About Art + Australia


Art + Australia was established in 1963 by Sam Ure-Smith, and in 2015 was donated to the Victorian College of the Arts at the University of Melbourne by then publisher and editor Eleonora Triguboff as a gift of the ARTAND Foundation.

Art + Australia acknowledges the generous support of the Dr Harold Schenberg Bequest and the Centre of Visual Art, University of Melbourne.

Art + Australia acknowledges that we live and work on the unceded lands of the people of the Kulin nations who have been and remain traditional owners of this land for tens of thousands of years, and acknowledge and pay our respects to their Elders past and present, and emerging.

Art + Australia Staff

Editor-in-Chief: Su Baker
Managing Editor: Jeremy Eaton
Art + Australia Study Centre Editor: Suzie Fraser
Digital Archive Researcher: Chloe Ho
Design Editors: Karen Ann Donnachie and Andy Simionato
Design adviser: John Warwicker

Art + Australia Editorial Board

Professor Su Baker
Associate Professor Anthony White
Associate Professor Christopher Marshall
Professor Claire Roberts
Professor Anne Marsh
Dr Janelle Evans
Professor Natalie King
Charlotte Day
Professor Kit Messham-Muir
Dr Wulan Dirgantoro
Dr Edward Colless
Dr Sean Lowry

Adam Lee (he/him)

Adam Lee’s painting and drawing practice ties together narratives of memory, imagination and transcendence. Lee has exhibited throughout Australia and internationally.  He was recently invited to participate in the 2021 Kyneton Contemporary Art Triennial, Holding the Circle. He has been a finalist in The Arthur Guy Memorial Painting Prize (2021, 2019, 2015, 2013); The Geelong Contemporary Art Prize (2014); National Works on Paper Prize exhibition (2014); The Churchie National Emerging Artist Award (2012, 2011); The Redlands Westpac Art Prize (2010); The Rick Amor Drawing Prize (2010); and The Sir John Sulman Prize (2010, 2006). His works are represented in public and private collections in Australia and internationally.

Adam Stone (he/him)

Adam is a Melbourne based artist who received his BFA (Hons) from the Victorian College of the Arts. Since graduating Adam has exhibited widely and undertaken residencies in Beijing and New York and locally with City of Bayside and Hazelhurst Regional Gallery. He has been the recipient of numerous grants and prizes, including the Montalto Sculpture Prize, the Fiona Myer Award, the Orloff Family Charitable Trust Scholarship and travel grants from the Ian Potter Cultural Trust and the City of Boorandara. Recently, he has been a finalist in the McClelland Gallery Sininni Prize, the Fishers Ghost Prize, the M Collection Prize, The Deakin Small Sculpture Prize and the Churchie Emerging Artist Award. 

Adrian Martin (he/him)

Adrian Martin is an arts critic and audio-visual essayist based in Vilassar de Mar (Spain). He is Adjunct Professor of Film and Screen Studies at Monash University (Australia) and has been Distinguished Visiting Professor at Goethe University (Frankfurt). He is the author of eight books on cinema and popular culture. He has chapters in books on Jean-Luc Godard, Chantal Akerman, Vincente Minnelli, Tracey Moffatt, Fritz Lang, Max Ophüls, American comedy, digital cinema, Philippe Garrel, and many others. He has written several thousand articles and reviews since 1979 for magazines including Sight and SoundFilm CommentTraficCineasteCahiers du cinémaFilm Quarterlyde FilmkrantCaimánScreen, and a range of international art magazines and catalogues. 

Alan Pert

Alan is an acclaimed architect. As Director of NORD (Northern Office for Research by Design) Alan aims to carry out practice-based research, analysing and forging propositions across writing, discourse, exhibitions, education and building. NORD was established to allow the practice of architecture and research to coexist. It is through the practice of architecture and design that NORD undertakes its research, often by using competitions and live projects as vehicles to develop and test ideas.

Alasdair McLuckie

Alasdair MckLuckie is represented by Murray White Room, Melbourne and Mothers Tankstation Limited, Dublin and London

Amber Wallis (she/her)

Amber Wallis (b. New Zealand,1978) has held solo exhibitions since 2009 in Melbourne, Sydney and Brisbane. Wallis’ work has been included in group exhibitions at Australian Centre for Contemporary Art (2010), the Art Gallery of New South Wales (2008), the Ian Potter Museum of Art, University of Melbourne (2009), regional institutions including Hazelhurst (2017, 2014), Gippsland (2014, 2019), Tamworth (2013), Lismore (2013) and Bendigo (2008, 2019), Caloundra (2018, 2019) and internationally in USA and Canada. She has a Bachelor of Visual Arts from the Canberra School of Art and a Master of Visual Arts from the Victorian College of the Arts.

Andrew Goodman

Andrew Goodman is a visual artist and writer living and working on the unceded lands of the Dja Dja Wurrung, whose interests ranging from consciousness and generative algorithm design to process philosophy and ecology, utilising encompasses concepts from science fiction fabulations, philosophy of science and activist ethics. Andrew is co-editor of the 3Ecologies book imprint (Punctum Books), is the author of Gathering Ecologies: Thinking Beyond Interactivity (2018), and The Secret Life of Algorithms (2023, forthcoming) and is currently researching a book on rewilding and ecological ethics.

Andy Butler (he/him)

Andy Butler’s practice employs moving image, performance, painting and text to consider strategies for maintaining hope and optimism at a time of political upheaval. His work probes the machinations of power, imperialism, capital, and the cultural narratives, structures and institutions that maintain them. Andy’s art practice is complimented by his work as a writer and curator. His writing on art and politics has been published to wide acclaim, including in friezeArt + Australia and more. He was previously curator and Artistic Director (Acting) at West Space, Melbourne, with recent independent curatorial projects at the Monash University Museum of Art, Melbourne and UTS Gallery, Sydney.

Andy Simionato (he/him)

Karen ann Donnachie and Andy Simionato have worked together in the expanded fields of computational art, design, and post-digital publishing since the 1990s. Working across human and nonhuman collaborative systems, they make electronic art, robotic drawing machines, nonhuman collage, and The Library of Nonhuman Books. Their recent work A Jagged Orbit has been awarded the 2024 Tokyo Type Directors' Club Grand Prize; they have previously won Tokyo TDC Awards (2019, 2020); the Cornish Family Prize for Art and Design Publishing; and the Robert Coover Award for Electronic Literature. 


Ang Mga Baklang Kanal (they/them)

Ang Mga Baklang Kanal (o BKNL), isang queer solidarity collective na binubuo ng iba’t ibang mga creatives at cultural worker na may layuning mag-ambag sa diskurso ng pakikibaka’t pakikibeki ng LGBTQIA++ sa lansangan, at sa iba’t ibang mga larangan at lunan. Mula sa aming pagkakatatag noong Hulyo 2022 ay samu’t sari na ang aming mga naging proyekto sa larangan ng sining, adbokasiya, akademya at iba pang mga interseksyunal na adhikain. Matapos ang pagkakatatag nagsilang ang BKNL ng mga pagtatanghal at mga produksyon, isa rito ang KASHOKOT: Ang pangangaluluwa ng mga baklang kanal, isang pagtatanghal ng lupon ng mga kuwentong kababalaghan at katatakutan repleksyon ito ng mga danas ng LGBT sa Pilipinas. Laman din ibat-ibang kolaborasyon ang mga bakla ilan dito ang: 2023 One Billion Rising, Launch of the Older LGBTIQ Persons Storybook, The Bakla in Philippine Diversity with The Japan Foundation, 7th Amelia Bonifacio Writers Workshop Staged Readings at marami pang iba.  

Angela Brennan (she/her)

Angela Brennan is a Melbourne based painter Angela Brennan has exhibited in numerous solo and group exhibitions in Australia and internationally. In recent years her work has been included in the major curated exhibitions Shut Up and Paint at the National Gallery of Victoria, and the National Gallery of Australia’s touring exhibition Abstraction: Celebrating Australian Women Abstract Artists and she presented a solo study in the Australian Centre for Contemporary Art’s major 2016 exhibition Painting. More Painting. She completed a PhD at MADA, Monash University in 2019, a BA from the University of Melbourne (1992), and a BA, Fine Arts, Painting, RMIT University (1981). She has been awarded numerous overseas residencies, most recently in Rome and in Cyprus. Her work is widely represented in major public and private collections in Australia and overseas.

Angela Brennan’s practice operates on the unceded lands of the Wurundjeri Woi-wurrung people. She acknowledges and pays respect to their Elders past and present. 

Anna Munster

Anna Munster is a Professor of Art and Design at the University of New South Wales, Australia. Her research currently focuses on new ways to theorise machine learning experience, emphasising critical artistic interventions into AI. She has written: An Aesthesia of Networks (2013, MIT) and Materialising New Media (2006, Dartmouth University); articles on media assemblages, media art and process philosophy in Theory, Culture and EventJournal of Cultural AnalyticsInflexions; among others. She is writing a new book Deepaesthetics: On Computational Experience in a Time of Machine Learning. She is a practicing artist working across sound, video, and autonomous systems.

 Gadigal and Bedegal lands

Anne Marsh (she/her)

Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK: Contemporary Australian Photography since 1980 (2010) and Body and Self: Performance Art in Australia, 1969-1992 (1993, 2015). Anne has published hundreds of essays, journal articles, exhibition catalogues and reviews. She was the Herald Sun art critic 1994-1997 and she has been the Melbourne contributing editor for Eyeline: Contemporary Visual Arts since 1997.

Anselmo Jason Edi Ngagianto (he/him)

Anselmo Jason Edi Ngagianto (b. 1998) is a graduate student at the University of Melbourne majoring in Creative Writing. He is a recipient of the Lembaga Pengelola Dana Pendidikan (LPDP) Scholarship funded by the Indonesian Ministry of Finance. He also works as a freelance journalist, having written extensively for the Melbourne-based Indonesian-language OZIP Magazine and award-winning video game magazine SUPERJUMP. He is currently undertaking a project of adapting the works of Indonesian painter Zico Albaiquni into a screenplay format.

Ariel Hassan (he/him)

Ariel Hassan was born in Argentina in 1977. He has held solo exhibitions in Australia, Spain, Singapore and China. Group exhibitions include the Kochi-Muziris Biennale, India (2012); Art Stage Singapore (Greenaway Art Gallery), Singapore (2012); SH Contemporary (Aura Gallery and Greenaway Art Gallery), Shanghai, China (2011); Australian Pavilion, Shanghai World Expo, China (2010); Primavera, Museum of Contemporary Art, Sydney (2008); Uneasy – Recent South Australian Art, curated by Timothy Morrell, Samstag Museum of Art, University of South Australia, Adelaide (2008); Della Pittura Digitalis (Painting and the digital momentum), curated by Paco Barragan, Galerie Caprice Horn, Berlin (2007). 

