06/06/08
BUS PRESENTS OUTER 7: NEW CD BY SNAWKLOR

BUS presents (belatedly) OUTER 7

Quick Be The Feet That Run To Mischief
A new CD by Melbourne duo Snawklor (Nathan Gray & Dylan Martorell)

Quick Be The Feet That Run To Mischief was launched in January in a secret squirrel event at the Yarra bend bat colony, as well as an official launch held at the Toff in Town, along with Paeces, Fabulous Diamonds and guests.

Snawklor is a decade long musical collaboration between visual artists Dylan Martorell and Nathan Gray. Snawklor make improvised electro acoustic music and sound installation with whatever is at hand exotic instruments, feild recordings, toys and electronics.

Previews can be found at snawklor.myspace.com and more info on Snawklor can be found at http://www.snawklor.blogspot.com/

Contact Bus, Dylan or Nathan for copies of the CD.


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07/04/08
BUS OPENING TUESDAY 8TH APRIL

Opening  Tuesday 8th April 6-8pm  Until  Saturday 26th April

BATMANIA
Simon MacEwan |
Batmania is the name John Batman proposed for the settlement that would become the city of Melbourne. While the careful naming of new housing developments such as Caroline Springs and Edgewater may appear pretentious, most Australian place names are similarly imposed on the landscape, with motivations ranging from the sycophantic – Melbourne is named after Lord Melbourne - to the literal and prosaic, such as Red Hill.  Over time place names have lost their original contexts; Bayswater, a place without a bay or any other significant body of water, is named after Bayswater House, home of a wealthy C19th Bookmaker, Ferntree Gully is named after a painting. Divorced from their origins and intentions these place names offer rich allusive possibilities, conjuring images that the original name givers may not have intended to evoke; in the present economy few people agree with the sentiment of Lovely Banks. We might ask- is Box Hill really a hill made entirely of boxes, who are The Sisters and what goes on at Mount Buggery?
Batmania is an exhibition that takes these names at face value, separating them from their historical context - a series of paintings and models exploring the visual potential of Victoria’s postcode names. Box Hill becomes a hill made of cardboard boxes,  Serpentine has snakes aplenty, and in Batmania everyone wears a batsuit.

ON DISPLAY
Julia Theobalt |
In the exhibition On Display, Julia Theobalt uses reflective materials, light and painting to investigate hard-edge abstraction. Spatial elements and geometric forms are brought together to address the relationship between two and three-dimensional shapes. The resulting works seek a negotiation between the viewer, the artwork and surrounding architectural space.


AFFECTIVE URBANISM 5
Timothy Webster |
Affective Urbanism is a series of small, independent works that explore our emotional response toward the urban environment. As a highly urbanised society, any connection to the urban environment is often only realised when its rhythm is ruptured. The demolition of a building, the construction of a billboard or simply more people on bikes for a day - we are wired to notice difference. How we respond is always relative to what we are used to... our own everyday.

Presented here at Bus is Affective Urbanism 5, an archeology of the present where the viewer is invited to consider the rhythm of the everyday as gleaned from its everyday discard. Rubbish was collected and photographed over a period of a week in my own familiar territory of West Melbourne. Woven into an orb and suspended in the centre of the room, it is illuminated so that the curvature of the sphere is cast in silhouette onto the wall. The horizon on the wall morphs as the globe revolves while the shadows find their own rhythm. And we remember a new landscape which we had forgotten that we helped to make.


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18/02/08
SKIN & BONES '08 BUS FASHION AND COSTUME SHOW

Curated by Patrick O’Brien
Supported by The L’Oreal Melbourne Fashion Festival

Opening night drinks @ Bus on Tuesday February 19th
Bus Closing night costume party and performances on Saturday 23rd February

Bus Gallery is pleased to announce the opening of its second annual Fashion and Costume show – Skin & Bones 08. The exhibition is part of the 2008 L’Oreal Melbourne Fashion Festival Cultural Program, and features costumes and fashion related work by 13 artists.

