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Working on asbestos, they used to give us a mask, which wasn't worth a cracker. We had to fight to get those too and it took years. And if you were on meat meal it stank to high heaven. It was sort of a grain, I don't know if it had meat mixed in with it.

Just to reiterate, I usually-almost-always find a place to begin that is in the middle. And, hopefully also dumb. This is a mode that I can’t determine an origin for. It is both a default and a desire; it is also useful.

Along with other junk and ephemera—shattered pieces of spacecraft, bags of urine and faeces, a photograph of astronaut Charlie Duke’s family—the cameras were used, emptied of their film and discarded.

The freeing up of space created by the crane that worked for two hours to remove the fatberg from the Eleebana sewage station could be thought of from two angles.

With slow glass, they can look out their window onto the past— affording the owner a sense of control, of a knowing what will come, and what has already gone.

In the window cavities
                     Remember when we went to Dover Street Market
                     I will have bars and semi opaque plastic
                  

leaking plop petals in the clear vase canoeing through an icy lake a city on fire puffs post internet green juice

Is it that – in the sense of the first wave of institutional critique which drew from Enlightenment ideals of a critical public sphere, of art in a public sphere – we are needing a return to a publicness of critique?

Despite his silence, or because of it, Lee’s presence is irresistible to the figures around him. He is the object of erotic fixation for Atun, who shares the mattress with him, holds him up in the toilet and carefully washes his body; the ground-floor restaurant’s somnambulant waitress with her heavy weather shuffle; and the restaurant’s jittery, desperate owner (Pearlly Chua).

What appears in these photographs is not only the edifice of a financial institution, but also photography’s inability to capture and clearly represent objects in movement.

It gives room to the fact that the unique idea – the ego – takes precedence over the communal.

From making things to gathering stuff, from authorship of a piece to dispossession of work, from consuming the new to producing garbage

Choreography is porous and mutable, but resides so intrinsically in how we think socially.

Colourbond Classic Cream is the number one fence colour in suburban Perth. It also takes out the award for the colour most frequently used on guttering, verandahs, and window detailing. It’s the ‘colour way’ that binds the West Australian suburban landscape together into one drab aesthetic whole.

West Space

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Level 1,
225 Bourke Street
Melbourne VIC 3000

PO Box 24091
Melbourne VIC 3001

+613 9662 3297
info@westspace.org.au

West Space is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

West Space is supported by the Victorian Government through Creative Victoria.

West Space gratefully acknowledges the support of the City of Melbourne through its Arts and Culture Triennial Program.

West Space is a member of CAOs (Contemporary Art Organisations Australia network)