Austere Rex Gamao

Austere Rex Gamao is from Sagay City, Negros Occidental, Philippines. His work has appeared in Cordite Poetry Review, tractions: experiments in art writing, Queer Southeast Asia: A Literary Journal of Transgressive Art, Underblong, TLDTD, Ilahas Journal, and forthcoming in Likhaan: The Journal of Contemporary Philippine Literature. His first book, With Decade, is also forthcoming from Grana Books in 2024. He obtained an MFA in Creative Writing at De La Salle University. As of writing, he teaches at Far Eastern University.

Bronwyn Bailey-Charteris (She/They )

Dr Bronwyn Bailey-Charteris is an Australian/Swedish curator, writer and lecturer based in Sydney.

 Gadigal and Bidjigal land

Callum Morton (he/him)

Callum Morton is an artist, Professor of Fine Art at MADA (Monash Art Design and Architecture) Melbourne and Director of Monash Art Projects. He has been exhibiting nationally and internationally since 1987, including solo shows at the Santa Monica Museum of Art (1999), the MCA in Sydney (2003), The Indian Triennale in New Delhi(2004) and ACCA in Melbourne (2005). Morton represented Australia at the Venice Biennale in 2007 with his work Valhalla. His public projects include Hotel (2008) on the Eastlink freeway in Melbourne, the permanent pavilion Grotto (2009) for the Fundament Foundation in Tilburg, the Netherlands, Silverscreen (2011) for the new location of MUMA in Melbourne in 2010 and Monument Park in Melbourne’s Docklands (2014). In 2011 Morton’s work was the subject of a retrospective at Heide Museum of Modern Art, Melbourne and in 2014 he participated in the 19th Sydney Biennale, Imagine What You Desire. In 2017 he completed the outdoor work Sisyphus in Silkeborg, Denmark for the European Capital of Culture.

Cecilia Alemani (she/her)

Cecilia Alemani is an Italian curator based in New York. Since 2011, she has been the Donald R. Mullen, Jr Director & Chief Curator of High Line Art, the public art program presented by the High Line in New York. In 2022, she curated The Milk of Dreams, the 59th International Art Exhibition at La Biennale di Venezia. In 2018, Alemani served as Artistic Director of the inaugural edition of Art Basel Cities: Buenos Aires. In 2017, she curated the Italian Pavilion at the Venice Biennale.

Charles Green (he/him)

Charles Green is Professor of Contemporary Art at the University of Melbourne in the Art History department, School of Culture and Communication. He has written Peripheral Vision: Contemporary Australian Art 1970-94 (Craftsman House, Sydney, 1995), The Third Hand: Artist Collaborations from Conceptualism to Postmodernism (University of Minnesota Press, Minneapolis, 2001), and (with Anthony Gardner) Biennials, Triennials, and documenta (Boston, Wiley-Blackwell, 2016). He was Australian correspondent for Artforum for many years. He is an artist: Lyndell Brown and Charles Green have worked together as one artist since 1989. They were Australia’s Official War Artists in Iraq and Afghanistan in 2007-08.

Charles Merewether (he/him)

Dr Charles Merewether is an art historian, author and curator who has worked and taught in Universities in Australia, Americas, Asia, Western Europe and Eastern Europe. He is currently living in Melbourne and is a Senior Honorary Fellow at the University of Melbourne.

Merewether is the author of books and many articles about contemporary art. His books include In the Sphere of the Soviets: Essays on the Cultural Legacy of the Soviet Union, (2020), Art in the 21st Century (co-editor) State of Play (2017), After Memory: The Art of Milenko Prvacki (2013), After the Event (co-editor, 2010) and Under Construction: Ai Weiwei (2008), Art, Anti-Art, Non-Art: Experimentations in the Public Sphere in Postwar Japan 1950-1970 (co-editor, 2007), and editor of The Archive (2006). Merewether has worked and lived in Tbilisi, Georgia over the past 4 years between 2016-2020. Having recently finished a book manuscript on museums, collecting and looting, he is currently writing a book on Ukrainian modernism.

Charles Nodrum (he/him)

Prior to opening his gallery in 1984, Charles Nodrum worked at the Joseph Brown Gallery (1971-5), managed Christie's Melbourne office (1975-8), and was a principal researcher for Alan McCulloch's Encyclopedia of Australian Art (1984 edition). The Charles Nodrum Gallery represents living artists and artist’s estates as well as dealing on the secondary market and presenting annual curated group shows with a historical focus.

Chloe Ho (she/her)

Chloe Ho is Digital Archive Researcher with Art + Australia living and working in Naarm, Bunurung Country, Kulin Nations. Her current research interests include digital humanities, performance art forms in the Asian context, artistic migration, particularly in relation to performance art and artists, and global art histories. Her PhD thesis “Written as Singapore Art: Contemporary performance and installation art from Singapore, 1985–present” is currently under examination.  


Chris Parkinson (he/him)

Chris Parkinson works as an artist and researcher engaged with lens-based, urban and conceptual practices on the unceded lands of Naarm.

Collaborative, collective and social practices are woven through his research interests.

His 2010 book, Peace of Wall: Street Art from East Timor, is described as a ‘book of evocative photojournalism capturing an important moment in East Timor’s history through its walls.’ He is currently completing a PhD at the University of Melbourne, a Rhythmanalysis of collective art practices and public cultures in Yogyakarta, Indonesia through the study of the art collective, Survive! Garage.


Danni Zuvela (she/her)

Danni Zuvela is an artist, writer and curator based on the Gold Coast, Australia. Her work often explores questions of non-human subjectivity, and relationships between the senses and society. Through research, critical writing, residencies, exhibitions, discursive public programs and publications, Danni engages with artists and non-artists in the production of relationships and the exchange of knowledge. With a background in experimental music and performance, her practice uses research and ideas to fuel experiences and encounters where the natural world is often a protagonist.

David Harley (he/him)

Projects to date include: The design of an internally lit column in ‘The NAB Village’, a public meeting foyer of the National Australia Bank’s new head office in Melbourne (2013); A large scale installation of printed wall paper in the staircase of The University Library at Deakin University’s Burwood Campus (2013). The collaborative design and installation of over 250m of wall paintings with Michael Jäger, Volker Saul and Jürgen Palmtag for the Schwarzwald-Baar-Klinikums (hospital) in Villingen-Schwenningen, Germany.

David Pledger (he/him)

David Pledger is an award-winning contemporary artist, curator, producer, writer and thinker working within and between the performing, visual and media arts in Australia, Asia and Europe. His live performances, installations, interactive artworks, documentaries, digital art, ideas and discursive events have been presented in books, journals, magazines, museums, galleries, arts centres, a city car-park, an abandoned stables, a suburban house, hotels in Surfers Paradise, a Slovenian film studio and the Australian Institute of Sport. His work is notable for engaging publics in productive and provocative ways. From his initial practice, live performance, he has developed a cross-disciplinary dramaturgy in which a central platform is engaging with artists across artforms and experts from social, scientific, academic and philanthropic fields. Practice interests include the body, the politics of power, the digital realm and public space.

Dewi Cooke

Dewi Cooke is the CEO of The Social Studio, a not-for-profit social enterprise offering work and learning opportunities in fashion, design and the creative arts to people from refugee and new migrant backgrounds.

Dirk de Bruyn (he/him)

Dirk de Bruyn is an experimental filmmaker and a freelance writer on film.

Dominik Mersch (he/him)

DOMINIK MERSCH GALLERY (DMG) was founded in 2006 and continues to work closely with artists to realise a vibrant and active calendar of exhibitions, fairs and events. DMG represents artists who create conceptually challenging and cerebral works that hold powerful aesthetic impact. This forms the foundation of our aims to lend a discerning eye to art collectors and situate curiosity and critical engagement at the centre of all art encounters.

Duncan Caillard (he/him)

Dr Duncan Caillard is a Research Fellow in the School of Communication Studies. He holds a PhD in Screen and Cultural Studies from the University of Melbourne, in which he conducted a systematic study of the screen works of Thai director Apichatpong Weerasethakul. His research interests include Southeast Asian and Pacific Islander screen cultures, experimental and artist filmmaking, moving image archives, and political aesthetics. His current research projects transnational art cinema in the Asia-Pacific, concentrating on works of anti-authoritarian and decolonial art practice in Thailand and Hawai’i.

Edward Colless (he/him)

Dr Edward Colless Editor-at-large, Art+australia journal and A+a publications. Previously working as Senior Lecturer in Art at the Victorian College of the Arts, University of Melbourne, lecturing in art and cultural history, aesthetics, cinema studies, and design with practical teaching in performance and writes across art criticism and journalism, book and film reviewing, fiction and travel. An anthology of his selected writing, The Error of My Ways, published in 1995, was nominated for the NSW Premier’s Prize for Literature. Colless has also been short-listed for the Pascall Prize for Criticism. He has been features writer and associate editor of Australian Art Collector since its inauguration and has worked as Melbourne art reviewer for The Australian newspaper. He has received numerous grants for critical writing from the Australia Council, the latest of which has been in support of a two-volume project titled Hallucinogenesis, which deals with performativity and possession in art.

Eliza ODonnell (she/her)

Dr Eliza O'Donnell is a Naarm-based researcher and painting conservator who recently completed her PhD focusing on issues of painting authenticity and attribution in the contemporary Indonesian art centres of Yogyakarta, Jakarta, and Bandung. Her research builds on a decade of experience working with cultural collections, arts practitioners, and community members across the Asia Pacific region, in Malaysia, Singapore, Taiwan, Indonesia, and Australia. Through material-based research and conservation practice, she explores integrated and collaborative approaches to building connections and sharing knowledge, with special interests in the areas of technical art history, artwork attribution and the Southeast Asian art market. She is a leading member of the Asia Pacific Tropical Climate Conservation Art Research Network (APTCCARN) and is co-editing a forthcoming book of essays focusing on the Indonesian art archive of Dr Melani Setiawan.


