06.09.2019 – 05.10.2019

Opening: Thursday 6 September 6-8pm

Exhibition dates: 6 September - 5 October 


In an exhibition titled PROOF OF WORK at Gertrude Glasshouse in Melbourne, Australia, the artist Andrew Liversidge has produced five objects for display. 

Five metal cubes. 

The cubes appear more or less the same with the only difference being an incremental shift in scale. 

The cubes were produced by melting Australian one dollar coins into a molten liquid that was then cast into moulds. A thousand dollar coins were melted to produce the first cube. Two thousand dollar coins were melted to produce the second. Three thousand for the third, four thousand for the forth and five thousand for the fifth. The resulting sculptures range in dimension from 11.4cm3 to 19.4cm3. All of them are somewhere between bronze-ish and dirty gold in colour and the flat, geometric surfaces are stippled with various imperfections.

The cubes are presented in a straight line, in the middle of the gallery floor. They are titled 1234, and 5 respectively.

This is the art people have come to see in the exhibition PROOF OF WORK.

Some may be drawn to the five objects on a purely formal level, intrigued and seduced by the evident discipline of reduction, repetition, material continuity, clarity and control.

Sooner or later they will learn that the bronze-ish, dirty gold looking material is actually an alloy of 2% nickel, 6% aluminium and 92% copper: Australian one dollar coins.

This information may solidify into an annoying, tedious distraction for the strict formalist. 

For others it could be a welcome entry point into what at first appeared to be a hostile, impenetrable display of staunch minimalism.

With this information comes a new perspective on scale. The bigger the cube, the more coins melted. The more coins melted, the more money destroyed.

Those that find themselves excited by the brazen destruction of currency, the contemptuous wasting of monetary value, may well be experiencing a tingling of masochistic joy.

Others still may point out that the apparent degradation is dubious in that the monetary value of the coins has merely been transferred into art objects. One may speculate that the dollar value has actually increased. That the project clearly demonstrates an upgrade in scarcity: a defining characteristic of both money and art.

Perhaps this point would spark a conversation about value itself. What exactly is it? How is it created? And why? Can it be stored, exchanged and manipulated and if so who wins and who loses?

Perhaps consensus, civil compliance, social contracts, instability and fungibility would be mentioned. Art as commodity would most likely come up.

An argument may even breakout between those espousing differing views on economics, free markets, systems of control, individual sovereignty and the role of the state.
These reactions may occur one by one, simultaneously or simply not at all. 
The only sure thing is aesthetics.
Fatigued by the infinite loop of subjectivity, and much like both the art in PROOF OF WORK and the artist himself, the weary formalist may find themselves reclining at the bar, forming an impossibly straight slouch.
Written by Rob McLeish, 2019

Andrew Liversidge completed a Master of Fine Arts at Victorian College of the Arts, The University of Melbourne in 2010 and a Bachelor of Fine Arts at The College of Fine Arts, U.N.S.W in 2001. Recent exhibitions include: IMMORTALITY, MUMA, Albury (2018); DEATH, The Commercial, Sydney (2017); THINGS THAT ARE THE SAME ARE THE SAME EVERYWHERE, TCB art inc., Melbourne (2014); ALL THAT FALL (red yellow blue) at The Commercial, Sydney (2013); Reinventing the Wheel: The Readymade Century, curated by Max Delany, Charlotte Day, Francis E. Parker and Patrice Sharkey, Monash University Museum of Art, Melbourne (2013); The Financial Report, curated by Mark Feary at Artspace, Sydney (2013). 

In 2009, he was the recipient of the Athenaeum Club Visual Arts Award for the winning entry of Master of Fine Arts exhibition at Victorian College of the Arts. In 2011, he undertook an Australia Council for the Arts Skills and Development Residency at the Citè Internationale des Arts, Paris, and in 2018 he was awarded the 4A Centre for Contemporary Asian Art Beijing studio program.  

Andrew is represented by The Commercial, Sydney.

