2015

Technics & Touch: Body-Matter-Machine

RMIT Design Hub Gallery

10 December 2015 - 29 January 2016

Technics & Touch: Body-Matter-Machine brought together practitioners Charles Anderson and Jondi Keane to test the limits of human and robot proficiencies. Through a series of experimental scenarios, the project aimed to explore methods of producing feedback systems through perception and action cycles. Working alongside a robot, Anderson & Keane constructed a laboratory space for programmers, performers and the public to interact; to make and to discuss approaches to embodied, expanded and autonomous intelligent systems.

The exhibition consisted of two parallel events: a laboratory space in Project Room 1, where the artists were 'in-residence', producing drawings in conjunction with the robot; and a procedural drawing exhibition in Project Room 2, where the outcomes of this human/non-human team were exhibited alongside the work of practitioners who have been exploring rule-based drawing for some time.

Engaging humans and robots in friendly competition, this exhibition found ways to pose questions to one another and expose what both can do well and what both can do better. One might imagine that humans excel at process adjustment, such as variation of touch relative to action already in-process and variation to another agent or material qualities. One might imagine a robot to have better precision and consistency in terms of the execution of lines in 2D and 3D space and the accurate repetition of those lines.

The tasks set for this project revealed how the human/robot interface might be managed to expand the capabilities of both systems and propose new outcomes that humans or robots cannot accomplish on their own.

The artists worked with the robot in Project Room 1 every Tuesday and Thursday, 1 - 4pm for the duration of the exhibition.

Project Room 1

Practitioners/performers: Charles Anderson and Jondi Keane

Project Room 2

Works by: Charles Anderson, Jane Burry, Kristof Crolla, Gwyllim Jahn, Jondi Keane, Casey Reas, Tim Schork, Roland Snooks

Curators: Charles Anderson, Fleur Watson, Kate Rhodes

Creative Production: Nella Themelios

Exhibition Technician: Erik North

Exhibition Assistants: Kate Riggs, Audrey Thomas-Hayes

Technical Assistants: Tim McLeod, Robert Jordan, Gavin Bell, Marcin Wojcik

Graphic Design: Sean Hogan, Trampoline

RMIT Architectural Robotics Lab Director: Roland Snooks
Programming and Development: Jules Rutten, Cam Newnham, Chris Ferris

Geniale Dilletanten: Subculture in Germany in the 1980s

RMIT Gallery

13 November 2015 - 25 February 2016

Geniale Dilletanten (Brilliant Dilletantes), the deliberately misspelled title of the concert held in Berlin’s Tempodrom in 1981, has become a synonym for a brief era of artistic upheaval in Germany.

The exhibition Geniale Dilletanten (Brilliant Dilletantes) presents the most comprehensive survey of 1980s German subculture to date, incorporating an interview film produced especially for the exhibition, a rich array of video and photographic material, audio samples, magazines, posters and other artefacts documenting the scene and providing insight into simultaneous developments in art, film, fashion and design.

The intense cultural activity of this period developed particularly in and around art schools and was marked by cross-genre experimentation and the use of new electronic equipment by performance artists and music groups.

The emergence of new record labels, magazines, galleries and clubs, as well as the plethora of independently produced records, tapes and concerts, illustrate the growth of self-organisation and the do-it-yourself spirit of the period.

By adopting German rather than English as the language for song lyrics and band names, the protagonists of Germany’s alternative artistic scene set themselves apart from the mainstream, giving credence to the movement’s claim to be representing a radical new departure.

To illustrate the extraordinary innovative spectrum of this subculture this international touring exhibition presents the work of seven bands: Einstürzende Neubauten; Die Tödliche Doris; Freiwillige Selbstkontrolle (F.S.K); Mode & Verzweiflung; Palais Schaumburg; Ornament und Verbrechen; and Deutsch Amerikanische Freundschaft (D.A.F.), in addition to various artists, filmmakers and designers from West and East Germany.

RMIT Gallery presents a flavour of what was happening in Melbourne from 1979 – 1989 through an exploration of Australian subculture including the Little Band scene, the Clifton Hill Community Music Centre and a group of young people who were part of the friendship circle of photographer Peter Milne.

At this time these artists and musicians were all ‘ingenious amateurs’, many would go on to have world class creative careers nationally and internationally. Some such as Nick Cave, Mick Harvey, Bronwyn Adams and Peter Milne would forge deep and personal relationships with the city of Berlin.

