13.09.2018 – 13.10.2018

Exhibition Opening: Thursday 13 September, 6-8pm 
Location: Gertrude Glasshouse, 44 Glasshouse Road, Collingwood
Exhibition Dates: 13 September - 13 October


 For the last two years, Mathieu Briand has been working on a project called Androyx, based mainly on three concepts: unheimlich, uncanny valley and wabi-sabi.


Androyx have the appearance of human body parts the size of a child. They are autonomous. They behave more like a cat than a dog. You can’t control them. They evolve at will in the space they occupy.  They can be considered residents. Androyx are not about the identical reproduction of the human, the perfect likeness or the impeccable imitation for maximum servitude and functionality, but rather about a psychological interaction. It is no longer a question of making ‘more human than human’ but of making ‘the human more human’.


Mathieu Briand is a Melbourne-based artist born in Marseille, France. Briand works in various installation forms with computers, electronic music, robots, video technology and sculpture to explore simulation, play and perception. His use of new technologies solicits active participation and engagement, playing with the viewer’s point of view and questioning the reality of their perceptions.


Briand’s work is situated somewhere between perceptive reality and a displacement of the imagination. He uses sound, physical forms, sensory environments and mixed media to create diverse and innovative siutations that invite the spectator into unfamiliar zones of spatial and temporal perception. Briand leads us into his private world — a world made up of personal references, either experienced or dreamt —and the tricks he uses are material objects and visual events alike. These references are brought together and distanced again, with multiple entrances and no known frontiers.


Briand has held large-scale solo exhibition at Palais de Tokyo, Paris; Museum of Contemporary Art, Lyon; REDCAT, Los Angeles; TATE Modern Turbine Hall, London; Art Basel Unlimited; TEA, Tenerife, Spain; La Maison Rouge, Paris; MONA, Hobart.  Briand has participated in group exhibitions in major museums such as Centre Pompidou, Paris; Bloomberg Space, London; Jumex Founation, Mexico; Walker Art Center, USA; Sharjah Art Foundation, UAE; ICC, Japan; Moca Tapei, Taiwan; Site Santafe, USA; Macba Barcelone, Spain; Carriageworks, Sydney.


 Mathieu Briand is represented by MARS Gallery, Melbourne.


**The concept of the uncanny was introduced by Sigmund Freud in his 1919 essay Das Unheimliche, in which Freud explores the eerieness of dolls and waxworks. For Freud, the uncanny locates the strangeness in the ordinary. Expanding on Freud’s idea, psychoanalytic theorist Jacques Lacan wrote that the uncanny places us ‘in the field where we do not know how to distinguish bad and good, pleasure from displeasure’, resulting in an irreducible anxiety that gestures to the Real. The concept has since been taken up by a variety of subsequent thinkers and theorists such as Roboticist Masahiro Mori’s ‘uncanny valley’ hypothesis and Julia Kristeva’s concept of abjection.


Gertrude Glasshouse is the project space of Gertrude Contemporary used to present solo exhibitions by artists involved in Gertrude’s two-year Studio Program. Gertrude Glasshouse is generously supported by Michael Schwarz and David Clouston.  Mathieu Briand is a current studio artist (2017 - 2019).

09.08.2018 – 08.09.2018

I like the way you Like
Rebecca Agnew
Exhibition Opening: Thursday 6-8pm 9 August
Location: Gertrude Glasshouse, 44 Glasshouse Road, Collingwood

I like the way you Like is a three-channel installation exploring the variety of social and physical worlds connected by the supply chain of mobile phones. It traces the entanglement where the mining of conflict (blood) minerals, the state of technological industry and the everyday use of mobile phones coexist.

Channel 1
Deep in the jungle, humanoid workers play out an endless cycle of conflict and struggle. When Cam the Minor Miner becomes ill from exposure to toxic minerals, they entrust a healer to find for a cure. In the meantime a machete–wielding worker fights off a Hydra of serpent birds of paradise.
 Channel 2
Set in a disco a disenfranchised man reflects on life before the rapid globalisation of the cultural economy.
Channel 3
An armless woman sits on her bed speaking seductively of her love of technology, implication of her 'click farm' or 'like factory' that allows her this status.
I like the way you Like constructs a world from recycled old phones—reanimating their normally hidden mechanisms—that questions relationships of status, addiction, ownership and production. With the ubiquity of mobile phone use comes increased demands for raw materials and an explosion of resulting e-waste. Market competition and consumer demand has extensive material impacts: social, environmental and psychological

Rebecca Agnew was born in Dunedin, New Zealand, Aotearoa, in 1982. In 2004 she  completed at Bachelor of Fine Art, University of Otago, Dunedin, before relocating to Australia and completing a Master of Fine Arts, Victorian College of the Arts, University of Melbourne, Melbourne in 2012. In 2015 she was awarded the Keith and Elizabeth Murdoch Travelling Fellowship, with residencies undertaken with Waaw, Saint Louis, Senegal and Theertha Red Dot Gallery, Colombo, Sri Lanka. Agnew is currently a studio resident at Gertrude Contemporary, and in 2013 was commissioned by Artbank to produce a work for their permanent collection. She has led animation workshops for the inaugural NGV Triennial, National Gallery of Victoria, Melbourne, and previously received an ArtStart Grant from the Australia Council for the Art in 2014. Recent exhibitions include Pink Frost, Tinning Street;Gertrude Studio 2017, Gertrude Contemporary; Melbourne International Animation Festival; Waaw Gallery, Saint Louis, Senegal; Immaterial, Articulate Project Space, Sydndey; Interior 2.1 (TRAMA Centro), Guadalajara, Mexico and Video Arte Australia Nueva Zelande, M100, Santiago, Chile. Agnew’s work is represented in the collections of the University of Otago, Dunedin; Artbank and private collection in Australia and New Zealand.

Funding for this project has been enabled through
 The Big Idea, generously supported by Eleanor Langford.