Ellen Larson (she/they)

Ellen Larson, PhD (she/they) is a curator, designer, and writer currently based in Chicago, IL (USA) where she is a Center for the Art of East Asia (CAEA) Postdoctoral Instructor in conjunction with the Department of Art History at the University of Chicago. Their research underscores the nature of temporalities as represented in moving image art made primarily in Mainland China. Larson’s methodological approach to the study of art history incorporates curation and design as critical forms of applied practice. They have organized exhibitions, screenings, and cultural symposia throughout China and the United States, and their writing has appeared in Millennium Film Journal, The Journal of Contemporary Chinese Art, Hemisphere: Visual Cultures of the Americas, LEAP: International Journal of Contemporary Chinese Art, and Contemporaneity: Historical Presence in Visual Culture, among other publications.

Emily Simek (she/her)

Emily Simek lives on Wurundjeri Land and has a practice in digital art, installation, writing and gardening. Her work explores interspecies relationships within food webs and the community garden as a place for collective practice. She is interested in working within long-form residency formats and in relationship with people and places.

Etan Pavavalung (he/him)

Paiwan artist, Etan Pavavalung, was born 1963 into the Tavadran tribe of Dashe village, Sandimen town in Pingtung County. He grew up in the renowned Pulima artisan family and was immersed in Paiwan life where traditional arts and culture are showcased everywhere. It would also set the tone for his future art creations. When studying at Yushan Theological College and Seminary and Tainan Theological College and Seminary, he was inspired to contemplate on philosophy and religious art. Besides writing poems and prose, he is also a director of several documentaries excelling at imagery poetry. He has also been learning and keeping records on the Paiwanese mouth-blown and nose flutes, and as a consequence the Ministry of Culture designated him as a cultural ambassador of the traditional performing arts. His innovative art form, “Trace Layer Carve Paint”, has become the signature feature of his artwork.

Farid Rakun (he/him)

Trained as an architect (B.Arch from Universitas Indonesia and M.Arch from Cranbrook Academy of Art), Farid Rakun wears different hats, dependent on who is asking. A visiting lecturer in the Architecture Department of Universitas Indonesia, he is also a part of the artists’ collective ruangrupa, with whom he co-curated TRANSaction: Sonsbeek 2016 in Arnhem, NL. As an instigator, he has permeated various global institutions such as Centre Pompidou, La Biennale di Venezia, MMCA Seoul, Sharjah Biennial, Bienal de Sao Paulo, Harun Farocki Institut, Dutch Art Institute (DAI), Creative Time, Haute école d’art et de design (HEAD) Genève, and basis voor actuele kunst (BAK). He has worked for Jakarta Biennale in different capacities since 2013 and currently serves as its interim director.

Faye Dowling (she/her)

Faye Dowling is a curator, editor & consultant working across art, photography, publishing & visual culture.

Faye has curated and produced exhibitions in the UK and internationally featuring artists including Derek Ridgers, Penny Slinger, Clare Strand, Thomas Mailaender, Sam Jackson, Graham Dolphin, Cathy Ward, Iain McKell, Jason Evans, Sara VanDerBeek, Anouk Kruithof, United Visual Artists and Sergei Sviatchenko.

In 2020 Faye curated and produced ‘LESS Festival of Contemporary Collage Art’, which launched in Viborg, Denmark, supported by the Danish Arts Council and featuring collage artists including Penny Slinger and Nico Krijno. In January 2022 her exhibition UNFOLDING LANDSCAPES, an exhibition of contemporary Ukrainian art, opened at Silkeborg Foundation, Denmark, just days before the tragic war broke out in Ukraine. With the artwork now a refugee, the exhibition is soon to embark on a European tour with locations in Brussels and Switzerland.

Gareth Sansom (he/him)

Sansom was appointed Head of Painting at the Victorian College of the Arts from 1977–1985, and Dean School of Art at the Victorian College of the Arts from 1986–1991. He was an artist-in-residence at the University of Melbourne in 1985, when he resumed his full-time painting practice with a series of large works on canvas. He held a retrospective, Gareth Sansom: Paintings 1956–1986, at the University Gallery, University of Melbourne in 1986, Gareth Sansom: Welcome to My Mind at the Ian Potter Museum of Art, the University of Melbourne in 2005 and Gareth Sansom: Transformer at the Ian Potter Centre: NGV Australia, in 2017.

Genevieve Trail (she/her)

Genevieve Trail is a doctoral candidate at the University of Melbourne. Her research is concerned with the development of interdisciplinary performance, video and environmental art in Hong Kong from 1970-1989. She was the recent recipient of the Ursula Hoff Art History Scholarship and Eugenie La Gerche Scholarship, and has been published in journals including Di’van: A Journal of Accounts, Art + Australia, Art Monthly Australasia and Photofile.


Georgia Banks (she/her)

I make performance art even when you think I don’t. My most interesting work won’t happen until after I’m dead - I hope it’s good but I’ll never know. I have been banned from Tinder, sued by the estate of Hannah Wilke, and awarded Miss Social Impact in a national beauty pageant. I would like to go viral, break a Guinness World Record, and be in an actual episode of Black Mirror instead of making my own. I have never had a filling nor broken a bone (although I have been crucified) and once I was convinced I had accidentally sliced away a part of my labia during a performance (I hadn’t).

Giacomo Costa (he/him)

Born in Florence, Italy, Giacomo Costa has been creating imagined dystopian landscapes through manipulated photography for over two decades and exhibiting all over the world. Notably, he represented Italy at the prestigious Venice Biennale in 2009. He depicts towering city metropolises that eerily emerge from fog or peek through unchecked nature, reminiscent of Pripyat after Chernobyl or a scene from ‘Bladerunner’. Recently the subject of an article published by CNN, Costa’s “imagery strikes an unsettling tone, reminiscent of urban centers recently put under strict lockdown due to the coronavirus pandemic.”

Giles Fielke (he/him)

Giles Fielke is a writer and researcher of artist film. He is an editor of Index Journal and a contributing editor of Memo Review. His PhD thesis, titled Rational Fictions, was completed at the University of Melbourne in 2019 and situated Hollis Frampton’s unfinished film cycle, Magellan, in art history.

Grace Ndiritu (she/her)

Grace Ndiritu is a British-Kenyan artist whose artworks are concerned with the transformation of our contemporary world.  Ndiritu has been featured in The Guardian, TIME, Artforum, Art Review, Art Monthly, Elephant, BOMB, and Phaidon’s The 21st Century Art Book. Her work is housed in museum collections such as The Metropolitan Museum of Art (New York), The British Council (London), LACMA (Los Angeles), Foto Museum (Antwerp), and The Modern Art Museum (Warsaw). Her writing has been published by Migros Museum, Bergen Kunsthall, Whitechapel Gallery, The Paris Review, MIT Press, Metropolis M and Oxford University Press. Her 'hand-crafted' videos; textiles, painting, photography, shamanic performances and films have been widely exhibited in solo and group exhibition including at the SMAK, Ghent (2023)  Foto Museum, Antwerp (2023) British Art Show (2021 to 2023), Wellcome Collection, London (2022), Gropius Bau, Berlin (2022), Kunsthal Gent (2021) and international film festivals like the 72nd Berlinale, FID Marseilles and BFI London Film Festival. She is also the winner of The Jarman Film Award 2022 in association with Film London.

Grace Wood (she/her)

Grace Wood is a Melbourne based artist who compiles images sourced online into layered digital collages. Grace has exhibited extensively in Australia with shows at LON Gallery, West Space, Gertrude Glasshouse, Benalla Art Gallery, MARS Gallery, Schoolhouse Studios, Bus Projects, c3 Contemporary Art Space among others. She has won several awards including the Australian Centre for Photography Award. Grace Wood appears courtesy of LON gallery.

Gregory Hodge (he/him)

Gregory Hodge constructs illusionary abstractions from a mélange of source material including painted abstract motifs on drafting film, coloured paper and masking tape, before rendering these collages in paint. Using complex and systematic technical processes such as trompe-l’oeil, cast shadows and manipulating paints' translucent and opaque qualities, the paintings playfully mimic the physical fragility and provisional nature of the source material. 

Hossein Valamanesh

Hossein Valamanesh AM (2 March 1949 – 15 January 2022) was an Iranian-Australian contemporary artist who lived and worked in Adelaide, South Australia. He worked in mixed media, printmaking, installations, and sculpture. He often collaborated with his wife, Angela Valamanesh. Hossein Valamanesh was born in Tehran, Iran on 2 March 1949.He worked with theatre director Bijan Mofid from 1968 to 1971, and graduated from at the Tehran School of Art in Tehran in 1970.He emigrated to Perth, Western Australia, in 1973, and while living there travelled to remote Aboriginal communities in WA, where he felt a connection between their ancient culture and his own Persian cultureHe worked with the Round Earth Company and Aboriginal children. He continued his art education at the South Australian School of Art after moving to Adelaide in 1974, graduating in 1977.

Howard Morphy
Ian McLean (he/him)

Ian McLean is the Hugh Ramsay Chair of Australian Art History at the University of Melbourne. Professor McLean was previously the Senior Research Professor of Contemporary Art at the University of Wollongong and adjunct Professor at the University of Western Australia. He has published extensively on the subject of Australian art, particularly Indigenous and contemporary art. His books include Indigenous Archives: The Making and Unmaking of Aboriginal Art, with Darren Jorgensen (2017); Rattling Spears: A History of Indigenous Australian Art (2016); Double Desire: Transculturation and Indigenous Art (2014); How Aborigines Invented the Idea of Contemporary Art (2011) alongside extensive publishing in journals like Australia and New Zealand Journal of Art, The Art Bulletin and Third Text. McLean has received numerous external grants including three ARC Discovery grants (2015, 2011, 2007) and two AAANZ prizes for best anthology in 2015.

Ian Ramirez (They/Siya)

Ian Ramirez is an emerging queer Filipino artist, and early career researcher based in Naarm (Melbourne). Ian works across dramaturgy, curation, and performance-making. Theyhave done projects both in the Philippines and in Australia. Their recent projects include, Regine: The Fairy Gay Mother (Virgin Lab Fest 18 Hitik, Cultural Centre of the Philippines), Baklang Kanal! (Performance Space, and PACT Centre for Emerging Artists), and 'it would be a nice place' (presented by Environmental Film Festival Australia, Seventh Gallery, and Australian Environments on Screen). They are attuned to the multitudes of articulations of queerness and kabaklaan in everyday life and in various performative contexts. As a researcher, their main interests include, but are not limited to, drag performances, Manila queer nightlife, gay beauty pageants, and the multiple forms of queer worlding/s. They are currently undertaking a degree of Doctor in Philosophy (Arts) in Performance Studies at the University of Melbourne where they are investigating the notion of kanal (canal) in relation to the performances of the bakla (a local gender identity in the Philippines).