Curator: Mathilde Weh

Geniale Dilletanten is a Goethe-Institut international touring exhibition, curated by Mathilde Weh, deputy director of the department of visual arts at the Goethe-Institut, in collaboration with Aline Fieker.

Performing Mobilities

RMIT Gallery

25 September - 24 October 2015

Expositions and mobile performances that explore and reimagine movement, place and event with local relevance and global resonance.

This exhibition of new Australian and international work explores and reimagines systems of movement, place and event through challenging creative practices and ideas.

Curated by Mick Douglas, this exhibition seeks to creatively and critically explore forms, forces, dynamics, meanings and consequences of performing mobility through a program of new experimental work.

Performing Mobilities explores how contemporary life in Australia, the world’s largest island continent, is framed by borders whilst constantly being reconstructed through dynamic processes of mobility. The works encompass the performing, visual, new media and social and spatial arts, revealing tensions around movement of people migrating lands or crossing a city; the movement of cultural ideas and social practices; the movement of matter through time and across space and through transformations of state; and the movement of non-human species and other than human forces.

For example, the exhibition features the powerful work Beheld by British artist Graeme Miller, and a new interactive work PAN & ZOOM by Jondi Keane and Kaya Barry. Since 2003 Miller has visited sites where stowaways have fallen from aircraft, including Australia, and in response, the artist has created an intimate and resonant audio-visual installation experience that connects its audience with this disturbing phenomenon. Keane and Barry’s interactive performance installation of expanded image-making and viewing invites visitors to collaborate in making digital images and film in order to re-explore relations between media technologies and embodied experience.

Mobile performances, depart from the gallery inviting participants to walk with the artist, including New Zealand artist Angela Kilford’s Walking on Fallow Lands #2, and British artist Bill Aitchison’s Tour of All Tours.

Full program details and updates, including companion curators and supporting partners, are online at Performing Mobilities Network. 

Performing Mobilities is the Australian program of Fluid States – a globally distributed performance research project taking place in a sequence of 15 different locations over 2015.

Exhibiting artists: Mammad Aidani, Omid Movafagh, Mike Fard, Mohsen Panahi and Hoda Kazemitame; Chris Barry; Lucy Bleach; Mick Douglas; Paul Gazzola and Nadia Cusimano with plan b; Jondi Keane and Kaya Barry; La Jete (IT); Graeme Miller (UK); Open Spatial Workshop; Punctum; David Thomas and Laurene Vaughan.

Mobile performances: Bill Aitchison (UK); Kim Donaldson; Ceri Hann, Benjamin Cittadini, Fiona Hillary & Shanti Sumartojo; Deirdre Heddon (UK); Angela Kilford (NZ); Shaun McLeod, Peter Fraser, Olivia Millard, Sophia Cowen & Victor Renolds; Sasha Grbich & Heidi Angove; Eddie Paterson and Lara Stevens; Brian Ritchie and Stuart Tanner; Sam Trubridge (NZ).

Power to the People!

RMIT Gallery

25 September - 24 October 2015

Spanish artist Julio Falagán’s work questions power and the established status quo through humour and irony, inviting audiences to become art collectors by photocopying his work in the gallery and taking home posters of the small format works he made through the manipulation of popular prints bought in flea markets.

Power To The People! invites viewers to join a game of concepts which reflect on popular art, questioning the importance of the original, the serialized work, and the structure of the contemporary art market.

Falagán’s small format works on display at RMIT Gallery dignify the trivial and obsolete as a starting point to reflect on social fracture.

“Historically the masses have only been able to access popular culture and handicrafts, which are a branch of art made not by artists but by generally anonymous artisans, without an academic foundation and based on tradition,” Falagán said.

“Popular art is produced by and for the people, which doesn’t mean that the dominant class and its cultural elite don’t make use of it and benefit from it when it is of their interest, socially, politically or economically.

“Power To The People! is a plea in favour of the small, the overlooked, the discarded, calling out the grandiloquences and the absolute truths.”

Falagán said that most people understand art as something foreign to them. “How many times have we heard the words, “I don’t understand, this is not for me” in the mouth of a spectator with no experience in contemporary art?”

“Our aim should be to conquer this territory as something common and make the most out of its advantages. As artists we cannot allow ourselves to encourage this endogamy, for it is against the critical though implied in our work.”