Rebecca Agnew is currently a part of the Gertrude Contemporary Studio Program. The Gertrude Studio Program provides sixteen large, subsidised, non-residential studios to early-practice and mid-career artists for two year tenures. Studio Artists benefit from working within a supported and collegiate environment, and have the opportunity to exhibit their work in the annual Gertrude Studios group exhibition, as well as have an ambitious solo artist exhibition at Gertrude Glasshouse. This program is a highly coveted opportunity and is subject
 to a rigorous and competitive selection process involving a selection panel of both Gertrude staff and external advisors.


05.07.2018 – 04.08.2018

Exhibition Opening: Thursday 6-8pm 5 July
Location: Gertrude Glasshouse, 44 Glasshouse Road, Collingwood

Simon Zoric is a current Gertrude studio artist (2017 -2019). Zoric completed a Master of Fine Art at the Victorian College of the Arts in 2014 and a Bachelor of Fine Arts (Honours) at the Victorian College of the Arts in 2009. He has exhibited at TCB Art Inc, West Space, Neon Parc, Deakin Gallery Burwood, The Centre for Contemporary Photography and Orgy Park in New York. He has undertaken residencies in Woodside, California and Reykjavik, Iceland.

Pig in a Poke will be accompanied with a text by Anastasia Klose.


31.05.2018 – 30.06.2018

Exhibition Opening: Thursday 31 May, 6-8pm
Location: Gertrude Glasshouse, 44 Glasshouse Road, Collingwood

Remaking Dubbing is a work for three dancers working with the premise of re-enacting a yet unmade work, so in the process of re-enacting it the actual work is created. It plays with seen and unseen scenarios, a doubling of bodies, and performers who work with one another as well as with invisible forces. It uses movement, sound, recorded image, light, and codes. The action is situated in a room with three people, housing their circulating energies, thoughts, insecurities, and memories. The bodies mostly appear to looks outward, apparently disconnected from one another, sometimes bored with themselves, ascending and descending, becoming for a moment monumental, as they search for something greater than what is physically closest to them. Performed by Kara Burdack, Daniel Newell, Deanne Butterworth. Sound by Michael Munson and video by James Wright.

Opening performance 31 May between 6-8pm with additional performances...
Friday 1 June, 12-5pm
Saturday 2 June,  2-5pm
Thursday 7 June, 2.30-4.30pm
Friday 8 June, 2.30-4.30pm
Saturday 9 June, 2.30-4.30pm
Thursday 14 June, 2.30-4.30pm
Friday 15 June, 2.30-4.30pm
Saturday 16 June, 12-5pm
Thursday 21 June, 2.30-4.30pm
Friday 22 June, 12.30-4.30pm
Saturday 23 June, 2-5pm
Thursday 28 June, 2.30-4.30pm
Friday 29 June, 12.30-4.30pm
Saturday 30 June, 12-3pm

Deanne Butterworth is a Melbourne-based dancer and choreographer and a graduate of the Western Australia Academy of Performing Arts. Throughout 2017-2019 she is a studio artist at Gertrude Contemporary. In a career spanning over twenty years, she has worked in dance as a performer, choreographer and teacher showing her work across a range of platforms and venues within Australia and internationally. She has worked with choreographers Phillip Adams, Brooke Stamp, Shelley Lasica, Jo Lloyd, Sandra Parker, Tim Darbyshire, Shian Law, Rebecca Jensen amongst others. She has also worked with artists Bridie Lunney, Damiano Bertoli, Belle Bassin, Justene Williams, David Rosetzky, and Linda Tegg. Recent work includes: Moving Mapping, a workshop for NGV Triennial Extra, (2018), Departed Acts performance lecture, M Pavilion (2018); Gret, For a Moment, video loop, Gertrude Contemporary, (2017); Re-enactments as Artist-in-Residence at Boyd Studio Southbank, Melbourne (2016); Interlude, Spring 1833 at Hotel Windsor (2016), Two Parts of Easy Action, The Substation (2016). Recent collaborative works and work for other choreographers include Replay by Eszter Salamon (2018); Vanishing Point by Shian Law, Dance Massive 2017; All Our Dreams Come True, (with Jo Lloyd), Bus Projects, Melbourne (2016) and M Pavilion (2018); How Choreography Works, with Shelley Lasica and Jo Lloyd, West Space (2015) and Art Gallery NSW for 20th Biennale of Sydney (2016); Regarding Yesterday, by Adva Zakai, Slopes, Melbourne (2014); Solos for Other People by Shelley Lasica, Dance Massive, Melbourne (2015); Intermission by Maria Hassabi, ACCA (2014).
 The development of Remaking Dubbing has been supported by Creative Victoria. 



26.04.2018 – 26.05.2018

Taking its name from the title and first line of an Emily Dickinson poem There is a pain - so utter takes as a fluid and amorphic genesis, ideas of doubt, retreat, openness, transparency and dialogue. Instigated by current Gertrude Studio Artist Beth Caird, the selection of artists reflects her research into strategies of withdrawal and reluctance to pose questions around what it is to create work, what it is to be an artist and not create work, what it is to be human and what it may be to be human together. Referencing Lee Lozano’s iconic work / anti-work Dropout Piece (1969-1972), in which the artist committed to a period of time of not making art and consciously withdrawing from the art world, the artists in There is a pain - so utter individually and collectively consider what it might be to absent one’s own voice, and to reflect vulnerability and transformation as an artistic gesture and to work as a strategy to disrupt the proclivity toward constant making and participation.

There is a pain - so utter presents new and recent works by: Hana Pera Aoake (Tainui, Ngāti Raukawa, Aotearoa/NZ), Beth Collar (UK), Erin Crouch (AU), Brian Fuata (AU), J*, Spencer Lai (AU), Claudia Pharés (AU), Alice McIntosh(AU), Ander Rennick (AU), current Gertrude Studio Artist Isadora Vaughan (AU), Faith Wilson (Aotearoa/NZ and Canada), and Grace Wood (UK). 
J* cannot be identified and is currently completing a sentence at a Victorian correctional centre.