Curator Patrick O’Brien says: “Skin and Bones is a show that celebrates our innermost creativity. “Dressing up” is an early memory for most of us. Now, as much as when we were young, dressing up has always been a very personal and direct way of expressing who we are, and what we have to say, as well as a lot about our greatest hopes, fears and desires. It’s also a lot of fun.”

Wearable or not, these works touch on the idea of fashion as art-form in many different ways. From Grant Gronewald’s rough drawing of a woman wearing her heart on her sleeve to Danielle Marlow’s knitted mask of Moondog, The great blind US composer. Jason Heller and Lucrecia Quintanilla get soulful with a western suburbs barber in their audio visual work, “Hair at Habtie’s”, while Dylan Martorell’s tribal costumes are sure to initiate first time viewers.

The closing night costume party extravaganza will feature rare performances by members of Musicyourmindwillloveyou recording artists, Blank Realm, No Guru and 6MAGIK9 from Brisbane, as well as the first Australian show of 1/16th headed…and some secret, special guests. Then Skin & Bones travels to Collingwood, to be shown alongside some on Melbourne’s hippest and most creative designers at Penthouse Mouse, situated at 46 Stanley St, Collingwood.

Artists: Rebecca Joseph, Nathan Gray, Karla Way, Oliver Hextall, Alexander Ouchtomsky, Dylan Martorell, Helen Johnson, Cait Foran, Grant Gronewold, Danielle Marlow, Sophie Brous, with Jason Heller and Lucreccia Quintanilla in the sound gallery.

Skin & Bones 08 @ Bus 19-23 February
117 Little Lonsdale Street, Melbourne
Skin & Bones 08 @ Penthouse Mouse 24 February – 19 March
46 Stanley Street, Collingwood




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19/11/07
BUS GIG SATURDAY 24/11/07

Bakelite: 9.15-9.45pm
Viva Computer: 10.00-10.30pm
Bachelor of Arts: 10.45-11.15pm
The Process: 11.30-12.00pm

Bakelite (Canada)
Jim Risbey is Bakelite. A new band arises for each new country, venue or situation. His constant exploration of culturally diverse music sees Bakelite always moving to amazingly colourful sonic fields.

Viva Computer (Tasmania)
Tasmania has produced more than just a short-lived Antarctic amusement park and one of Australia's oldest mental asylums. Viva Computer are a band from Hobart, Tasmania continuing the legacy of bands such as the Pixies and Animal Collective.

Bachelor Of Arts
Striving for infinity, block by block, the deconstruction of sound begins. Known by those in the know for their intense live performances, this will be one of the bands last shows for the coming months and a preview of new songs from their debut album, set for release in May next year.

The Process
Cutting a dress of fine genres and musical styling’s, The Process is an exciting new band with clever poetic maxims roaring over fascinating dark-disco rock.




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07/11/07
BUS OPENING FRIDAY 09/11/07

VAUCANSON'S DUCK
Vaucanson’s Duck brings together, for the first time, three unique instrument builders and sonic thinkers to construct a special sound installation and series of concerts at Bus. ERNIE ALTHOFF, ROBBIE AVENAIM and DALE GORFINKEL will provide a site-specific collaboration utilising their diverse array of wondrous automated music inventions, continuously challenging and mesmerising audiences both sonically and visually.

Evening concerts will feature Ernie, Robbie and Dale along with guest performers:

9/11 Opening 6pm - performances start at 7pm (Dale Gorfinkel, Robbie Avenaim, Ernie Althoff)

10/11 Dave Brown
11/11 closed (S.S.L - Dale Gorfinkel and Robbie Avenaim @ the Toff)
12/11 James Wilkinson & Rosalind Hall
13/11 Oren Ambarchi
14/11 Robin Fox
15/11 Erick Mitsak
16/11 Sean Baxter
17/11 Paul Wain
18/11 closed - (WOG @ the Toff)
19/11 Graeme Leak and Rod Cooper
20/11 Anthony Pateras
21/11 Dale Gorfinkel, Robbie Avenaim, Ernie Althoff
22/11 Natasha Anderson
23/11 Phillip Samartzis

