Published by Onomatopee and Discipline. Edited by Madeleine Collie and Yvonne Billimore with contributions from AK Wane, Åsa Sonjasdotter, Alana Hunt, Annalee Davis, Banu Subramaniam, Beatriz Paz Jiménez, Christian Thompson, Clare Qualmann, Diana Vieira, Elia Nurvista, Franswa Tibere, Gargi Bhattacharyya, Grace Gloria Denis, Joana Quiroga, Johanes Jamil, Jorge Menna Barreto, Joshua Gebert, Joss Allen, Keg de Souza, Kristina Jones, Kyriaki Goni, Leone Contini, Lucy Davis, Madeleine Collie, Marta Fernández Calvo, Margherita Pevere, Matti Aikio, Mariana Martínez Balvanera, Nathalie Muchamad, Nida Sinnokrot (Sakiya), Nick Anderson, Rain Wu, Rubiane Maia, Shalini Krishan, Sirkku Rosi, Yvonne Billimore, Zayaan Khan and Zheng Bo.

Designed by Zenobia Ahmed; Copyedited by Susie Quillinan; Proofread by Helen Hughes and Tuija Huovinen; Image edited by Paul Mylecharane. 

Follow the Plants is an expanded invitation to follow plants through histories, growing seasons, metabolic cycles, literature, art, bodies, archives, and collective ritual. Bringing together artworks, dialogues, roundtables, essays, and scores, the publication offers both examples of and prompts for collective research, tracing the multiple worlds through which plants circulate and generate meaning.

Putting stories, knowledge systems, and critical methodologies into correspondence, Follow the Plants is grounded in a dynamic field of inquiry in which creative practices emerge through situated relations with the territories, ecologies, and imaginaries that plants inhabit and animate.

(reviews)

352 pages, 165 × 234 mm, softcover Ota-bind, Edition of 2000, ISBN 978-94-93382-10-7

For UK, EU, Asia, Africa and Americas delivery order via Onomatopee.

Published by Spector Books and Discipline. The anthology revisits the classical myth of Daphne as the starting point for an investigation of trauma and metamorphosis, symbiosis and entanglement. Daphne, the nymph who turned into a tree to evade the assault of the god Apollo, is a figure in, and of, crisis, here re-cast as a dynamic model for the ruptures between the “figures” and “grounds” of today’s visual, social, and ecological environments. Commissioned essays and artist pages explore the integrity and vulnerability of bodies, their performative or prosthetic extensions, and the alliances they enter into, across species or symbolic registers. Tangling brutality and emancipation, power and refusal, self and place, Daphne’s becoming tree—and becoming image—is reimagined as a cipher for contemporary predicaments, illuminating the perils and potentials of a profound transformation of the human.

Edited by Mihnea Mircan and Helen Hughes with contributions from Erik Bünger, Lauren Burrow, Justin Clemens, Vincent W. J. van Gerven Oei, Ana María Gómez López, Amelia Groom, Eva Hayward, Ulrik Heltoft, Adam Jasper, Caroline A. Jones, Martha Kenney, Esther Leslie, Paris Lettau, Sophie Lewis, Candice Lin, Michael Marder, Stephanie McCarter, Lévi McLean, Luke Morgan, Miljohn Ruperto, P. Staff, Jonas Staal, Khadija von Zinneburg Carroll. Designed by Žiga Testen and Kim Mumm Hansen.

384 pages, 150 × 220 mm, 15 color and 100 b/w illustrations, thread-sewn paperback, Edition of 2000, ISBN 9783959058070

Expected shipment: Late September 2026

For UK, EU delivery order via Spector Books

In this exegesis, artist Amelia Gill examines the slippery nature of the concept of “genre” through Jacques Derrida’s “The Law of Genre” (1979) and Walter Benjamin’s On the Origin of German Tragic Drama (1928), before proposing a surprising conceptualisation of the role of violence in delineating generic forms. Gill deftly pursues her argument through examples as varied as Picasso’s return to figuration, Cady Noland’s exit from the art world, a scene from Pulp Fiction (1994), as well as her own paintings—developing an original and refreshing text.

12 pages, 148.5 × 420 mm (folded 148.5 × 210 mm), Self-cover, 1 colour risoprint on Envirocare 80gsm.

Ebony Maurice-Wilmott uses the idea of the index to structure this exegesis, examining both her own sculptural work and that of others—including Peter Cripps, John Nixon, Ian Burn and Tony Clark—and asks how the exhibition context of a work changes its reception. Here, Maurice-Wilmott is particularly concerned with the shift between artist-run, offsite and DIY exhibition spaces in comparison with the commercial and institutional. Nixon’s offsite gallery spaces Q SPACE and Q SPACE ANNEX (1980–81) are compared with the eponymous exhibition organised by Robert Lingard held at Brisbane’s Institute of Modern Art in 1981, for example, as well as Maurice-Wilmott’s own offsite exhibitions in comparison to the context of Monash University. 

12 pages, 148.5 × 420 mm (folded 148.5 × 210 mm), Self-cover, 1 colour risoprint on Envirocare 80gsm.

In this art historical paper, Sueann Chen compares artists Cao Fei and Zhang Dali’s  approaches to the urbanisation of China — in Beijing and Guangzhou, respectively — in the late 1990s and early 2000s. Chen suggests that although Cao and Zhang’s works differ materially, they both address a sense of urban displacement, reimagining identity to establish a sense of place within their rapidly changing landscapes.

12 pages, 148.5 × 420 mm (folded 148.5 × 210 mm), Self-cover, 1 colour risoprint and 4 colour images.

In this paper Annie Wallwork examines her use of frottage as a process-based, haptic means of considering traumatic, repressed memories — suggesting that this embodied approach necessarily circumvents the impossibility of expressing these memories linguistically. Wallwork reconsiders “hysteria” as a framework through which the mind and body can be thought together, as well as looking to artist Mig Dann’s expression of traumatic memory through Dann’s own method of “somatic experiencing.”

12 pages, 148.5 × 420 mm (folded 148.5 × 210 mm), Self-cover, 1 colour risoprint on Envirocare 80gsm.

Edie Duffy’s paper examines her use of user-submitted eBay photographs as source material for her meticulously painted photorealistic oil paintings, by way of thinkers such as Walter Benjamin, Jean-Luc Nancy and Georges Didi-Huberman. Duffy suggests that the transposition of these images from photograph to oil paint is “not as a means of washing away the digital nature of these pictures, but as a transformative gesture that engages a new way of seeing. Encountering the clarity of a digital photo in the fluid materiality of paint is a shock.”

12 pages, 148.5 × 420 mm (folded 148.5 × 210 mm), Self-cover, 1 colour risoprint on Envirocare 80gsm.

Edited by Helen Hughes and Olga Bennett with an introduction by Emile Zile. Designed by James Vinciguerra and Duncan Blachford.

Screenic: Politicised Writings on Being Screened—an anthology of Philip Brophy’s writing on art over the last twenty-five years. The focus of the selection is on art that involves screens: projected as film in museums, digitised for installations in galleries, curated as documents within exhibitions, presented as outdoor illuminations on buildings, utilised for the production of VR and AI-generated content, and even wall murals derived from televisual screens. The driver for the writing of these articles is an interest in media literacy within fine art contexts.

(continue reading)

In this paper, Margarita Kontev examines Western European curatorial approaches to Eastern European art in the early 2000s, identifying attempts to construct a “preconceived image of Balkan identity” through several large-scale exhibitions. Through a close examination of these exhibitions in conjunction with the political histories of the region, Kontev argues that this framework produced an exploitative, flattening “Othering” of Eastern European identities through a generalised “Balkan aesthetic.”

12 pages, 148.5 × 420 mm (folded 148.5 × 210 mm), Self-cover, 1 colour risoprint and 4 colour images, Edition of 100

Designed by Dennis Grauel.

In this paper, Ashika Harper instrumentalises Miranda Fricker’s concept of epistemic injustice towards an analysis of Trans subjectivity, thinking this through via the Wachowski sisters’ film The Matrix (1999), the work of artists Richard Harding, J. Rosenbaum, and their own studio research.

12 pages, 148.5 × 420 mm (folded 148.5 × 210 mm), Self-cover, 1 colour risoprint on Envirocare 80gsm, Edition of 100

Edited by Helen Hughes and Francis Plagne. Designed by Alexandra Margetic. Published by Neon Parc and Discipline.

This beautiful volume traces the links between Elizabeth Newman’s drawing practice and wider oeuvre. As Erik Jensen writes in his accompanying essay “her drawings are stubborn and deliberate and curious and patient” – they are acts of discovery that are, as Newman says, about “going to the nothing… to what is most me”. Often radiant with colour, much of the work here is strikingly immediate, playful, visceral. Also includes an interview between Helen Hughes, Francis Plagne and Newman.

145 pages, 210 × 295 mm, Softcover
Edition of 500, ISBN 978-0-9945388-8-8

Edited by Helen Hughes and Francis Plagne. Designed by Alexandra Margetic. Published by Neon Parc and Discipline.

This luminous volume on artist Elizabeth Newman includes two essays by Francis Plagne, each of which cover different, crucial time-periods of Newman’s practice. Highly illustrated, the beautiful works collected here range from the very recent, to those created in the last ten years or so. Melbourne-based Newman uses painting, printmaking, installation and found objects to explore, interrogate and apprehend questions that revolve around the philosophical and social conditions of art. Drawings is the sister volume to Elizabeth Newman: Still makin’ history.

145 pages, 210 × 295 mm, Softcover
Edition of 500, ISBN 978-0-0045388-7-1

Published by Third Text Publications and Discipline. With essays and dialogues led by Verónica Tello, Dylan A. T. Miner, Zoe Butt, Edgar Alejandro Hernández, Rolando López, Carla Macchiavello, Walter D. Mignolo, Rachel O’Reilly, and Ruth Simbao; and contributions from Jennifer Biddle, Katherine Carl, Fernando do Campo, Chandra Frank, Srdjan Jovanović Weiss, Angela Mitropoulos, James Nguyen, Salote Tawale, and Jean-Sylvain Tshilumba Mukendi. Copyediting by Nicholas Croggon, Helen Hughes, and Jennifer Sijnja. Designed by Zenobia Ahmed and Alexandra Margetic.

Future Souths, initiated and introduced by Verónica Tello, is the culmination of an online dialogical project that began in 2017. Future Souths is written by eighteen authors from the Americas, Australia, Asia, South Africa and Europe, radically reconsidering the geo-spatial bases and biases of contemporary art history and discourse. It proposes a fluid, collective, contingent re-consideration of key art concepts from embodied and geo-located vantage points, perspectives, and experiences of the south. The dialogues explore methods, concepts, and theories grounded in the materialities of archives, histories, borders, and context-specificity. The authors denaturalise the global north-centrism that dominates contemporary art discourse and vocabularies, including its privileging of historical signifiers such as “1989.” Future Souths affirms the generative possibilities of southern thinking and methods, specifically communal ones, for manifesting new futures for contemporary art history. 