Additional funding for this project has been provided by a City of Yarra Small Project grant. Andrew would like to thank Alexandra Paterson, Rob McLeish, Jake Wotherspoon, Alex Penfold, Ben Hallpike, Mark Feary and Nathan Hollywood.

The 2019 Gertrude Glasshouse exhibition program is generously supported by
The City of Yarra.

01.08.2019 – 31.08.2019

Hell is Other People

Gertrude Glasshouse ||44 Glasshouse Road, Collingwood
Opening: Thursday 1 August, 6-8pm
Exhibition Dates: 2 August - 31 August

Ciaran Begley and James Nguyen present some current outcomes from an ongoing dialogue. 

Hell is Other People is a collaboration that utilises the Nissen Hut - a ubiquitous example of military flatpack design - to process personal histories affected by successive policies of confinement that continues to define the Australian project.

Visualising the interminable hell of Jean-Paul Satre’s No Exit, the Nissen Hut, as a set-piece with convict sandstock footings temporarily repeats the structural cycles of violence, incarceration, internment, and detention enforced on 'Other People'.

James Nguyen is an Asian-passing visual artist who has dabbled with painting, documentary filmmaking, and conceptual art. Born in the highlands of Vietnam on a coffee plantation, Nguyen arrived in Australia under the family reunification program. Nguyen completed a Bachelor of Pharmacy at Charles Sturt University, Wagga Wagga before pivoting to the arts and completing a BFA at the National Art School and an MFA at Sydney University. Currently, a PhD candidate at UNSW, Nguyen has previously shown at West Space and Next Wave Festival. James Nguyen is a current Gertrude Studio Artist (2018-2020).

Ciaran Begley is a Pakeha artist who straddles the spheres of conceptual art, engineering and science. With a strongly installational practice, Begley’s work has a tendency towards found objects, architectural intervention and light. Born in Hawaii, Begley’s family emigrated to Aotearoa in the wake of the nuclear era. Begley grew up in Wellington and completed a BFA in Christchurch in 1999. Begley has since set up galleries on the Commonwealth isles of New Zealand and Britain, as well as Our Neon Foe in Sydney, Australia. After completing an MFA at Sydney University in 2016, Begley has since moved to Melbourne retracing his mother's steps to settle in the same neighbourhood where she was born. 

Additional funding for this project has been provided by a City of Yarra Small Project grant.

The 2019 Gertrude Glasshouse exhibition program is generously supported by The City of Yarra.


28.06.2019 – 27.07.2019

Apparent acquittal

Spiros Panigirakis

Closing event: Saturday 27 July, 3-5pm.

Exhibition dates: Friday 28 June - Saturday 27 July


Spiros Panigirakis’ project at Gertrude Glasshouse stages studio production across the time of the exhibition and the artist’s residency at Gertrude Contemporary. The project will have a closing reception on Saturday 27th July, after which point it will move and continue to Gertrude Contemporary’s studio 9. The project’s starting point is the studio space of Titorelli, the fictional painter in Franz Kafka’s The Trial. A bed dominates the space of Titorelli’s studio and interrupts the thoroughfare to the adjoining court offices. Whilst the paintings encountered by the central protagonist and middle-manager Josef K in the studio represent portraits of judges and institutional allegories, underneath the painter’s bed is a series of near-identical landscape pictures.  

Spiros Panigirakis is an artist, educator and writer. Earlier in 2019, he presented Figures, notes and amendments, a public art commission in the suburb of Moorabbin and the city of Kingston.  In this project he mapped his parents’ suburban garden and investigated how planning controls and municipal administration frame this site. Other projects include Opening, 2016, for Support Materials, Soft Furnishings at RMIT Project Space; Moorabbin, 2014, for the Melbourne Prize for Urban Sculpture; Australian Studies, 2014, with Fiona Macdonald for Cross Arts Projects, Sydney; Garden States, 2013, for Melbourne Now at the NGV and Ferntree Gully, 2011, for his first solo exhibition with Sarah Scout Presents. He recently co-curated If people powered radio: 40 years of 3CR, 2016, with Helen Hughes at Gertrude Contemporary and raft, 2013, at Craft Victoria. He has written for UN magazine, Enjoy journal and the practices of Raimundas Malašauskas, OSW, Fiona Macdonald, Fiona Abicare, Shannon Lyons and Bianca Hester. He was part of the founding committee of the artist-run initiative CLUBSproject (2002-2009). 