15.03.2018 – 21.04.2018

Exhibition Opening: Thursday 15 March, 6- 8pm
Location: Gertrude Glasshouse, 44 Glasshouse Road, Collingwood

We need to look beyond the information age and into an agile age.
A text by Patrice Sharkey will accompany the exhibition.

Melbourne based artists Gavin Bell, Jarrah de Kuijer and Simon McGlinn have been in collaboration since 2008, previously under the name of Greatest Hits.
Recent exhibitions include: Viewer Abandonment, TRIPLA, Bologna (IT), 2018; Charm School, Neon Parc, Melbourne (AUS), 2018; Voodoo Gods, Station Gallery, Melbourne (AUS), 2017; La Peggiore condizione, TRIPLA, Bologna (IT), 2017; Traces, Adds Donna, Chicago (USA), 2017; Octopus 16: Antiques Roadshow, Gertrude Contemporary, Melbourne (AUS), 2016; Technologism, Monash University Museum of Art, Melbourne (AUS), 2015; Lurid Beauty: Australian Surrealism and its Echoes, National Gallery of Victoria, Melbourne (AUS), 2015; Arstronomy, La Casa Encendida, Madrid, (ESP), 2015; Creative Suite, Te Tuhi Center, Auckland and Wellington City Gallery, Wellington, (NZ), 2015; Idle Resources, Tristan Koenig, Melbourne (AUS), 2014; The Office, ACL partners, Paris (FR), 2014; Man and Play, Brennan and Griffin, New York (USA), 2014; Put up a signal, MES 56, Yogyakarta (ID), 2014; Reinventing the Wheel; The Readymade Century, Monash University of Modern Art, Melbourne (AUS), 2013; and Ménage a Trios, XYZ Collective, Tokyo (JP), 2012.

08.02.2018 – 10.03.2018

ANDRE PIGUET: kemp roth comb filter

Exhibition Opening: Thursday 6-8pm 8 February
Location: Gertrude Glasshouse, 44 Glasshouse Road, Collingwood

A text by Deirdre Cannon will accompany kemp roth comb filter.

André Piguet is a New Zealand-born artist based in Melbourne. He holds a Bachelor of Fine Art (Drawing) from RMIT, Melbourne. Recent solo exhibitions include Come on nasa, make up yout mind/what does the earth really look like, Station, Melbourne (2017); Earth Passing Thru Trap, Sydney, Sydney (2016); Selected Ambient Works Vol. 2, Station, Melbourne (2016); HOUSE, 467 Swanston St (with Black Art Projects), Melbourne, (2016); Le Hobbit, Hekla, Brussels, Belgium (2015); and Selected Ambient Works, West Space, Melbourne (2014). Recent group exhibitions include 2000, Sydney, Sydney (2016); Casual Conversation, Minerva, Sydney (2015); Pestilent Unground; Epidemic Openness, Station, Melbourne (2015); Infinite Variation, Utopian Slumps (2014); Quake II, Arcadia Missa, London, UK (2014). Piguet is represented by Station, Melbourne.

For more information on André Piguet click HERE

Gertrude Glasshouse Opening Hours: Thursday–Saturday, 12–5pm


18.01.2018 – 03.03.2018

Exhibition Dates: 18 January - 3 February 

Exhibition Opening: Thursday 18 January, 6-8pm

Location: 44 Glasshouse Road, Collingwood

Gertrude Contemporary is proud to be the presenting partner of the private Glasshouse/Stonehouse Residency. 

This newly established studio residency is organised by private benefactors and long-term Gertrude supporters Michael Schwarz and David Clouston and Antje and Andrew Géczy.  The residency provides the opportunity for Australian and New Zealand Artists to live and work for a period in Chenaud, France, and opens avenues for the experience of working within a European context in order to develop new work to be exhibited in Australia.

Adam Lee was the inaugural artist selected for the residency and spent six weeks living and working in Chenaud. This exhibition presents a selection of works made by the artist during this residency. Monolith draws upon the experience of remoteness within the rural landscape of Southern France, seeking to mine aspects of local folklore and religious mythologies interweaved with fragments of the personal and the autobiographic.

A small catalogue and an essay by Kent Wilson will accompany Monolith.

Adam Lee lives and works in Melbourne and his practice deals primarily with painting based materials. In 2015 he completed his PhD at RMIT, and has been selected for many group exhibitions and prizes, including the Arthur Guy Memorial Prize, the Geelong Contemporary Art Prize and the Sir John Sulman Prize at the Art Gallery of New South Wales. Lee is represented by STATION, Melbourne and BEERS, London.


14.12.2017 – 16.12.2017

Join us for the opening reception of Gertrude Edition 2017:

Saturday 16 December | 4pm - 6pm

Gertrude Glasshouse | 44 Glasshouse Road, Collingwood

Exhibition Dates: 14 December – 16 December

The 2017 Gertrude Edition has been created by leading Melbourne-based artist and Gertrude Studio Artist Alumni Damiano Bertoli, represented by Neon Parc, Melbourne. Bertoli has had significant involvement with Gertrude for almost two decades and is one of the most highly regarded artists of his generation.

There are 5 variations available for purchase, each in editions of 10. Each edition is printed on rag paper, individually hand coloured in pencil, box framed with black, stained Tasmanian Oak, dry mounted with UV resistant acrylic, and is 40x50cm.

The Editions are for sale for $1650 incl. GST and are available HERE



11.11.2017 – 02.12.2017

Exhibition Opening: Saturday 11 November, 4–6pm

Location: Gertrude Glasshouse, 44 Glasshouse Road, Collingwood


Noriko Nakamura is a Japanese born, Melbourne based artist who uses stone carving and organic elements to make installations which draw on ideas of animism and ritualistic practices. Using traditional hand carving techniques Nakamura transforms limestone from inanimate and heavy into a playful form suggestive of movement and lightness. She is interested in this transformative process and how the manipulation of materials is used to imbue significance upon a material or object, changing its meaning and our relationship to it.


