dispatch review

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	<pubDate>Fri, 24 Jul 2026 03:19:14 +0000</pubDate>
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		<title>Information</title>
				
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		<pubDate>Wed, 05 Apr 2023 15:11:56 +0000</pubDate>

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 Information:

Dispatch Review aims to pin down ideas and stir up conversations about art.
We publish art criticism, opinion pieces, and interviews. Reviews are dispatched spontaneously, often weekly.
      
        
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Editors:


Sam Beard is the head editor and co-founder of Dispatch Review. His writing has appeared in Artlink, un Magazine, and Art Collector.


Amelia Birch holds a PhD in the History of Art from the University of Western Australia, where she teaches art history.

Max Vickery is a Marxist historian and critic based in Whadjuk country. A co-founder of Dispatch Review, Vickery provides copy and line editing for texts before publication.


Contributors:

	
Felicity Bean studies art at Murdoch University.

Samuel Beilby is a contemporary artist and researcher. He currently teaches Fine Art at the University of Western Australia.


Angus Bowskill is an artist based in Perth, WA. Their work explores observation, mediation, and redaction through digital media and printmaking techniques.


Kieron Broadhurst is an artist based in Perth, WA. Through a variety of media he investigates the speculative potential of fiction within contemporary art practice.

William Bromage is an editor of Guan Kan Journal and holds a degree in History and Archaeology from the University of Western Australia. His interests lie in Indigenous archaeology, as well as Chinese history and its contemporary art.

Rex Butler teaches Art History in the Faculty of Art Design and Architecture at Monash University and writes on Australian art.


Rainy Colbert is an art critic and bush poet, primarily interested in the Sublime.


Grace Coppola is a graduate of art history and literary studies from UWA, currently completing honours work on literary mimesis and romantic poetry.Aimee Dodds is a Perth-based arts writer and co-founder of Dispatch Review. She has written for Memo Review, Art Almanac, un Magazine, and Artist Profile Magazine. Dodds has first class joint honours in the History of Art and English and Cultural Studies from the University of Western Australia.

Kye Fisher holds a Bachelor of Arts from the University of Western Australia and currently works within UWA’s research portfolio. Kye has a keen interest in contemporary Chinese art and music.


Nick FitzPatrick is an artist and arts worker. He is primarily interested in images and their relationship to systems of power and knowledge.


Dan Glover is a barista and emerging arts writer, currently studying History of Art and Curatorial Studies at the University of Western Australia.

Soph Grey is an emerging creative, Fine Arts graduate and cafe coworker to fellow writer Dan Glover. Based in Walyalup, her practice revolves around an infatuation with the home.


Sam Harper is an archaeologist and rock art specialist based at CRAR+M,
UWA, living and working on Whadjuk country. She works with communities across
the northwest of Australia.

Tara Heffernan is an art historian and critic. Her work concerns modernism and the avant-gardes, conceptual art and the lineage/s of the New Left.Amy Hickman writes occasionally about sex, gender, deconstruction, and biopolitics. 


Chelsea Hopper is a curator and writer whose research focuses on modern and contemporary photography and populism. She is Art Director of Memo Magazine.


Darren Jorgensen lectures in art history at the University of Western Australia. His most recent book is The Dead C’s Clyma Est Mort.


Stirling Kain is an arts administrator with a BA in History of Art and History. She works with various arts organisations in WA.


Riley Landau is an emerging arts writer currently studying art history and curatorial studies at the University of Western Australia.


Marco Marcon is a creative producer, writer, and academic originally from Italy, currently residing between Perth and Viterbo (Italy). He is the founding director of SPACED, previously known as the International Art Space Kellerberrin, Australia (IASKA). Marcon’s writing is also available via his Substack, Minima Aesthetica (click here to view).


Jonathan W. Marshall is head of postgraduate
studies at the Western Australian Academy of Performing Arts, Edith Cowan
University. Marshall has published in both scholarly and journalistic contexts,
his writings covering Japanese butoh dance, the influence of fin de siècle
neurology on the history of performance, photography, Australian modernist art,
Mark Rothko’s spiritualism, and the work of Georges Didi-Huberman:&#38;nbsp;click here for more.


Siân McIntyre is a researcher and art worker. www.sianmcintyre.com.


Duncan McKay is an artist, arts researcher and arts writer who since 2014 has worked as a public art administrator with local government and State Government organisations. He has a PhD, an MCA, a BFA (Hons.) and is completing a Master in Curatorial Studies.


Ian McLean is an art historian and the former Hugh Ramsay Chair of Australian Art History at the University of Melbourne. His most recent book is Double Nation: A History of Australian Art.