Spiros Panigirakis is a senior lecturer in the faculty of Art Design and Architecture at Monash University. He is the current chair of un Projects and is represented by Sarah Scout Presents, Melbourne. 

The 2019 Gertrude Glasshouse exhibition program is generously supported by The City of Yarra.

23.05.2019 – 22.06.2019

Bilirubin Bezoar

Isadora Vaughan

Opening: Thursday 23 May, 6-8pm

Exhibiton Dates: 23 May - 22 June

The title of Isadora Vaughan’s solo presentation at Gertrude Glasshouse co-joins the names bilirubin – a chemical compound formed by the breakdown of dead blood cells in the body, inherent in the yellow colourisation of bruises ­– and bezoar – a small stony concretion formed in the stomachs of certain animals, and historically used as an antidote to particular poisons. Bilirubin Bezoar extends Vaughan’s interest in expanded material experimentation and elaborating a visceral interpretation of anatomical surface, composition and transformation. In this installation, the artist blankets the surface of the floor to create an environment that forms a skin, upon which audiences must navigate a pathway through. Appearing as an environment akin to a forest floor, yet one that also connotes an infestation or infection of a bodily surface, the installation takes form like an alchemist’s manufacture of a new form of anatomy. Departing purposefully from the physical representation of the human form, Vaughan instead presents a setting of unnerving viscosity, metamorphosis and decay that suggests a conduit between and a collapsing of the body and the environment. 

Isadora Vaughan completed a Bachelor of Fine Art (honours) from The Victorian College of Arts, Melbourne, in 2013. Selected recent solo exhibitions include Metabolic Rift, Station, Melbourne (2018); Recalcitrant Bodies, The Honeymoon Suite, Melbourne (2017); Tess (with Clementine Edwards), 55 Sydenham Road, Sydney (2017); Cunjevoi, Station, Melbourne (2016); Slatey Clevage, Chapter House Lane, Melbourne (2015); Soil Slag, TCB art inc., Melbourne (2015); and Slippery Mattering West Space, Melbourne (2014). Selected recent group exhibitions include From Will to Form: TarraWarra Biennial, TarraWarra Museum of Art, Healesville (2018); Material Politics, c3 contemporary art space, Melbourne (2017); Erotisch, Private residence, Rotterdam, The Netherlands (2017); Erotic City, Skowhegan School of Painting and Sculpture, Maine, USA (2016); First thought, Best thought, Space Space, Tokyo, Japan (2015); and Soft Eyes: Part One, TCB art inc., Melbourne. 

Additional funding for this project has been enabled through 'The Big Idea', an annual initiative supporting the production of new work at Gertrude Glasshouse and the City of Yarra Small Project Grant.

The presentation of Bilirubin Bezoar at Gertrude Glasshouse coincides with a major new solo project by the artist, Gaia Not The Goddess, on view at Heide Museum of Modern Art, Melbourne until 23 June.
Isadora Vaughan is represented by Station, Melbourne.

The 2019 Gertrude Glasshouse exhibition program is generously supported by The City of Yarra

11.04.2019 – 18.05.2019

The Australian Inquisition
Steaphan Paton

Opening: Thursday 11 April, 6-8pm
Exhibition dates: 12 April - 18 May, 2019.