Noriko Nakamura completed a Fine Art Foundation Diploma at Saint Martins College of Arts and Design, University of the Arts London, before receiving a Bachelor of Fine Arts and BA Fine Arts Honours from the Victorian College of the Arts in 2012. Nakamura experiments with the transformational potential of materials in order to explore the relationship that exists between humans and the material world. She has presented solo exhibitions at Daine Singer, Melbourne; Sutton Projects, Melbourne; West Space, Melbourne; TCB art inc.,Melbourne. Her work has been exhibited at Aperto, Montpellier France; XYZ Collective, Tokyo; RM gallery, Auckland; Dog Park Art Project Space, Christchurch; Murray White Room, Melbourne and National Gallery of Victoria Studio, Melbourne. She is currently a studio artist at Gertrude Contemporary.

This project is funded by Australian council Arts Projects for individuals and groups. 

Click here for further information on Noriko Nakamura, or visit her website here

Download the media release here

Gertrude Glasshouse Opening Hours: Thursday–Saturday, 12–5pm




07.10.2017 – 28.10.2017

Exhibition Opening: Saturday 7 October, 4–6pm

Location: Gertrude Glasshouse, 44 Glasshouse Road, Collingwood

dissolve a solo exhibition by Adam John Cullen. Adam is a current Gertrude Studio Artist. He has exhibited at the Museum of Contemporary Art in Sydney, Shepparton Art Museum, Alaska Projects, TCB Art Inc., and Westspace, among others, and has undertaken residences in Montpellier and Yogyakarta.

The exhibition will have an accompanying text by Amy Vuleta.

For more information on Adam John Cullen, see here

Gertrude Glasshouse Opening Hours: Thursday–Saturday, 12–5pm



02.09.2017 – 23.09.2017

Exhibition Opening: Saturday 2 September, 4–6pm

Location: Gertrude Glasshouse, 44 Glasshouse Road, Collingwood

Nik Pantazopoulos is an artist who situates his practice in post-conceptual photography and post-minimalism. He is concerned with the personal as political and focuses on immigrant queer histories that explore desire and psychosexual affect within the blurry divide between public and private space.

Nik Pantazopoulos completed a Bachelor of Fine Arts Photography at the Victorian College of the Arts, Melbourne in 1998, Honours Sculpture RMIT, Masters of Fine Art at Goldsmiths University, London and a PhD in Art, Design and Architecture at Monash University in 2013. Pantazopoulos’ practice is a study in the materiality of photography, sculpture and spatial practice. 

Recent projects include: Like a clap of thunder, Centre of Contemporary Photography, Melbourne 2017, The Nude Show, LON Gallery, Melbourne, 2016; These Economies, Sydney Contemporary, Sydney 2015; Boutique Politics, Bus Projects, Melbourne, 2015, Wearing, Westspace, Melbourne, 2014; Australian Tapestry Workshop residency, Melbourne, 2014; Fucking in Solidarity, National Gallery of Victoria, Catalogue Essay, When This you See Remember Me, David McDiarmid Retrospective, Melbourne, 2014;The Spirit and Spark of David McDiarmid Symposium, National Gallery of Victoria, Melbourne, 2014; The Purple Onion, TCB art inc, Melbourne, 2014; Re-building, The Substation, Melbourne, 2014;Private View and Occasional Performance, Dudspace, Melbourne, 2014;Decisions RMIT Project Space, Melbourne, 2013; Dark Rooms RMIT Project Space Melbourne, 2013; Octopus 10, Gertrude Contemporary, Melbourne, 2010; A Monument to toilets; An Exhibition and Procession, White Cubicle Toilet Gallery, London, 2010.

For more information on Nik Pantazopulos click here

Gertrude Glasshouse Opening Hours: Thursday–Saturday, 12–5pm



12.08.2017 – 26.08.2017

Exhibition Opening: Saturday 12 August, 4–6pm

Location: Gertrude Glasshouse, 44 Glasshouse Road, Collingwood


I examined the inside of my mouth for hours with a dental mirror. As if there might be something to find in there. I looked for words and at the back of my teeth. Dentistry represented a soft-medicine, the examination of an orifice already exposed to the outside world.

I’m finding it difficult to articulate.

The Artist acknowledges the people of the Kulin nations as the sovereign owners of the land on which she lives and works. Isaac pays her respects to elders past, present and future. This land has never been ceded.

This project is generously supported by the City of Yarra Annual Grants program.

For more information on the Artist click here

Gertrude Glasshouse Opening Hours: Thursday–Saturday, 12–5pm



08.07.2017 – 05.08.2017

Exhibition Opening: Saturday 8 July, 4-6pm

Exhibition Dates: Saturday 8 July - Saturday 5 August 2017

Location: Gertrude Glasshouse, 44 Glasshouse Road, Collingwood

Gertrude Contemporary is excited to present a new solo exhibition by Studio Artist Sam Martin, titled Specimen, Offering at Gertrude Glasshouse. Specimen, Offering is the second instalment of a two part exhibition, that began with Specimen, Part 1 at STATION, Melbourne 20 May - 10 June. Martin is represented by STATION, Melbourne.

Click here to find out more about the artist



13.05.2017 – 03.06.2017

Exhibition Opening: Saturday 13 May, 4–6pm

Location: Gertrude Glasshouse, 44 Glasshouse Road, Collingwood

Feat. Decorination, Makiko Yamamoto, Sam George, Kalinda Vary, Camila Galaz, Travis John, Joel Stern, Frogs, Crickets and many more...

Eric Demetriou completed a Masters of Fine Art at the Victorian College of the Arts in 2013, and has shown at Mildura Palimpsest #9, Contemporary Art Space Tasmania (CAST), Sawtooth ARI, Bus Projects, Blindside, Gertrude Contemporary and The Substation. As a performer he has toured abroad to perform in venues and events such as The MCA Art Bar, Melbourne Art Centre, The Avoca Project, West Space, The International Noise Conference, Boogie Festival, and The University of Melbourne CarPark. Demetriou is currently a Gertrude Studio Artist.