Ian Were (he/him)

Ian Were writes on contemporary art, design and associated issues and has written short stories. He has written regularly for Australian art and culture journals — beginning, in the late 1970s, with street magazines Preview and Adelaide Review. He currently reviews films and the visual arts for Westender magazine, and has recently written for Lemonade.

From 1996 to 2002 he was editor of Object magazine (26 issues) and publications manager at Australian Design Centre. From 2002 to 2009 he was Senior Editor at the Queensland Art Gallery/Gallery of Modern Art where he edited or co-edited 12 exhibition

 Turrbal and Jagera Land

Jan Bryant (she/her)

  Jan Bryant is an art writer who manages Art Programme, an anti-institutional art organisation set up by artists, filmmakers, writers, and curators to generate art related discussions, projects, and publications. 


Jan Murray (she/her)

Since 1982 Jan Murray has shown regularly in both solo and group exhibitions in public museums, commercial galleries and artist run initiatives. Her work has been included in national and international surveys of contemporary art in Australia, Germany, France, Italy and the USA and is widely represented in significant National and International public collections – including the Solomon R Guggenheim Museum and the Metropolitan Museum in New York. She is currently a Senior Research Fellow in the Faculty of Fine Art and Music at the University of Melbourne – before which she held various teaching and leadership roles at the VCA for over 30 years, including 10 years as Head of School. She completed her postgraduate qualifications at VCA and RMIT and has been awarded several Australian Council Grants and Residencies including Kunstlerhaus Bethanien, Berlin, Via Farini, Milan the British School at Rome.

Jarrod Sim (he/him)

Jarrod Sim is currently a Visiting Fellow for the DeCoSEAS project (https://www.decoseas.org). He received his PhD in Anthropology from the Australian National University. He also holds an MA in Anthropology (UCL), and an MA in Fine Art (UAL). He was previously a tutor in Anthropology at the University of Melbourne. His doctoral project explored the relationship between sound, landscape, and movement in indigenous Taiwan. His current research maintains an ongoing interest in Austronesian sonic worlds, bridging together ethnomusicology, folkloristics, and sensory ethnography. His background in artistic and curatorial practices informs his methodological and theoretical approach to research.

Jason JS Lee (he/him)

Jason Lee is a Singaporean artist working in photography, video, and performance art. His artistic creations delve into issues related to urban environments and contemporary societal concerns. As an artist, curator, photographer, and designer, Lee has curated projects, worked collaboratively, and participated in numerous group exhibitions and festivals in Singapore, Hong Kong, India, the Philippines, and Thailand. Notable exhibitions and festivals in the recent years include Body and Place - Performance Art in Singapore Since the 1980s (2023), TheCube Project Space, Taipei, Taiwan; Kahemekan – Hualien Performance Art Event 2023, Hualien, Taiwan; Negotiating Cultures (2021), Zone Art, Taoyuan, Taiwan; and The 3rd Langasan International Performance Art Festival 2021 (LIPAF), Hualien, Taiwan. Lee is currently based in Taipei, Taiwan.

Jen Valender (she/her)

Jen Valender is a visual artist and researcher born in Aotearoa New Zealand and based in Naarm Melbourne, Australia who predominately works site-specifically to create performative encounters on and with the landscape that raise questions about arts subsequent relationship to the natural world. She holds a Master of Fine Arts (Research) from the Victorian College of the Arts, University of Melbourne.  


Jeremy Eaton (he/him)

Jeremy Eaton is an artist, writer, curator and the Managing Editor of Art + Australia. Eaton has presented solo exhibitions at LON Gallery, Bundoora Homestead, BUS Projects and West Space and has been included in group exhibitions at LON Gallery, Margaret Lawrence Gallery, Sarah Scout Presents, Dominik Mersch Gallery and CAVES. Eaton is a current PhD candidate at the University of Melbourne. 


Jessica Clark (she/her)

Jessica Clark is a proud palawa/pallawah woman and a curator, writer and researcher living and working on Wurundjeri Country in Naarm (Melbourne). She currently holds the position of Yalingwa Curator at the Australian Centre for Contemporary Art (2022-24). Jessica and has a background in art history and art education that has informed the development of an independent curatorial practice that is grounded in an understanding of the interrelationship between life, materiality, and place. Jessica has recently graduated at the Victorian College of the Arts, University of Melbourne having completed a curatorial practice-led PhD focussed on investigating intercultural curatorial models for contemporary Australian art.


Jo Darbyshire (she/her)

Jo Darbyshire was born in 1961 in Perth, Western Australia. She studied Fine Arts at Curtin University in 1981, a Post-Graduate Diploma at Canberra School of Art in 1991 and a Master of Creative Arts in Cultural Heritage at Curtin University of Technology in 2004. Jo has received State Government and Australia Council funding to attend international residency programs such as Cite Internationale des Artes, Paris; Banff Centre for the Arts, Canada and Cill Rialaig studios, Ballin Skelligs, Ireland. In 2005, Jo won the Bankwest Contemporary Art Award. She exhibits regularly and her artwork is held in all major public institutions in WA, private collections, nationally and internationally.


Joel Sherwood Spring (he/him)

Wiradjuri anti-disciplinary artist, who works collaboratively on projects that sit outside established notions of contemporary art & architecture attempting to transfigure spatial dynamics of power through discourse, pedagogies, art, design and architectural practice. Focussed on examining the contested narratives of Australia’s urban cultural and Indigenous history in the face of ongoing colonisation.

 Gadigal and Wangal country

John Swinson (he/him)

John Swinson is a professor of law at The University of Queensland.  John worked for over 20 years as a partner in a large law firm.  He specialises in IP and technology law.  John has represented artists, galleries and museums in legal matters, including Ricard Bell’s dispute regarding a film he made in NY – Bell v. Steele [2012] FCA 246.


Jon Bywater (he/him)

Jon Bywater is a Pākehā critic who teaches at Te Waka Tūhura / Elam, Waipapa Taumata Rau / University of Auckland. He is currently living and working on Wurundjeri Woi-wurrung and Bunurong Boon Wurrung Country, as a PhD candidate at VCA, The University of Melbourne. He has a particular interest in politics and place, and his writing has appeared in journals including Afterall, art-agenda, Artforum, Art New Zealand, Contemporary HUM, Frieze and Reading Room, as well as numerous monographs and exhibition catalogues.


Jon Cattapan (he/him)

In 2006 Jon Cattapan was honoured with a comprehensive survey The Drowned World: Jon Cattapan works and collaborations, at The Potter Museum, University of Melbourne. In 2008 a monograph Jon Cattapan: Possible histories written by Dr Chris McAuliffe was published. In 2008, he took up a commission through the Australian War Memorial to become Australia’s 63rd Official war artist and was deployed to Timor Leste, with the Australian Defence Forces, where he explored the nature of Night Vision technology as an aesthetic tool, which continues to inform his works. He has been honoured with a number of significant awards including the Bulgari fellowship awarded through the Art Gallery of NSW in 2013 and the Moira Gold Award, through The Rockampton Museum of Art in 2016. In 2022, Art Ink Australia published a major monograph Jon Cattapan Threshold Signs. Jon Cattapan’s work is held in most major Australian public museum collections as well as private and public collections in Australia, India, Korea, United States and the UK.

Josh Milani

Josh Milani is the Director of Milani Gallery. Milani Gallery specialises in contemporary art. Based in Meanjin (Brisbane), the Gallery has been showing the work of Australian and international artists since 2008.

Judy Annear (she/her)

Judy Annear is Honorary (Fellow) at the School of Culture and Communication, University of Melbourne.  She was Adjunct at the Art & Design Faculty, University of NSW,  Sydney 2017–2020. She is a member of the Monash University Museum of Art Advisory Committee 2024–. Her art writings have appeared in Memo Review, Art Monthly Australasia among many others. Her literary writings have appeared in second factoryCordite Poetry Review, Plumwood Mountain Journal,  Australian Poetry Journal. In 2019 she published THE Ls, a small book of experimental writing, followed by now then 2021, and soundings (Stolon Press) 2022.

 Dja Dja Wurrung

Karen ann Donnachie (she/her)

Karen ann Donnachie and Andy Simionato have worked together in the expanded fields of computational art, design, and post-digital publishing since the 1990s. Working across human and nonhuman collaborative systems, they make electronic art, robotic drawing machines, nonhuman collage, and The Library of Nonhuman Books. Their recent work A Jagged Orbit has been awarded the 2024 Tokyo Type Directors' Club Grand Prize; they have previously won Tokyo TDC Awards (2019, 2020); the Cornish Family Prize for Art and Design Publishing; and the Robert Coover Award for Electronic Literature. 


Kate Nodrum (she/her)

Kate Nodrum commenced working at the gallery in 2010.  She completed a Bachelor of Arts at Melbourne University (French, History and Art History) in 2012 and in 2016 she completed a short course in Museum Studies at the Sotheby's Institute in London.  She is now Gallery Manager.

Katie Paine (she/her)

Katie Paine is a Naarm-based artist and writer investigating semiotics, science-fiction, hauntology and the archive. From 2020-2022 she completed an MFA at the Victorian College of the Arts, for which she was awarded a Graduate Research Scholarship, the Peter Redlich Memorial Art Prize and a Cranbourne Travelling Scholarship. She has exhibited at Composite Moving Image, Lon Gallery, F.S. Meyer Gallery, CAVES, TCB, ACMI, c3 Contemporary Art Space, Kings ARI, La Trobe Art Institute, Blindside, George Paton Gallery, VOID Gallery, Irene Rose, SEVENTH Gallery and Bus Projects. She writes for publications such as Performance Review, Art + Australia, Vault Magazine, unMagazine, Running Dog, Runway Journal, Next Wave and Art Almanac, alongside a variety of art galleries. She has also worked in the artist-run sector for over eight years, holding roles at c3 Contemporary Art Space and KINGS ARI.


Kelly Gellatly (she/her)

Kelly Gellatly is a curator, writer and arts advocate living and working on the land of the Wurundjeri and Bunurong. She has curated more than 50 exhibitions of the work of leading Australian and international artists and has published extensively on contemporary art, Australian modernism and photographic practice. She was Director of the Ian Potter Museum of Art, University of Melbourne from 2013-2020; Curator of Contemporary Art at the National Gallery of Victoria from 2003-2013, and has held curatorial positions at the National Gallery of Australia and Heide Museum of Modern Art. 

Kelly is the Founding Director of Agency Untitled; Chair of the Sheila Foundation and a board director of Experimenta.