Steaphan Paton’s practice has garnered much critical attention in recent years for his interrogation of governmental forms of control that entrench and amplify the impacts of colonialism, as well as his interest in resurging traditional modes and practices of cultural production. For his solo presentation at Glasshouse, Paton continues his practice of entwining media to create environments that offer glimpse of the journey between process and outcome, presenting through an environment of sculpture and multi-channel video. The Australian Inquisition utilises heavyweight steel piping of the kind used in major water or oil distribution as sculptural armatures from which patternised shield-like elements have been extracted. Removed of their functionality to transport resources, the pipes mimic the forms of barks traditionally used in the production of shields, while also resembling some kind of foreign body archeologically excavated and presented as an obscure object of indiscernible origin and function.  Looking upon these metallic barks or recently unearthed apparatus, a cinematic journey though landscape unfolds, offering both a visualistic sense of flow and momentum, as well as a contextual cue of historical cultural trajectory.
Steaphan Paton (Gunai and Monero Peoples, Gippsland / South East New South Wales) lives and works in Melbourne. Selected recent solo exhibitions include Gunailand, Gippsland Art Gallery, Victoria (2018); My Jindabyne II, c3 Contemporary Art Space, Melbourne (2018); Muraskin, Tristian Koenig, Melbourne (2017); Contrecoup, COMA Gallery, Sydney (2017); Doublethink, RMIT Gallery, Melbourne (2016): Faunaface, Space Space Gallery, Tokyo (2015); and Boorun’s Canoe (with Cam Cope), Birrarung Gallery, Bunjilaka, Melbourne Museum (2015). Selected recent group exhibitions include Jack’s Reloaded: Material as Memory, Jack’s Magazine, Melbourne (2019); Gertrude Studios 2018, Gertrude Contemporary, Melbourne (2018), Weapons for the Soldier, Hazelhurst Regional Gallery and Arts Centre, Sydney (2018); Colony: Frontier Wars, National Gallery of Victoria, Melbourne (2018); Sovereignty, Australian Centre for Contemporary Art, Melbourne (2016); Murruwaygu, Art Gallery of New South Wales, Sydney (2015); Moving Backwards into the Future, National Gallery of Victoria, Melbourne (2015); Primavera 2015,  Museum of Contemporary Art, Sydney; and Melbourne Now, National Gallery of Victoria, Melbourne (2013).

07.03.2019 – 06.04.2019

The space has been created for something to happen; 1:2

Esther Stewart

Opening: 7 March, 6-8pm

Exhibtion dates: 8 March - 6 April 2019

Developing from an ongoing project that focuses on the representation of fictional and non-fictional architectures, Esther Stewart presents a 1:2 scaled fabric model of the artist’s home. From inside the model, interior spaces are punctuated by openings that recontextualise a domestic space within a gallery environment. Windows and doors appear to frame the sight lines of the work, altering both the scale and materiality of the architecture upon which it is based, while also collapsing distinctions between interior volumes and exterior façade.
Stewart creates paintings and installations that examine the possibilities offered through the visual languages of architecture, design and geometry. In her practice, the axioms of Euclidean geometry unfold in new and utopian interiors that are at once enticing and impenetrable. Stewart’s practice makes use of paintings, textiles, flags, screens and sculptures in her construction of architectural experiences, establishing a space between form and function, art and design.
Esther Stewart completed a Bachelor of Fine Art (First Class Honours) at the Victorian College of the Arts, Melbourne in 2010 and Master of Cultural and Arts Management at the University of Melbourne in 2012. Her most recent project was presented as a solo exhibition at the Sarah Cottier Gallery booth at the Melbourne Art Fair 2018, being awarded the inaugural YarraBend Stand Prize. Her work has been exhibited nationally and internationally in public institutions and galleries, including at the Heide Museum of Modern Art, Melbourne; Australian Centre for Contemporary Art (ACCA), Melbourne; and Víctor Lope Arte Contemporáneo, Barcelona, Spain. In 2016 Stewart was the winner of the Sir John Sulman Prize at the Art Gallery of New South Wales, Sydney. She is represented by Sarah Cottier Gallery, Sydney.

The space has been created for something to happen is a connected and accompanying work commissioned for and presented as part of the inaugural exhibition at the new Lyon Housemuseum Galleries opening in mid-March 2019.

31.01.2019 – 02.03.2019

Glasshouse Stonehouse Residency
La Dronne
André Piguet and Jackson Slattery

Opening: Thursday 31 January, 6-8pm

Exhibition Dates: 31 January - 2 March 2019

Organised by arts advocates, benefactors and long-term Gertrude supporters Michael Schwartz and David Clouston, and Antje and Andrew Géczy, this invitational studio residency program 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.