Zali Morgan is an emerging artist, writer and curator, currently working at The Art Gallery of Western Australia as assistant curator of Indigenous Art. She is of Ballardong, Wilman and Whadjuk descent.


Felicity Ostergaard is an editor of Guan Kan Journal and currently pursuing a Bachelor of Arts, majoring in Archaeology, with a minor in Curatorial Studies. Her interest in Chinese Contemporary art stems from her own performance art practice as well as modes of displaying site specific interventions.


Annette Peterson is a writer and visual artist with a Master’s in Design and Art from Curtin University and a BA in English Literature from the University of Western Australia. A former journalist, she has been a contributing writer for Artists Chronicle for the past five years.


Jacinta Posik studies Fine Arts and History of Art at the University of Western Australia.


Scott Price is an artist based in Perth/Boorloo. He is interested in the interplay between culture and history in the formation of land and place relations, explored through a multidisciplinary practice.


Diego Ramírez is an artist with dreams, a writer with hopes and a facilitator with beliefs. He is represented by MARS Gallery.


Francis Russell is a former academic and trade union official. He researches contemporary art and alienation, drawing on the legacies of Marxism, Freudian psychoanalysis, and phenomenology.


Nalinie See holds a Bachelor of Arts, majoring in Fine Arts and Art History from The University of Western Australia. She currently works as an Art Teacher and as a Sales and Wardrobe Planning Co-worker at IKEA.


Terry Smith is Andrew W. Mellon Professor of Contemporary Art History and Theory in the Department of the History of Art and Architecture at the University of Pittsburgh, and Professor in the Division of Philosophy, Art and Critical Thought at the European Graduate School.


Paul Sutherland is a researcher and educator from Western Australia. His work concerns online visual culture, media philosophy, and post-truth.


Maraya Takoniatis studies and conducts research in Philosophy, Fine Arts, and History of Art at the University of Western Australia.
Matthew Taggart is an arts worker, artist and musician. Their work is experimental in its exploration of future sounds and the human experience.

Leslie Thompson is a freelance arts writer.


Jess van Heerden is an emerging arts writer and visual arts technician. They have a BA in History of Artand Fine Art, with a minor in Curatorial Studies, and are almost finishedtheir Art History Honours.


Ben Yaxley is a writer, arts student, and English teacher living in Boorloo.


Note: any conflicts of interest that may arise between editors and the subject and/or topic of a review will see the affected editors forego any and all participation in the editorial process of the related text.


Designer:
Mia Davis is an arts worker and design student based in Boorloo/Perth. Davis is powered by a love of connecting audiences to art and ideas, with inclusive design being key to her practice.

 
Also see:

&#60;img width="1098" height="382" width_o="1098" height_o="382" data-src="https://freight.cargo.site/t/original/i/886cff5c2f47940b2cd9388ba0bafb507421f97666b8540cb85f7231ca6635eb/thesis-eleven.png" data-mid="222846414" border="0"  src="https://freight.cargo.site/w/1000/i/886cff5c2f47940b2cd9388ba0bafb507421f97666b8540cb85f7231ca6635eb/thesis-eleven.png" /&#62;


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	<item>
		<title>Events</title>
				
		<link>https://dispatchreview.info/Events</link>

		<pubDate>Tue, 07 Nov 2023 04:31:46 +0000</pubDate>

		<dc:creator>dispatch review</dc:creator>

		<guid isPermaLink="true">https://dispatchreview.info/Events</guid>

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Events:Event
	Time/Date
	Venue/Address

	Ellie Buttrose: Behind the scenes of 'kith and kin'.


	Monday, 10 February, 2025, 6:00 pm - 7:00 pm AWST
	State Library of Western Australia, Great Southern Room, Level 4 25 Francis Street, Perth.


Taring Padi: Organise, Educate, Agitate!


	Saturday, 30 November, 2024, 2:30 pm - 4:30 pm AWST
	

State Library of Western Australia, Great Southern Room, Level 4 25 Francis 

Street, Perth.


The Modern and the Contemporary: A conversation with Rex Butler, Tara Heffernan, Darren Jorgensen and Peter Beilharz.


Saturday, 7 September, 2024, 4:00 pm - 5:00 pm AWST


The Art Gallery of Western Australia, Perth WA.

	Dispatch Review: Artist Talk at the City of Belmont.
	

Thursday, 18 January, 2024, 
5:30pm – 


6:30pm AWST


Ruth Faulkner Library,

Events Room, 213 Wright Street Cloverdale, WA.

	Memo Magazine Launch and Panel Discussion.
	
	Saturday, 2 December, 2023, 4pm – 5pm AWST
	
	
	Perth Institute of Contemporary Arts, Perth Cultural Precinct, WA.