(reviews)

224 pages, 165 × 234 mm, Softcover, 64 colour and spot-colour images, 1 BW image, Edition of 700, ISBN 978-0-9945388-6-4

For UK, EU delivery order via Central Books.

Edited by Helen Hughes and Amy May Stuart, with foreword by Bundjalung, Kamilaroi, and MuruWarri artist Professor Brian Martin. Designed by Zenobia Ahmed.

Làm Chó Bò ~ Making Trouble is a book based on the PhD research of artist James Nguyen. As well as offering exegetical analysis of Nguyen’s own work, the research examines a range of themes including institutional research culture and the politics of research ethics therein; archival art and activism; the act of translation, migration, Australian settler-colonialism, and Indigenous land acknowledgements; cross-generational experiences of postwar Vietnamese diaspora; and the legacies of Vietnamese feminist poetry, including poetry by the artist’s mother herself, Nguyen Thi Kim Dung. The book features a foreword by Bundjalung, Kamilaroi, and MuruWarri artist and educator, Professor Brian Martin.

(continue reading)

336 pages, 108 × 177 mm, Softcover, BW, Edition of 400, ISBN 978-0-9945388-9-5

Designed by Dennis Grauel.

Gemma Topliss’s paper examines crushing as both an intensely desiring psychic state as well as a violent force, with applications for post-conceptual sculptural, painting, and installation practice. It draws on an eccentric array of sources, from Anne Carson’s Eros the Bittersweet to “Bifo” Berardi’s Heroes: Mass Murder and Suicide, and features an extended meditation on crushing in the work of Lutz Bacher.

12 pages, 148.5 × 420 mm (folded 148.5 × 210 mm), Self-cover, 1 colour risoprint on Envirocare 80gsm, Edition of 50

Designed by Zenobia Ahmed.

Erin Hallyburton’s paper explores fattening as a mode of political enquiry, as well as a highly mutable material and method in sculptural practice—tracing an art historical lineage from Joseph Beuys to Robert Morris to Patricia Boyd.

8 pages, 148.5 × 420 mm (folded 148.5 × 210 mm), Self-cover, 1 colour risoprint on Envirocare 80gsm, Edition of 50

Designed by Zenobia Ahmed.

Megan Tan’s paper uses the model of an eisegesis (a “bad” interpretation of the Bible) as a means to explore language, translation, and loss, as well as personal narratives pertaining to the artist’s life, including: working for, and resigning from, her mother’s company; and joining, then leaving, a Christian fringe cult. Tan’s “Eisegesis” also uncovers revealing parallels between the institutions of the art school and the church that are both critical and liberatory.

8 pages, 148.5 × 420 mm (folded 148.5 × 210 mm), Self-cover, 1 colour risoprint on Envirocare 80gsm, Edition of 50

Please join us for a drink to celebrate the launch of Philip Brophy’s new book Screenic. There will be a reading from Emile Zile, and more…

Conners Conners
Fitzroy Town Hall
201 Napier Street Fitzroy
Saturday, November 30, 4-6pm

Saturday, 19 October and
Sunday, 20 October, 11am–5pm
Gertrude Contemporary
21–31 High Street, Preston VIC 3072

Discipline is excited to announce that we will be at Same Page Book Fair again in 2024, presented by Perimeter Books and Gertrude Contemporary.

Same Page brings together a select network of imprints, publishers and distributors who share a commitment to supporting local artists, writers and thinkers. The bespoke art book fair is a community-oriented event, highlighting the practices of small presses and collective activities in contemporary art publishing.

Thursday, 17 October, 4:00–4:45pm
Room G.105, Building G
Monash Art Design and Architecture
900 Dandenong Road,
Caulfield East VIC 3145

Amy Stuart (Teaching Associate, Monash University, and Editor, Discipline) in conversation with Discipline Papers authors and designers.

Discipline is pleased to announce the launch event of our Discipline Papers for 2024, written by Annie Wallwork, Ashika Harper, Edie Duffy, Margarita Kontev, and Sueann Chen. Designed by Zenobia Ahmed and Dennis Grauel, these papers represent some of the most original and exciting exegeses and theses from the Monash University Fine Art Honours cohort of 2023.

Co-presented with Monash University Fine Art department as part of a symposium organised by Frances Barrett (Lecturer, Monash University). Alongside the 2024 Discipline Papers launch, at 1:00pm this symposium will feature a keynote address by Amelia Winata (curator, Gertrude Contemporary and founding editor, Memo Review) and presentations from the 3rd Year Bachelor of Art History and Curating students. From 5:00pm is the exhibition opening celebration of the AHT2722 × FNA2212 collaboration.

Sydney Launch:
Wednesday, 24 July, 6–7:15pm
Verge Gallery
University of Sydney
Jane Foss Russell Plaza
Darlington, NSW 2050

Philip Brophy in conversation with Ivan Cerecina (Film Studies, University of Sydney) and Helen Hughes (Art History, Theory, and Curatorial, Monash University and editor, Discipline)

Co-presented by the Power Institute, Film Studies at the University of Sydney, and Verge Gallery.

Brisbane Launch:
Saturday, 27 July, 11am–2:30pm
Institute of Modern Art
Ground Floor, Judith Wright Arts Centre
420 Brunswick Street
Fortitude Valley, QLD, 4006

Philip Brophy in conversation with Robert Leonard (director, Institute of Modern Art), Helen Hughes (Art History, Theory, and Curatorial, Monash University and editor, Discipline) and James Vinciguerra (designer of Screenic).

Purchases of Screenic at the launch include a complimentary copy of Philip Brophy: Hyper Material for Our Very Brain, published in 2012 by the Institute of Modern Art, Brisbane.

Tuesday, 14th November, 6:00pm
Australian Centre for Contemporary Art (ACCA)
111 Sturt Street
Southbank VIC 3006
Melbourne

Please join us to celebrate the launch of the new book Future Souths with readings and responses by Verónica Tello, James Nguyen, Sebastian Henry-Jones, Lana Nguyen, and Lucreccia Quintanilla.

The event will be followed by drinks.

Discipline is pleased to announce a new publication series titled ‘Discipline Papers’ that will soft launch at the Melbourne Art Book Fair at the National Gallery of Victoria, Friday 19 to Sunday 21 May, 2023.

Discipline Papers is a selection of some of the most original and experimental Monash University Fine Art honours exegeses from recent years. Each text has been individually designed by Zenobia Ahmed and Dennis Grauel, and risoprinted on Envirocare 80gsm. They will be available for purchase for $5 each at the Melbourne Art Book Fair and here on the Discipline website.

The publication of the first three Discipline Papers has been made possible thanks to generous financial support from Monash University’s Fine Art department.

About

Discipline is a contemporary art publisher (and formerly a journal) co-founded by Nicholas Croggon and Helen Hughes in 2011, which focuses on artists’ writings, as well as art history and criticism. Its lead editors are Helen Hughes and Amy Stuart. Discipline is based on unceded Wurundjeri land in Naarm/Melbourne, Australia.

Editors

Helen Hughes
Amy Stuart

Editorial Assistants

Olga Bennett

Guest editors since 2011 are: Vivian Ziherl; Maria Fusco; Raimundas Malašauskas; Ferdiansyah Thajib, KUNCI Cultural Studies Center; and Carla Macchiavello and Camila Marambio, Ensayos.

Contact

info@discipline.net.au

Distribution

All online payments are processed through PayPal (no account required). For ordering/wholesale enquires please write to order@discipline.net.au

Social Networks

Facebook
Twitter (@discipline_au)
Instagram (@discipline_publishing)

Newsletter

To subscribe to our newsletter please enter your email address below:

Editors

Nicholas Croggon
David Homewood
Helen Hughes

Guest Editors

Vivian Ziherl (No. 1)
Maria Fusco (No. 2)
Raimundas Malašauskas (No. 3)
Ferdiansyah Thajib, KUNCI Cultural Studies Center (No. 4)
Carla Macchiavello and Camila Marambio, Ensayos (No. 5)

Project Manager/
Editorial Assistant

Amelia Winata

Managing Editor
(Publications)

Ella Cattach

Design

Warren Taylor (2011)
Annie Wu & Žiga Testen (2012–2013)
Robert Milne (2014–)

Typeface

Victor (Fabian Harb & Robert Milne)

Discipline No. 1

An Paenhuysen, Annie Wu, Ash Kilmartin, Ben Kinmont, Bianca Hester, Charlie Sofo, Christian Thompson, Connal Parsley, Damiano Bertoli, David Homewood, Fayen d’Evie, Francis Plagne, Graham Lambkin, Helen Hughes, Helen Johnson, Helen Johnson, Jackson Slattery, Jessica McElhinney, Joaquin Segura, John Nixon, Joshua Petherick, Liang Luscombe & Patrice Sharkey, Marco Fusinato, Matthew Collings, Matthew Griffin, Matthew Lutz-Kinoy, Michael Ashcroft, Mira Gojak, Nicholas Croggon, Nine Yamamoto-Masson, Pataphysics, Pat Foster and Jen Berean, Raafat Ishak, Rebecca Cleman, S.T. Lore, Sarinah Masukor, Slave Pianos, Sriwhana Spong, Stuart Ringholt, Thomas Jeppe, Tom Nicholson, Vivian Ziherl, Warren Taylor, Wolfgang Muller, and Yanni Florence

Discipline No. 2

A Constructed World, Adrian Martin, Alex Martinis Roe, Amelia Barikin, Annie Wu, Ash Keating, Bianca Hester, Callum Morton, Christopher LG Hill, Connal Parsley, David Homewood, Elizabeth Newman, Emanuele Coccia, Emily Floyd, Francis Plagne, Helen Hughes, Helen Johnson, James Parker, Janet Burchill, Jemima Wyman, John Berger, John Bevis, Kate Meakin, Kate Warren, Kimberley Dinosaur Tracks, Lip, Maria Fusco, Matt Hinkley, Mira Gojak, Moira Roth, Nicholas Croggon, Nikolaus Gansterer, Nikos Papastergiadis, Omer Fast, Paul Knight, Raquel Ormella, Regrette Etcetera, Robert Rooney, Rongsolo, S.T. Lore, Sandra Selig, Sarinah Masukor, Simon Klose, Simon Reynolds, Steve Salisbury, Terry Smith, Tim Alves, Timothy Morton, Vernon Ah Kee, Vivian Ziherl, Yukultji Napangati, Yve Lomax, and Žiga Testen