Lauren Crockett (she/her)

Lauren Crockett is an architect with a background in design, publishing and education. The focus of her research is the impact of cultural and technological shifts on the way that people relate to each other in both physical and digital environments. She co-founded independent architectural publication Caliper Journal in 2017 and continues to write, teach and practice within the architecture and design field.


Leah Jing McIntosh

Leah Jing McIntosh is a critic, researcher, and the founding editor of Liminal magazine. Mcintosh has a Master’s in English Literature from University College London, and is completing a PhD at the University of Melbourne. McIntosh edited the essay collection Against Disappearance: Essays on Memory (2022), and fiction anthology, Collisions: Fictions of the Future (2020).

Lindy Lee (she/her)

Lindy Lee practice explores both her Australian heritage, and her Chinese ancestry through Taoism and Ch'an (Zen) Buddhism. She employs chance and spontaneity to produce a galaxy of images that embody the intimate connections between human existence and the cosmos. In 2018, the Art Gallery of South Australia; Adelaide acquired The Life of Stars, a 6 metre tall stainless steel sculpture. Other large scale public works include Tower of Ten Billion Stars, Sanya Bay Hainan Island, China; The Life of Stars - Tenderness of Rain, Province Midtown Cultural Centre, Zhengzhou, China; and Secret World of a Starlight Ember, Museum of Contemporary Art, Sydney. In 2020 Lindy had a major survey exhibition at the Museum of Contemporary Art, Sydney titled Lindy Lee: Moon in a Dew Drop. The exhibition brought together her array of processes, including flung bronze, works on paper transformed by fire, rain and Chinese ink, painting, wooden sculptures and cut stainless steel, to explore her experience of living between two cultures. With a practice spanning over four decades, Lindy has exhibited widely in Australia, Canada, China, Hong Kong, Japan, Malaysia, New Zealand, Singapore and


Luna Mrozik Gawler (they/them)

With a focus on creating conditions for collaborative survival and equitable planetary futures, Luna Mrozik Gawler is an artist, writer and independent academic working with the fugitive and feral narratives that (un/re)make worlds. Their transdisciplinary research-led practice refuses dominant ideological frames of the past to propose radical and emergent futures that amplify the queer bodies, articulations and agencies beyond the human. Luna’s work has most recently been programmed or published by; Next Wave, The Powerhouse Museum of Applied Art and Science, The Centre for Projection Art, Incinerator Gallery, The Sydney Institute for the Environment, The International Digital Media and Arts Association and the Australian Network of Art and Technology.

Lynda Draper (she/her)

Lynda Draper is an Australian visual artist who works primarily in the ceramic medium, she is currently Head of Ceramics at the National Art School, Sydney . Her work explores the intersection between dreams and reality. Many ceramic sculptures evolve from a state of reverie shaped by fragmented images from her environment, memory, culture and ghosts from the past. She is interested in the relationship between the mind and material world and the related phenomenon of the metaphysical. Creating art is a way of attempting to bridge the gap between these worlds. Draper has received numerous national and international awards, including being the recipient of the 2019 Myer Fund Australian Ceramic Award.


Marco Fusinato (he/him)

Marco Fusinato is the Australian representative at the 2022 Venice Biennale. Fusinato’s work has been presented in many international exhibitions, including All the World’s Futures, 56th International Art Exhibition of La Biennale di Venezia (2015); The Imminence of Poetics, 30th Sao Paulo Biennale (2012); SUPERPOSITION: Art of Equilibrium and Engagement, 21st Biennale of Sydney (2018); and Australia: Antipodean Stories, Padiglione d’Arte Contemporanea, Milan (2019). His work was also included in Soundings: A Contemporary Score, the first ever exhibition of sound at the Museum of Modern Art, New York (2013) and Sonic Youth etc.: Sensational Fix (2008–10), a European travelling exhibition of artists who have collaborated with the New York rock band, Sonic Youth.

Margaret Moore (she/her)

Margaret Moore is the founder and Director of MOORE CONTEMPORARY based in Perth. MOORE CONTEMPORARY was established in its Cathedral Square location in Perth in November 2017. MOORE CONTEMPORARY is a space dedicated to the presentation and promotion of major contemporary art, and is guided by respect for the development of artist careers and collector support. In recognition of Margaret's extensive curatorial and arts management career, MOORE CONTEMPORARY offers, in addition to a program of exhibitions, professional consultancy services in art commissioning, collection advice and management.

Mel Deerson

Mel Deerson is an artist, writer and teacher living and working on Wurundjeri and Gadigal Land. They are currently undertaking a PhD in Fine Art at UNSW on mystic practices and medieval art. Her recent book of prose poems and images, The Dream of the Cherry Tree is available through Stray Pages. A playful take on a medieval manuscript, The Dream of the Cherry Tree follows a queered pantheon of god, Mary and the angels as they yearn, bicker, labour and rebel in an extended poetic mystic vision, moving through an erotic, dream-like world. 

Michael Lindeman

Michael Lindeman is an artist based in Sydney, Australia. His work is an exploration into his own identity, a burrowing into the realm of institutional critique, and an exercise in bypassing culturally sanctioned principles. Lindeman’s work often takes form as large-scale text paintings, drawings and sculptures. Drifting between stream of consciousness writing and structured research based content, Lindeman’s work shines a light on the mechanics of the contemporary art world and his place within it. Lindeman aims for a type of wry institutional critique, addressing issues surrounding cultural meaning and the commodification of art with deadpan humour. The irony of course, is that Lindeman is a willing participant in the commodity culture that increasingly commands contemporary art. Michael Lindeman received a Bachelor of Fine Arts, Honours (First Class) in 1998 and a Master of Fine Arts, in 2004 from the College of Fine Arts, University of New South Wales.


Michelle Wun Ting Wong (she/her)

Michelle Wun Ting Wong is a PhD candidate in Art History at The University of Hong Kong, exploring the cultural modernity and artistic modernism emerging from Post WWII Hong Kong. Her writing has been published in Ambitious Alignments: New Histories of Southeast Asian Art, 1945–1990 (2018) and the journal Southeast of Now (2019). She was previously Researcher at Asia Art Archive (AAA), focusing on Hong Kong art history and histories of exchange and circulation through exhibitions and periodicals. Curatorial projects include Portals, Stories, and Other Journeys at Tai Kwun Contemporary (2021), Afterglow, Yokohama Triennale 2020, and 11th Edition of Gwangju Biennale (2016). She co-runs the independent art space New Park with artists South Ho Siu Nam and Billy HC Kwok.

Miriam La Rosa (she/her)

Miriam La Rosa is Project Coordinator and Research Lead at Agency and a PhD Candidate at the University of Melbourne. Her research looks at notions of gift exchange and host-guest relationships in the art residency with the South as a geopolitical focus.

Mithu Sen (she/her)

One of India’s most renowned contemporary artists, Mithu Sen was born in 1971 in West Bengal, and lives and works in New Delhi. Sen has exhibited and performed in major international forums including Sharjah Biennale 15, UAE (2023); sonsbeek 20-24, Arnhem, the Netherlands (2021); APT9-9th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery / Gallery of Modern Art, Brisbane (2018); Kunstmuseum, Wolfsburg (2018); Chemould Prescott Road, Mumbai (2018); Kiran Nadar Museum of Art, New Delhi (2017); Guggenheim Museum, New York (2016); Unlimited: Art Basel (2016); Eli and Edythe Broad Art Museum, Michigan, USA (2014); Kochi-Muziris Biennale (2014); Galerie Krinzinger, Vienna (2014); Dhaka Art Summit (2014); Tate Modern Project Space, London (2013); Zacheta Museum, Warsaw (2011); and National Museum of Modern Art, Tokyo (2008), among other forums and institutions. She was awarded the Skoda Prize in 2010 and the Prudential Eye Award for Contemporary Asian Art – Drawing in 2015.

Murray White (he/him)

Murray White is the founder and Director of Murray White Room. Established in 2006, Murray White Room maintains a ‘less is more’ display context, calendar of exhibitions and represented artists in an endeavor to provide a select group of emerging – mid-career artists a higher level of commercial agency and curatorial advocacy. The diverse practices of the artists represented by Murray White Room speak to an ‘of the hand’ aesthetic across photography, painting, sculpture and mixed media. Murray White Room exhibits new work on the primary market only. The artists represented and the exhibition program at Murray White Room is informed by the Director’s background as a former museum curator and registrar.

Natalie King (she/her)

Natalie King is an Australian curator, writer and senior researcher who is currently Curator of Yuki Kihara, Aotearoa New Zealand at the 59th Venice Art Biennale 2022 and Series Editor of Mini Monographs with Thames & Hudson. In 2017, King was Curator of Tracey Moffatt: My Horizon, Australian Pavilion, the 57th Venice Art Biennale. King is an Enterprise Professor of Visual Arts, University of Melbourne. In 2020, King was awarded the Medal of the Order of Australia (OAM) for "service to the contemporary visual arts". She is President of AICA-Australia (International Association of Art Critics, Paris) and in 2021, she was awarded a University of Melbourne Excellence Award: The Patricia Grimshaw Award for Mentor Excellence.


Nicholas Thompson (he/him)

Nicholas Thompson is the Director of Nicholas Thompson Gallery, a contemporary art gallery in Melbourne / Naarm established in 2015.


Nicki Wynnychuk (he/him)

Nicki Wynnychuk was born in Canada, grew up in New Zealand and is now based in Bellingen, NSW. Wynnychuk's practice is situated somewhere between theatre design and a picnic. Based on a recuperation and transformation of found material, the intent is to convert, translate and reassemble, forming a freshness and precariousness so to imbue a new energy and spirit. Wynnychuk has exhibited in public, commercial galleries and artist run spaces throughout Australia, New Zealand and in Europe, he is collected by Wellington Library, The Museum fur Gesaltung, Zurich, Matheson Whitley, London and has gained funding from The Ian Potter Cultural Trust, The Chartwell Trust, The Barlow Foundation as well as a Fire Station Residency, Dublin and Gertrude Contemporary Residency, Melbourne.

 Gumbaynggirr Country

Nicola Cortese (she/her)

Nicola Cortese is an architect, designer, educator and co-founder of Caliper Journal. Her interest lies in architecture’s potential to function more broadly as an interdisciplinary tool that can facilitate research and produce shared knowledge. She explores this cross-disciplinary approach by questioning the intersection of spatial design practices and other means of communication such as publishing, writing and curating.