André Piguet and Jackson Slattery were selected for the second iteration of this residency and spent six weeks living and working in Chenaud from June - July 2018. This exhibition presents a selection of works made by the artist during this time or emanating from the experience. La Dronne draws upon the experience of the rural region where the residency is located.

18.10.2018 – 17.11.2018


Opening: Thursday 18 October, 6pm - 8pm 
Location: Gertrude Glasshouse, 44 Glasshouse Road, Collingwood
Exhibition Dates: 18 October - 17 November

The Lonesome Receiver continues Mark Shorter’s depiction and construction of male identity through the persona of Renny Kodgers. This work is the sequel to Hello Stranger; recently presented at Campbelltown Art Centre, which enacted a classic road movie mise-en-scene to rethink cinematic space and time. For this project, the artist looks at the communication channels and emotional connections of CB radio, favoured by long distance truck drivers. This project will form connection points from Gertrude Glasshouse to Gertrude Contemporary via CB radio, as well as connecting the project to the broader airwaves around Melbourne.

Opening performance Thursday 18 October, from 6pm.

Midnight performance Thursday 1 November, 11pm-1am.

Mark Shorter is a Melbourne-based artist and Head of Sculpture and Spatial Practice at the Victoria College of the Arts, Melbourne. Shorter makes performances and installations that question dominant narratives around landscape, gender and the body by stretching and turning the ideologies that sit deep in their form to see what bends or breaks. He studied at the National Art School, Sydney and the Sydney College of the Arts where he completed a PhD in Visual Arts. Recent exhibitions and performances include 6m of Plinth, Artspace, Sydney (2016); Can’t Look, Can’t Look Away, Counihan Gallery, Melbourne (2016); Mapping La Mancha, Physics Room, Christchurch, New Zealand (2015); 50 Ways to Kill Renny Kodgers, Museum of Old and New Art, Hobart (2014); The Groker, Plato’s Cave, EIDEA House, New York, USA (2015); Obscure Presence, Boxcopy Gallery, Brisbane (2014); and Acts of Exposure, Tasmanian Museum and Art Gallery, Hobart (2013). From 2010 to 2012 Shorter was the host of The Renny Kodgers Quiz Hour on FBi94.5FM. His practice has been critically explored in the publications, Mapping La Mancha (2016), What is Performance Art? (2016) and Quixotic Visions, Lismore Regional Gallery (2013). 


Mark Shorter 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.


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, 2018


 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

Exhibition Dates: 26 April - 26 May, 2018.
Location: Gertrude Glasshouse, 44 Glasshouse Road, Collingwood

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

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.

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

Exhibition Opening: Saturday 16 December, 4pm - 6pm

Location: Gertrude Glasshouse, 44 Glasshouse Road, Collingwood

Exhibition Dates: 14 December – 16 December, 2017

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.

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

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

Location: 44 Glasshouse Road, Collingwood

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. 

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. 

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.

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

There are still selected Paul Yore editions available for purchase here.

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

Location: 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.



17.10.2015 – 07.11.2015

Gertrude Glasshouse
44 Glasshouse Rd, Collingwood

Exhibition dates: 17 October–7 November 2015
Exhibition opening: Saturday 17 October 2015, 4–6pm

Gertrude Contemporary is pleased to present a new exhibition by Studio Artist Helen Grogan. Titled POEM (with insistence on plurality), it is a distillation of long-term research into space(s), observation, and the politics of view. The exhibition is site-responsive, treating the architecture of Gertrude Glasshouse itself as a readymade material—a situation to be expanded and opened in material, ontological, and political ways.