Discipline No. 3

A Constructed World, Adrian Martin, Alex Vivian, Alicia Frankovich, Anastasia Klose, Andrew McLellan, Angie Keefer, Annie Wu, Anusha Kenny, Ava Carrère, Brook Andrew, Claire Lambe, Dale Hickey, Dan Arps, David Homewood, David Wlazlo, Edith Scob, Elena Narbutaite, Gabriella Mangano and Silvana Mangano, Geoff Newton, Géraldine Longueville, Hany Armanious, Harriet Morgan, Helen Hughes, Helen Johnson, Huw Hallam, Ian Burn, Jan Bryant, Joel Stern, John Nixon, Joris Kritis and Julie Peeters, Juliet Rogers, Justin Andrews, Justin Clemens, Kate Smith, Lauren Berkowitz, Lauren Bliss, Lisa Radford, Maggie Finch, Mattin, Mark Geffriaud, Narelle Jubelin and Jacky Redgate, Nathan Gray, Nicholas Croggon, Nick Selenitsch, Nikos Papastergiadis, Nyapanyapa Yunupingu, Patrick Pound, Quentin Sprague, Raimundas Malašauskas, Rex Butler, Rob McLeish, Simryn Gill, S.T. Lore, Terry Smith, The Mulka Project, Valentina Desideri, Žiga Testen, and Zoë Croggon

Discipline No. 4

Michael Ascroft, Amelia Barikin, Gordon Bennett, Rex Butler, Prihatmoko ‘Moki’ Catur, Centre for Style, Angus Cerini, John Citizen, Fiona Connor, Nicholas Croggon, Juan Davila, A.D.S. Donaldson, Giles Fielke, Amelia Groom, Fabian Harb, David Homewood, Helen Hughes, Helen Johnson, Nuraini Juliastuti, KUNCI Cultural Studies Center, Bronté Lambert, Matthew Linde, Liang Luscombe, Ian McLean, Robert Milne, Elizabeth Newman, Hestu A. Nugroho (Setu Legi), Nikos Papastergiadis, Wendy Paramor, Francis Plagne, Satrio ‘Iyok’ Prayogo, Punkasila, Stuart Ringholt, Jon Roffe, Patrice Sharkey, Terry Smith, Simon Soon, Hito Steyerl, Amelia Sully, Syafiatudina, Ferdiansyah Thajib, Richard Tuohy, Kate Warren, Wok the Rock, and Danni Zuvela

Discipline No. 4.5

Clementine Edwards, Charles Green & Anthony Gardner, Fabian Harb, Helen Hughes, Chari Larsson, Astrid Lorange & Andrew Brooks, Victoria Lynn, Chris McAuliffe, Léuli Māzyār Luna‘i Eshrāghi, Robert Milne, Sarah Werkmeister, and Amelia Winata

Discipline, Más allá del fin
Discipline No. 5/Más allá del fin No. 3

Alexander Alberro, Nico Arze, Joaquín Bascopé, Richard Bell, María Berríos, Susan Best, Lucy Bleach, Clothilde Bullen, Rex Butler, Rebecca Carland, Nicholas Croggon, Juan Dávila, A. D. S. Donaldson, Juan Downey, Iris Duhn, Tessa Dwyer, Hana Earles, Jane Eckett, George Egerton-Warburton, Maggie Finch, Giuliana Furci, Sarita Gálvez, Carlos Garrido, Christy Gast, Macarena Gómez-Barris, Mary Graham, Aurelia Guo, Lola Greeno, Wiebke Gronemeyer, Melinda Hinkson, David Homewood, Helen Hughes, John Kean, Tessa Laird, Ursula K. Le Guin, Greg Lehman, Paris Lettau, Sarah Lloyd, Ramón Lobato, Zoë De Luca, Carla Macchiavello, Camila Marambio, Josefina de la Maza, Tara McDowell, Andrew McNamara, Patricia Messier Loncuante, Eric Michaels, Robert Milne, Denise Milstein, Hema’ny Molina, Kimberley Moulton, Stephen Muecke, Kevin Murray, Astrida Neimanis, Anna Parlane, Francis Plagne, Alison Pouliot, Jay Ruby, Carolina Saquel, Quentin Sprague, Lisa Stefanoff, Ann Stephen, Catalina Valdés, and Pip Wallis

Published by Onomatopee and Discipline. Edited by Madeleine Collie and Yvonne Billimore with contributions from AK Wane, Åsa Sonjasdotter, Alana Hunt, Annalee Davis, Banu Subramaniam, Beatriz Paz Jiménez, Christian Thompson, Clare Qualmann, Diana Vieira, Elia Nurvista, Franswa Tibere, Gargi Bhattacharyya, Grace Gloria Denis, Joana Quiroga, Johanes Jamil, Jorge Menna Barreto, Joshua Gebert, Joss Allen, Keg de Souza, Kristina Jones, Kyriaki Goni, Leone Contini, Lucy Davis, Madeleine Collie, Marta Fernández Calvo, Margherita Pevere, Matti Aikio, Mariana Martínez Balvanera, Nathalie Muchamad, Nida Sinnokrot (Sakiya), Nick Anderson, Rain Wu, Rubiane Maia, Shalini Krishan, Sirkku Rosi, Yvonne Billimore, Zayaan Khan and Zheng Bo.

Designed by Zenobia Ahmed; Copyedited by Susie Quillinan; Proofread by Helen Hughes and Tuija Huovinen; Image edited by Paul Mylecharane. 

Follow the Plants is an expanded invitation to follow plants through histories, growing seasons, metabolic cycles, literature, art, bodies, archives, and collective ritual. Bringing together artworks, dialogues, roundtables, essays, and scores, the publication offers both examples of and prompts for collective research, tracing the multiple worlds through which plants circulate and generate meaning.

Putting stories, knowledge systems, and critical methodologies into correspondence, Follow the Plants is grounded in a dynamic field of inquiry in which creative practices emerge through situated relations with the territories, ecologies, and imaginaries that plants inhabit and animate.

(reviews)

352 pages, 165 × 234 mm, softcover Ota-bind, Edition of 2000, ISBN 978-94-93382-10-7

For UK, EU, Asia, Africa and Americas delivery order via Onomatopee.

Published by Spector Books and Discipline. The anthology revisits the classical myth of Daphne as the starting point for an investigation of trauma and metamorphosis, symbiosis and entanglement. Daphne, the nymph who turned into a tree to evade the assault of the god Apollo, is a figure in, and of, crisis, here re-cast as a dynamic model for the ruptures between the “figures” and “grounds” of today’s visual, social, and ecological environments. Commissioned essays and artist pages explore the integrity and vulnerability of bodies, their performative or prosthetic extensions, and the alliances they enter into, across species or symbolic registers. Tangling brutality and emancipation, power and refusal, self and place, Daphne’s becoming tree—and becoming image—is reimagined as a cipher for contemporary predicaments, illuminating the perils and potentials of a profound transformation of the human.

Edited by Mihnea Mircan and Helen Hughes with contributions from Erik Bünger, Lauren Burrow, Justin Clemens, Vincent W. J. van Gerven Oei, Ana María Gómez López, Amelia Groom, Eva Hayward, Ulrik Heltoft, Adam Jasper, Caroline A. Jones, Martha Kenney, Esther Leslie, Paris Lettau, Sophie Lewis, Candice Lin, Michael Marder, Stephanie McCarter, Lévi McLean, Luke Morgan, Miljohn Ruperto, P. Staff, Jonas Staal, Khadija von Zinneburg Carroll. Designed by Žiga Testen and Kim Mumm Hansen.

384 pages, 150 × 220 mm, 15 color and 100 b/w illustrations, thread-sewn paperback, Edition of 2000, ISBN 9783959058070

Expected shipment: Late September 2026

For UK, EU delivery order via Spector Books

In this exegesis, artist Amelia Gill examines the slippery nature of the concept of “genre” through Jacques Derrida’s “The Law of Genre” (1979) and Walter Benjamin’s On the Origin of German Tragic Drama (1928), before proposing a surprising conceptualisation of the role of violence in delineating generic forms. Gill deftly pursues her argument through examples as varied as Picasso’s return to figuration, Cady Noland’s exit from the art world, a scene from Pulp Fiction (1994), as well as her own paintings—developing an original and refreshing text.

12 pages, 148.5 × 420 mm (folded 148.5 × 210 mm), Self-cover, 1 colour risoprint on Envirocare 80gsm.

Ebony Maurice-Wilmott uses the idea of the index to structure this exegesis, examining both her own sculptural work and that of others—including Peter Cripps, John Nixon, Ian Burn and Tony Clark—and asks how the exhibition context of a work changes its reception. Here, Maurice-Wilmott is particularly concerned with the shift between artist-run, offsite and DIY exhibition spaces in comparison with the commercial and institutional. Nixon’s offsite gallery spaces Q SPACE and Q SPACE ANNEX (1980–81) are compared with the eponymous exhibition organised by Robert Lingard held at Brisbane’s Institute of Modern Art in 1981, for example, as well as Maurice-Wilmott’s own offsite exhibitions in comparison to the context of Monash University. 

12 pages, 148.5 × 420 mm (folded 148.5 × 210 mm), Self-cover, 1 colour risoprint on Envirocare 80gsm.

In this art historical paper, Sueann Chen compares artists Cao Fei and Zhang Dali’s  approaches to the urbanisation of China — in Beijing and Guangzhou, respectively — in the late 1990s and early 2000s. Chen suggests that although Cao and Zhang’s works differ materially, they both address a sense of urban displacement, reimagining identity to establish a sense of place within their rapidly changing landscapes.

12 pages, 148.5 × 420 mm (folded 148.5 × 210 mm), Self-cover, 1 colour risoprint and 4 colour images.

In this paper Annie Wallwork examines her use of frottage as a process-based, haptic means of considering traumatic, repressed memories — suggesting that this embodied approach necessarily circumvents the impossibility of expressing these memories linguistically. Wallwork reconsiders “hysteria” as a framework through which the mind and body can be thought together, as well as looking to artist Mig Dann’s expression of traumatic memory through Dann’s own method of “somatic experiencing.”

12 pages, 148.5 × 420 mm (folded 148.5 × 210 mm), Self-cover, 1 colour risoprint on Envirocare 80gsm.

Edie Duffy’s paper examines her use of user-submitted eBay photographs as source material for her meticulously painted photorealistic oil paintings, by way of thinkers such as Walter Benjamin, Jean-Luc Nancy and Georges Didi-Huberman. Duffy suggests that the transposition of these images from photograph to oil paint is “not as a means of washing away the digital nature of these pictures, but as a transformative gesture that engages a new way of seeing. Encountering the clarity of a digital photo in the fluid materiality of paint is a shock.”

12 pages, 148.5 × 420 mm (folded 148.5 × 210 mm), Self-cover, 1 colour risoprint on Envirocare 80gsm.

Edited by Helen Hughes and Olga Bennett with an introduction by Emile Zile. Designed by James Vinciguerra and Duncan Blachford.

Screenic: Politicised Writings on Being Screened—an anthology of Philip Brophy’s writing on art over the last twenty-five years. The focus of the selection is on art that involves screens: projected as film in museums, digitised for installations in galleries, curated as documents within exhibitions, presented as outdoor illuminations on buildings, utilised for the production of VR and AI-generated content, and even wall murals derived from televisual screens. The driver for the writing of these articles is an interest in media literacy within fine art contexts.