All performances (10/11 - 23/11) 8pm, $8

Jacques Vaucanson (French, 1709-1782) Vaucanson’s Duck is perhaps the most famous automaton that has ever existed. He wanted to construct moving anatomical figures which could be used by doctors and surgeons to demonstrate bodily operations. Arriving In Paris at age 26, he lacked money for these experiments and decided instead to produce “some machines that could excite public curiosity.” In 1738 he presented before the Academie Royale des Sciences three automata - a drummer, a flute player and the duck. They met with an immediate and enormous success - not only among the public but with savants as well. The duck was exhibited with great acclaim throughout Europe, fell into ruins, was repaired, lost, and rediscovered, and is last recorded in the 1860s.

Also:
MUSEUM OF LOST WORLDS PRESENTS - PASSPORTS FROM FORGOTTEN REALMS
A collaboration between WANDA GILLESPIE and FAISAL HABIBI

This exhibition is supported by the City of Melbourne

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16/10/07
BUS OPENING THURSDAY 18/10/07

BUFF VS THE QUEEN
Buff Diss |
Buff Diss is a Melbourne based artist who specialises in creating works with
masking tape. For a number of years Buff has been decorating the walls and laneways of Melbourne with his temporary and boldly unique form of art. This October, the tape will climb from the street to the gallery walls in his first solo show at Bus. The show is entitled 'Buff vs. The Queen', its works bringing to question the validity of the monarchy and the divinity it asserts.
The artist will be installing the show live from the 16th, followed by a royal opening on the 18th from 6pm.

LIGHT AS OBJECT
Michael Georgetti |
‘I use classic forms often made from commonplace materials (cardboard, tape, paper and canvas) to create colour-fields in a dialogue between real and pictorial space. I try to activate space theatrically, where colours can play a character in a staged narrative. I often incorporate a material into the work that brings object-ness to my paintings and at the same time preserves its two-dimensionality. The margins of the camera screen and the flatness of the image that it provides in my work allows real space to act as a metaphorical picture-plane where all moving objects within it can become paintings.
My work is directed frequently through de-materialising the object and keeping in flux the dialogue between the sculptural and the pictorial. The “pushing and pulling” that occurs between a colour and its complimentary often relies on mobile forms to do so.’ (M.Georgetti 2007)

I JUST DON’T KNOW WHAT TO DO WITH MYSELF
Kate Just |
I Just Don’t Know What To Do With Myself is based loosely on the Greek tale of Arachne, a proud braggart who claims she can out-weave Athena, but fails. Ashamed, Arachne hangs herself, but Athena both saves and further punishes her by turning Arachne into a spider and her noose into a web. A cautionary tale of a complex power struggle between women, it explores multiple emotions of pride, shame, and empathy. In Just’s knitted sculptural interpretation, Arachne is part woman and part spider, face down on the floor with flowing synthetic locks and glossy painted mannequin hands poking through ripped knitted skin. Titled after Dusty Springfield’s melodramatic lament, she is positioned in the centre of a dark fully curtained room, with only a spotlight to illuminate her tragic reckoning.

Kate was funded by the City of Melbourne through their 2007 Arts Grants Program


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04/09/07
BUS OPENING TUESDAY 04/09/07

HISTORY SET THIS TRAP
Jackson Slattery | Daniel Price | Mike Conole |
History Set This Trap brings together three intersecting ideas of ways in which we formulate our sense of self within contemporary culture and existence, exploring themes of archaeology, travel, time and place.