POEM (with insistence on plurality) comprises sculptural installations and video footage of the objects in, and the environmental conditions of, the gallery, which includes its floors, walls, corners, ceiling, doorways, and windows, as well as the passing sounds, light, and activities. Grogan has said of her work, ‘I’m learning that my practice has a lot to do with making an unstable, shifting situation for “viewing”—a resistance of a fixed, dominate, finite, privileged view-point (or end-point).’ Video monitors situated throughout the exhibition will produce a multeity of perspectives on the space. The videos reference the vernacular of architectural photography; long-form, fixed-frame shots of the site’s features are drawn into the time-based medium of video to produce a profound decentring effect.

Helen Grogan’s recent solo exhibitions include: Three Adjoining Spaces with Manifold Edges, West Space, 2015; Three Performative Structures for Slopes, Slopes, 2014; and Specific Applications for This Space (an obituary), Place of Assembly, Melbourne International Arts Festival, 2012. Recent group exhibitions include: Observation Proposition for Interior of Indicated Edges as well as Other Unindicated Parameters Already In Occurrence, in 2nd Tbilisi Triennial, 2015; Object as Score, VCA Margaret Lawrence Gallery, 2015; The Ear is a Brain, Liquid Architecture, 2014; Gertrude Studios Part Two, Gertrude Contemporary, 2014; Framed Movements, Australian Centre for Contemporary Art, 2014; Melbourne Now, National Gallery of Victoria, 2013 – 2014; Interpreting Variable Arrangements, Stockholm Kulturhuset, 2013. Her recent curatorial projects include: Specific In-Between (The choreographic negotiated in six parts), ACCA, 2014. Grogan studied Philosophy and Contemporary Dance at Deakin University, then the City University of New York. Between 2001 and 2005, she continued this research at the School for New Dance Development, Amsterdam School for The Arts.

Helen Grogan’s Gertrude Glasshouse exhibition is accompanied by a catalogue essay by Sarinah Masukor, as part of the 2015 Gertrude Contemporary Emerging Writers Program. Sarinah Masukor is mentored by Jan Bryant.

Image caption: Helen Grogan, photo-sketch compiled during working process for POEM (with insistence on plurality), 2015.

Media release available here.


24.07.2015 – 29.08.2015

Gertrude Glasshouse
44 Glasshouse Road, Collingwood 

Exhibition Dates: 24 July-29 August

The global financial crisis of 2008 marked the beginning of a new era. Continuing into the present day, it is an era of constraint, recession and immiserating austerity. Defined by global economic instability, the collapse of financial institutions, the bailout of banks by national governments and stock market down-turns all over the world, the widespread effects of recession and government cut-backs can only be fathomed through a simultaneous exploration of the inner irrationalities and external effects of an irrational system. 

Historically such disproportionate wealth distribution has been portrayed in a satirical or stylised bias that describes a distrust of those in control. This body of work reinterprets found images and icons that portray this moment in time and looks at how we still replicate outdated symbols of wealth as mascots for the masses. 

Tully Moore is a Melbourne-based artist whose practice primarily explores urban themes through the painting and reimagination of urban and sub-urban scenic fragments. Navigating city landscapes he is drawn in by the different facets that form the backdrop to contemporary living. The likes of design, intervention, and decay are a constant and his wanderings and subsequent paintings/installations form a kind of incidental map of the terrain. The resultant works often feature pictograms, architecture, street signage and graffiti. 

In 2008 Moore completed his Honours in Fine Art at the VCA. He has exhibited at Westspace, MOP Projects, FirstDraft and TCB as well as being part of Melbourne Now at the National Gallery of Victoria. Moore was also the recipient of the John Vickery Scholarship and the Roger Kemp Memorial Prize in 2007 whilst studying at VCA, and in 2011 was a recipient of the Australia Council Residency (Liverpool, UK). In 2013 Tully was awarded the Marten Bequest Scholarship for painting.

A full media release is available here.