	Artist as Prophet: Intersections of Art and Ritual with Robert Buratti.
	

Friday, 27 October, 2023,


12pm

 – 

12:30pm AWST

	
Hew Roberts Lecture Theatre, School of Design, UWA.

	Dispatch Review Launch Party.
	Saturday, 7 October, 2023,


7pm – 10:00pm AWST


Light Works, 112 Murray St, 
Perth WA.

	Doubled Histories: The Futures of Australian Art with Ian McLean, Terry Smith,

Jessyca Hutchens and Darren Jorgensen.
	Wednesday, 30 August, 2023
6pm

– 7:30pm AWST
	

State Library of Western Australia, Great Southern Room, Level 4 25 Francis Street, Perth WA.


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	<item>
		<title>Reading Group</title>
				
		<link>https://dispatchreview.info/Reading-Group</link>

		<pubDate>Wed, 09 Jul 2025 06:28:49 +0000</pubDate>

		<dc:creator>dispatch review</dc:creator>

		<guid isPermaLink="true">https://dispatchreview.info/Reading-Group</guid>

		<description>Virtual Reading Group sessions:

Reading
	Date/Time
	Sign-up


Session 10:

The Whitney Biennial Reader. 
	

Tuesday 28 May, 6:00pm AWST. 


Click here
Session 9: 

‘The Health Goths Are Really Feeling Zip Ties RN For Some Reason’ by ﻿James Payne.
	Tuesday, 7 Apr, 2026, 5:30pm AWST. &#38;nbsp;


Click here

Session 8: ‘The Total Art of Stalinism’ by ﻿Boris Groys
	Tuesday, 3 Mar, 2026, 6pm AWST.&#38;nbsp; 
	

Click hereSession 7: ‘The Expediency of Culture’ by George Yúdice.
	Tuesday, 9 Dec, 2025, 6pm AWST. &#38;nbsp;
	

Click hereSession 6: ‘The Painted Word’ by Tom Wolfe.
	Tuesday, 23 Sept, 2025, 6:00pm AWST
	

Click hereSession 5: ‘On the Fetish-Character in Music and the Regression of Listening’ by Theodor W. Adorno.

	Tuesday, 19 Aug, 2025, 6:00pm AWST
	

Click here


Session 4: ‘
The Herd of Independent Minds’ by 
Harold Rosenberg.
	

Tuesday, 15 Jul, 

 2025, 6:00pm AWST
	

Click here


Session 3: 

Theory of the Avant-Garde’&#38;nbsp; by 

Peter Bürger.


Tuesday, 17 Jun, 2025, 6:00pm AWST
	

Click here

Session 2: ‘The Originality of the Avant-Garde’ by 
Rosalind E. Krauss.
	

Tuesday 20 May, 2025, 6:00pm AWST
	

Click here


	Session 1: ‘Avant-Garde and Kitsch’ by Clement Greenberg.


	Tuesday, 22 Apr, 2025, 6:00pm AWST
	

Click here


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	<item>
		<title>Shop</title>
				
		<link>https://dispatchreview.info/Shop</link>

		<pubDate>Sat, 07 Oct 2023 04:37:48 +0000</pubDate>

		<dc:creator>dispatch review</dc:creator>

		<guid isPermaLink="true">https://dispatchreview.info/Shop</guid>

		<description>Shop:
	&#60;img width="1170" height="1664" width_o="1170" height_o="1664" data-src="https://freight.cargo.site/t/original/i/271ce0fb8b7cd86500fd7de86b154a28340614bc94e2a00222b731715fb5c90a/B0105D50-4B99-4B7C-A778-D357CD2E7184.png" data-mid="241394632" border="0"  src="https://freight.cargo.site/w/1000/i/271ce0fb8b7cd86500fd7de86b154a28340614bc94e2a00222b731715fb5c90a/B0105D50-4B99-4B7C-A778-D357CD2E7184.png" /&#62;


Dispatch Review: 
2023 and 2024 Anthology Bundle
A special deal for the AAANZ Conference 2025!
 Purchase both the 2023 and 2024 Anthology for $50.