LOVE CONQUERS F*CK ALL
Sandra Eterovic |
Eterovic collects together drawings, text and found objects, enshrining them in boxes that form fragmented narratives of happenings and memories.
‘Spin the wheel of fortune, admire an awards plaque, and peer into boxes of keepsakes and clues.  Fill the gaps: your life never looked better.’ (S.Eterovic 2007)

LAST PHOTO OF DICK
Emma Morgan |
Blacktown, Sydney, 1965. My Grandfather is the victim of a steel works accident, leaving him permanently brain-damaged and hospitalised for the rest of his life. In an era defined by the closed circle of the nuclear family, my Nanna is left with four young daughters, no work prospects, a vegetating husband and no forthcoming compensation. Alcoholism and violence ensues, accompanied by a difficult stepfather to the young girls. My Nanna is ostracised from her family and community, and her relationship with her daughters becomes deeply fractured.
Last Photo Of Dick was made as a response to a series of interviews conducted with my nanna, mother and two aunts about this period, specifically about their recollections prompted by the last photograph taken of my grandfather before the accident.


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08/08/07
BUS OPENING TUESDAY 14/08/07

ORIFICEWORKS
Tim Sterling |
Orificeworks is a field of objects made from office stationery; paper clips, pens, dividers, bull clips and pins. These materials twist and melt between abstract and representational forms.
A field of dynamic interchange is made apparent by choosing the studio to be both the site for the construction of work and the work itself. Exhibiting all the small sculptures and objects from my studio, ideas and forms are seen to manifest through cross contamination and continual renewal.
Meaning itself is present as an active component in the formation and perception of constructed geography, time and place. The meanings of signs (linguistic and visual) are defined and modified by their relationships to each other. As a ‘testing ground’ where improvisation occurs ground and figure become interchangeable.
Stationery no longer stationary enters a field of possibility.

CONVERSATION
Anne Wilson |
Wilson’s haunting video installation is about desire: a desire to communicate that is older than language itself. Shot underwater, the performance is both beautiful and dangerous. The body takes on a deathly serenity as the spoken words become bubbles that float upwards like silent prayers. But staying submerged is an act of endurance as each utterance bleeds precious air from the performer's lungs. Communication comes at a cost and words are no sooner articulated than they become shimmering ghosts beyond our comprehension.

UNCONTAINED (PART 1)
Michael Needham |
As something between a piece of domestic furnishing and an exhumed crypt, Uncontained (Part 1) is a sculptural installation playing on the veneers of raw material. While being an obvious exploration of material boundaries, it delves equally into a realm of interiority which oscillates between the physical and the unseen.

Uncontained (Part 2) will follow in October at Conical Inc.


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31/07/07
BUS CLOSED FOR 2 WEEKS

Bus will be closed from Wed 1/08/07 until Wed 15/08/07


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23/07/07
BUS OPENING MONDAY 23/07

ACSO Fourth Annual Art Show
Until Thursday 26/07
The exhibition showcases the work of participants from a number of ACSO’s programs, particularly the Disability and Adolescent Program.
ACSO’s core aim is to make a difference in the lives of people who have been disenfranchised. One-way the DAP (Disability & Adolescent Program), does this is to facilitate clients in becoming more independent, and in developing strategies to overcome their personal barriers.
Art is used as both a therapeutic and recreational tool by ACSO's staff and clients, on-site and through community centres and neighbourhood houses. As a recreational activity, art is used to reduce anxiety and to build self-esteem through a constructive and creative process.

All art works are for sale.
[ 100% of the profits going to the artists ]

Visitors will be provided with a number upon attendance at the show and are invited to place their number, and their offer for the purchase price of the work, on the bidding cards found beside each piece.
Winning bidders will be contacted upon the close of the show, with artwork and payments arranged for the following week.

ACSO is funded by the Victorian government and develops programs for people who have come into contact with the criminal justice system.