Nikki Lam (she/her)

Nikki Lam is an artist-curator based in Narrm (Melbourne, Australia). Nikki’s work has been shown widely across Australia and internationally, including at National Gallery of Victoria, Australian Centre for Moving Image (ACMI), Art Gallery of New South Wales and Pier 2 Art Center Taiwan. She has recently been awarded an artist residency at ACME London through Australia Council for the Arts. With an expanded practice in writing, exhibition and festival making, Nikki is interested in exploring relational and community practices. She is currently co-director of Hyphenated Projects and Hyphenated Biennale and curator at The Substation

Nur Shkembi (she/her)

Nur Shkembi is a Melbourne (Naarm) based curator, writer and scholar. Nur has produced and curated over 150 events, exhibitions and community engagement projects, including You Am I, the first nationwide annual exhibition of contemporary Australian Muslim artists. She was part of the core team which established the Islamic Museum of Australia, serving as the museum’s inaugural Art Director, Exhibitions Manager and foundation Curator. Much of her interest has been in the development of community awareness in relation to the arts with a focus on the presence of Australian Muslim artists in the cultural landscape. As a museum curator Nur brought together artefacts, traditional art and contemporary art as a means for collective storytelling, subverting stereotypes and as a provision for the individual narrative.

Pairang Pavavaljung  (he/him)

Pairang Pavavaljung was born in 1935 in kalja vevean (Paiwan: Spring) in the southern mountain tribes of Taiwan. He was an Elder of the Ravar group of the Paiwan tribe, in the administrative area now known as Dashe Village, Sandimen Township, Pingtung County. As a child, Pairang Pavavaljung went by the Japanese name Yuzo Hanai (花井勇三). After World War II, under the Kuomintang government in the Republic of China, he was given the name Hsu Kun-chung (許坤仲). However, his mother never called him by these names. But his mother never knew the names, only the ancestral name of Pairang. As an inheritor of the Pavavaljung family, his full name is Pairang Pavavaljung. Pairang passed away on 11 March 2023.

Patricia Piccinini

Patricia Piccinini received a BFA from the Victorian College of the Arts, Melbourne in 1991. In 1994 she initiated The Basement Project Gallery in Melbourne, which she coordinated until 1996. She is represented by Tolarno Galleries, Melbourne, Roslyn Oxley9 Gallery, Sydney. In 2014 she was awarded the Melbourne Art Foundation Visual Arts Award. In 2016 she was awarded a Doctor of Visual and Performing Arts (Honora Causa) from the Victorian College of the Arts and appointed as Enterprise Professor at the Victorian College of the Arts, University of Melbourne. Her studio and home are on Wurundjeri country in Naarm (Melbourne), Australia.

Paul Boye (they/them)

Paul Boyé is a writer and curator living in Boorloo (Perth, WA). They have recently completed a PhD at the UWA School of Design, researching contemporary artistic and philosophical responses to emergent social technologies. In addition to sessional teaching and freelance writing, Paul is on the directorial committee of Cool Change (an artist-run organisation based in Boorloo) and is the Assistant Curator at John Curtin Gallery.

 Whadjuk Noongar boodja

Paul Fletcher (he/him)

Paul Fletcher connects seemingly disparate fields of research and ideas using sound, animation, video and objects to create engaging artwork. An appreciation of nature as the community of life within and around us informs all Paul’s work.  Paul’s live audio visual performances and installations have featured custom built interfaces such as the “video washing machine”,“disco-microwave” and “midi-vacuum cleaner”. He has created many short films, audiovisual installations and music performance works that have been exhibited locally and internationally.

“I have a fascination with nature, technology, visual and sonic artwork. My artwork has been exhibited internationally including Anima Mundi, Ars Electronica, PuntoYRaya, Zagreb Animafest, Centre for Visual Music. The connecting thread through all my artwork is the sharing of connections, observation, and awareness of nature as part of ourselves, inseparable, and interdependent.”

Paul Greenaway

Paul Greenaway Paul R. Greenaway OAM is Founder and Director of Greenaway Art Gallery, and Director of GAGPROJECTS  Adelaide, since 1991 and GAGPROJECTS Berlin since 2019..  Eight years ago, Paul bought a small space in Berlin and started the GagProjects, a nonprofit social and educational art gallery. One year ago, Paul opened Phasmid studios, providing studios for international artists, suitable for working and living.Paul is a Government Approved Valuer, qualified to can give advice to collectors of any caliber. Paul founded the South Australian Living Artists festival 17 years ago. SALA is a festival for artists to display there work. This year over 4000 artists were in attendance. Paul is devoted, passionate, motivated, and driven to provide opportunities for artist. He has dedicated himself further to the Korogo Project, a project that raises funds to buy water filters along the middle Sepik River in Papua New Guinea in efforts to prevent and reduce the infant mortality rate. Paul is currently working closely to help raise awareness and funds to lower the infant mortality rate by 90% within the next 5 years.

Peter Hill (he/him)

Dr Peter Hill is an artist, writer, and independent curator. He is an Honorary Enterprise Professor at VCA, University of Melbourne. In a career spanning fifty years he has created numerous Superfictions, including The Museum of Contemporary Ideas on New York’s Park Avenue; The Museum of Doubt (Antwerp); and his on-going fantasy The Art Fair Murders. These projects have been exhibited in The Sydney Biennale (MCA), The Museum of Modern Art (Oxford), Auckland City Gallery, ACCA, Melbourne, Artspace, Sydney, UNISA Art Museum, Adelaide, and IMA, Brisbane. His book Stargazing, Memoirs of a Young Lighthouse Keeper is published by Canongate, Edinburgh, Grove Atlantic (New York), and Penguin Random House (Sydney).

 Taungurung Country

Pilar Mata Dupont

Pilar Mata Dupont is a Latinx visual artist and filmmaker living and working between Rotterdam, Netherlands, and Boorloo (Perth), Australia. Dupont's work spans video, performance, and photography and delves into the fallibility of structures of history, gender, and memory. Using highly theatrical and cinematic methods, they re-imagine histories and classical texts, creating alternative readings that question the conditions of the construction of dominant narratives that shape Western society. Dupont's Argentinean background and upbringing in Australia, Argentina, and Brunei Darussalam – all settler states or former colonies – feed into their practice.

Rachaporn Choochuey (she/her)

Rachaporn Choochuey is a co-founder / architect of all(zone). Born in Bangkok, she received her B.Arch. from Chulalongkorn University, M.S.AAD. from Columbia University and Ph.D. from The University of Tokyo. She received the Borromini Prize, Europan 6 and was shortlisted for ArcVision 2013. Rachaporn is presently based in Bangkok, and is a faculty member of Faculty of Architecture, Chulalongkorn University.

Rebecca Coates (she/her)

Rebecca Coates is an accomplished museum director, curator, public speaker, writer and lecturer. She directed the development and opening of an iconic regional precinct and building, reinvigorating its artistic program and collection strategy, while taking its fundraising to unprecedented levels. (CEO & Artistic Director, Shepparton Art Museum 2015 - Dec 2021) Rebecca has worked extensively in Australia and overseas. She is a leading advocate for arts and culture, Indigenous engagement and diversity and inclusion. She holds a PhD in art history from the University of Melbourne, and is an Honorary Fellow at the Centre of Visual Art (COVA), University of Melbourne. She is a graduate of the Australian Institute of Company Directors, and a Member of AICA Australia. Rebecca has extensive Board experience as both a Chair and non-executive director in leading arts and cultural organisations and government boards. She is committed to contributing to and shaping our arts and cultural conversations and shared future.

Reuben Keehan (he/him)

Reuben Keehan is Curator, Contemporary Asian Art at Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and has been part of the curatorial team for the Asia Pacific Triennial of Contemporary Art (APT) since 2011. In addition to APT, his most recent exhibitions include Woods III: Inscriptions and Excavations (QAGOMA, 2024), Genevieve Chua: grrrraaanularrrrrrr (STPI, Singapore, 2023), and Lies, Magicians and Blind Faith (QAGOMA, 2023). Curatorial collaborations include The part in the story where our accumulating dust becomes a mountain (Seoul Museum of Art, 2023-24), Time of others (Museum of Contemporary Art, Tokyo; National Museum of Art, Osaka; Singapore Art Museum & QAGOMA, 2015–16), and Roppongi Crossing 2013: Out of Doubt (Mori Art Museum, Tokyo). From 2006 to 2011 he was Curator at Artspace, Sydney, and editor of its journal Column.

 Turrbal and Yugara (Jagera) Country

Richard J. Frankland (he/him)

Professor Richard J. Frankland is one of Australia’s most experienced Aboriginal singer/songwriters, authors and film makers. Born in Melbourne, but raised mostly on the coast in south-west Victoria, Richard is a proud Gunditjmara man who has worked as a Soldier, Fisherman, and Field Officer during the Royal Commission into Aboriginal Deaths in Custody. His work with the Royal Commission led to his appearance as presenter in the award winning Australian documentary WHO KILLED MALCOLM SMITH? Richard has written, directed and produced over fifty video, documentary and film projects including the award winning NO WAY TO FORGET, AFTER MABO, HARRY’S WAR and THE CONVINCING GROUND documentaries. Richard is also an acclaimed musician whose music features on the soundtracks to many of his films. In 1991 his first band DJAAMBI supported PRINCE on his Australian Tour.

Ricky Emmerton (he/him)

I respectfully acknowledge the Wulgurukaba of Gurambilbarra and Yunbenun, Bindal, Gugu Badhun and Nywaigi as the Traditional Owners of the Townsville region. I am a Kalkatungu man. The Kalkatungu are the Traditional Owners of the Mt. Isa region in north-west Queensland. There are many Kalkatungu people in Townsville and we are also part of this community. Being a creative person, I have been fortunate to have worked in various capacities with a focus on visual art and music. I have also furthered my career through tertiary academic studies in visual art receiving a Bachelor of Fine Arts Honours from the University of New South Wales. I am currently conducting post-graduate studies at James Cook University. I have exhibited my art works both in Australia and overseas, and I am now expanding my practice by providing my own written material for publication.

 Thul Garrie Waja

Rifky Effendy (he/him)

Rifky Effendy is Curator of the 55th Venice Biennale (2013) Indonesian Pavilion. In 2009 he co-founded the Jakarta Contemporary Ceramics Biennale. Along with fellow curators and artists, Rifky established the Bandung-based art space PLATFORM3 in 2009, and in 2010 formed Inkubatorasia, a Jakarta-based space dedicated to promoting emerging contemporary artists.

