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02 February – 31 March 2019

Simon Terrill
Crowd Theory

Simon Terrill, Crowd Theory: Thamesmead, 2017. Type C print, detail. Courtesy the artist and Sutton Gallery, Melbourne.

Simon Terrill, Crowd Theory: Balfron Tower, 2010. Type C print, detail. Courtesy the artist and Sutton Gallery, Melbourne.

Simon Terrill, Crowd Theory: Adelaide, Victoria Square / Tarntanyangga, 2013. Type C print, detail. Courtesy the artist and Sutton Gallery, Melbourne.

Simon Terrill, Crowd Theory: Port of Melbourne, 2008. Type C print, detail. Courtesy the artist and Sutton Gallery, Melbourne.

Simon Terrill, Crowd Theory: Footscray, 2004. Type C print, detail. Courtesy the artist and Sutton Gallery, Melbourne.

Simon Terrill, Crowd Theory: Thamesmead, 2017. Type C print, detail. Courtesy the artist and Sutton Gallery, Melbourne.

Simon Terrill, Crowd Theory: Balfron Tower, 2010. Type C print, detail. Courtesy the artist and Sutton Gallery, Melbourne.

Simon Terrill, Crowd Theory: Adelaide, Victoria Square / Tarntanyangga, 2013. Type C print, detail. Courtesy the artist and Sutton Gallery, Melbourne.

Simon Terrill, Crowd Theory: Port of Melbourne, 2008. Type C print, detail. Courtesy the artist and Sutton Gallery, Melbourne.

Simon Terrill, Crowd Theory: Footscray, 2004. Type C print, detail. Courtesy the artist and Sutton Gallery, Melbourne.

Simon Terrill, Crowd Theory: Thamesmead, 2017. Type C print, detail. Courtesy the artist and Sutton Gallery, Melbourne.

Simon Terrill, Crowd Theory: Balfron Tower, 2010. Type C print, detail. Courtesy the artist and Sutton Gallery, Melbourne.

Simon Terrill, Crowd Theory: Adelaide, Victoria Square / Tarntanyangga, 2013. Type C print, detail. Courtesy the artist and Sutton Gallery, Melbourne.

Simon Terrill, Crowd Theory: Port of Melbourne, 2008. Type C print, detail. Courtesy the artist and Sutton Gallery, Melbourne.

Simon Terrill, Crowd Theory: Footscray, 2004. Type C print, detail. Courtesy the artist and Sutton Gallery, Melbourne.

Simon Terrill, Crowd Theory: Thamesmead, 2017. Type C print, detail. Courtesy the artist and Sutton Gallery, Melbourne.

Simon Terrill, Crowd Theory: Balfron Tower, 2010. Type C print, detail. Courtesy the artist and Sutton Gallery, Melbourne.

Simon Terrill, Crowd Theory: Adelaide, Victoria Square / Tarntanyangga, 2013. Type C print, detail. Courtesy the artist and Sutton Gallery, Melbourne.

Simon Terrill, Crowd Theory: Port of Melbourne, 2008. Type C print, detail. Courtesy the artist and Sutton Gallery, Melbourne.

Simon Terrill, Crowd Theory: Footscray, 2004. Type C print, detail. Courtesy the artist and Sutton Gallery, Melbourne.

CCP Workshop | Sarah Pannell: on Documenting the Everyday

Crowd Theory | Crowd Party

Polito

DJ General Feelings AKA Lucreccia Quintanilla

Polito

DJ General Feelings AKA Lucreccia Quintanilla

Polito

DJ General Feelings AKA Lucreccia Quintanilla

Polito

DJ General Feelings AKA Lucreccia Quintanilla

Polito

DJ General Feelings AKA Lucreccia Quintanilla

Polito

DJ General Feelings AKA Lucreccia Quintanilla

Polito

DJ General Feelings AKA Lucreccia Quintanilla

Polito

DJ General Feelings AKA Lucreccia Quintanilla

01 April – 02 June 2019

Nina Ross
That takes balls

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

Nina Ross, That takes balls, 2019. Single channel video projection.

06 April – 02 June 2019

Amalia Lindo
Computer shoulders

Amalia Lindo, Computer shoulders, 2019. Video still.

Amalia Lindo, Computer shoulders, 2019. Video still.

Amalia Lindo, Computer shoulders, 2019. Video still.

Amalia Lindo, Computer shoulders, 2019. Video still.

Amalia Lindo, Computer shoulders, 2019. Video still.

Amalia Lindo, Computer shoulders, 2019. Video still.

Amalia Lindo, Computer shoulders, 2019. Video still.