Gertrude Glasshouse Opening Hours: Thursday–Saturday, 12–5pm

08.04.2017 – 06.05.2017

Exhibition Opening: Saturday 8 April 2017, 4–6pm

Location: Gertrude Glasshouse, 44 Glasshouse Road, Collingwood


04.03.2017 – 01.04.2017

Exhibition Opening: Saturday 11 March, 4–6pm
Location: 44 Glasshouse Road, Collingwood
Opening Hours: Thursday–Saturday, 12–5pm

knitlock hoarders sentinel is a solo project by Gertrude Studio Artist Ry Haskings that uses structural forms to explore ideas of control and escape.

Referencing discourse and theory of the late twentieth-century, knitlock hoarders sentinel uses the concept of the grid and distorts its uniformity to speculate upon the rules, structures and systems of our contemporary world.

In relationship with the architectural features of Gertrude Glasshouse, Haskings presents large steel grids, each framing pictures. He interferes with traditional and generic forms by skewing the position of these gridded frames in the space. Within these steel frameworks Haskings overlaps images of order and disorder selected through a network-like research methodology, where an image from one event or experience leads onto the next image and so on.

This practice of image-making is also reflected in a video work embedded within the gridded installation, in which the camera tracks three films on three different screens, moving from film to film without any reason or predictability.

Rather than condemning or suggesting an alternative to structural controls, knitlock hoarders sentinel poses a question of the grid by exploring its controlling aspects and testing the flexible points of the geometry and structure that organises contemporary life.

Click here to read more about the artist.

Click here to download the media release.

23.02.2017 – 04.03.2017


Choreographer and Director: Shelley Lasica
Collaborators: Ellen Davies, Timothy Harvey, Louella Hogan, Daniel Newell, Lilian Steiner, Jo White

The Design Plot is a performance project that develops structures that bring together spatial mapping, systems of sensory awareness, construction as scenography and explores the potential for collective improvised decision making.

The work will unfold through a methodology that includes open research sessions, performance and the development of performance mechanisms through daily choreographic and physical practice. 

Opening dates and times:
23–25 February: 12–5pm
Thursday 2 March: 12–5pm
Friday 3 March: 12–3pm
Saturday 4 March: 12–6pm, with a closing celebration from 4pm to 6pm

Shelley Lasica is one of Australia's most celebrated dancers and choreographers. Her practice is characterised by cross-disciplinary collaborations and an interest in the presentation of dance in various contexts. Lasica has choreographed, directed and performed dance works in spaces throughout Australia and internationally including Melbourne Festival; National Gallery of Victoria, Melbourne; Centre Nationale de la Danse, Paris; Siobhan Davies Studios, London; Dance Massive, Melbourne; and MPavilion, Melbourne. 

The Design Plot is an evolving project framework with other iterations occurring at MPavilion, Melbourne and RMIT Design Hub, Melbourne.

This project is supported by the City of Yarra and Gertrude Contemporary. 


Location: 44 Glasshouse Road, Collingwood

Image: Shelley Lasica, Solos for Other People, 2015, Dance Massive 2015, basketball stadium, Carlton Baths, Melbourne courtesy of Shelley Lasica, © Gregory Lorenzutti for Dancehouse 

26.11.2016 – 17.12.2016

Exhibition dates: 26 November–17 December, 2016
Exhibition opening: Saturday 26 November, 4–6pm
Location: Gertrude Glasshouse, 44 Glasshouse Road, Collingwood.
Artists: Paul Yore, Jess Johnson, Anne-Marie May, Jon Campbell, Richard Lewer, Michelle Ussher, John Meade, Benjamin Armstrong, David Rosetzky, Nicholas Mangan, Robert Owen, David Noonan, Emily Floyd, Kate Beynon, Ricky Swallow.

Gertrude Contemporary is delighted to announce that the 2016 Gertrude Edition will be produced by Paul Yore (represented by Neon Parc, Melbourne), who held a studio at Gertrude from 2011–2013. For this year's Edition, Yore has created 52 unique works on fabric—one for each lower and upper case letter in the alphabet—each representing a phobia or anxiety.

The Gertrude Editions are a series of specially commissioned limited edition works by a Gertrude Alumni Artist. The Editions are an annual initiative established in 2002 to support Gertrude's artistic program and to promote the connection between our studio program and our celebrated Alumni. Gertrude Editions are held in major private and institutional collections including the Museum of Contemporary Art, Sydney; National Gallery of Victoria, Melbourne; and Monash University Museum of Art, Melbourne.

This year, Yore's Editions will be sold for $1650 each (inc. GST). They will be released for public sale at Gertrude Glasshouse on Saturday 26 November at the opening of Gertrude Editions (2002–2016), which will bring together all of the 
previous Gertrude Editions alongside the full set of Yore's 2016 Gertrude Edition. 

Click here to purchase your Paul Yore Gertrude Edition.

The previous Gertrude Edition artists are 
Jess Johnson, Anne-Marie May, Jon Campbell, Richard Lewer, Michelle Ussher, John Meade, Benjamin Armstrong, David Rosetzky, Nicholas Mangan, Robert Owen, David Noonan, Emily Floyd, Kate Beynon, Ricky Swallow.

44 Glasshouse Road, Collingwood.
Thursday–Saturday, 12–5pm.

Gertrude Glasshouse is an accessible venue. Visitors with wheelchairs and strollers are recommended to be dropped at the gallery or park on Rokeby Street and access Glasshouse Road from the Rokeby Street end.

Click here to view the media release.

Image: Paul Yore, Arachnophobia, 2016. Courtesy of the artist and Neon Parc, Melbourne.