Nathan Gray: Work With Me Here

RMIT Design Hub Gallery

3 September - 2 October 2015

Nathan Gray: Work With Me Here was a new project that extended the Works<30s series – a body of short videos lasting less than thirty seconds by artist-musician-performer Nathan Gray. The project presented the complete collection of films in the Works<30s series for the first time in one space, whilst transforming Design Hub Gallery Project Room 1 into an open studio where new works in the series were generated collaboratively, on site and in public. Designed by Melbourne-based studio SIBLING, the space comprised a collection of ‘zones’ where visitors could drop-in, participate, watch a performance, observe works-in-progress or hang out.

The title Work With Me Here was an invitation to rediscover the social body around making. The project aimed to change the studio from an isolated workplace and make it over as a space for other spaces and other inhabitants. Proposing conversation as its method, the project put the following question to practitioners from various communities as a starting point for new works: “What is possible in less than 30 seconds?”

During the exhibition Gray was in residence, working and administering an intense program of public, talk-show-style conversations, actions, lectures and performances, as well as a special program of events curated in collaboration with sonic art organisation Liquid Architecture. In addition to working with practitioners from experimental music, dance, contemporary art and performance, Work With Me Here engaged with students and RMIT researchers from many other disciplines including interior design, industrial design, architecture and games.

Nathan Gray: Work With Me Here incorporated 'smile and nod: affective listening', a program curated by Liquid Architecture and presented as part of LA2015.

Design Hub Curators: Fleur Watson, Kate Rhodes, Nella Themelios

Exhibition and Graphic Design: SIBLING

Against The Grain – RMIT Gallery pop up collection exhibition

RMIT Gallery

13 August - 25 September 2015

As part of the 700s Arts Festival, Against the Grain will enable students to enjoy being surrounded by works from both modern and contemporary Australian and international artists.

A defiant protest against oppression, issues of social justice, environmentalism and power, and displacement and identity as seen through the lens of art. These are the subjects explored in Against the Grain, a pop up exhibition of works from the RMIT University Art Collection, curated as part of RMIT Library’s 700s Festival.

According to the exhibition curator, RMIT Gallery Collections Coordinator Jon Buckingham, “art is a tool for understanding the problems of society. While we might wish it could, art cannot change the world. What it can do is help us realise that change is possible.”

From August 13-25 September, Swanston Library will host exhibitions, talks and a series of workshops to celebrate RMITs arts book, journal and DVD collection. This collection is classified within the 700s of the Dewey Decimal System. Swanston Library’s “700s” are recognised for their strength, diversity and as an inspirational browsing collection. They are now the largest collection held on-site at Swanston Library.

A section of space in the RMIT Swanston Street library’s former shelving area has been transformed by RMIT Gallery into an exhibition and reading space, allowing students to enjoy works from the extensive RMIT University Art Collection by artists including John Brack, Noel Counihan, Jazmina Cininas, Juan Ford, Maria Kozic, Trevor Nickolls, Polixeni Papapetrou and Antoni Tápies.

As part of the Festival, books from the 700s section that relate to the artists and works will be available to browse through, illustrating the abiding connection between the Library and Gallery collections. Many of the works on display are by RMIT staff and alumni, and the University’s ongoing commitment to Australia’s cultural history.

“It is always good to see the University’s Art Collection, and the 700s Arts festival is a rare and wonderful opportunity for us to display some of the 2000 works RMIT holds,” Mr Buckingham said.

Smart Flexibility: Advanced Materials and Technologies

RMIT Design Hub Gallery

23 July - 8 August 2015

RMIT’s Design Research Institute presented Smart Flexibility: Advanced Materials and Technologies, an international touring exhibition developed by Materfad, Barcelona’s materials centre.

Can a system achieve intelligence by combining the control of a flexible structure with the properties of an active material? The answer is 'Yes', and you could discover it at Smart Flexibility.

The exhibition presented international projects developed by universities and firms from ten countries, including three research projects from a selection of RMIT’s design research leaders. The exhibition sought to explore the current capabilities of structures and materials designed to raise awareness of and adapt architecture to its environment.

The contemporary works and projects involved materials, sensitive systems and articulated supports that enabled us to imagine the functionalities and flexible architecture that could be provided. The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and lighting environment, user detection and modification of spaces through movement or even emotion, are the challenges of tomorrow’s spaces and were the drivers of the exhibition.

Smart Flexibility is a key feature of the Design Research Institute's Design for Impact festival.