Amalia Lindo, Computer shoulders, 2019. Video still.

Amalia Lindo, Computer shoulders, 2019. Video still.

Amalia Lindo, Computer shoulders, 2019. Video still.

Amalia Lindo, Computer shoulders, 2019. Video still.

Amalia Lindo, Computer shoulders, 2019. Video still.

Amalia Lindo, Computer shoulders, 2019. Video still.

Amalia Lindo, Computer shoulders, 2019. Video still.

Amalia Lindo, Computer shoulders, 2019. Video still.

Amalia Lindo, Computer shoulders, 2019. Video still.

06 April – 02 June 2019

Moorina Bonini and Pierra Van Sparkes
Taking it Blak

Moorina Bonini, Denial, 2018. Video still.

Pierra Van Sparkes, Look Out Below! [Wurundjeri Country], 2018. Photographic print.

Moorina Bonini, The Work of a Primitive Indigenous Australian, 2018. Video still.

Pierra Van Sparkes, Low Key, High Places, 2018. Video still.

Moorina Bonini, Denial, 2018. Video still.

Pierra Van Sparkes, Look Out Below! [Wurundjeri Country], 2018. Photographic print.

Moorina Bonini, The Work of a Primitive Indigenous Australian, 2018. Video still.

Pierra Van Sparkes, Low Key, High Places, 2018. Video still.

Moorina Bonini, Denial, 2018. Video still.

Pierra Van Sparkes, Look Out Below! [Wurundjeri Country], 2018. Photographic print.

Moorina Bonini, The Work of a Primitive Indigenous Australian, 2018. Video still.

Pierra Van Sparkes, Low Key, High Places, 2018. Video still.

Moorina Bonini, Denial, 2018. Video still.

Pierra Van Sparkes, Look Out Below! [Wurundjeri Country], 2018. Photographic print.

Moorina Bonini, The Work of a Primitive Indigenous Australian, 2018. Video still.

Pierra Van Sparkes, Low Key, High Places, 2018. Video still.

06 April – 02 June 2019

Nina Gilbert, Guy Grabowsky, Ry Haskings, Eliza Hutchison
Image Reader

Eliza Hutchison, from the series The Difference between the Eternal and Infinite, 2018. Courtesy the artist and Murray White Room, Melbourne.

Guy Grabowsky, The Image, 2018. Framed C-type photograph 180 x 250 cm.

Ry Haskings, Knitlock Hoarders Sentinel, 2017. Screen print, acrylic on canvas, gouache and acetate on paper, digital print, video, steel, dimensions variable. Installation view, Gertrude Glasshouse, Melbourne. Image: Matthew Stanton.

Nina Gilbert, Querelle (2), 2018. C-type photographic print, 880 x 550mm.

Eliza Hutchison, from the series The Difference between the Eternal and Infinite, 2018. Courtesy the artist and Murray White Room, Melbourne.

Guy Grabowsky, The Image, 2018. Framed C-type photograph 180 x 250 cm.

Ry Haskings, Knitlock Hoarders Sentinel, 2017. Screen print, acrylic on canvas, gouache and acetate on paper, digital print, video, steel, dimensions variable. Installation view, Gertrude Glasshouse, Melbourne. Image: Matthew Stanton.

Nina Gilbert, Querelle (2), 2018. C-type photographic print, 880 x 550mm.

Eliza Hutchison, from the series The Difference between the Eternal and Infinite, 2018. Courtesy the artist and Murray White Room, Melbourne.

Guy Grabowsky, The Image, 2018. Framed C-type photograph 180 x 250 cm.

Ry Haskings, Knitlock Hoarders Sentinel, 2017. Screen print, acrylic on canvas, gouache and acetate on paper, digital print, video, steel, dimensions variable. Installation view, Gertrude Glasshouse, Melbourne. Image: Matthew Stanton.

Nina Gilbert, Querelle (2), 2018. C-type photographic print, 880 x 550mm.

Eliza Hutchison, from the series The Difference between the Eternal and Infinite, 2018. Courtesy the artist and Murray White Room, Melbourne.

Guy Grabowsky, The Image, 2018. Framed C-type photograph 180 x 250 cm.

Ry Haskings, Knitlock Hoarders Sentinel, 2017. Screen print, acrylic on canvas, gouache and acetate on paper, digital print, video, steel, dimensions variable. Installation view, Gertrude Glasshouse, Melbourne. Image: Matthew Stanton.

Nina Gilbert, Querelle (2), 2018. C-type photographic print, 880 x 550mm.

06 April – 02 June 2019

Zoë Croggon
Olga

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

Zoë Croggon, Olga, 2019. Process image.

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