05.11.2016 – 19.11.2016

Exhibition dates: 5–19 November 2016
Exhibition opening: Saturday 5 November, 4–6pm
Location: Gertrude Glasshouse, 44 Glasshouse Road, Collingwood VIC 3066

Gertrude Contemporary is pleased to present AFFIDAVIT VITO ACCONCI, a project by Gertrude Studio Artist Brooke Babington at Gertrude Glasshouse. Babington will present new work alongside work by Lauren Burrow, Rebecca Joseph, Spencer LaiPip Wallis and Ross Wallace in a loosely/group curated 'solo show' proposed to test the elasticity of the increasingly present artist-curator role in contemporary art.

Building on her June exhibition 
Wet eyed sissies at Bus Projects, in which Babington featured work by Burrow and Joseph, AFFIDAVIT VITO ACCONCI emerges obliquely from the theme of 'female/queer delinquency' to reconsider the radical potential of gendered bravado as an active rebellion against the structural apparatuses that motivate good citizenry and that reproduce normative power relations.

Brooke Babington is an artist, writer and curator. Her work frequently engages in ideological critique, exploring power and social dynamics, language and the mythology of the artist/exhibition. From 2013–2014 Babington was the Director of Slopes, a twelve-month, not-for-profit project space in Melbourne. Recent exhibitions include, Wet eyes sissies (featuring Lauren Burrow and Rebecca Joseph), Bus Projects (2016); No Nuisance, The Alderman (2015); What Has (Has Not), TCB Art Inc., (2013); Synonyms for Sincerity, Alaska Projects, (2013). Babington's curatorial projects include, Thin Air, Slopes (2014); Why Not Walk Backward? (with Liang Luscombe), Gertrude Contemporary, (2014); Between Being and Doing (with Melissa Loughnan), Utopian Slumps, (2013).

Click here to view the media release.

Gertrude Glasshouse is an accessible venue. Visitors with wheelchairs and strollers should access Glasshouse Road from Rokeby Street.

Image credit: Rosie Issac.

[...] {...} [...]
21.10.2016 – 29.10.2016

[...] {...} [...]
Fayen d'Evie, Troy McConnell, Sophie Takách, Prue Lang.

Gertrude Contemporary is pleased to present [...] {...} [...] at Gertrude Glasshouse. This project was initiated by Gertrude Studio Artist Fayen d'Evie in collaboration with Troy McConnell, Sophie Takách and Prue Lang; with Bryan Philips, Terry Foley, Louella Hogan, Benjamin Hancock and Harrison Ritchie-Jones.

Throughout October Glasshouse has been the site for a series of trans-sensory and inter-material translations, accumulating as an evolving haptic exhibition:

//audio-description transfigured as generative, vibrational practice / movement improvisations / hide(s) / work -- works -- work sites / articulated armatures / materials under tension / skin(s) / boundaries of encounters / resistance / responsiveness / contraction and release / transmission from body to material, from material to body, from material to material, from body to body / scores for encounters between bodies and material histories / taxonomies of touch / imprints of contact / distributed authorship / activation / elasticity / vibrational silence / private handovers / public handovers / removal / retreat / return / repeat //

Glasshouse will be open to the public at select times to view the exhibition outcome. There will also be two public events and performances. See the full schedule below:

Open to the public 1:00pm – 4:30pm
Opening Performance and Public Conversation: 2:00pm – 3:00pm. 

Open to the public 12:30pm – 4:30pm.

Open to the public 2:00pm – 5:00pm

Open to the public 2:00pm – 5:00pm

Open to the public 2:00pm – 8:00pm
Closing Performance and Celebration: 6:00pm – 8:00pm. 

LOCATION: 44 Glasshouse Road, Collingwood VIC 3065. Gertrude Glasshouse is a wheelchair accessible venue. Visitors with wheelchairs and strollers are recommended to arrive via Rokeby Street.

Image: Fayen d'Evie, Troy McConnell, Sophie Takách and Prue Lang, 2016.  [...] {...} [...] handovers + translations. Phase 1. FdE, TmC, ST, with Terry Foley and Bryan Phillips.  Shared action involving objects / hide / feel of kelp, shammy, wet sponge. Photo credit: Pippa Samaya

Click here to view the media release.


Fayen d’Evie explores blindness as a radical critical position and as a generative methodological principle, which agitates ocularcentric norms of exhibition-making, opening terrain for artistic and curatorial practice attuned to complex embodiment, translation, haptic discourse, structural politics, perceptual enquiry, ephemerality, and the perpetually invisible. Fayen is also the founder of 3-ply, which investigates artist-led publishing as an experimental site for the creation, mutation, dispersal and archiving of texts. Fayen is based in rural Victoria, and is a current studio artist at Gertrude Contemporary, Melbourne, and a Phd candidate in Curatorial Practice at Monash University. Fayen graduated from the Victoria College of the Arts (Painting) in 2011. Recent exhibitions include: (2016) Human Commonalities, V.A.C. Foundation and the State Museum of Vadim Sidur, Moscow; Endless Circulation: TarraWarra Biennial, Healesville; The Gravity, the Levity, Kadist Art Foundation, San Francisco; Habits and Customs..., Kadist Art Foundation, Paris; (2015) 3rd Ural Industrial Biennial, Yekatarinburg; The Material Turn, Margaret Lawrence Gallery, Melbourne; Not All Treasure is Silver and Gold, Mate..., West Space, Melbourne; Just as Money is the Paper, the Gallery is the Room, Osage Art Foundation, Shanghai; (2014) Macquarie Group Emerging Artist Prize, Sydney; No, You’re Product, Slopes Projects, Melbourne; Sunny and Hilly, Minerva, Sydney; Melbourne Now, NGV, Melbourne.

Troy McConnell is an artist and writer based in rural Victoria. Through his paintings, he explores dynamic gestures and markmaking. His poetry ranges from the emotional turbulence of shipwrecks to the hunting grounds of the spider “straining every nerve for the slightest vibration”. Troy is currently working on a series of stories tracing the adventures and misadventures of Bomber, an eternal optimist who never thinks through the consequences. Troy’s collaboration in this exhibition is facilitated by a partnership between SCOPE Victoria and Gertrude Contemporary.