Materfad Curators: Valérie Bergeron, Javier Peña

Exhibition Design: Cate Hall

Graphic Design: Sean Hogan, Trampoline

SMUDGE

RMIT Design Hub Gallery

17 - 28 May 2015

SMUDGE was a collaboration between Phillip Adams BalletLab and Brook Andrew, in partnership with RMIT Design Hub Gallery. Phillip Adams and Brook Andrew embarked upon a radical collaboration through which they surrendered their usual artistic expression to swap cultural identities and artistic responsibilities. In SMUDGE, the choreographer became the artist, and the artist the choreographer. Via a set of rigorous rules, an exploration of the known trajectory of Adams and Andrew was smudged and erased, to allow for new creative and cultural possibilities. Through this risk taking, SMUDGE engaged with themes of the charlatan/ innovator/intruder/assassinator.

As a creative partnership between artists and creative institutions, it explored the relationships between research, experimentation and cultural values. RMIT Design Hub Gallery offered an alternative, experimental exhibition and research space for the beginning of SMUDGE and its development phase.

The project included four performers; Anna Kuroda, Gregory Lorenzutti, Anna Seymour and Lilian Steiner, who were directed by Andrew in a set created by Adams. Adams and Andrew activated SMUDGE by taking turns in placing objects into the creative and performative space. The body of objects included films, installations, dance, costume and architecture. Unapologetically, the artists were both populating and concealing their ideas of borrowed, forgotten and new histories.

Visitors were invited to observe this project in progress in Pavilion 1, Level 10 at RMIT Design Hub.

Concept/Design: Phillip Adams

Concept/Choreography: Brook Andrew

Performers: Anna Kuroda, Gregory Lorenzutti, Anna Seymour, Lilian Steiner

The development phase of Phillip Adams BalletLab’s SMUDGE at RMIT Design Hub is supported by Besen Family Foundation and City of Melbourne.

Brook Andrew is represented by Tolarno Galleries, Melbourne, and Galerie Nathalie Obadia, Paris and Brussels.

Experimental Practice: Provocations In and Out of Design

RMIT Design Hub Gallery

10 - 28 May 2015

As an exhibition, round-table discussion and workshop, Experimental Practice: Provocations In and Out of Design investigated how new hybrid practices and collaborations were negotiating complex social and environmental challenges.

The exhibition presented a number of projects in which art and design strived to make a difference within the specific communities in which they were situated. Curated by Katherine Moline (UNSW), Brad Haylock and Laurene Vaughan (RMIT), Experimental Practice was the second iteration of the exhibition and symposium Feral Experimental: New Design Thinking, shown at UNSW Galleries, Paddington, in 2014.

This project was generously supported by UNSW Australia Art & Design, UNSW Galleries, the National Institute for Experimental Arts, RMIT School of Media and Communication, RMIT Design Research Institute and RMIT Design Futures Lab.

Part of the Melbourne International Design Festival.

Perceptive Power

RMIT Design Hub Gallery

23 April - 15 May 2015

RMIT Design Hub Gallery presented Perceptive Power – an exhibition examining the complex and sometimes uneasy relationship between the artist and industry within the context of what is described as our 'third industrial revolution'.

With a focus on environmental sustainability, the exhibition presented a diverse body of work including works by Melbourne based artists Ash Keating and Keith Deverell, Sydney based artists Joyce Hinterding and David Haines, and Paris-based collective HeHe (Helen Evans and Heiko Hansen) and included an interactive, ‘in residence’ program by Carbon Arts.

Spanning industry-funded public art celebrating technological progress to activist art performances questioning the status quo, the artist voice seeks to shift our perspective, enhance our powers of perception and provoke action. But how do these different relationships between the artist and the subject affect the power of these works to bring about change? At what point does an artwork become a work of design shaped by a particular agenda and how much does this distinction actually matter?

Perceptive Power articulated the unique ability of video and sound art to combine data representation and narrative to offer new ways of seeing and questioning our relationship with the invisible forces that power our economy. The artists ‘perform’ the industrial infrastructure of the past and the present, challenging our perceptions of what constitutes beauty, horror, despair and hope.

Curated by: Jodi Newcombe of Carbon Arts within CAST (RMIT University Centre for Art, Society and Transformation).

Co-curated by: Kate Rhodes and Fleur Watson.

Part of ART+CLIMATE=CHANGE 2015.

Graphic Design: Tin & Ed.

Japanese Art After Fukushima: Return of Godzilla

RMIT Gallery

20 March - 30 May 2015

In light of Japan’s nuclear past and present, the threat of atomic annihilation has long influenced Japanese artists.

