Gorman Arts Centre

The music of multi-instrumental sound artist ASUNA has reshaped multiple facets of the experimental music scene of Japan, from ambient and drone to improvisation. His landmark work 100 Keyboards is a site-specific listening experience in which one hundred cheap plastic keyboards play the same key, generating an undulating sonic harmony both mesmerising and mysterious. The crowd of sounds comes to take on its own kind of mass, while subtle acoustic variations emerge, hover and retreat.

Since the late 90s, ASUNA has created experimental sound works that vault genre divides, crossing from hip-hop to hardcore punk to freak folk noise and lo-fi pop. His performances might feature sound sources as diverse as popping candy, wind-up toys and kazoos, but the playfulness of his compositions belie the profound sensibilities of a true avant-garde artist.

In collaboration with hellosQuare, this event is presented with the support of the Melbourne International Arts Festival, The SUBSTATION and Liveworks 2018 / Performance Space.

Special Performance on Sunday 21 October 2018, 4pm
Tickets $10 at the door
Please note this is an unreserved standing-room only event.
For further details check out the Facebook event page.

Gorman Arts Centre
55 Ainslie Avenue Braddon 2612



Choose Your Own Adventure

Don your safari suit and blast the Indiana Jones theme because this year’s CCAS members’ show wants you to embrace your inner-Irwin and choose your own adventure! We’re encouraging you to go off road, off the grid, off chops, off to bed or off on the path less traveled (but please come back with your artwork and submit it for the show).

Entries due: 5pm Friday 22 June 2018

Exhibition opens: 6pm Friday 29 June 2018

Entry form is HERE (PDF, 244KB)

Not a member? You can SIGN UP ONLINE


Throughout her exhibition Jess Higgins invokes the hybrid concept of the ‘Black Elephant’ – a cross between a ‘black swan’ (an improbable, unexpected event with devastating ramifications) and ‘the elephant in the room’ (a problem that is obvious to everyone and yet no one is interested in acknowledging it). The three works are a timely response to the ‘black elephant’ and designed to create discomfort in her audiences. Imagine oneself inside the belly of the beast, a black room that is itself the elephant and the works representative of waves of catastrophic events.

Jess Higgins The Known Knowns #1 (detail) 2018


Kate StevensDrones Over Aleppo reflects her interest in how we process images of war from the domesticity of our homes today. As the title suggests, these paintings are ‘stills’ from drone footage surveying the systematic devastation created by airstrikes in which air forces including Syria, Australia, The United States and later Russia laid the city to waste. There are parallels with images of Hiroshima after the atomic bomb, and German cities such as Berlin and Dresden after World War Two. What Stevens is presenting is not new, however, her work is a chilling reminder that the annihilation of previous conflicts is scarcely a thing of the past.

Image: Kate Stevens East Aleppo 2:32 2018, oil on canvas, 100cm x 125cm


Janenne Eaton’s FENCES B/ORDERS WALLS – Keep Clear, presented at Canberra Contemporary Art Space, combines the original FENCES B/ORDERS WALLS (2016) installation, with a new section positioned at the heart of it. Similar to a road sign billboard, the text ‘KEEP CLEAR’ appears, a ‘split skull’ image takes up position between the two words. With its mirror-like quality, the sign presents the illusion of a potential rupture, a ‘space’, capturing the image of the audience as it merges with the work’s central narrative.

…every wall inspires its own subversion, either by infiltrators, who dare to go over, under or around them, or by artists who transform them.

Marcello di Cinto, Walls: Travels Along The Barricades, Soft Skull Press, 2013

Image: Janenne Eaton KEEP CLEAR, 2018, Acrylic on Hi Impact Styrene, wood, metal, 122cm x 530cm


Held nationally each year, NAIDOC Week 2018 will be held from Sunday 8 July through to Sunday 15 July. The theme for NAIDOC Week 2018 is 'Because of Her, We Can!', to honour Aboriginal and Torres Strait Islander women who have played and continue to play significant roles in their families and communities lives at community, local, state and national levels. Further information: http://www.naidoc.org.au/get-involved/2018-theme

Amala Groom is a Wiradjuri conceptual artist whose practice, as the performance of her cultural sovereignty, is informed and driven by First Nations epistemologies, ontologies and methodologies. Her work, a form of passionate activism, presents acute and incisive commentary on contemporary socio-political issues. Articulated across diverse media, Groom’s work often subverts and unsettles western iconographies in order to enunciate Aboriginal stories, experiences and histories, and to interrogate and undermine the legacy of colonialism. Not wishing to create reactionary works which tacitly allow contemporary political operatives serving the colonial ideology to set her artistic agenda, Groom seeks to create works which proactively and creatively unpack and undermine the Colonial Project, the on-going philosophy of colonialism that has imperialistically subjugated Aboriginal and Torres Strait Islander Peoples since 1770.