Sophie Takách is an emerging artist whose object-based sculptural practice incorporates performative action and ephemeral installation. Drawing on a deep interest in science and the underlying physical processes that make up of the material world, she exploits the interactions between force and matter to reveal otherwise intangible forms and actions. Previous exhibitions include 'The Material Turn' curated by Rebecca Coates, Margaret Lawrence Gallery, (peculiar/particulate) a working model collaboration with Susan Jacobs, c3 Contemporary Art Space, and Benglis 73/74 curated by Geoff Newton at Sutton Gallery Project Space. Sophie’s work is included in the artist book collection of Monash University and held in private collections. She lives and works in Melbourne, and is currently undertaking postgraduate studies in Fine Art at Monash University in Melbourne. 

After graduating from Victoria College of the Arts in 1992, Prue Lang joined Meryl Tankard’s Australian Dance Theatre. In 1996 she moved to France to work with Choreographic National Centre in Angers, Compagnie Cre-Ange in Paris, as well as creating and facilitating her own independent projects. In 1999 she began an important collaboration with William Forsythe as a leading soloist and choreographer of the Frankfurt Ballett and The Forsythe Company. She created five original works for the company. She is also a leading exponent of Forsythe’s improvisation technologies and a researcher with Motion Bank project. Since 2005 she has been working as an independent choreographer presenting her work in international festivals, theatres and museums throughout the world including Theatre National de Chaillot Paris, HAU 3 Berlin, Mousonturm Frankfurt, Tanzhaus NRW Düsseldorf, Tanzplatform Deutschland, STUK Belguim, Festival Mettre-en-scene Rennes, Rencontres choregraphiques internationales de Seine-Saint-Denis, Mains d’oeuvres, Festival faits d’hiver Paris,TATE Modern, London. She has been voted Most Innovative Production, Most Outstanding Choreographer and most Outstanding dancer by Europe’s Balletanz’s Annual Critics’ Survey, awarded in Hybrid Art by the Prix Ars Electronica, and won Green Room awards for Design, Original Choreography and Best Ensemble in Australia.  

10.09.2016 – 01.10.2016

Exhibition dates: 10 September – 1 October 2015
Exhibition opening: Saturday 10 September, 4–6pm
Location: Gertrude Glasshouse, 44 Glasshouse Road, Collingwood VIC 3066

Gertrude Contemporary is pleased to present Hamishi, a solo project by Studio Artist Hamishi Farah at Gertrude Glasshouse. In the words of the artist:

"After painful participation Hamishi Farah retires from Australian Art.

Hamishi Farah is a Nigga born in Australia, practicing painting and other media. Upcoming exhibitions at Julie Stoschek Collection, Düsseldorf; Chateau Shatto, Los Angeles; Arcadia Missa, London."

To view the media release click here.

13.08.2016 – 03.09.2016

Exhibition dates: 13 August–3 September
Exhibition opening: Saturday 13 August, 4–6pm. 44 Glasshouse Road, Collingwood.

Artists: David Booth, Annie Davidson, Thomas Gibbs, Andy Hatton, Lee Hodson, Camille Javal, Kat Kallady, Adam Lee, Laith McGregor, Rob McHaffie, Nell, Celeste Potter, Kate Shaw, Justin Williams.

Gertrude Contemporary is pleased to present Sirens (I Heard Voices In The Night), a collaborative project initiated by Ben Abraham for Gertrude Glasshouse.

Singer and songwriter Ben Abraham has brought together 14 Australian artists including Gertrude Alumni, Laith McGregor and Rob McHaffie, to respond to songs from his debut album Sirens.

Each artist has created a new work for this project as a means of visually articulating and responding to a specific song from the album. The selected artists include a number of Abraham’s long-time friends and collaborators. In discussing the concept behind this project, Abraham says, ‘I have always been fascinated by the way that narrative moves between art forms, and I’m excited by the idea that the story of a song might exist in another form, and through another storyteller’s eyes. 

The album Sirens will also be present within the exhibition at Glasshouse and visitors will have the opportunity to listen to songs as they view the corresponding artworks via a specifically developed app.

Ben Abraham is a Melbourne-based singer and songwriter, distinctive for his cinematic-folk musical style. Abraham’s background in screenwriting is a key influence in his work, which is underscored by a constant pursuit of narrative and storytelling. Abraham has toured with folk-bluegrass legend, Emmylou Harris and co-written songs with Grammy-nominated singer, Sara Bareilles. His debut album Sirens was relesed in 2016 through independant record label Inertia.

This project was made possible with support from Creative Victoria.

To view the media release click here.



16.07.2016 – 06.08.2016

Exhibition dates: 16 July–6 August 2016
Exhibition opening: Saturday 16 July, 4–6pm

Gertrude Contemporary is pleased to present Endolith Morphology, a solo exhibition by Debris Facility Pty Ltd and its Constituent Employees and Stakeholders at Gertrude Glasshouse.

With Endolith Morphology, the Debris Facility Pty Ltd will be Entangling itself in the Showroom surrounds of Gertrude Glasshouse. The public appearance and Inhabitation will utilise Processes of Digestion to obtain Newtrition from materials of Speculative Nourishment. With an attenuated focus on the particular Physical Qualities of mineral samples, we will burrow into them, to further the scope of the Body Corporate. Through Professional Partnerships with other Practitioners, the Scope of Operations has increased, with Video, Performance, Audio offered up as part of a Diverse portfolio of Site Responsive Installation Services.  The Architectural scope of the Gallery will be Amplified through Incursions of chrome scaffolding structures, which act as Framing Devices for plastic membranes; Reactive to Movements, Light and Temperature. The activity from within the gallery allows for the Transport and Logistics of operations to be brought in, Processed, and to Continue on within the care of other Agential Forces. The Facility will be Going Though the Motions within Glasshouse during some Gallery hours, and outside of Public Access viewing times, to Accumulate and Corrode the works and context over the Exhibition Period.