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In this paper, Margarita Kontev examines Western European curatorial approaches to Eastern European art in the early 2000s, identifying attempts to construct a “preconceived image of Balkan identity” through several large-scale exhibitions. Through a close examination of these exhibitions in conjunction with the political histories of the region, Kontev argues that this framework produced an exploitative, flattening “Othering” of Eastern European identities through a generalised “Balkan aesthetic.”

12 pages, 148.5 × 420 mm (folded 148.5 × 210 mm), Self-cover, 1 colour risoprint and 4 colour images, Edition of 100

Designed by Dennis Grauel.

In this paper, Ashika Harper instrumentalises Miranda Fricker’s concept of epistemic injustice towards an analysis of Trans subjectivity, thinking this through via the Wachowski sisters’ film The Matrix (1999), the work of artists Richard Harding, J. Rosenbaum, and their own studio research.

12 pages, 148.5 × 420 mm (folded 148.5 × 210 mm), Self-cover, 1 colour risoprint on Envirocare 80gsm, Edition of 100

Edited by Helen Hughes and Francis Plagne. Designed by Alexandra Margetic. Published by Neon Parc and Discipline.

This beautiful volume traces the links between Elizabeth Newman’s drawing practice and wider oeuvre. As Erik Jensen writes in his accompanying essay “her drawings are stubborn and deliberate and curious and patient” – they are acts of discovery that are, as Newman says, about “going to the nothing… to what is most me”. Often radiant with colour, much of the work here is strikingly immediate, playful, visceral. Also includes an interview between Helen Hughes, Francis Plagne and Newman.

145 pages, 210 × 295 mm, Softcover
Edition of 500, ISBN 978-0-9945388-8-8

Edited by Helen Hughes and Francis Plagne. Designed by Alexandra Margetic. Published by Neon Parc and Discipline.

This luminous volume on artist Elizabeth Newman includes two essays by Francis Plagne, each of which cover different, crucial time-periods of Newman’s practice. Highly illustrated, the beautiful works collected here range from the very recent, to those created in the last ten years or so. Melbourne-based Newman uses painting, printmaking, installation and found objects to explore, interrogate and apprehend questions that revolve around the philosophical and social conditions of art. Drawings is the sister volume to Elizabeth Newman: Still makin’ history.

145 pages, 210 × 295 mm, Softcover
Edition of 500, ISBN 978-0-0045388-7-1

Published by Third Text Publications and Discipline. With essays and dialogues led by Verónica Tello, Dylan A. T. Miner, Zoe Butt, Edgar Alejandro Hernández, Rolando López, Carla Macchiavello, Walter D. Mignolo, Rachel O’Reilly, and Ruth Simbao; and contributions from Jennifer Biddle, Katherine Carl, Fernando do Campo, Chandra Frank, Srdjan Jovanović Weiss, Angela Mitropoulos, James Nguyen, Salote Tawale, and Jean-Sylvain Tshilumba Mukendi. Copyediting by Nicholas Croggon, Helen Hughes, and Jennifer Sijnja. Designed by Zenobia Ahmed and Alexandra Margetic.

Future Souths, initiated and introduced by Verónica Tello, is the culmination of an online dialogical project that began in 2017. Future Souths is written by eighteen authors from the Americas, Australia, Asia, South Africa and Europe, radically reconsidering the geo-spatial bases and biases of contemporary art history and discourse. It proposes a fluid, collective, contingent re-consideration of key art concepts from embodied and geo-located vantage points, perspectives, and experiences of the south. The dialogues explore methods, concepts, and theories grounded in the materialities of archives, histories, borders, and context-specificity. The authors denaturalise the global north-centrism that dominates contemporary art discourse and vocabularies, including its privileging of historical signifiers such as “1989.” Future Souths affirms the generative possibilities of southern thinking and methods, specifically communal ones, for manifesting new futures for contemporary art history. 

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224 pages, 165 × 234 mm, Softcover, 64 colour and spot-colour images, 1 BW image, Edition of 700, ISBN 978-0-9945388-6-4

For UK, EU delivery order via Central Books.

Edited by Helen Hughes and Amy May Stuart, with foreword by Bundjalung, Kamilaroi, and MuruWarri artist Professor Brian Martin. Designed by Zenobia Ahmed.

Làm Chó Bò ~ Making Trouble is a book based on the PhD research of artist James Nguyen. As well as offering exegetical analysis of Nguyen’s own work, the research examines a range of themes including institutional research culture and the politics of research ethics therein; archival art and activism; the act of translation, migration, Australian settler-colonialism, and Indigenous land acknowledgements; cross-generational experiences of postwar Vietnamese diaspora; and the legacies of Vietnamese feminist poetry, including poetry by the artist’s mother herself, Nguyen Thi Kim Dung. The book features a foreword by Bundjalung, Kamilaroi, and MuruWarri artist and educator, Professor Brian Martin.

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336 pages, 108 × 177 mm, Softcover, BW, Edition of 400, ISBN 978-0-9945388-9-5

Designed by Dennis Grauel.

Gemma Topliss’s paper examines crushing as both an intensely desiring psychic state as well as a violent force, with applications for post-conceptual sculptural, painting, and installation practice. It draws on an eccentric array of sources, from Anne Carson’s Eros the Bittersweet to “Bifo” Berardi’s Heroes: Mass Murder and Suicide, and features an extended meditation on crushing in the work of Lutz Bacher.

12 pages, 148.5 × 420 mm (folded 148.5 × 210 mm), Self-cover, 1 colour risoprint on Envirocare 80gsm, Edition of 50

Designed by Zenobia Ahmed.

Erin Hallyburton’s paper explores fattening as a mode of political enquiry, as well as a highly mutable material and method in sculptural practice—tracing an art historical lineage from Joseph Beuys to Robert Morris to Patricia Boyd.

8 pages, 148.5 × 420 mm (folded 148.5 × 210 mm), Self-cover, 1 colour risoprint on Envirocare 80gsm, Edition of 50

Designed by Zenobia Ahmed.

Megan Tan’s paper uses the model of an eisegesis (a “bad” interpretation of the Bible) as a means to explore language, translation, and loss, as well as personal narratives pertaining to the artist’s life, including: working for, and resigning from, her mother’s company; and joining, then leaving, a Christian fringe cult. Tan’s “Eisegesis” also uncovers revealing parallels between the institutions of the art school and the church that are both critical and liberatory.

8 pages, 148.5 × 420 mm (folded 148.5 × 210 mm), Self-cover, 1 colour risoprint on Envirocare 80gsm, Edition of 50

Edited by Helen Hughes and Amy May Stuart, with introduction by Tessa Laird. Designed by Zenobia Ahmed.

Colour Handling comprises a series of essays on colour written from a painter’s perspective. Each essay responds to an occurrence of colour in an artist’s work: Jutta Koether’s red paintings; Rosie Isaac’s green mirror; Tony Conrad’s Yellow Movies; Derek Jarman’s Blue; and Etel Adnan’s paintings of Mount Tamalpais.

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188 pages, 108 × 177 mm, Softcover, BW with colour insert, Edition of 400, ISBN 978-0-9945388-5-7

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Designed by Zenobia Ahmed.

Two books of poetry by Melbourne artist Chunxiao Qu bound into one volume.

144 pages, 110 × 165 mm, Softcover, Full Colour, 2 colour Risoprint, Edition of 150, ISBN 978-0-9945388-4-0

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Edited by Helen Hughes and designed by James Oates.

side by side by side accompanies the exhibition Brighid Fitzgerald/Amy Parker, curated by Helen Hughes at Mejia, Melbourne, April 2022. The publication includes poems by Autumn Royal and Chi Tran, fiction by Aodhan Madden, interviews with Amy Parker and Brighid Fitzgerald, and photography by Beth Maslen.

40 pages, 170 × 240 mm, Softcover, Full Colour, loose leaf, contained in plastic pocket, Edition of 200, ISBN 978-0-9945388-3-3

‘Merlin Carpenter: A Refusal of Work’ by Benison Kilby is published on the occasion of the exhibition Room Based by Merlin Carpenter at Guzzler, Rosanna, 26.6.–12.7.2021.

4 pages, 210 × 297 mm, PDF

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Introduction by Tom Melick and design by Robert Milne.

Discipline is pleased to announce the release of HOMEWORK by Snack Syndicate (Andrew Brooks & Astrid Lorange). The publication collects twenty-seven texts by Snack Syndicate, written over the course of 2016–2020.

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302 pages, 108 × 177 mm, Softcover, Edition of 400, ISBN 978-0-9945388-2-6

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‘Interview’ by David Homewood is published on the occasion of the exhibition Blue Paintings by Luke Sands at Guzzler, Rosanna, 2.10.–14.10.2020.

This text is based on a series of conversations between David Homewood and Luke Sands, conducted June and July 2020, on the topic of Sands’ ‘rat poison paintings’, a series of monochromatic works in which rat poisons are used as colourants.

13 pages, 210 × 297 mm, PDF

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Edited by David Homewood and designed by Robert Milne.

Elizabeth Newman is best known as a visual artist whose practice encompasses a variety of media including painting, drawing, sculpture, and installation. Writing, too, is central to her art.

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192 pages, 108 × 177 mm, Softcover, Edition of 400, ISBN 978-0-9945388-2-6

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These two talks are almost identical: one ends a conference, one launches a book. Both try to marry content to form or rather a dis-content to a de-formation. Both draw on a body of research concerned with the impossibility of philosophy in an age of pedagogy, of truth in an age of knowledge, and both seek in the public occasion the possibility of recommencement, nevertheless. As in the fable, their polemos is inseparable from their hubris. I’d like to acknowledge Bryan Cooke with regard to the conference and Justin Clemens with regard to the launch.
—A.J. Bartlett

15 pages (combined), 210 × 297 mm, PDF

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Conducted on 23^rd March 2018, at the Australian Centre for Contemporary Art, Melbourne. Designed by Robert Milne.

In March 2018, the American art historian Amelia Jones held a series of lectures and workshops in Melbourne. Paris Lettau and Amelia Winata spoke with her about her forthcoming book In Between Subjects: A Critical Genealogy of Queer Performance, identity politics, feminist art, intersectionality, “creepy feminism”, Cambridge Analytica, Trump, minimalism and homophobia, amongst other things.

5 pages, 210 × 297 mm, PDF

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Conducted on 5^th May 2017, at the University of Melbourne. Designed by Robert Milne.

In May 2017, art historian Julia Bryan-Wilson visited Australia to promote her new book Fray: Art and Textile Politics Since 1970 (2017). David Homewood and Paris Lettau spoke with her about the origins of her interest in textiles, the crossovers between her research on textiles and her earlier work on artistic labour, the relationship between textiles and painting, and more.

5 pages, 210 × 297 mm, PDF

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Edited by David Homewood, sub-edited by Bronté Lambert, with texts by David Homewood, Helen Johnson, Paris Lettau, Elizabeth Newman, and photographs by Christo Crocker.

University Construction was a one-day exhibition by David Homewood and Bronté Lambert. The exhibition was open from 11:00am to 7:00pm on 23rd June 2015. It was held in a classroom of John Medley Building at the University of Melbourne.