10.10.2019 – 09.11.2019

Gertrude Glasshouse || 44 Glasshouse Road, Collingwood
Opening: Thursday 10 October, 6-8pm
Exhibition Dates: 11 October - 9 November

This is a pedal-powered work. You are invited to sit on a bicycle to cycle and work up a sweat to activate the work.
Made in collaboration with workers from the gig economy, ON DEMAND is a pedal-powered video work that considers work, labour, solidarity and movement (political and physical) in the neoliberal present. Living and working in the 21st-century brings precarity, competition and mobility – both for independent artists and ‘independent contractors’ of the gig economy. Self-exploitation, low wages and zero-hour contracts are shared terrain for many workers across both the cultural and service sectors.
Five workers of the gig economy (‘independent contractors’ for companies such as Uber, Airtasker and Foodora) answered the artist’s call out for ‘worker–performer’ collaborators. The worker–performers have diverse backgrounds: a family history of union and labour politics; a privileged upbringing in Pakistan; a degree in psychology; volunteer work with asylum seekers; a member of a death metal band; and artistic practice in photography and writing. Each worker–performer was interviewed by the artist, and their words and experiences appear in edited form in the work’s voiceover, as do the worker–performers themselves in the video. Lim paid each worker–performer the Australian Miscellaneous Award 2010 rate plus a provision for superannuation for their time – a gesture towards fair work conditions not generally guaranteed for gig workers or independent artists. This video work is the result of their collective negotiation – of stories, histories, movements and bodies. Lim finds a space for herself within this negotiation, inspired by her artist-hero Mierle Laderman Ukeles’ pioneering ‘work ballets’ and ongoing role as unsalaried artist-in-residence with the New York Sanitation Department. ON DEMAND is part of Lim’s ongoing enquiry into cultural production, social reproduction and living and working in the digital age.
Originally commissioned by Campbelltown Arts Centre (C-A-C)

Director, writer, editor, worker–performer Eugenia Lim
Cinematographer Alex Cardy
Choreography Nat Cursio
Composer Becky Sui Zhen
Worker–performers Cher Tan, Alberto Vescance, Benjamin Pitt, Wasay and Darren Tan
Gaffer Hannah Palmer
Camera assistant Bonita Carzino
Colour grade Chris Tomkins
Production advisor Alex George
Design/production assistant (Glasshouse) Jackie Miller
Install support (Glasshouse) Steven Smith, Jackie Miller
Voiceover Eugenia Lim
Studio angel Roslyn Helper
Eugenia Lim is an Australian artist who works across video, performance and installation. Interested in how nationalism and stereotypes are formed, Lim invents personas to explore the tensions of an individual within society – the alienation and belonging in a globalised world. Lim has exhibited, performed or screened at Tate Modern, EXiS (Seoul), ACCA, ACMI, Next Wave, FACT Liverpool, 24HR Art (Darwin), Substation (Singapore), Experimenta, Sydney Contemporary, Museum of Contemporary Art (Sydney), Melbourne Festival, Dark MOFO, Bus Projects and MPavilion. Lim has received a number of Australia Council for the Arts grants and residencies, and was artist-in-residence at the Experimental Television Centre NY and on exchange at the Rhode Island School of Design (RISD). In 2016, Lim undertook a residency at Bundanon Trust; at the studio of Shen Shaomin as a 4A Beijing Studio resident; and was artist-in-residence with the Robin Boyd Foundation. Her work is held in a number of private and public collections. Collaboration and the intersection between art and society informs Lim’s practice: she co-directed the inaugural Channels Festival, is the co-writer and host of Video Becomes Us, an artist-made ABC iView TV series on video art and is co-director of experimental art company APHIDS. Eugenia is a Gertrude Studio Artist 2018-2020.

The artist would like to thank
Cher, Alberto, Darren, Benjamin and Wasay for taking a chance, Jackie Miller, Quino and Ida Holland, the boss-femme film crew, Wyndham Cameron, Piers Morgan 
and Fieldwork, Dale Holden, Adam Harding and Madé Spencer-Castle at Centre for Contemporary Photography, Anatol Pitt at Bus Projects, Adam Porter, Paul Welch and Nathan Moore at Campbelltown Arts Centre, Amos Gebhardt, Andrew Treloar, Alan Macgill, APHIDS and the team at Gertrude Contemporary.



The 2019 Gertrude Glasshouse exhibition program is generously supported by The City of Yarra.