Does she know the Revolution is coming? is a multi-channel digital video work where Amala Groom performs an extended conversation between herself and the wife of a former Prime Minister in a stately Manhattan home.

Based upon an actual conversation, the installation seeks to expand upon the language of ownership and authority surrounding western perceptions of Aboriginal art and culture, unveiling the indistinct nuances of interpretation and the potentially shocking hidden truths that language can possess. Reimagining the conversation and the behaviours of both parties, Groom unpacks what was said, what was imagined to be said, and what it could have really meant.

As a bookend to the conversation, the exhibition features the painting, Awelye, 1990 – by the very subject of the conversation, Anmatyerre artist, Emily Kame Kngwarreye.

Image: AMALA GROOM, Does she know the Revolution is coming? 2017, production still, image credit: Hamish Ta-mé

Production credits

Commissioned by Casula Powerhouse Arts Centre

Filming supported by CuriousWorks

Emily Kame Kngwarreye artwork loan courtesy of Simon Chan – Art Atrium

Curated by Adam Porter

Videographer: Adam McPhilbin

Editor: Elias Nohra

Hair and Make up: Shannon O'Reilly

Artist Assistant: Kristine Townsend

Production stills: Hamish Ta-mé


Held nationally each year, NAIDOC Week 2018 will be held from Sunday 8 July through to Sunday 15 July. The theme for NAIDOC Week 2018 is 'Because of Her, We Can!', to honour Aboriginal and Torres Strait Islander women who have played and continue to play significant roles in their families and communities lives at community, local, state and national levels. Further information: http://www.naidoc.org.au/get-involved/2018-theme

Artist Brenda L Croft, who has Gurindji/Malgnin/Mudburra; Anglo-Australian/Chinese/German/Irish heritage, has drawn upon this year’s theme to honour her mother Dorothy Jean Croft (1938 – 2010) on the 80th anniversary of her birth. Dorothy was a non-Indigenous woman, yet she played a significant role the artist’s family’s life - supporting the artist’s father in his search for, and reunification with, his mother after decades of separation; advocating for social equity at a local level; while also ensuring her children were proud of their Indigenous heritage.

The artist wishes to pay her sincere respects and acknowledgements to Traditional Custodians – past, present and future - on whose lands she is privileged to live and work: the Ngambri, Ngunawal and Ngunnawal Peoples, and also those with close clan connections, the Ngarigo and Wiradjuri Peoples. Marntaj.

Family has been a consistent theme in Brenda L Croft’s work over more than 30 years. Series of work including White Wedding/Love Letters (1987), Family Album (1991), In My Father’s House and In my mother’s garden (1998) have inscribed a loving but uncompromising account of her heritage using photographs, slides, personal and public archives audio and text that referenced the frequently traumatic experiences of many Aboriginal people, which also impacted non-Indigenous family members. Croft is a member of the Gurindji/Malngin/Mudburra peoples from the Northern Territory of Australia, and also has Anglo-Australian/German/Irish lineage. heart-in-hand is an exhibition imbued with an extraordinary emotional investment as it marks the 80th anniversary of her late mother’s birth, articulating her story through the objects she made, collected, and the cultural activities through which she created an enduring living portrait of her family. Part nostalgia, part Wunderkammer, heart-in-hand is a tribute to Dorothy Jean Croft (née Stone) (1938-2010). Describing her mother as “passionate archivist, … talented craft-maker, gifted amateur photographer and dedicated writer …”, Croft’s museum of motherhood records and constructs a complex characterisation of a woman who was, “witty, whip-smart and generous, she was also mercurial, known within our family for being ‘difficult’.”

Wunderkammer or cabinets of curiosities were encyclopaedic collections of objects belonging to the arts and sciences including historical/religious relics, objects from natural history, geology, ethnography, archaeology, as yet uncategorised. In Victorian times when the means of travel were limited, this essentially museological mode of presentation enabled audiences to have vicarious experience of worlds they could not otherwise know. The concept of Wunderkammer has been a useful tool for artists wishing to produce complex multifaceted installations that generate an atmospheric, yet concise, representation of their subject matter. Born in the final years of the Great Depression, Dorothy Croft grew up during a time in Australian history when every object pertaining to the family - particularly for families living on or below the breadline - carried great significance: while life was fleeting its broadly defined furnishings had at least an appearance of permanency. In a pre-consumer society of non-disposable ‘stuff’, it was women, housewives and mothers, who kept and maintained the family jewels, however modest.