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48 pages, 213 × 297 mm, Hardcover, Full Colour, Edition of 100, ISBN 978-0-646-95029-7

Published by Discipline in collaboration with Third Text Publications, an affiliate of Third Text journal. Edited by Khadija von Zinnenburg Carroll; with essays by Khadija von Zinnenburg Carroll, Julie Gough, Dacia Viejo-Rose, Ellen Smith, and Christoph Balzar; photographs by Mark Adams; a foreword by Nicholas Thomas; copy­editing by Paris Lettau and Ella Cattach; project management by Ella Cattach; and proofreading by Kate Lindesay. Designed by Robert Milne and set in Victor designed with Fabian Harb; cover photograph by Christoph Balzar.

The Importance of Being Anachronistic: Contemporary Aboriginal Art and Museum Reparations focuses on the role of time in contemporary art and introduces anachrony as a method for subverting the colonial archive.

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216 pages, 120 × 184 mm, Softcover, ISBN 978-0-9945388-1-9

Published by Aboriginal Humanities Project, Melbourne, in association with Discipline. Edited by Marion Campbell & Philip Morrissey, with contributions by Philip Morrissey, Marion Campbell, ‘Affected Staff’, Ruth Campbell, Leo Seward, Giles Fielke, Raewyn Connell, Hans A. Baer, Adam Bartlett, Justin Clemens, Lauren Bliss, Kevin Murray, Gill H. Boehringer, Aunty Janet Turpie-Johnstone, Ted Clark, and designed by Nicholas Tammens.

On 11 April 2015 in the Brunswick Uniting Church in Melbourne, a People’s Tribunal was held to investigate the ‘Business Improvement Program’ at the University of Melbourne.

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138 pages, 114 × 177 mm, Softcover, ISBN 978-0-9945388-0-2

Published by Discipline, in association with emaj. Edited by Nicholas Croggon & Helen Hughes, with peer-reviewed essays by Ian McLean, Amelia Barikin, and Terry Smith. Designed by Robert Milne and set in Victor designed with Fabian Harb; cover by Matt Hinkley; eBook programming by Pat Armstrong.

Three Reflections on Contemporary Art History is the first in a series of publications edited and published by Discipline that will be available in paperback and eBook editions.

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Paperback: 92 pages, 120 × 184 mm, Softcover, ISBN 978-0-646-92006-1

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eBook: Available for download with iBooks on your Mac or iOS device, and with iTunes on your computer. Books can be read with iBooks on your Mac or iOS device. ISBN 978-0-646-92007-8

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Download from the iTunes Bookstore

Responses by Nikos Papastergiadis, Charles Esche and A Constructed World (Geoff Lowe and Jacqueline Riva) in light of the recent events surrounding the Biennale of Sydney 2014 and Transfield.

In recent weeks, the editors of Discipline have watched, together with many others both in Australia and internationally, the unfolding of an important public debate in Australia concerning the upcoming 19th Biennale of Sydney and its principal sponsor, Transfield.

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The responses have been published on our website at the following URL: www.discipline.net.au/biennale-of-sydney-2014-and-transfield/

Designed by Annie Wu with images by Joshua Petherick and Nicholas Mangan.

Institute Zagreb 1986/The Air of Conquerors are two new novella-length works of fiction by the Melbourne-based writer S.T. Lore that are presented in a flip novel. The book is the first solo publication by Lore, featuring stories that pivot around characters immersed in scenes of claustrophobia, obsessive archiving, impossible architectures, image-saturation and delusion.

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208 pages, 120 × 177 mm, Softcover, Edition of 1000, ISBN 978-0-646-57919-1

Compiled by Nicholas Croggon, David Homewood and Helen Hughes, designed by Robert Milne and typeset in Churchward Marianna by Joseph Churchward.

Discipline Calendar has been produced as our contribution to Christopher LG Hill’s “Endless Lonely Planet,” Vol. 3, 2014 and includes a selection of Discipline contributors’ birthdays. Calendar dates are from April, 2014 – May, 2015.

A1 poster, 594 × 841 mm (210 × 297mm folded), B/W, Edition of 200

Designed by James Vinciguerra.
Tote Bag, Edition of 70

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Compiled by Nicholas Croggon and Helen Hughes, designed by Annie Wu.

Discipline Height Chart has been produced as our contribution to Christopher LG Hill’s “Endless Lonely Planet,” Vol. 2, 2013 and includes a selection of Discipline contributors’ heights.

Foldout poster, 210 × 600 mm, 2 colour, Edition of 500

Designed by James Vinciguerra.
Tote Bag, Edition of 50

Sold Out

Discipline A–Z has been produced as our contribution to Christopher LG Hill’s “Endless Lonely Planet,” Vol. 1, 2012 and includes letters designed by a selection of Discipline contributors that form a full English alphabet. The letters have been contributed by Sean Bailey, Damiano Bertoli, Matthew Brown, Bazzy Ellison, Fayen d’Evie, James Grant, Nathan Gray, Christopher LG Hill, Helen Hughes, Renee Jaeger, Helen Johnson, Madeline Kidd, Claire Lambe, Dylan Martorell, Jessica McElhinney, Elizabeth Newman, John Nixon, Virginia Overell, Mark Rodda, Antonia Sellbach, Kate Smith, Masato Takasaka, Simon Taylor, Paul Williams, Annie Wu, and Jarrod Zlatic.

Foldout poster, 297 × 420 mm, 2 colour, Edition of 100

Please join us for a drink to celebrate the launch of Philip Brophy’s new book Screenic. There will be a reading from Emile Zile, and more…

Conners Conners
Fitzroy Town Hall
201 Napier Street Fitzroy
Saturday, November 30, 4-6pm

Saturday, 19 October and
Sunday, 20 October, 11am–5pm
Gertrude Contemporary
21–31 High Street, Preston VIC 3072

Discipline is excited to announce that we will be at Same Page Book Fair again in 2024, presented by Perimeter Books and Gertrude Contemporary.

Same Page brings together a select network of imprints, publishers and distributors who share a commitment to supporting local artists, writers and thinkers. The bespoke art book fair is a community-oriented event, highlighting the practices of small presses and collective activities in contemporary art publishing.

Thursday, 17 October, 4:00–4:45pm
Room G.105, Building G
Monash Art Design and Architecture
900 Dandenong Road,
Caulfield East VIC 3145

Amy Stuart (Teaching Associate, Monash University, and Editor, Discipline) in conversation with Discipline Papers authors and designers.

Discipline is pleased to announce the launch event of our Discipline Papers for 2024, written by Annie Wallwork, Ashika Harper, Edie Duffy, Margarita Kontev, and Sueann Chen. Designed by Zenobia Ahmed and Dennis Grauel, these papers represent some of the most original and exciting exegeses and theses from the Monash University Fine Art Honours cohort of 2023.

Co-presented with Monash University Fine Art department as part of a symposium organised by Frances Barrett (Lecturer, Monash University). Alongside the 2024 Discipline Papers launch, at 1:00pm this symposium will feature a keynote address by Amelia Winata (curator, Gertrude Contemporary and founding editor, Memo Review) and presentations from the 3rd Year Bachelor of Art History and Curating students. From 5:00pm is the exhibition opening celebration of the AHT2722 × FNA2212 collaboration.

Sydney Launch:
Wednesday, 24 July, 6–7:15pm
Verge Gallery
University of Sydney
Jane Foss Russell Plaza
Darlington, NSW 2050

Philip Brophy in conversation with Ivan Cerecina (Film Studies, University of Sydney) and Helen Hughes (Art History, Theory, and Curatorial, Monash University and editor, Discipline)

Co-presented by the Power Institute, Film Studies at the University of Sydney, and Verge Gallery.

Brisbane Launch:
Saturday, 27 July, 11am–2:30pm
Institute of Modern Art
Ground Floor, Judith Wright Arts Centre
420 Brunswick Street
Fortitude Valley, QLD, 4006

Philip Brophy in conversation with Robert Leonard (director, Institute of Modern Art), Helen Hughes (Art History, Theory, and Curatorial, Monash University and editor, Discipline) and James Vinciguerra (designer of Screenic).

Purchases of Screenic at the launch include a complimentary copy of Philip Brophy: Hyper Material for Our Very Brain, published in 2012 by the Institute of Modern Art, Brisbane.

Tuesday, 14th November, 6:00pm
Australian Centre for Contemporary Art (ACCA)
111 Sturt Street
Southbank VIC 3006
Melbourne

Please join us to celebrate the launch of the new book Future Souths with readings and responses by Verónica Tello, James Nguyen, Sebastian Henry-Jones, Lana Nguyen, and Lucreccia Quintanilla.

The event will be followed by drinks.

Discipline is pleased to announce a new publication series titled ‘Discipline Papers’ that will soft launch at the Melbourne Art Book Fair at the National Gallery of Victoria, Friday 19 to Sunday 21 May, 2023.

Discipline Papers is a selection of some of the most original and experimental Monash University Fine Art honours exegeses from recent years. Each text has been individually designed by Zenobia Ahmed and Dennis Grauel, and risoprinted on Envirocare 80gsm. They will be available for purchase for $5 each at the Melbourne Art Book Fair and here on the Discipline website.

The publication of the first three Discipline Papers has been made possible thanks to generous financial support from Monash University’s Fine Art department.

Friday, 25th November, 6:00pm
Neon Parc (City)
1/53 Bourke Street
Melbourne VIC 3000

We are pleased to invite you to the launch of Discipline’s latest publication, Colour Handling, by artist and writer David Egan.

The book launch coincides with the opening of Egan’s solo exhibition Fountain Gate at Neon Parc City.

Thursday, 10th November, 6:00pm
Flippy’s
646 Sydney Road,
Brunswick VIC 3056

Join us to celebrate the launch of artist and poet Chunxiao Qu’s second book, This poetry book is too good to have a name/Logic Poetry, together with co-editors Helen Hughes and Amy Stuart, and contributing writers Autumn Royal and Juhani Yli-Vakkuri, and designer Zenobia Ahmed, at bar Flippy’s. We will present poetry readings and fun discussions.

The space at Flippy’s is limited so please RSVP for this event using Eventbrite. You can choose to RSVP for entry (free), or alternatively RSVP with a purchase of a copy of the book ($30), which has a limited run of 150 copies.

Tuesday, 3rd August, 8:00pm
(Sydney/Melbourne time)
Online

Discipline invites you to the launch of HOMEWORK by Snack Syndicate.

The book will be launched online by Justin Clemens and Michael Richardson, and will feature a short reading by Snack Syndicate. While we are disappointed not to be able to launch the book in person, please join us to toast it into existence online!

*This event will be hosted via Zoom. Once registering via Eventbrite, you’ll receive a link to join the event.

Friday, 21st May, 10:00am (Sydney)
Thursday, 20th May, 8:00pm (US, EDT)
Online

Dr. Nicole R. Fleetwood is a writer, curator, and professor of American Studies and Art History at Rutgers University, New Brunswick. She is the author of Marking Time: Art in the Age of Mass Incarceration (2020), the winner of the National Book Critics Award in Criticism and a recipient of the Charles Rufus Morey Book Award in art history and the Frank Jewett Mather Award in art criticism by the College Art Association. She is also curator of the exhibition Marking Time, currently on view at MoMA PS1.