This exhibition focuses on the work of artists responding to the events at the Fukushima nuclear power plant in 2011 and its environmental implications.

The massive radioactive monster Godzilla looms large in popular culture, originating in a series of live action Japanese (tokusatsu) films in the 1950s, where it emerged from the sea to destroy Japanese cities. The nuclear bombings of Hiroshima and Nagasaki were fresh in the Japanese consciousness and the character was seen as a metaphor for nuclear weapons. In the wake of the Fukushima nuclear disaster, when a tsunami tore through the Fukushima Daiichi nuclear plant, the potent image of Godzilla and his anti-nuclear subtext again forces people to question nuclear power.

Japanese Art After Fukushima: Return of Godzilla is part of the Art + Climate = Change 2015 festival celebrating and identifying Australian and international artists working with environmental ideas.

Featuring Australian and international artists working with environmental ideas, including:

Ken and Julia Yonetani, artists with an interesting Australia / Japanese creative partnership, exploring the interaction between humans, nature and science.

Manabu Ikeda, a Japanese artist who lives and works in Wisconsin, USA, whose massive, intricate drawings are influenced by the natural world and can take up to a year to complete. His recent work focused on the turmoil of the 2011 earthquake that hit Japan.

Takashi Kuribayashi, a highly acclaimed Japanese artist whose range of environmental artworks offer an immersive experience of imagined ecologies, using the affective qualities of water as a channel to reimagining not only local ecologies, but also their interconnectedness with regional and global space.

Yutaka Kobayashi, a Japanese environmental artist currently based in Australia on an 18 month residency. The frequently participative outreach component of his art extends his ecological messages into the larger contexts of community. Kobayashi’s installation Absorption Ripple is inspired by the idea of how quickly people forget about great disasters and can get distracted.

Curators: Suzanne Davies, RMIT Gallery Director and Chief Curator, Dr Linda Will

Backs of Banaras

RMIT Gallery

20 March - 30 May 2015

The display of large photographic prints in the exhibition Backs of Banaras lines up many torsos along the ghats of the Ganges at Varanasi (Banaras).

Banaras is known as the city of Shiva, one of India’s most revered sites of Hindu ritual.

Selected from the complete series of 1008 photographs (an auspicious number for Hindus) that feature in The Banaras Back Book by Sydney Based photographer Terry Burrows, this parade of backs, mostly male and strangely impersonal, conveys much of the cultural wealth and contradiction that is contemporary India.

The subjects are draped in their personal cloth and form a visual essay in the textiles of the everyday. These photographs were taken during a five-month residency that Burrows completed in Varanasi in 2010/11. The contrast of traditional religious ritual amidst contemporary street life is intriguing and Burrows argues it is portrayed particularly prominently with Hinduism.

Burrows has been interested in the activities occurring along the Ghats, both secular and religious, since his first visit there in 2005. He has created an intriguing visual essay of people clandestinely photographed from behind, sitting on the Ghats along the banks of the river Ganges.

The photographs are also a form of anonymous portraiture yet reveal an experience of India across caste, class, religion and seasons, while avoiding the politics of photographing the face. Capturing the subject unawares, as Burrows has done with a small digital camera and by stealth, the photographer is also looking over and beyond the subject and into the landscape.

These photographs also offer the manifold ways of sitting and contemplating. The viewer is left to imagine what the subject is thinking about in their postures of idle sitting; everything from active devotional prayers to a range of emotions or quotidian thoughts. The overall effect is a moment of calm, a moment with the Ganges, the holy Mother river, and her tranquilising effect.

Curator: RMIT Gallery Director and Chief Curator Suzanne Davies

Unfolding: New Indian Textiles

RMIT Gallery

20 March - 30 May 2015

Indian textile designers are the envy of the rest of the world because they continue to have close, easy contact with all manner of hand production and crafts no longer available elsewhere.

This vibrant new exhibition places contemporary Indian textile designers and artists within the wider context of international art and fashion and examines the reinvention of traditional textiles through the sari, uncut cloth, street wear as well as textiles and fibre as contemporary art.

Unfolding: New Indian Textiles has been developed by independent curator, public art coordinator and artist Maggie Baxter to coincide with her new book on contemporary Indian textiles.

Ms Baxter has travelled to India for more than two decades, where she has worked with traditional crafts in the Kutch region of North West India since 1990.