The Debris Facility Pty Ltd undertook a Corporate Takeover of the former practice of Dan Bell in 2015 as a means to Amplify Processes of Resource Re-purposing, Affective labour exchanges, De-materialisation of Value, and Mutations through transport and logistics. The Facility utilises a haptic program of Alterations to objects and contexts, with Public Occurrences existing in States of Flux. The Facility staff aim to provide High Quality services to its Stakeholders in Any Means Engaged. Standards of Excellence will be weaponised to Address any and all Situations The Facility will Encounter: the Adsorption and Parasitic Methods generate a Sumptuous Platter to Feast on.

There will be two public programs to accompany this exhibition:

Thursday 21 July, 5-7pm
44 Glasshouse Rd, Collingwood

Artist Talk: Debris Facility in conversation with Mark Feary, Artistic Director, Gertrude Contemporary
Saturday 6 August 3pm
44 Glasshouse Rd, Collingwood 

Click here to see the media release.

Debris Facility appears couresty of Debris Facility Pty Ltd

Image: Debris Facility Pty Ltd, Crytoendolith, digital collage, sweat and clenching, 2016-2022. 



18.06.2016 – 09.07.2016

Exhibition dates: 18 June–9 July 2016
Exhibition opening: Saturday 18 June, 4–6pm

Location: Gertrude Glasshouse, 44 Glasshouse Road, Collingwood VIC 3066 


Gertrude Contemporary is pleased to present Positions, a photographic series by recent Gertrude Studio Artist, Ross Coulter at Gertrude Glasshouse.

Produced in 2013, Positions explores representations of sexuality and the body in a series of six large-format prints depicting pornographic videos projected onto the naked figure of the artist.

The hyper-saturation of these prints conveys a similar quality to Sittings, a series of 1970s nude portraits of men and women in garish colours and interior settings by Greece-born American photographer, Lucas Samaras.

Coulter describes Samsaras’ work as having a conflicting affect upon the viewer. He says, ‘I feel a strange attraction and repulsion to these photographs of Samaras. The artist is literally lurking in the shadows of his work, looking at me as I look at the nude subjects in his photographs.’ In Coulter’s Positions, the subject is abstracted, with both the figure and the space behind being flattened, as if to be collaged, screened out and shut off.

Ross Coulter is a Melbourne-based artist who primarily uses photography and video in his practice. He completed a Bachelor of Fine Arts (Honours) in 2007 and a Master of Fine Arts in 2014, both at The Victorian College of the Arts. He has exhibited widely in a variety of artist-run initiatives and public institutions in Australia and has received a number of awards and grants, including the George Mora Fellowship at the State Library of Victoria. As part of this fellowship project, Coulter coordinated the release of 10,000 paper planes into the Domed Reading Room of the State Library of Victoria in a multi-camera video work and still photographic performance.

Coulter has recently concluded a two-year residency at Gertrude Contemporary (2014-2016). His forthcoming series Audience will be published as a photo book in 2016 as well as being exhibited at the National Gallery of Victoria in 2017.


To view the media release click here.



This venue is wheelchair accessible.

21.05.2016 – 11.06.2016

Exhibition dates: 21 May – 11 June 2016
Exhibition opening: Saturday 21 May 5–7pm 


Gertrude Contemporary is pleased to present, Negative Approach at Gertrude Glasshouse. 

This project takes its name from the foundational American Hardcore Punk band, Negative Approach, and examines how the intent and aesthetic residue of Heavy Metal and Punk continues to manifest in art and culture as a methodological approach to making and art. 

With only ever releasing one studio album (Tied Down, 1983) much of what remains of Negative Approach lies across scattered compilations, demos and bootlegs. This project brings together ten artists to chart a similar course through contemporary practice, exploring subcultural influence and material focus across both practice and medium.

The artists include:

- Colleen Ahern
- Lane Cormick
- Pat Foster and Jen Berean
- Marco Fusinato
- Tony Garifalakis
- Jason Greig
- David Mutch
- Dan Price
- Jensen Tjhung

Curated by Dan Price and Shae Nagorcka.

GERTRUDE GLASSHOUSE: 44 Glasshouse Road, Collingwood
OPENING HOURS:Thursday–Saturday, 12–5pm

For a full media release click here.
To view the poster designed by Dane Lovett click here


05.03.2016 – 14.05.2016

Gertrude Glasshouse: 44 Glasshouse Road, Collingwood
Opening hours: Thursday–Saturday, 12–5pm 

Exhibition dates: 5 March–14 May
Exhibition opening: Saturday 5 March, 3–5pm 

Gertrude Contemporary is proud to present In Concert, an exhibition featuring work resulting from partnerships between Gertrude Contemporary Studio Artists and key arts and local organisations.

Taking place in Gertrude Contemporary’s recently opened project space, Gertrude Glasshouse, In Concert will chart the boundaries of these art collaborations, examining the shifting and dynamic nature of the process across practice, medium and location. The widely divergent outcomes of these relationships—ranging from turf paintings, public soccer matches, rap videos, workshops, photoshoots, and individual artworks—reflects the possibilities for diversity and collaboration beyond the traditional confines of the gallery.

Gertrude Contemporary Studio Artists have worked with artists from Arts Project Australia and Kaleidoscope, Scope Victoria, and students from Collingwood English Language School, St. John’s and Fitzroy Primary School. This exhibition is a culmination of these significant relationships developed over the past three years with the generous support of the Marjorie M. Kingston Trust.

- Charlie Sofo and Mark Smith, Arts Project Australia
- Minna Gilligan and Eden Menta, Arts Project Australia
- Sean Bailey and Caroline Sant, Kaleidoscope, Scope Victoria
- Fergus Binns and Greg Muir, Kaleidoscope, Scope Victoria
- Søren Dahlgaard and Fitzroy Primary School
- Kelda Free and David Brazier and Fitzroy Primary School
- Tully Moore and Fitzroy Primary School
- Claire Lambe and Collingwood English Language School
- Hamishi Farah and St. John’s Primary School, Clifton Hill

A full media release is available here.