Robert Buckingham (he/him)

Robert Buckingham is a creative director, curator and strategist with a long association with the Australian design, fashion and retail sector as well as government and arts organisations through his work with Craft Victoria (1992-1996), the establishment and leadership of the Fashion Design Council of Australia (1984-1990), Melbourne Fashion Festival (1996-2003), MPavilion and Naomi Milgrom Foundation (2013-2017). In these roles he was responsible for the creative direction of events and exhibitions, cultural programming, publishing, communications, marketing and developing national and international associations through business events, exhibitions, design workshops and seminars.

Robert Walton (he/him)

Robert Walton is an artist and director who has been recognised with multiple awards for his work in theatre, screen, installation, writing, interactive art, and research. He currently serves as the Dean’s Research Fellow at The University of Melbourne’s Faculty of Fine Arts and Music. In this role, he leads the development of performances and artworks that explore the creative potential of both ancient and modern technologies, including artificial intelligence, virtual holograms, theatre, swarm robotics, standing stones, engineered bacterial bioluminescence, MR/XR, storytelling, building information model data, and ambient computing.


Robyn Adler

Robyn Adler is an artist, philosopher and psychoanalyst practicing between Naarm (Melbourne) and lutruwita (Tasmania). She completed her BFA (Sculpture) at Monash University in 1994 and her Phd at the Centre for Ideas, VCA, University of Melbourne in 2022. She teaches, occasionally, with the Melbourne School of Continental Philosophy.


Rory Hyde

Dr Rory Hyde is Associate Professor in Architecture, Curatorial Design and Practice at the University of Melbourne. Hyde is the author of Future Practice: Conversations from the Edge of Architecture, and co-author of Architects After Architecture: Alternative Pathways for Practice, both focused on redefining the role of the architect and developing new forms of practice for the public good. From 2013 to 2020 he was the Curator of Contemporary Architecture and Urbanism at the V&A Museum in London, where he co-curated the major exhibitions All of This Belongs to You, and The Future Starts Here.

Rose Faragher (she/her)

Rose Faragher lives on Wurundjeri Land and is an Environmental Scientist currently working on greenhouse gas emissions reduction projects. Her work is focused on developing regenerative agriculture practices on farms to increase carbon storage in soil, improve soil health and reduce emissions from farm management. Rose has experience in industrial waste management and is interested in waste reduction, sustainability and exploring alternative uses for industry by-products.

Ry David Bradley (he/him)

Ry David Bradley received his Master of Fine Art at the Victorian College of the Arts, University of Melbourne. Since then, he has exhibited widely both at galleries and museum in Australia, as well as in exhibitions and fairs in New York, London, Milan, Los Angeles, Berlin, Paris, and Palm Beach. Bradley is represented by Sullivan+Strumpf in Australia and The Hole in New York City. His work is in the collection of the National Gallery of Victoria, Herning Museum of Contemporary Art, Lyon Housemuseum, and numerous private collections around the world.

Sally Butler

Sally Butler is Associate Professor, School of Communication and Arts, Faculty of Humanities, Arts and Social Sciences at the University of Queensland. Sally Butler took up the position as lecturer in Art History at the University of Queensland in 2004 after a period as Art History lecturer at the Australian National Univeristy in Canberra. Visual arts industry experience includes working for the Queensland Art Gallery and a number of freelance curating projects, and several years as Associate Editor of Australian Art Collector magazine and one of the edtiors for the Australia and New Zealand Journal of Art. Sally regularly writes for Australian visual arts magazines, maintaining a particular interest in contemporary Australian art, Australian indigenous art and new media art.

Sam Lieblich (he/him)

Sam Lieblich is a psychoanalyst, and an artist working in Naarm. His work addresses the neurological and technological forms that are at once intimate and alien to us.


Samantha Barrow (she/her)

Samantha Barrow is a Director at Station Gallery. Samantha Barrow is a Melbourne-based arts administrator, artist and curator. Following an international career in Management Consulting, she completed a Bachelor of Fine Art at Monash University in 2016.   In 2019 she was appointed as an Independent curator for the Knox City Council Immerse program, which presents 30 artists across 30 locations for the month of September. Most recently she was a Director at Anna Schwartz Gallery, Melbourne, over seeing all aspects of the gallery’s operations including artist management, public art commissioning projects and the presentation of exhibitions, including the 2018 Melbourne Art Fair. 

Sanento Yuliman
Sangeeta Sandrasegar (she/her)

Sangeeta Sandrasegar has consistently engaged with shadow as a formal and symbolic motif in her exploration of postcolonial and hybridity theory. Best known for her delicate paper cut-outs, Sandrasegar’s practice includes watercolour, drawing, sculpture, video, embroidery and printmaking. Drawing from her own upbringing in Australia and Malaysia, and her Indian and Malaysian ancestry, Sandrasegar explores the relationship between migrant communities and homelands, giving voice to the identities of people caught on the margins of society.

In 2004 Sangeeta Sandrasegar completed a Doctorate of Philosophy at the Victorian College of the Arts and the Australian Centre at the University of Melbourne. She has exhibited throughout Australia, her work has been featured in numerous public exhibition including at the Museum of Contemporary Art, Sydney; the Australian Centre of Contemporary Art, Melbourne; and the Gallery of Modern Art, Queensland; in addition to major international exhibitions and biennials in New Zealand, Korea, India and the USA.

Sarah Cottier

Sarah Cottier Gallery was established in 1993 by directors Sarah Cottier and Ashley Barber, and has operated in various locations throughout Sydney including Lennox Street, Newtown; Elizabeth Street, Redfern; Neild Avenue, Paddington and presently at Roylston Street, Paddington. Since opening, the gallery has worked with leading local and international contemporary artists to deliver a cross-displinary and intergenerational programme, while establishing successful careers. The pre-existing building at the gallery’s current Roylston Street location was developed into a gallery in 2013, and offers two distinct exhibition spaces. 

Scott Redford (he/him)

Scott Redford is a highly significant and influential Australian contemporary artist who has been exhibiting since the early 1980s. His work is represented in all major collections in Australia and has been included in important international exhibitions. Redford's work is unique in its references to international art movements including colour-field painting, conceptual art and pop art, its engagement with local themes (such as Australian art history and vernacular architecture), and its accessibility to a broad audience. Redford has used images of iconic actors and musicians (including Keanu Reeves and Kurt Cobain) to comment on gender issues, and has worked with surfboard technicians to produce 'surf paintings' that articulate the glossy appeal of surfboards.

Sebastian Henry-Jones (he/him)

Sebastian Henry-Jones is a writer and curator led by an interest in DIY thinking. His practice is situated in the gentrification of so-called 'Australia's' cultural landscape.

 Wurundjeri Country

Sergei Sviatchenko (he/him)
Shaun Gladwell (he/him)

Shaun Gladwell Born 1972, Sydney, New South Wales. Lives and works Melbourne, Victoria. Shaun Gladwell works predominantly in video performance. His works are shot in natural and urban environments and explore the relationship between landscapes and people. Gladwell came to prominence as a member of the Sydney based Imperial Slacks collective, and with his first solo project at Artspace Visual Arts Centre in 2000. He rapidly became the most internationally prominent artist of his generation working with the fast-evolving medium of digital video, showing in major exhibitions such as Yokohama Triennale (2005), Busan Biennale (2006), Venice Biennale (2007), Sydney Biennale (2008) and in 2009, less than a decade following his first solo public gallery exhibition, representing Australia at the 53rd Venice Biennale.


Sheridan Palmer (she/her)

Dr Sheridan Palmer is an art historian, curator in the School of Culture and Communication at the University of Melbourne, and an associate of the Centre of Visual Art, VCA. She worked in conservation at the National Gallery of Australia, as a curator at the Ballarat Art Gallery, has published extensively and awarded numerous grants including a Paul Mellon Centre for Studies in British Art research grant, Sidney Myer Small Arts Grant , Manning Clark & Copyright Australia grant & Harold White Fellowship. She curated The Goddess Grins: Albert Tucker and the Female Image, Heide MoMA (2007), and The Lake Hindmarsh Project, 2010, for which she received an Arts Victoria grant. She is currently an ARC senior research associate reassessing postwar modernism and Australian artists in Britainand Europe 1946–56.


Stanton Cornish-Ward (she/her)

Stanton Cornish-Ward (b.1993) is an artist and filmmaker from Boorloo (Perth) currently based in Naarm (Melbourne). Her work explores the nuances of memory, intergenerational trauma, and the human impact of advancing technologies. She is the co-founder and director of Hiball, a female led film production firm specializing in moving image for the digital age. Her work has been selected for numerous international festivals in Aotearoa (New Zealand), Australia, Bulgaria, Canada, Denmark, France, Italy, Ireland, Germany, Hong Kong, The Netherlands, Mexico, Romania, Spain, U.K, and U.S.A.


Stephanie Berlangieri (she/her)

Stephanie Berlangieri is a curator and writer. Her research interests include digital technology, mental health, labour and embodiment in relation to neoliberalism. She is Associate Curator, Visual Arts, at Carriageworks, Sydney. Recent curatorial projects include: The National 4: Australian Art Now, Carriageworks (2023); Vivienne Binns: On and through the Surface, Museum of Contemporary Art Australia (MCA) and Monash University Museum of Art (MUMA) (2021); Doug Aitken: New Era (2021), Museum of Contemporary Art Australia (MCA); and Anywhere but here: MCA Primavera Acquisitions, Museum of Contemporary Art Australia (MCA) (2021).

Stephanie Pahnis (she/her)

Stephanie Pahnis is an architectural designer, educator and researcher practicing in Naarm/Melbourne. Her current research focus is embedded in the cultural meaning, histories and life cycles of materials embedded in our built environment as a means of an ecologically attuned architectural practice. Since co-founding Caliper Journal, the ongoing publishing, editing, exhibitions and events affiliated to the architectural publication has assisted Pahnis in broadening the application of architectural ideas across various scales and mediums.


Steven Rendall (he/him)

Steven Rendall’s work is littered with references to technology, art history, horror movies and pop music. Materials, images and meanings are scavenged and rearranged in various ways. Rendall was born in the UK in 1969. He moved to Melbourne in 2000 where he currently lives and works. Steven Rendall is a lecturer in the School of Art at RMIT University. He completed a Bachelor of Visual Art (Honours) at DeMontfort University in Leicester, undertook post-graduate studies at the Royal Academy Schools in London and completed a PhD at Monash University in 2015. Rendall has staged numerous exhibitions in Australia and the UK. His work is in various collections including The National Gallery of Victoria, The Monash University Collection, Artbank, RMIT University Art Collection, The City of Melbourne, St. Vincent’s Hospital, Melbourne and St. Helier Hospital, London.