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29/06/07
BUS OPENING TUESDAY 03/07/07

Special opening night performance by bird-caller Dawne Chorus

NIGHT TIME IS FOR THE BOY WHO CAN FLY
Ashlee Laing |
Night Time is for the Boy Who Can Fly, is an installation incorporating video projection. In the darkened gallery space sit three handcrafted wooden hot tubs filled with water and a fine film of sump oil. Video footage is projected onto the liquid surface.
This exhibition explores a particular queer space created by consumerism that exists the world over. The subjects simulate notions of entrapment, limited expression, empowerment and communication within psychological/physical space. Night Time is for the Boy Who Can Fly involves the audience in a “world” of secrecy and shows us a cultural duality that exists with in the shadows of the mainstream ideology.

DOMESTIC FLIGHTS
Katie Jacobs |
Domestic Flights is a porcelain fantasy world of fighter pilots, former forests and constructed winged things.
Suspended ceramic bird forms create an environment that the viewer enters and moves through. The recorded sounds of bird noises in the exhibition are made by humans – including the professional bird-caller Dawne Chorus, who will be performing on opening night.
The otherworldly nature of the installation is heightened by the sounds of bird toys, whistles and the voice unaided, while the boundaries between constructed fictions and occurrences of 'the natural' is blurred.
Jacobs endeavours to capture our romanticised ideas of past conflicts and make them real. Smooth white shiny porcelain recalls the ownership of goods amongst the elite within the European cultural tradition. The fragility of these intricately crafted objects makes them both precious and beautifully tragic.



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11/06/07
BUS OPENING TUESDAY 12/06/07

TENDENCIES TO
Max Creasy
The basis for Creasy's photographic work is the architecture of Enrico Taglietti. The exhibition documents the work of Taglietti, but also brings together themes of the natural and unnatural as seen through the buildings and their location in the Australian landscape.

I DIDN'T ASK TO BE BORN
Annika Koops
This exhibition of paintings focuses on the grotesque through the lens of commercial culture and examines how the marketing of identity distorts and intensifies the psychological instability of adolescence.

TERRORIUM
Andy Hutson
Our sense of mortality necessitates terror as its counterpoint. In recent times, terror - through politics, mass media and the spectacle of Hollywood - has slipped into the banal. In Hutson's work, 'Terrorium' is not only a play on words, but a visual manifestation of entropy as it affects language and our perception of nature and the sublime.

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31/03/07
MAKING SPACE - VICTORIAN ARI EVENT 2007

Making Space is the first time artist-run-initiatives (ARIs) in Victoria have all worked collectively to launch a publication and program of exhibitions and activities.
In light of this, Bus thought we’d encourage ARIs from outside of Victoria to join in. So…Downtown Art Space (Adelaide), Inflight ARI (Hobart) and Firstdraft (Sydney) come with curated exhibitions of work from their spaces – to be presented in ours.
And…not leaving Victoria out of the event, Bus is presenting a show of Melbourne-based artists to complete the circle.

10/04/07 – 21/04/07

Downtown Art Space (Adelaide)
AS IT IS
AS IT CAN BE
Matt Bradley, Bridget Currie, Peter McKay & Mark Siebert
At first glance this exhibition of four Adelaide artists might appear to be an unlikely grouping. Matt Bradley projects a video documenting an encounter between two eccentric custom bicycle clubs from Adelaide and Canberra respectively. Bridget Currie contributes candid photographs capturing shiny objects, such as a police vest at night or a sword clutched by a school girl, alongside a delicately crafted installation of metallicised grape stalks. Peter McKay presents dark, colourful photographs reminiscent of distant galaxies, though they are actually of glitter encrusted oil stains in car parks, as well as messages to aliens written in tea light candles. Lastly, Mark Siebert shows carefully selected album covers of bands he has studied thoroughly deftly reproduced in watercolour, hung alongside a large oil on canvas reworking of an iPod advertisement. What links these artists is something more fundamental than subject or medium: what links these artists is something of their belief in the world and in art.
In short, these artists share an interest in literalism, which is in turn also a quality in each of their practices. Each video, photograph, sculpture or painting is dry and direct; even the most grandiose works in this exhibition are relatively straight forward and matter of fact. The purpose of this approach is to focus the audience’s attention on the subject and its potential: the world as it is; the world as it can be.
This may sound dull. We are often tired of the world, bored of its regularity, routine and disappointments. But perhaps we are tired of the world not because of its lack, but because of our own: because we fail to look at it; because we fail to explore it; because we fail to refresh and expand our experience. This exhibition affirms both the value of art, and existence, through defining a few simple but unexpected pleasures of the imagination grounded very firmly in reality. Here the belief is that the world, as it is, and as it can be, is a world one and the same if we make it so.

