exploring different cultural understandings of utopia, this five-channel video installation drew data from the internet to compile audio-visual sequences that museum visitors were able to manipulate via a touch screen interface.
Online audiences were also able to effect the in-gallery display and to freeze a frame for export and printing.
Presented at the National Art Museum of China (NAMoC), Beijing and the Netherlands Media Arts Institute, Amsterdam 2008
Co-curated this public art installation by Mexican-Canadian artist Rafael Lozano-Hemmer.
This site-specific artwork involved hundreds of video portraits being projected onto the pavement, appearing within the shadow of pedestrians as they passed through Trafalgar Square.
In the weeks leading up to the installation, members of the public were invited to participate by contributing their video portrait at Tate Modern.
Partners: Tate Modern, The National Museum, Institute of Contemporary Art (ICA), London’s Science Museum and Haunch of Venison.
Trafalgar Square, London 2008
Co-curated this installation by Mathieu Briand.
Confounding our preconceptions of visual language by embracing electronic media, music, science, architecture and phenomenology, Briand enacts a participatory practice that draws on gaming protocols and ritual.
For this work, the artist created a custom-made, circular structure with two DJ decks at the centre. The sculptural contours of the installation offered a dramatic counterpoint to the angular architectural features of Tate’s Turbine Hall, while providing a stage for a curated program of performances.
Curated in collaboration with Vanessa Desclaux as part of The Long Weekend Festival, Tate Modern Turbine Hall, London 2007
Curated this exhibition examining modes of play, participation and appropriation. Exhibited artworks included screen-based and interactive online works that questioned traditional notions of authorship, by engaging audiences directly or in-directly in the process of creation and assemblage.
Artists: Andy Deck, Kamal Nigam, Jonathan Feinberg, Mark Lafia, Fang-Yu Lin, Golan Levin, Natalie Bookchin and Jacqueline Stevens.
Presented as part of the Node.London Festival, London 2006
Worked closely with artist Masaki Fujihata on the development and production of this participatory project, which culminated in the realisation of an audio-visual installation.
The artwork took shape as a collective memory project developed in conjunction with local people living on Mersea Island. Participants were invited to join guided walks, using GPS tracking devices and video cameras to document their journey. This material was then edited and collated into a database, for presentation as an interactive visual archive.
Commissioned by Future Physical and First Site Gallery, presented at The Junction, Cambridge and subsequently installed permanently at the Martello Tower, Essex 2003
Co-commissioned a four-channel video presented along side other moving-image and photographic works in a solo exhibition by George Chakravarthi.
Examining notions of identity and sexual politics, Bar Flies deconstructed the artist’s own image, through the performance and capture of various archetypes.
Reflecting on his childhood in India, and being brought up Catholic within a Hindu culture, Chakravarthi rendered a series of striking self-portraits that interrogated the social constructs of gender and spirituality.
Presented at Site Gallery as part of the Shooting Live Artists series, produced in partnership with the BBC, Sheffield 2002
Oversaw the development and installation of this solo exhibition by Susan Collins.
Transporting Skies presented a selection of video and print media works that concertinaed notions of space, time and location.
Extending trompe l’oeil painting traditions, which apply chiaroscuro and forced perspective to extend the illusion of three-dimensional space, the artist captured images of the landscape, one pixel at a time. The pixels were then compiled into composite images depicting the aggregate effect of natural light across a twenty-four hour period.
Presented at Site Gallery, Sheffield and Newlyn Art Gallery, Penzance 2002
Curated this solo exhibition of new work by Lindsey Adams. developed throughout a twelve-month residency at Site Gallery.
Exploring tacit notions of compression and submergence, Water Shadows showcased a body of work in video, sound and print media exploring the artist’s own experience of the corporeal fatigue and mental fog associated with the early stages of multiple sclerosis.
The soundscape merged individual visual works into a cohesive whole, and invoked an overwhelming sense of density and closeness.
Site Gallery, Sheffield 2002
Co-curated an exhibition of performance, video art, installation and photography.
Foregrounding the relationship between art and life, the exhibition showcased works in which the physical presence of the artist’s body was a central component.
The assembled artworks employed process-based, durational, archival and spatial strategies to explore notions of identity, agency and dissapearance.
Artists: Tehching Hsieh, Eve Dent, Wendy Kirkup, Fiona Wright, Jordon McKenzie and Stan’s Cafe
Presented at Site Gallery, as part of the Live Art! Festival, Sheffield 2001
Oversaw the development and installation of this solo exhibition by Stephanie Bolt and Max Dean.
Exploring notions of empathy and the means by which we make value judgements, Quality Control presented a room-sized robotic sculpture that relentlessly shredded family snapshots.
Photographs donated by anonymous participants were systematically sorted by a robotic system and presented, one by one, to audiences. Visitors were invited to indicate which photographs were worthy of being saved. Throughout the course of the exhibition, two piles of photographs accumulated, one shredded and another made up of intact images.
Site Gallery, Sheffield 2001
Co-curated a group exhibition of video, installation, photography and performance featuring emerging artists from across the UK.
Four of the participating artists were awarded a residency and invited to produce new work for the exhibition. Collaborating closely with the commissioned artists over an extended period, and in dialogue with other contributors, I delivered a multi-modal exhibition exploring identity, displacement and transience.
Artists: Simon Backmore, James Brown, Anthea Hamilton, Janet Wang Joe Woodhouse, Marco Salotti, Michelle Sank, Paul Johnson, Sandy Milroy, Shelly Heath, Simon Blackmore and Steve Hawtin
Site Gallery, Sheffield 2001
Commissioned a new work for a mixed media exhibition by photographer Hugo Glendinning, live art director Tim Etchells and the performance ensemble Forced Entertainment.
Hotel Binary was an interactive, audio-visual installation interrogating the concept of fear through the lens of paranoia, phobia and untellable real-life experiences. Audiences were invited to construct and deconstruct a set of cinematic scenes climaxing in a myriad of potential outcomes.
The commissioned work was presented in conjunction with expanded and new versions of earlier works by Gendeinning in video and photographic media.
Site Gallery, Sheffield 2000
Co-curated this exhibition of photography, installation and video art produced by emerging artists, working across the north of England.
Artists: Chris Allton, Henna Asikainen & Silvana Macedo, Andrew Briscoe, Martin Blaszk, Helen Brendon & Jo Lansley, Carole Baker, Pablo Casacuberta, Susannah Gent, Liz Hall, Merriel Herbert, Caroline Locke, Stephen Monger, Kristin Mojsiewicz, Vangelis Vlahos and Jane Wood
Site Gallery, Sheffield 2000
Managed the installation of this solo exhibition by Breda Beban examining notions of absence and belonging,
Presenting video and photographic works assembled in an autobiographical narrative, the exhibition reflected on the artist’s personal experience of displacement, having immigrated to the UK from her former Yugoslavian homeland in treacherous circumstances.
Depicting absurd scenes of transience and precarity the artworks presented a humorous assault on preconceptions of ‘the refugee other’.
Site Gallery, Sheffield 2000