Su Baker (she/her)

Su Baker has held solo exhibitions since 1983 in Perth, Sydney and Melbourne. Her painting has been included in significant group exhibitions including Perspecta '89 at the Art Gallery of New South Wales (1989), Dissonance: Aspects of Feminism at Artspace, Sydney (1993) and Heavenly Creatures at Heide Museum of Modern Art (2004-5). Baker was awarded the Portia Geach Prize in 1996. Her work is held in the collections of the Art Gallery of Western Australia, Artbank and several regional and tertiary collections. Sustained Sensation a monograph of her work was published in 2016. Su Baker is Pro Vice-Chancellor (Engagement) at the University of Melbourne and Professor in Art at the Victorian College of the Arts. She was made a Member of the Order of Australia (AM) in 2018 for significant service to tertiary education in the visual and creative arts.


Suzanne Archer (she/her)

Suzanne Archer was born in Surrey, UK and studied at the Sutton School of Art (1964). She arrived in Australia in 1965 and is based in the Wedderburn region of New South Wales. Archer has exhibited regularly since the late 1960s and is a recipient of the Wynne Prize (1994), the Dobell Prize (2010), the Kedumba Drawing Prize (2010) and the Eutick Memorial Still Life Award (2018). She has undertaken residencies at Greene Street Studio, New York; Power Studio at Cite Internationale, Paris and Red Gate Residency, Beijing. Career surveys have been held at the Macquarie University Art Gallery, Sydney (2016) and Campbelltown Arts Centre, Campbelltown (2019). Archer’s work is held in the collections of the National Gallery of Australia, the National Gallery of Victoria, the Art Gallery of New South Wales, Artbank as well as significant regional, tertiary and private institutions. A monograph ‘Song of the Cicada’ was published by Nicholas Thompson Gallery in 2019.

Suzanne Fraser (she/her)

Suzie Fraser is an art historian and is currently Coordinator of the Centre of Visual Art at the University of Melbourne. Suzie facilitates research projects and cross-disciplinary collaborations with a focus on NTRO processes and outcomes; she leads projects at the intersection of art and science, in particular focusing on creative practices which address themes of climate, environment and community resilience. She co-developed the Art + Ecology Residency and the Creativity and Community Resilience Studio, both of which are multi-year projects based across the University of Melbourne's Southbank and Dookie campuses. She recently co-edited Sight Unseen: Visualising the Unseeable through Art and Science (2023: Perimeter Editions) with Edward Colless and Ryan Jefferies.


Terry Smith (he/him)

Terry Smith is Andrew W. Mellon Professor of Contemporary Art History and Theory, Department of the History of Art and Architecture, University of Pittsburgh, Professor in the Division of Philosophy, Art, and Critical Thought, European Graduate School, and Lecturer at Large, Curatorial Studies Program, School of Visual Arts, New York. In 2010, he became Australia Council Visual Arts Laureate and the received the Mather Award for art criticism from the College Art Association (USA), which, in 2022, named him its Distinguished Teacher of Art History. Books include What is Contemporary Art? (2009), Contemporary Art: World Currents (2011), Thinking Contemporary Curating (2012), Talking Contemporary Curating (2015), The Contemporary Composition (2016), One and Five Ideas: On Conceptual Art and Conceptualism (2107), Art to come: Histories of Contemporary Art (2019), Curating the Complex & The Open Strike (2021) and Iconomy: Towards a Political Economy of Images (2022). See

Tessa Laird (she/her)

Tessa Laird is an artist, writer and Senior Lecturer in Critical and Theoretical Studies, VCA Art, Faculty of Fine Arts and Music, University of Melbourne. She edited Art + Australia Online from 2016-2019 and edited a special issue of the journal with the theme "Multinaturalism" in 2021, and curated Octopus 22 at Gertrude Contemporary in 2022: Baroquetopus: Humanimal entanglements and tentacular spectaculars. Tessa's book Cinemal: The Becoming-Animal of Experimental Film is forthcoming with the University of Minnesota Press as part of their Art After Nature series.

The Huxleys

Will and Garrett Huxley are Melbourne-based collaborative performance and visual artists. Who work together as The Huxleys.The Huxleys are a dynamic duo of cataclysmic proportion who present camp commentary and spectacle across the visual art, performance and entertainment sectors. Their photography and performance art traverses the classifications of costume, film and recording. A visual assault of sparkle, surrealism and the absurd, The Huxleys saturate their practice and projects with a glamorous, androgynous freedom which sets out to bring some escapism and magic to everyday life. 

Tim Gruchy (he/him)

Tim Gruchy’s career spans exploration and composition of immersive interactive multimedia through installation, music and performance, redefining its’ role and challenging delineations between cultural sectors. He has exhibited multimedia works, photography, video, music and performance since the early 1980s on 5 continents.

Works feature in international and Australasian institutions, festivals and collections including GUAM 2023, IlluminateADL 2021, Future Intelligence Shanghai 2019, WOMAD (2018/7), Wenzhou Bienalle (2016), Dak’ Art Dakar (2016), SCOUT Auckland (2012), BoS (2012), Shanghai Expo (2010), Asian Art BIennial Taiwan (2009)

His research is in interactivity, HCI, performative interactives, having established labs at QUT and SAFA in Shanghai.

Representation: Mais Wright Gallery Sydney.

Tim Hall (he/him)

Tim Hall is a Journalist, Editor and Artist whose work is focused on scientific concepts, research and communication of expansive topics. He has produced news content for more than a decade across a variety of media, including print, online and TV/radio broadcast. His artistic work is primarily concerned with alternative expressions, bold contrasts and technological aesthetics.

 Turrbal Land

Tina Stefanou (she/her)

Tina Stefanou is a Greek-Australian visual artist, performer, and researcher who collaborates with communities, animals, and sites through experimental performance and multispecies cine-ethnography. With a background as a vocalist, she explores the performative power of vocality across species, cultures, perceptual boundaries, and class relations in a practice she calls "voice in the expanded field."

She has received the Schenberg Fellowship (2020), Marten Bequest Scholarship (2021), Local Nillumbik Prize for Contemporary Art, and a CultureLAB program with ACCA and Arts House (2023-24). Her work has been exhibited and performed at the National Gallery of Victoria, Gertrude Contemporary, the Art Gallery of Western Australia, and she is a featured artist in the 2024 Adelaide Biennale of Australian Art at the Art Gallery of South Australia. She is currently a PhD candidate at the Faculty of Fine Arts and Music, VCA, University of Melbourne.

Ursula De Leeuw

Ursula de Leeuw is a writer and researcher in Tarndanya. 


Ursula Sullivan and Joanna Strumpf, Sullivan+Strumpf (she/her)

Established in 2005, Sullivan+Strumpf presents the work of emerging and established artists working at the forefront of contemporary art. The gallery is devoted to the presentation and promotion of its represented artists and is committed to the development of their practice. Sullivan+Strumpf represents 44 established and emerging artists and artist estates from across the Asia-Pacific and East Asia. The gallery presents an ambitious program of diverse exhibitions, publications and talks, and an international art fair schedule spanning Australia, China, Hong Kong, Singapore, and Taiwan. Sullivan+Strumpf has proudly helped to foster the careers of some of the most significant contemporary artists in the region and remains dedicated to supporting artists to realise their visions and forge long-term artistic careers.


Victoria Perin (she/her)

Dr. Victoria Perin is an art critic and art historian living in Naarm Melbourne. Her research examines the art histories of Melbourne, with a focus on postwar art and printmaking.

Yuki Kihara (she/her)

Yuki Kihara is an interdisciplinary artist of Japanese and Sāmoan descent. Through a research-based approach, her work seeks to challenge dominant and singular historical narratives through a wide range of mediums, including performance, sculpture, video, photography and curatorial practice. Kihara lives and works in Sāmoa, where she has been based over the past 11 years. 

Among many exhibitions Kihara has presented over the last two decades includes a solo, acquisitive exhibition entitled ‘Living Photographs’ (2008) presented at the Metropolitan Museum of Art, Manahatta New York held at the Lila Acheson Wallace Wing in the Department of Modern and Contemporary Art featuring highlights of her interdisciplinary art practice. In addition, Kihara’s work are in the collections, including the Los Angeles County Museum of Art; British Museum; the National Museum of World Cultures, The Netherlands; the National Museum of Scotland; Queensland Art Gallery | Gallery of Modern Art; Kaohsiung Museum of Fine Arts, Taiwan and Te Papa Tongarewa Museum of New Zealand.

Zamara Zamara (They/them/her)

Zamara is a sculpturally and performatively grounded installation artist, a writer, facilitator, and arts worker. Their practice engages with the formation of, and resistance in, identity. Looking to how non-traditional modes of communication and composition can be located to highlight the un-liveability of social structures and to preserve space for disruption within the mundane. Recently their focus has been an evolving series of projects toying with how re-appropriation can create space for difference and for subversive forms of use/strength, pursuing the fabrication of new queered iconography and propaganda, through which histories may be located and alternate futures may be performed.


Zhila Gholami (she/her)

Zhila Gholami earned her PhD in Literary Studies from Griffith University. Her doctoral thesis, “Roots and Routes: Kurdish Literature as World Literature,” explored the negotiations of traumatic memory in English-language Kurdish writing as a way of understanding how the Kurdish people struggle for recognition and self-determination in and through diasporic cultural production. She is currently an Adjunct Fellow with the Griffith Centre for Social and Cultural Research at Griffith University, working on the initial phase of a longer-term project on contemporary Kurdish art in cosmopolitan art spaces. Her works have been published in ContinuumBritish Journal of Middle Eastern StudiesJournal of Middle East Women's Studies, and a/b: Auto/Biography Studies.

Zico Albaiquni (he/him)

Zico Albaiquni’s (b. 1987, Indonesia) vibrant figurative and landscape paintings play with aspects of Indonesian art history and notions of painterly representation. In particular, he deploys references to various Indonesian traditions such as Mooi Indie (‘beautiful Indies’) painting—a genre of painting capturing romanticised scenes of the Indonesian landscape and its people under Dutch colonial rule. Albaiquni’s unusual and intriguing colour palette developed from the tonal formulas of this early tradition. He also references the links between art, advertising, and the commodification of landscape to investigate contemporary environmental issues in Indonesia. His large-scale works challenge conventional perspectives and formats, often playing with trompe l’oeil illusions and disrupting the rectangular borders of the canvas. In recent paintings, Albaiquni has begun to question the context and operation of painting by incorporating his own studio into his composition, or installing and circulating paintings in public spaces.