The Indian village remains a constant presence in textile production terms of tradition and subject matter, drawing extensively on the daily life and popular culture of villages and marketplaces.

Indian textiles today include the almost unimaginable plethora of regionally specific skills, techniques and motifs from every state and region in India, far exceeding any other country in the enduring, prolific production of its living material culture.

The surface decoration on Indian textiles is inspiring, exhilarating, and overwhelming. In rural areas clothes can be a riot of competing prints, tie-dye, dense embroidery, mirrors, gota, buttons and tiny bells. Ornate textiles cover furniture, are spread to sit and sleep on, create ceilings and hang auspiciously over doorways. It seems like too much is never enough and while such extreme ornamentation may be toned down in urban centres, pattern is still all pervading.

Yet as much as there is intense decoration in India, there is also restraint. The Minimalist principles of reduction and sparseness, where the simplest and fewest elements are used to create maximum effect are integral to Indian culture where the concept of eliminating all non-essential forms and features is aesthetic and ascetic.

This exhibition explores an overwhelming sense of Indian cultural identity manifested in the beautiful art of contemporary textiles, as well as the production methods using traditional skills that has always made Indian textiles unique.

Curator: Maggie Baxter

Fashion & Performance: Materiality, Meaning, Media

RMIT Design Hub Gallery

3 March - 1 April 2015

The creative territory between fashion, architecture and performance was explored in two exhibitions at RMIT Design Hub Gallery.

Architect Rem Koolhaas invited the national pavilions in the Giardini of the 2014 Venice Architecture Biennale to respond to the brief Absorbing Modernity: 1914 – 2014. 1914 NOW leaps from this brief and comprised a response from four fashion curators with distinctive approaches towards their discipline. A focus on the year 1914 united the films, which reveal multiple perspectives on one period in fashion and fashion curation. Rather than working in familiar museum contexts, they explored the potential of film as a medium through which to understand fashion’s changing values and interpretations. The four curators: Judith Clarke, Amy de la Haye, Walter Van Beirendonck and Kaat Debo worked collaboratively with four practitioners who work with the moving image: James Norton, Bart Hess, Marie Schuller and Katerina Athanasopoulou.

1914 NOW: FOUR PERSPECTIVES ON FASHION CURATION
Commissioned by Alison Moloney, Curator International Exhibitions Programme, London College of Fashion.

FASHION & PERFORMANCE: MATERIALITY, MEANING, MEDIA
Curated by Associate Professor Jessica Bugg, RMIT University Fashion and Textiles and
Anna-Nicole Ziesche, Research Fellow: Design for Performance, London College of Fashion, UK.

Exhibitions co-curated for RMIT Design Hub Gallery by Fleur Watson and Kate Rhodes.

Both exhibitions presented as part of the Virgin Australia Melbourne Fashion Festival Cultural Program’s Project Series 2015.

1914 Now: Four Perspectives on Fashion Curation

RMIT Design Hub Gallery

3 March - 1 April 2015

The creative territory between fashion, architecture and performance was explored in two exhibitions at RMIT Design Hub Gallery.

Architect Rem Koolhaas invited the national pavilions in the Giardini of the 2014 Venice Architecture Biennale to respond to the brief Absorbing Modernity: 1914 – 2014. 1914 NOW leaps from this brief and comprised a response from four fashion curators with distinctive approaches towards their discipline. A focus on the year 1914 united the films, which reveal multiple perspectives on one period in fashion and fashion curation. Rather than working in familiar museum contexts, they explored the potential of film as a medium through which to understand fashion’s changing values and interpretations. The four curators: Judith Clarke, Amy de la Haye, Walter Van Beirendonck and Kaat Debo worked collaboratively with four practitioners who work with the moving image: James Norton, Bart Hess, Marie Schuller and Katerina Athanasopoulou.

1914 NOW: FOUR PERSPECTIVES ON FASHION CURATION
Commissioned by Alison Moloney, Curator International Exhibitions Programme, London College of Fashion.

FASHION & PERFORMANCE: MATERIALITY, MEANING, MEDIA
Curated by Associate Professor Jessica Bugg, RMIT University Fashion and Textiles and
Anna-Nicole Ziesche, Research Fellow: Design for Performance, London College of Fashion, UK.

Exhibitions co-curated for RMIT Design Hub Gallery by Fleur Watson and Kate Rhodes.

Both exhibitions presented as part of the Virgin Australia Melbourne Fashion Festival Cultural Program’s Project Series 2015.