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IMAGE COMPLEX explores the history of the visual infrastructure that governs life in the United States, and the practices that have shaped and contested it. The series is presented by Discipline and the Power Institute.

Documentation…

Friday, 5th March, 11:00am (Sydney)
Thursday, 4th March, 4:00pm (US, PST)
Online

How have feminist artists used live performance, video and media arts to explore a form of fearless speech by emphasizing the voice as a radical medium?

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IMAGE COMPLEX explores the history of the visual infrastructure that governs life in the United States, and the practices that have shaped and contested it. The series is presented by Discipline and the Power Institute.

Documentation…

Friday, 30th October, 10:00am (Sydney)
Thursday, 29th October, 7:00pm (US, EDT)
Online

Lisa Lowe considers the “image complex” of contemporary migration. Whether viewed as foreign threat or abject victim, the state’s visual order produces “the migrant” as the limit of national sovereignty, even it transforms the “migrant” into the “immigrant” through regimes of visibility, legality, and temporality in the political sphere; lays claim to migrant labor in the economic sphere; or subjects what remains to humanist concepts of free will and autonomy.

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IMAGE COMPLEX explores the history of the visual infrastructure that governs life in the United States, and the practices that have shaped and contested it. The series is presented by Discipline and the Power Institute.

Documentation…

Friday, 11th September, 10:00am (Sydney)
Thursday, 10th September, 8:00pm (US, EST)
Online

“Image complex” proposes that the history of power in the United States can be told as a history of visual infrastructures: institutions and practices that govern how we perceive, and what we can do.

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IMAGE COMPLEX explores the history of the visual infrastructure that governs life in the United States, and the practices that have shaped and contested it. The series is presented by Discipline and the Power Institute.

Documentation…

2020–2021
Online
Free to attend

Discipline and The Power Institute are pleased to present IMAGE COMPLEX: Art, Visuality and Power in the United States, an online lecture series on the history of the visual infrastructures that have shaped the United States, and the practices that resist them.

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IMAGE COMPLEX has been co-organised by Nicholas Croggon (Discipline) and Kate Ukleja (Power Institute).

Tuesday, 14th January 2020, 6:00pm
United Workers Union
833 Bourke Street
Docklands VIC 3008
Free to attend

In this lecture, Amelia Winata will introduce some key concepts for engaging with German artist Charlotte Posenenske’s (1930–1985) practice alongside the current exhibition presented by 1856 in a training room at the United Workers Union.

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This event is co-presented by 1856 and Discipline. The exhibition was organised by Nicholas Tammens, Imogen Beynon, and Eloise Sweetman. For the talk, the work will be reassembled. Image: Documentation of Charlotte Posenenske’s Vierkantrohre performance as part of the event Dies alles Herzchen wird einmal Dir gehören, organised by Paul Maenz, 9 September 1967, Galerie Dorothea Loehr, Frankfurt. Photograph: Abisag Tüllman.

Melbourne (20–22 August 2019)
Brisbane (24 & 31 August 2019)
Sydney (16 November 2019)

Various Locations
Please see below…

Discipline is pleased to announce a programme of events in Melbourne, Brisbane and Sydney to accompany the launch of its fifth volume, a joint issue with the periodical Más allá del fin, published by the feminist research collective Ensayos.
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Please note: Auslan interpretation can be arranged for all events by request (with some advance notice), please email info@discipline.net.au.

Discipline, Más allá del fin has been supported by the Australian Government through the Australia Council, its arts funding and advisory body and Monash Art, Design and Architecture, Monash University. With thanks to Ensayos, Artist Film Workshop (AFW), Melbourne Museum, Milani Gallery, Outer Space, UNSW Art & Design Research Forum and UNSW Galleries, Sydney.

Saturday, 6th July 2019
2:30–3:40pm: Film screening (100 min.)
4:30–5:30pm: Discipline lecture (60 min.)

Monash University Museum of Art (MUMA)
Ground Floor, Building F
Monash University, Caulfield Campus
Free to attend

Discipline and MUMA co-present a finissage event for the MUMA exhibition Michael Stevenson: Serene velocity in practice: MC510/CS183, comprising a lecture by Anna Parlane, ‘Shaping young minds: On religion, pedagogy and the art of Michael Stevenson’ together with a screening of the animated science-fiction film A Scanner Darkly (directed by Richard Linklater, USA, Warner Bros, 2006).

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This event is co-presented by Discipline and Monash University Museum of Art (MUMA).

Thursday, 9th May 2019, 6:00pm
Buxton Contemporary
Corner of Southbank Boulevard and
Dodds Street, Southbank VIC 3006
Free to attend

Discipline and Buxton Contemporary are pleased to present a public lecture by Professor Andrew McNamara, based on his recently published book Surpassing Modernity: Ambivalence in Art, Politics and Society (Bloomsbury, 2018).

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Co-presented by Discipline and Buxton Contemporary, Melbourne.

Monday, 25th February 2019, 6:30pm
The Institute of Postcolonial Studies
78–80 Curzon St, North Melbourne VIC 3051
Free to attend

Discipline, Ensayos, and MADA Monash University are pleased to present a public lecture by Michael Taussig, titled ‘Unpacking my Library’. The talk presents a Benjaminian take on and in the library in Paris where Walter Benjamin assembled most of the material in the 1930s that was later published as The Arcades Project. In exploring library subculture, it evokes elements usually ignored in Benjaminian exegeses, especially awakening and sleeping in relation to social revolution, along with the connections between the bodily unconscious and social life.

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Presented by Discipline, Ensayos, and MADA Monash University.

Saturday, 15th December 2018
2:30–3:50pm: Film screening (81 min.)
4:00–5:00pm: Discipline lecture (60 min.)

Monash University Museum of Art (MUMA)
Ground Floor, Building F
Monash University, Caulfield Campus
Free to attend

Monash University Museum of Art and Discipline co-present an informal finissage event for the current MUMA exhibitions Lili Reynaud-Dewar: TEETH, GUMS, MACHINES, FUTURE, SOCIETY and Alicia Frankovich: Exoplanets, comprising a lecture by Pip Wallis, ‘Affinity in the State of Emergence’ together with the first public screening in Melbourne of the acclaimed documentary film Donna Haraway: Story Telling for Earthly Survival (directed by Fabrizio Terranova, Icarus Films, 2017).

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This event is co-presented by Discipline and Monash University Museum of Art (MUMA).

Thursday, 4th October 2018, 6:00pm
Buxton Contemporary
Dodds St. and Southbank Blvd.,
Southbank, Melbourne
Free to attend

As part of the ongoing lecture series Histories and Theories of Sound, Discipline and Liquid Architecture present Dr Sheridan Palmer’s ‘Disequilibrium: Presence/absence in the art of Tony Woods’, followed by discussion with Doug Hall AM.

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This event is co-presented by Discipline and Liquid Architecture as part of the ongoing public lecture series ‘Histories and Theories of Sound’, and hosted by Buxton Contemporary.

Tuesday, 3rd July 2018, 6:00pm
Florence Peel Centre
126 Moor Street, Fitzroy, Melbourne
Convened by Anthony White
Free to attend

This lecture examines the work of Italian Futurist, painter and musician Luigi Russolo, presenting a reading of the mechanical sound synthesizers, the intonarumori, that he began to create in 1913.

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This event is co-presented by Discipline and Liquid Architecture as part of the ongoing public lecture series ‘Histories and Theories of Sound’.

Saturday, 29th October 2016, 2:30pm
Blak Dot Gallery, Melbourne
Free to attend

This lecture explores the pressures and tensions for First Nations curators, artists and thinkers when presenting ceremonial-political practices in culturally unsafe, Eurocentric art museums. How do major presenting, learning and teaching programs in settler colonies address civilisational gaps in knowledges and presences of and determined by First Nations?

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Co-presented by TarraWarra Museum of Art, Gertrude Contemporary and Discipline as part of the ‘TarraWarra Biennial 2016: Endless Circulation Lecture Series’.

Sunday, 23rd October 2016, 2:00pm
TarraWarra Museum of Art
Free to attend

The 2016 TarraWarra Biennial addresses the ideas of circulation and continuity emerging in art’s passage through institutional and industry channels such as exhibitions, magazines, galleries and museums. The sense of opportunity and crisis associated with these ideas might be traced back to 1976, when two challenging proposals relating to circulation and continuity were made.

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Co-presented by TarraWarra Museum of Art, Gertrude Contemporary and Discipline as part of the ‘TarraWarra Biennial 2016: Endless Circulation Lecture Series’.

Tuesday, 18th October 2016, 6:00pm
Gertrude Contemporary, Melbourne
Free to attend

A talk by visiting Musqueam First Nation curator Jordan Wilson. Wilson will talk about the multi-site c̓əsnaʔəm project on the Musqueam village underneath Vancouver, and his experiences as a contributing Indigenous curator. He will also focus on his work at MOA since then, focusing on the challenges of collaboration.

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Co-presented by Léuli Eshraghi and Discipline, in association with Gertrude Contemporary.

Thursday, 29th September 2016, 6:00pm
Gertrude Contemporary, Melbourne
Free to attend

This joint lecture will bring together two distinct but related research projects. The first is Andrew Brooks’s recent and ongoing work on disruptive/interruptive speech acts and their efficacy as aesthetico-political gestures in a moment (such as ours) of sustained crisis. The second is Astrid Lorange’s new work to do with the relationship between language and contemporary art—specifically, to do with the way that language functions in work ‘as’ a poetics and can be read as poetry in a meaningful sense (meaningful, that is, for practice in a post-digital media environment).

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Co-presented by TarraWarra Museum of Art, Gertrude Contemporary and Discipline as part of the ‘TarraWarra Biennial 2016: Endless Circulation Lecture Series’.

Wednesday, 14th September 2016, 6:00pm
Gertrude Contemporary, Melbourne
Free to attend

In 2003, British artist and filmmaker, Steve McQueen was selected as an official war artist by the Imperial War Museum to document the war in Iraq. The situation in Basra, however, was extremely unstable and dangerous, leaving McQueen unable to film and confined for the duration of the six-day trip.

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Co-presented by TarraWarra Museum of Art, Gertrude Contemporary and Discipline as part of the ‘TarraWarra Biennial 2016: Endless Circulation Lecture Series’.

Tuesday, 23rd August 2016, 6:00pm
Clemenger BBDO Auditorium
National Gallery of Victoria International
Free to attend

Two main questions overlap in this lecture. What is the impact of biennials on contemporary art? And how have biennials changed in the course of the appearance of contemporary art? We will sum up the issues that we see played out in different biennials between 1955 to now.

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Co-presented by TarraWarra Museum of Art, Gertrude Contemporary and Discipline as part of the ‘TarraWarra Biennial 2016: Endless Circulation Lecture Series’.