Life the 1950s and 60s came to be viewed through a filter of Kodachrome Colour. An archivist extraordinaire, Dorothy Croft documented her life and times in the rich saturated hues of transparencies that would come to define an era. Her photographs detailing courtship with fiancé Joe Croft and later, family events evoke this period with meticulous accuracy. It was not only the slides, however, that survived to keep the memories alive. Collections of letters and telegrams, pattern books, clothes, records, baby teeth and locks of hair, crocheted crosses and coat hanger covers complete a comprehensive portrait of family life. Her photographs and a vast collection of similarly ‘melancholy objects’ live on long after her death, having gained intensity with the passing of time. heart-in-hand is not simply a portrait of Dorothy and her family but a social historical snapshot of the Canberra region that reflects the ‘new Australian’ during a period of optimism and openness. As the unforgiving days of economic depression and war began to fade into memory, Dorothy Croft and many other women of the time were the catalysts of unparalleled social change that continues to impact on our lives today. While many items in Croft’s cabinet of curiosities seem idiosyncratic, Dorothy Croft represents many mid-century Australian women whose lives bridged old and new worlds. Audiences might initially be tourists in the Crofts' reality but ultimately heart-in-hand brings them closer a common legacy passed down through our mothers and grandmothers.

Image: Brenda L Croft Dot 21 and Joe 33 Cooma 1959 (2018)


Please note: the location of this exhibition is ANU School of Art and Design Gallery, cnr Liversidge St and Ellery Cres, Acton

Christopher Ulutupu says, “Postcolonialism is not a subject I have chosen to explore, rather, it is a reality that I have been born into. As a Samoan New Zealander I find myself automatically designated the position of ‘other’, and my image perpetually projected through the lens of the dominant culture.” Using his formidable skills as a video artist and set designer Ulutupu’s work attempts to negotiate space between cultures that avoids the exotic stereotypes attributed to the descendants of migrants from across Oceania. Tulisi or tourist, is the story of a visitor to the country he was born and raised in. Ulutupu’s perceptive, poignant and amusing digital video works challenge the romantic misconceptions that have developed around Pacific cultures, ironically, as a way of integrating them into New Zealand’s cultural landscape.

Reception 6pm Thursday 24 May 2018

Exhibition Friday 25 May - Friday 15 June 2018

Location ANU School of Art and Design Gallery

A CCAS/ANU School of Art and Design Gallery collaboration

Image: Christopher Ulutupu Into the Arms of My Colonizer (2016) 16 min 22 sec video still. Courtesy of the artist.


Obsessive Compulsion curated by David Broker, featuring Jodie Cunningham, Michele England, U.K. Frederick, Ann McMahon, Suzanne Moss

Impulsion is a driving force; the impetus, the motive or influence behind an action or process. Obsessive Impulsion is an exhibition that focuses on desire as it is revealed through the methodologies of five diverse artists. In both concept and technique, each practice reflects an obsessive flamboyance that drives the artists to produce work with an appearance of excess and yet, such are the skills at large, there is no sense of overreach. Jodie Cunningham confesses to being a “chromophile” with an obsession for colour, circles, pattern and “the delights of Perspex”. U.K. Frederick delights in the tensions created between flannel shirts that might have been worn by Kurt Cobain and the abstracted light passing through the fabric in her evocative series of photograms. In the dextrous hands of Ann McMahon, recycled bread bags index domestic ritual through complex colour field weaves that mirror the grid of a thirty-one day calendar. Alarmed at inexorable environmental degradation, Michele England blends activism with domesticity in eccentric works where kitsch household objects carry the “great moral challenge” that faces the planet. Suzanne Moss’s commanding paintings examine colour through its absence and presence. Exploring the ways that colours interact she experiments with a saturated palette of colours that reverberate throughout the gallery – as if in conversation with works by other artists. Obsessive Impulsion is an exhibition in which each of the artists presents work based on personal obsessions and we, the audience, are able to follow the lengthy, painstaking processes through which they come to realise their ideas.

Image: UK Frederick CMYKurt #4, 61 x 50.8 cm, C-Type print (photogram of Seattle-sourced flannel shirt)