24/04/07 – 05/05/07

Inflight ARI (Hobart)
SEX AND THE CITY
Mohd Fauzi Sedon, Andrew Harper, Empire, Mat Ward, Carolyn Wigston, Peter Angus Robinson & Jacob Leary
Sex and the City explores ideas of desire, obsession, catharsis, artifice, disorientation and consumption in contemporary society, through the work of seven artists affiliated with INFLIGHT A.R.I. in Hobart. Impulse and hastily made decisions have characterised the 'coming together' of this exhibition, and in so doing, Sex and the City echoes the instant gratification of a 'quickie' or the seductive promise of a one night stand… Like many facets of contemporary consumer culture, popular television programs claim to mirror ordinary life whilst actually manipulating emotional responses for commercial ends. The artists in Sex and the City mine, interrogate and re-configure this 'mirrored reality' to present a new cognitive dissonance. When reality becomes 'reality' who, or what, portrays the real?


08/05/07 – 19/05/07

Firstdraft (Sydney)
RAISE HIGH THE ROOFBEAMS
Sean Rafferty, Michaela Gleave, Daniel Green,
Helena Leslie, Agatha Goethe-Snape, Penelope Benton & Camille Serisier
21 years ago, the model makers of Firstdraft built a structure that has stood the test of time. While it still stands strong, it is the task of each batch of directors to negotiate a renovation or rethink.
Penelope Benton, Michaela Gleave, Agatha Gothe-Snape, Daniel Green, Helena Leslie, Sean Rafferty and Camille Serisier are the current architects of this space. It is our job to remodel the structures that we have inherited. Whilst staying true to the initial design, and working with new tools to expand, we push upwards and outwards to raise high the roof beams.
As Firstdraft directors we are all builders in our own right. We bring to Bus the material evidence of our exploits – both within the context of Firstdraft and of our own individual practices. Here at Bus we attempt to furnish another space - that of another building, another city, another state. And here too we wish to raise high the room beams.
While each of us brings very different tools to attempt this renovation, we hope that together we can find more space to experiment, build and extend. In this new space we have raised the pitch – and hopefully made space to swing from the rafters.

22/05/07 – 09/06/07

(Melbourne)
FLOATS LIKE A BRICK DOESN'T
Kel Glaister, Tamsin Green, Ardi Gunawan & Carl Scrase
Floats like a brick doesn’t takes a whimsical approach to the irresistible forces of gravity. This is a light show that supports a heavy subject. The four artists involved each have an idiosyncratic approach to found objects, propositional sculpture and video. Their aim is to temporarily suspend, or at least confuse, gravitational forces. The approach to gravity in this exhibition is both literal and allegorical. The gravity resisted in the show is that of potentially falling apples. But Floats like a brick doesn’t also forms an allegorical relationship to the larger problem of making, and placing works in context of the gallery which is subject to its own entropic forces. These are ironic statements where the objects become both a tool and a proxy for the artists and their relationship to inevitable factors.
There can be a somewhat melancholic relationship to gravity, as in Kel Glaister’s work. Her cynical manipulations of found objects engage the conditions of material relations to make a doomed but humorous attempt to somehow overcome Newton, paradox and physical expectations. Tamsin Green, however, takes a more baffling approach in her video works. The position of the viewer in relation to ordinary experiences and gravitational expectations becomes uncertain. This work traverses a space between the mundane experience of the kitchen tap and something else that suggests the psychological anxiety of water torture. Ardi Gunawan’s constructions disguise themselves as displaced events of hard rubbish day while engaging with conditions of photography and theatre. The appearance of the constructions positions the viewer as an invader in this freeze frame, a moment that is both uncanny and unhinged. In Scrase’s use of multiple objects the gravitational plane is multiplied. As such the entire world as becomes threatening in a way it wasn’t really before, while the viewer is simultaneously denied the viewer of any access to a posited space of protection. His reconfiguring of found objects into strange and almost social grouping has a sweetly paranoid ring to it.
Floats like a brick doesn’t is an exhibition built around approaches to gravity, entropy and other inevitable things. There is a shared whimsy in the use of materials, and ambiguous attitudes that range from the deeply cynical to the lovingly disastrous. In the end, we’re chained to the world and we all gotta pull.

