October Exhibitions -- Ross Coulter / Jen Broadhurst / Brad Rusbridge





"Spaces" is a project that has developed from the ongoing series titled "Audience". "Audience" is a series of photographs of people gathered in an empty gallery, in which there is no art, imagining a performance that doesn't exist. Once the shoot has concluded and the gallery is empty a photograph of a white gallery wall is taken. Like an off-cut or parallel history "Spaces" has developed from this process. While shooting the photographs for "Spaces" Coulter uncovered a rich local context for this work when he happened upon a catalogue of the exhibition, ‘Endless Present: Robert Rooney and Conceptual Art' (NGV 2010-2011) and two series of photographs, 'Corners' (1972) by Rooney and '90 White Walls' by Dale Hickey (1970). 




Privilege considers how we learn and grow as Australian children with our history of European invasion, genocide and reconciliation. The remnants of puppets, play, and faux-educational games symbolise a remarkable category of identity: whiteness. Each piece maintains a particular ambiguity of presence and power, though subtle. Re-enacting a kind of blindness, they perpetuate a position of colonial pedagogy.







The borders are now closed.  Everyone is medicated.  The internet is regulated.  Group participation in prayer and ritual practice is encouraged.  Continuous systematic surveillance is necessary.  The surveillance of continuous systematic surveillance is a national pastime.  There are no more children.  Children have been replaced by robots.  The universe is no longer expanding - it is now in its contraction phase.  The Goddess Nemesis is the one true deity.  Her violence is admired.  The dream-state is the preferred and primary state of mind. 

From the cliff-top of a vague yet increasing mountain of uncertainty the painter casts his miniscule shadow over a vast landscape of potential catastrophe.  This is Paranoid Valley.