Discipline, with TarraWarra Museum of Art and Gertrude Contemporary, is pleased to announce a special lecture series to accompany TarraWarra Biennial 2016, titled Endless Circulation, and curated by Victoria Lynn and Helen Hughes/Discipline.

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Co-presented by TarraWarra Museum of Art, Gertrude Contemporary and Discipline.

Thursday, 14th July 2016, 6:00pm
ACCA, Melbourne
Convened by Max Delany

This lecture focuses on the confluence of ecology and a politics of the senses in the video works of Juan Downey (Santiago, 1940–New York, 1993). Downey was an artist who developed a wide-ranging oeuvre in video art to explore his concerns on displacement, communication across cultures, histories of colonialism, mediation, and the interlacing of body and technology.

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Co-presented by Discipline and the Australian Centre for Contemporary Art as part of ‘Contesting Marginality: Three lectures on recent Chilean art and art historiography by Carla Macchiavello’.

Wednesday, 13th July 2016, 6:30pm
Gertrude Contemporary, Melbourne (Studio 18)
Convened by Camila Marambio

In the midst of the military dictatorship, the bodies and landscapes of Tierra del Fuego and the southernmost regions of Chile were imagined by several artists as the margin incarnated—an ambiguous border inside and outside the nation where a battle of inscriptions took place.

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Wednesday, 13th July 2016, 8:00pm
Gertrude Contemporary, Melbourne (Studio 18)

¿’Onde va la lancha?
Christy Gast

¿’Onde va la lancha? is a 25-minute lecture-performance by New York–based artist, Christy Gast. Gast provides a live voice-over for a video projection that was filmed in the fjords of Tierra del Fuego.

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Co-presented by Gertrude Contemporary as part of ‘Contesting Marginality: Three lectures on recent Chilean art and art historiography by Carla Macchiavello’.

Tuesday, 12th July 2016, 6:30pm
The Alderman, Melbourne (upstairs)
Convened by Rex Butler

Since the 1970s, Chilean art has been haunted by a concern with borders and territoriality. During the 1970s and 1980s, margins were taken as physical and imaginary spaces from which to contest the repression imposed by the military dictatorship as artists working in conceptualist modes associated dissidence with crossing lines and trespassing borders.

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Presented by Discipline as part of ‘Contesting Marginality: Three lectures on recent Chilean art and art historiography by Carla Macchiavello’.

Discipline and Ensayos, along with Gertrude Contemporary, the Australian Centre for Contemporary Art and The Alderman, are pleased to present three lectures on recent Chilean art and art historiography by Chilean art historian, Carla Macchiavello. The lectures will take place at three different venues in Melbourne between Tuesday 12 and Thursday 14 July. All are free to attend.

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Monday, 14th December 2015, 6:00pm
Gertrude Contemporary, Melbourne
Free to attend

This talk explores imaginations of the natural world at a time of accelerating global environmental crisis; in an era currently being defined as the Anthropocene, a geophysical term “which recognises that human intrusion on the planet’s surface and into the atmosphere has been so extreme as to qualify our time on earth as a specific geological epoch”.

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Co-presented by Discipline, Liquid Architecture and Gertrude Contemporary as part of the series ‘Histories and Theories of Sound’.

Thursday, 22nd October 2015, 6:00pm
Gertrude Contemporary, Melbourne
Free to attend

As a material index of acoustic activity, the term ‘sound fossil’ has gained currency in the fields of paleosonics and contemporary art both as a means of accounting for the appearance of the past in the present, and as an embodiment of cosmic time.

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Co-presented by Discipline, Liquid Architecture and Gertrude Contemporary as part of the series ‘Histories and Theories of Sound’.

Friday, 25th September 2015, 7:00pm
Mission to Seafarers, 717 Flinders Street, Docklands, Melbourne
$15, book tickets

Discipline and Liquid Architecture are pleased to present a special iteration of the ‘Histories and Theories of Sound’ Lecture Series from 7:00–10:00pm on Friday the 25th of September at Mission to Seafarers, 717 Flinders Street, Docklands. Titled ‘Echo/Siren: The People’s Microphone,’ the program will feature lectures and performances exploring the format of the people’s microphone, popularised as a mechanism for amplification during the Occupy movement. 

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Co-presented by Discipline and Liquid Architecture.

Thursday, 16th July 2015, 6:00pm
West Space, Melbourne
Free to attend

Part 2 of last week’s Discipline lecture at the Wheeler Centre, ‘Terror Vision: Video and the Unreality of ISIS’ by Philip Brophy, will take place at West Space this Thursday 16 July, from 6–8pm. This is an opportunity to hear the rest of Philip’s lecture, and for discussion.

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Co-presented by Discipline and West Space, Melbourne.

Thursday, 9th July 2015, 6:15pm
The Wheeler Centre, 176 Little Lonsdale St, Melbourne
Free to attend, bookings are required

In February this year ISIS released a video, Healing the Believers’ Chests, which showed Jordanian pilot Moaz al-Kasasbeh being burnt alive. Around the world, people were shocked by the torture and murder shown in the video – but also surprised by the production’s Hollywood aesthetic, with its slick aerial shots, use of montage and sophisticated animations.

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Join renowned visual artist and filmmaker Philip Brophy for a discussion of terror, reality and the Hollywood/ISIS feedback loop. Hosted by Helen Hughes. Co-presented by Discipline and The Wheeler Centre.

Monday, 22nd June 2015, 6:30pm
Gertrude Contemporary, Melbourne
Free to attend

What does it take to make art with political intent today? Surely it means retaining a modicum of hope? But what is it to have hope in such dire political times? Even if we find a way to affirm hopefulness, it doesn’t follow that a way to approach politics will spontaneously rise from it.

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Lecture #5 in the 2015 Contemporary Art Lecture Series presented in collaboration with Gertrude Contemporary.

Wednesday, 3rd June 2015, 6:30pm
Gertrude Contemporary, Melbourne
Free to attend

Liquid Architecture and the Monash University Museum of Art (MUMA) are pleased to present British sound artist and writer Joe Banks in Australia for the first time. On Wednesday 3rd June at 6:30pm at Gertrude Contemporary, Banks will deliver a lecture titled ‘Rorschach Audio,’ with respondent Ceri Hann (RMIT), as part of the ‘Histories and Theories of Sound’ series presented in association with Gertrude Contemporary, Liquid Architecture and Discipline. Banks’s lecture is #5 in the ‘Histories and Theories of Sound’ series that began last year, and has featured lectures by Branden W. Joseph, David Grubbs, Douglas Kahn, and James Parker.

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Lecture #5 in the series Theories and Histories of Sound presented in conjunction with Liquid Architecture and Gertrude Contemporary.

Wednesday, 20th May 2015, 6:00pm
Theatre A, Rm 103, Old Arts, University of Melbourne, Parkville Campus
Free to attend

In asking why responses to Sugimoto’s photographs turn on a dime from awe to scorn, I suggest that these strange works of art manage to escape human desires. My hope is that by moving the conversation away from entrenched dichotomies such aesthetics or anti-aesthetics and toward an analysis of the nature of objects and feelings, I can suggest the ethical and practical consequences of inhuman art.

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Lecture #4 in the 2015 Contemporary Art Lecture Series presented in collaboration with Gertrude Contemporary and the School of Culture and Communication, University of Melbourne.

Tuesday, 28th April 2015, 6:30pm
Kalex, 166 Gertrude Street, Fitzroy, Melbourne
Free to attend

Temporary architecture — that forms a community pavilion or event, a communal working space, artistic intervention, cultural platform or gastronomical destination — has had increased attention in wealthy economies in the twenty-first century. The pop-up project soon pops-down, however its effects are far from temporary.

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Lecture #3 in the 2015 Contemporary Art Lecture Series presented in collaboration with Gertrude Contemporary.

A panel discussion with speakers Justin Clemens, Sary Zananiri, Nur Shkembi and Lizzie O’Shea, as part of the public program for the exhibition The Remote Controlled Terrorist Coffin curated by Grace McQuilten at RMIT Project Space / Spare Room.

Wednesday, 18th March 2015, 6:30pm
RMIT Design Hub Lecture Theatre
Free to attend

Remote-Controlled Terrorist Coffin shifts the narrative of terror by implicating the designer, in this case a US architect, in the creation of destructive technologies such as drones, data hacking systems and weaponry. In so doing it challenges the dominant media portrayal of the terrorist and raises questions about the role of both the designer, and artist, in engaging with these complex political and social issues.

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Co-presented by Discipline and RMIT Project Space / Spare Room.

Tuesday, 3rd March 2015, 6:30pm
Gertrude Contemporary, Melbourne
Free to attend

The second Gertrude Contemporary–Discipline lecture for 2015 will be given by Patricia Reed with respondent Sean Dockray. Reed’s paper is titled ‘Diagrammes and Futurity’, and is co-presented with MADA — Monash University Art Design & Architecture.

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Lecture #2 in the 2015 Contemporary Art Lecture Series presented in collaboration with Gertrude Contemporary.

Documentation…

Listen to the recording of Patricia Reed’s lecture below:

Monday, 23rd February 2015, 6:30pm
Gertrude Contemporary, Melbourne
Free to attend

The first Gertrude Contemporary–Discipline lecture for 2015 will be given by Adrian Martin with respondent Ted Colless. Martin’s paper is titled ‘Do I Have to Spell It Out in Words?: On Writing with Images (and Sounds)’ and it examines contemporary art criticism in the age of the Internet, focussing specifically on the art historian and critic James Elkins’s new project ‘Writing with Images’.

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Lecture #1 in the 2015 Contemporary Art Lecture Series presented in collaboration with Gertrude Contemporary.

Documentation…

Listen to the recording of Adrian Martin’s lecture below:

Friday, 19th December 2014, 10:30am
Gertrude Contemporary, Melbourne

Saturday, 20th December 2014, 2:00pm
Institute of Modern Art, Brisbane

Gertrude Contemporary, the Institute of Modern Art, Landings and Discipline co-present Public Meeting: Weak Signals/Low Batteries — a screening of the Karrabing Film Collective’s When the Dogs Talked (2014) accompanied by a discussion.

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Co-presented by Gertrude Contemporary, the Institute of Modern Art, Landings and Discipline.

Wednesday, 29th October 2014, 6:00pm
Gertrude Contemporary, Melbourne
Free to attend

The next Gertrude-Discipline lecture takes the form of a panel: a discussion between four curators whose work concerns the presentation and production of contemporary art from Turkey. Mari Spirito, Övül Durmusoglu, Basak Senova and November Paynter represent a range of voices from within the independent, not-for-profit and museum sectors in Turkey.

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Presented by Gertrude Contemporary and Discipline in collaboration with Artspace and Protocinema.

Thursday, 11th September, 2014, 6:00pm
Gertrude Contemporary, Melbourne
Free to attend

World War 1 marked a watershed in the history of sonic warfare. Noise and war have always gone together, but never before had sound been so devastatingly weaponised. ‘Soldiers knew within hours on the Front,’ writes historian Hiller Schwartz, ‘that the Great War was noise, that the noise was dangerous, and if noise of itself was not fatal then it was advance notice, and emblem, of mortality.’