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28/11/06
BUS IS PLEASED TO PRESENT CANADIAN ARTIST DIANE LANDRY IN HER FIRST AUSTRALIAN EXHIBITION AND PERFORMANCE

ARTIST TALK
Footscray Audio Visual Social Club 05/12/06 6pm

PERFORMANCE
RMIT Kaleide Theatre 09/12/06 8pm
with Ernie Althoff, Snawklor/Dale Nason and
the premier screening of Pia Borg's new film:
“When Objects Dream”

EXHIBITION
Opening at Bus Tuesday 12/12/06 6/8 pm
Until 23/12/06

Diane Landry is an internationally renowned installation/performance artist from Québec. Diane’s work utilises semantically and temporally altered ready-made objects to subvert our perception of time and to highlight our inventiveness in forgetting its passing. Her work stirs a fascination for everyday objects, offering an altered outlook to all that is familiar.

Diane’s latest projects are dubbed oeuvre mouvelle (movel work) - material work that must be watched for some time before its full meaning is grasped. Movel work is Diane’s attempt to recreate in her installations the element of time that is such a vital aspect of her performances. Although movel work seems to have many parents - sculpture, performance, audio art, installation, engineering, etc. - it belongs to no family of its own.

Whilst in Australia Diane will present three installations at Bus, speak about and demonstrate her work at Footscray Audio Visual Social Club and perform at the RMIT Kaleide Theatre with Ernie Althoff and Snawklor/Dale Nason.

The RMIT performance night will also involve the premier screening of recent (2006) Anne & Gordon Samstag International Visual Arts Scholarship recipient Pia Borg's new film: “WHEN OBJECTS DREAM”. Pia’s work is informed by German Expressionist cinema and uses traditional animation techniques (each frame is carefully composed from a montage that encompasses old photographs, found objects, human hair, scanned textures, dust, insects and discarded 16mm footage) in her moody and evocative animations. Pia’s last film Footnote (2003) was nominated for the Palme d'Or in the 2004 official Cinéfondation selection at Cannes.

Please come and experience the work of Diane Landry.

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02/11/06
A DANCE PERFORMANCE

HALF FINISHED WORLD A dance performance |

Choreography and performance by Julia Robinson and Phoebe Robinson, Sound by Felicity Mangan, Animation by Richard Grigg

DATES: 01/1206 Until 08/12/06
(except Monday 4th) at 7pm
TICKETS: $10/ $15
BOOKINGS: 0431 854 031 before 4pm
Tickets also available at door. Seating is limited.

This project has been Maximised by Chunky Move and supported by the City of Melbourne 2006 Arts Grants Program

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16/10/06
BUS OPENING TUESDAY 17/10/06 6/8 PM

NO ARTIFICIAL FLAVOURS Estelle Ihasz |

SCHEMATICS FOR LIVING Lewis Gallagher |
This exhibition comprises of a series of diagrams relating to a compendium of obsessions, mannerisms and habits. They are based on the desire to understand the causal workings of the world not through logic or empirical investigation, but instead through imagination and intuition. They all contain the same basic system (a categorical break-down of possible ways to move/act/see in the world) but act as guidelines for different states of play, schematics for living, with differing emphasis and interpretations.

EPHEMERIS TIME Roh Singh |
I incorporate computer aided 3d design to create my sculptures. Arguably my initial forms do not exist in the real world, rather the conceived world of dimensions and space governed by that of the virtual. I try to emulate this virtual nature of an object, and encounter the implications of a space undefined by the actual. Preferring to work in the in between, where we perceive and believe but we know does not exist. I endeavor to emulate a slippage of forms somewhere between the technological virtual space, and that of a sculptural one. I hope to confound the viewer by eliciting feelings of a presence of absence; the loss of the realness of form, and the implications of this.

Opening Tuesday 17/10/06 6/8 pm Until 04/11/06 Wednesday/Friday 12/6 Saturday 12/5


also


CALL TO ACTION!

DISCARDED OBJECT POSTER PROJECT

Discarded Object Poster Project invites you to submit an image of a discarded object, which will then be made into a poster. Next time you see a shoe/glove/sock (anything!) simply photograph it and send it to discardedobject@hotmail.com (as a jpeg image, 300dpi or higher if possible) including the location of where it was found.
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19/09/06
CALL TO ACTION!

DISCARDED OBJECT POSTER PROJECT

Discarded Object Poster Project invites you to submit an image of a discarded object, which will then be made into a poster. Next time you see a shoe/glove/sock (anything!) simply photograph it and send it to discardedobject@hotmail.com (as a jpeg image, 300dpi or higher if possible) including the location of where it was found.

Have you ever seen a single shoe in the gutter, a beanie on the road, or a glove on the tram, and thought about whom the object may have belonged to, and how it got lost?

Embedded within the creases and stains of these objects is a human history that speaks of usage and ownership.

Discarded Object Poster Project involves photographing lost objects and making the images into posters that will be posted around the CBD. The shift in context of the object, especially in contrast to the expected advertising image, will reflect it as a trace of a person the remnant of an action or routine.

A map outlining the posters locations will be produced and launched at Bus Passenger Studio Space in early November. The map will help access the work and create a permanent record of the posters.

Supported by CLUBSproject and Bus.
This project has been assisted by the Australian Government through the Australian Council, its arts funding and advisory body.
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24/08/06
OPENING TUESDAY 29/08/06 6/8 PM

Following a series of successful exhibitions Australia-wide, dynamic and respected artist Reka returns to his hometown of Melbourne. Launched in Sydney earlier this year, Reka's solo exhibition 100K, is currently on national tour and will hit Bus Gallery on Aug 29. 100K is a study in simplicity. Referencing traditional line work, this exhibition showcases imagery in its purest form. 100K features works by Reka which both celebrate and are inspired by the arresting, graphic influences of anime and tattoo art. The drawings are all rich compositions done entirely in black ink using bold and divergent lines, natural and organic in style, paying tribute to Reka's graffiti roots.

In creating this exhibition, Reka has drawn inspiration from tribal and ancient Japanese patterns to inform his own Melbourne street style, while maintaining a cartoon and graffiti core. This influence is blended with themes and designs from animation as well as the early works of Keith Haring, Warhol, Basquiat and the 'pop art' movement. Reka is well known for his contemporary tribal/ancient aesthetic; bold, dynamic character design; and unique representation of the human figure in a street form.

Until 16/09/06
Wednesday/Friday 12/6 Saturday 12/5

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02/08/06
OPENING TUESDAY 08/08/06 6/8 PM

THIS IS THE THING I THOUGHT
WOULD NEVER COME
Marc Bijl Starlie Geikie, Matthew Griffin,
Irene Hanenbergh, Rachel Howe
& Ewoud van Rijn
Curated by Tony Garifalakis |

ORDO
Emma Uttinger |

GHOSTS OF THE UNCIVIL HEAD
Matthew Gingold |

also

Passenger resident
Tony Garifalakis & Duckjuggler present
BRING ME THE HEAD OF RICHARD WAGNER

Until 26/08/06
Wednesday/Friday 12/6 Saturday 12/5

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