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Lecture #3 in the series Theories and Histories of Sound presented in conjunction with Liquid Architecture and Gertrude Contemporary.

Wednesday, 3rd September, 2014, 6:00pm
Clemenger BBDO Auditorium
The National Gallery of Victoria
Free to attend, although bookings are required

In this lecture, Smith will describe the circumstances of the writing of the article The Provincialism Problem, first published in New York magazine Artforum in September 1974. This article was among one of the first to question the concentration of modernist values in the artworld in cities such as New York, Paris, and London. The Provincial Problem has since been continously reprinted, and is frequently referred to by artists, critics, theorists and historians around the world, making it one of the most cited texts by an Australian writer on art.

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Presented in conjunction with Gertrude Contemporary and the National Gallery of Victoria.

Documentation…

Thursday, 28th August, 2014, 6:00pm
Gertrude Contemporary, Melbourne
Free to attend

This exploratory talk will follow from Douglas Kahn’s most recent book, Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts (University of California Press, 2013). The book, over a decade in the making, is a fundamental reworking in the histories of science, communications, music and the arts to account for the incursion of electromagnetism into culture from the nineteenth century to the present.

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Lecture #2 in the series Theories and Histories of Sound presented in conjunction with Liquid Architecture and Gertrude Contemporary.

Tuesday, 12th August 2014, 6:00pm
Gertrude Contemporary, Melbourne
Free to attend

John Cage’s disdain for records was legendary. He repeatedly spoke of the ways in which recorded music was antithetical to his work. In this presentation from his book Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording, Grubbs argues that, following Cage, new genres in experimental and avant-garde music in the 1960s (indeterminate music, long-duration minimalism, text scores, happenings, live electronic music, free jazz, and free improvisation) were particularly ill-suited to be represented in the form of a recording. Despite this, present-day listeners are coming to know that era’s experimental music through the recorded artefacts of composers and musicians who largely disavowed recordings.

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Lecture #1 in the series Theories and Histories of Sound presented in conjunction with Liquid Architecture and Gertrude Contemporary and in partnership with Room40.

Tuesday, 15th July 2014, 6:00pm
Gertrude Contemporary, Melbourne
Free to attend

Wit and stupidity might seem unlikely bedfellows in some senses, but in painting as in philosophy they find common ground. As something of a shamed medium in a post-medium specific context, it might be said that painting is ripe for humour—for Schadenfreude in particular—and its aesthetic inclinations can be co-opted in the service of the joke.

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Lecture #2 in the 2014 Contemporary Art Lecture Series presented in collaboration with Gertrude Contemporary.

Tuesday, 1st July 2014, 6:00pm
Old Arts Theatre D
University of Melbourne
Free to attend

Before embarking on her path-breaking career as singer and bassist in the band Sonic Youth, Kim Gordon was a key artistic and critical voice in the New York art scene, close to such celebrated figures as Mike Kelley, Dan Graham, John Knight, Robert Longo and Laurie Anderson. Throughout the early 1980s in artist-run publications such as Real Life, ZG, Journal, and FILE, Gordon contributed a series of astute analyses of the artistic practices of these and other figures, as well as of the crossovers between art and music.

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Lecture #1 of 2014, presented by the School of Culture and Communication, University of Melbourne, in association with Discipline, Gertrude Contemporary, and Liquid Architecture.

Wednesday, 27th November 2013, 6:00pm
Gertrude Contemporary, Melbourne
Free to attend

‘What is the intention announced by Black Feminist Critiques?’ asks Professor of Ethics Denise Ferreira da Silva, who will give the eighth Gertrude Contemporary – Discipline: Contemporary Art Lecture.

“Would the Poet’s intention emancipate the Category of Blackness from the scientific and historical ways of knowing which produced it in the first place, which has been the Black Feminist Critic worksite?

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Lecture #8 in the 2013 Contemporary Art Lecture Series presented in collaboration with Gertrude Contemporary.

Wednesday, 30th October 2013, 6:00pm
Gertrude Contemporary, Melbourne
Free to attend

From peer-to-peer utopianism of a decade ago to the power and data centralising within today’s Internet platforms, Sean Dockray will survey how the structure of digital property has changed over recent years with the growth of “the cloud.”

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Lecture #7 in the 2013 Contemporary Art Lecture Series presented in collaboration with Gertrude Contemporary.

Documentation…

Listen to the recording of Sean Dockray’s lecture below:

Thursday, 26th September 2013, 6:00pm
Gertrude Contemporary, Melbourne
Free to attend

How do we know what we like when it comes to art?

In this lecture, On Friendship, Papastergiadis will consider what role sensory awareness plays in our knowledge of contemporary art. He will argue that the answer to these questions requires more than just looking at art.

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Lecture #6 in the 2013 Contemporary Art Lecture Series presented in collaboration with Gertrude Contemporary.

Documentation…

Listen to the recording of Nikos Papastergiadis’ lecture below:

Tuesday, 27th August 2013, 6:00pm
Gertrude Contemporary, Melbourne
Free to attend

Mac Giolla Léith will draw on his research in the fields of Irish-language linguistics and literary criticism to address artworks including Franz Ackermann’s Mental Maps (1991–), Douglas Gordon’s Play Dead. Real Time (2003) and Ceal Floyer’s Things (2009). He will contextualise these works within wider debates surrounding the relationship between words and things and between naming and mapping. The lecture will also consider various questions raised by the resurgence in recent years of a variety of ahumanist forms of thought.

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Lecture #5 in the 2013 Contemporary Art Lecture Series presented in collaboration with Gertrude Contemporary.

Wednesday, 31st July 2013, 6:00pm
Gertrude Contemporary, Melbourne
Free to attend

Discipline and Gertrude Contemporary are pleased to announce that New York based curator Lauren Cornell will give the fourth lecture in the Gertrude Contemporary – Discipline: Contemporary Art Lecture Series. Cornell is one of the most innovative curators practising today and is undertaking a curatorial residency at the invitation of Gertrude Contemporary, which has been supported by the Australia Council for the Arts.

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Lecture #4 in the 2013 Contemporary Art Lecture Series presented in collaboration with Gertrude Contemporary.

Documentation…

Listen to the recording of Lauren Cornell’s lecture below:

Monday, 24th June 2013, 6:00pm
Gertrude Contemporary, Melbourne
Free to attend

What do we talk about when we talk about contemporary art? surveys the most important theories of contemporary art – including those by Giorgio Agamben, Alain Badiou, Boris Groys, Jacques Ranciere, various Octoberites and so-called Speculative Realists – in order to point out their strengths and weaknesses, and outline several possible new ways of talking about art. 

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Lecture #3 in the 2013 Contemporary Art Lecture Series presented in collaboration with Gertrude Contemporary.

Documentation…

Listen to the recording of Justin Clemens’ lecture below:

Tuesday, 28th May 2013, 6:00pm
Gertrude Contemporary, Melbourne
Free to attend

There is an excitement about falling that betrays itself in images and experiences of the flesh, from Richard Drew’s capture of the Falling Man during September 11, 2001, to climate change activists’ depictions of the psychosis of not believing we will hit the ground, and the suspended nature of the work of William Kentridge. Art and falling go hand in hand, and Rogers suggests, so too does politics.

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Lecture #2 in the 2013 Contemporary Art Lecture Series presented in collaboration with Gertrude Contemporary.

Documentation…

Listen to the recording of Dr Juliet Rogers’ lecture below:

Thursday, 11th April 2013, 6:00pm
Gertrude Contemporary, Melbourne
Free to attend

Rex Butler’s lecture, John Nixon: A Communist Artist, will examine the work of Melbourne-based abstract artist John Nixon, who has been the subject of much discussion over the past twenty years.

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Lecture #1 in the 2013 Contemporary Art Lecture Series presented in collaboration with Gertrude Contemporary.

Documentation…

Listen to the recording of Rex Butler’s lecture below:

20th June – 7th July 2012
TCB art inc., Melbourne
Free to attend

Discipline, and other sermons is a three-week series of lectures and reading groups on contemporary art, organised by co-editors Nick Croggon and Helen Hughes

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Download the program (PDF)

Edited by Helen Hughes and David Homewood (Discipline Nº 5); Carla Macchiavello and Camila Marambio (Más allá del fin Nº 3); and designed by Robert Milne.

Discipline, Más allá del fin (translating to ‘discipline beyond the end’)—represents an effort to map a South–South relationship between Chile and Australia, and even more specifically, between its southernmost island tips: Tierra del Fuego and Tasmania. For centuries, the Northern imagination conceived of these places as the very personification of distance itself, whereas the editors of Más allá del fin refer to Tierra del Fuego as ‘the centre of the known universe’. In addition to publishing a range of essays on modern and contemporary art, this joint issue recentres and forges new connections between Southern perspectives, generating a dynamic and relational art history of the contemporary.

Contents

304 pages, 230 × 300 mm, Softcover, Edition of 500, 2019, ISSN 1839-082X

Edited by Helen Hughes, with editorial assistance by Amelia Winata, designed by Robert Milne & Fabian Harb.

Five of the seven essays in this issue are adapted from papers given as part of the TarraWarra Biennial 2016: Endless Circulation lecture series. This series was formulated as an extension of the Biennial, co-curated by Victoria Lynn, Helen Hughes and Discipline, and as a site for delving into its research focuses on the physical, economic, visual, vir­tual and discursive channels through which artworks circu­late today, and the iterative structures of journals and recursive exhibitions (like biennials, triennials and documenta).

Contents

96 pages, 115 × 300 mm, Softcover, Edition of 400, 2017, ISSN 1839-082X

Edited by Nicholas Croggon, David Homewood, & Helen Hughes; with a guest edited section by Ferdiansyah Thajib, KUNCI Cultural Studies Center; and designed by Robert Milne.

Contents

192 pages + 92 page booklet, 230 × 300 mm, Softcover, Full Colour, Edition of 1000, 2015, ISSN 1839-082X

Edited by Nicholas Croggon & Helen Hughes, with a guest edited section by Raimundas Malašauskas, and designed by Annie Wu & Žiga Testen.

Contents

244 pages + 46 page supplement, 230 × 300 mm, Softcover, Full Colour, Edition of 1000, 2013, ISSN 1839-082X

Edited by Nicholas Croggon & Helen Hughes, with a guest edited section by Maria Fusco, and designed by Annie Wu & Žiga Testen.

Contents

192 pages, 230 × 300 mm, Softcover, Full Colour, Edition of 1000, 2012, ISSN 1839-082X

$25.00 + postage to…

Edited by Nicholas Croggon & Helen Hughes, with a guest edited section by Vivian Ziherl, and designed by Warren Taylor.

Contents

112 pages, 218 × 300 mm, Softcover, Full Colour, Edition of 1000, 2011, ISSN 1839-082X

$15.00 + postage to…