&#60;img width="401" height="569" width_o="401" height_o="569" data-src="https://freight.cargo.site/t/original/i/16d1e5c9184fd77850a10cae060ed0c6c9ed88940bc3ed0092b678db8b08532a/anth24.png" data-mid="240822942" border="0"  src="https://freight.cargo.site/w/401/i/16d1e5c9184fd77850a10cae060ed0c6c9ed88940bc3ed0092b678db8b08532a/anth24.png" /&#62;


	Dispatch Review: 2024 Anthology
The 2024 Anthology from Dispatch Review is a selection of the best art criticism from the journal's second year of publication. This anthology captures the critical conversations that shaped contemporary art in Boorloo/Perth, Western Australia during 2024. Dispatch Review is a volunteer-run journal, and proceeds from the sale of this publication will support the continuation of future anthologies. Cover design by Scott Burton.
	&#60;img width="978" height="1387" width_o="978" height_o="1387" data-src="https://freight.cargo.site/t/original/i/2d028b012b93347872eb6032a2ae61238bcb98ee04debdeaa9ad834576f3adc1/455184325_855400656541539_3950715539205821916_n.jpg" data-mid="216937618" border="0"  src="https://freight.cargo.site/w/978/i/2d028b012b93347872eb6032a2ae61238bcb98ee04debdeaa9ad834576f3adc1/455184325_855400656541539_3950715539205821916_n.jpg" /&#62;
	Dispatch Review: 2023 Anthology

The 2023 Anthology from Dispatch Review is a selection of the best art criticism from the journal's first year of publication. Featuring texts by Sam Beard, Amelia Birch, Aimee Dodds, Max Vickery, Samuel Beilby, Tara Heffernan, Darren Jorgensen, Stirling Kain, Ian Mclean, Zali Morgan, Francis Russell, Terry Smith, Maraya Takoniatis, and Jess van Heerden, this anthology captures the critical conversations shaping contemporary art in Boorloo/Perth, Western Australia. Dispatch Review is a volunteer-run journal, and proceeds from the sale of this publication will support the continuation of future anthologies. Cover design by Scott Burton.

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	Wang Qingsong – Catalogue
Wang Qingsong is a leading figure in contemporary Chinese photography.&#38;nbsp;He constructs highly staged photographs that explore the influence of Western consumer culture in China.


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		<title>Articles</title>
				
		<link>https://dispatchreview.info/Articles</link>

		<pubDate>Sun, 25 Jun 2023 17:25:24 +0000</pubDate>

		<dc:creator>dispatch review</dc:creator>

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		<title>BCC at Blindside, by Diego Ramírez</title>
				
		<link>https://dispatchreview.info/BCC-at-Blindside-by-Diego-Ramirez</link>

		<pubDate>Fri, 24 Jul 2026 03:19:14 +0000</pubDate>

		<dc:creator>dispatch review</dc:creator>

		<guid isPermaLink="true">https://dispatchreview.info/BCC-at-Blindside-by-Diego-Ramirez</guid>

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BCC at Blindside
	by Diego Ramírez.&#38;nbsp;
	Saturday, 25 July 2026


Without an over-the-top tokenism of the organisation or
artists involved, an exchange between spaces contributes little to the liberal
myth that a 6 x 6 white room can transform the socio-political fabric of
reality. The presumption that saying or thinking the “right things” amounts to
something is superstitious at best. But maintaining a cultural dialogue between
a plethora of spaces is often quite productive. Let’s remember that urban
cities in this beautiful country-nent are so distant from each other, that
traversing them requires the same effort overseas artists exert to cross
national borders. I’m of the humble view that collaborations are best
undertaken at random too: one day might be an exchange between artist-run
spaces, the other with a collective of buffoons fundraising to train in Paris.
I’m sure there’s people out there trying to weave a blanket for Pluto—I want to
see that. However, I do not want to see long ass forms coming out of mopey
offices called “ARIs”, compulsively asking for details they don’t need. It
prevents makers from travelling interstate, sabotaging the range of artistic
movement. I am sure Blindside is gentle on the emails and the admin, otherwise
it would have been a practical torment to stage this show. (Admin-frantic ARIs
are always weirdly inflexible about gallery sitting and installation
schedules.)&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; CC: Artsworkers, please don’t “arts admin” with a Protestant
ethic. Email after email, pedantic requirements and rules displace art making
as a priority and centre risk management as the purpose of the exchange—draining
pleasure from everything that is alive like a malevolent force, until the
entire world turns grey. 


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; BCC is the title of an exhibition initiated by
Naarm/Melbourne-based Blindside, curated by Cool Change in Boorloo/Perth. BCC,standing for blind carbon copy (in case A.I. already fried your
brain and you can’t figure out the acronym by yourself), approaches this
function as a logic of distance and invisibility, incorporating an
unacknowledged presence in a conversation.&#38;nbsp;BCC’s curatorial statement
positions this entity as a near familiar presence—rather than an other or a
voyeur—that is simply waiting for the chance to become legible, within a shared
network. The friend of a friend, the partner’s parents, the corner dweller at
the party. These awkward shadows who are destined to become known. It is a
relatable theme that speaks to the carpal tunnel syndrome-d reality of our
daily lives. Mimicking this dynamic, the curators brought together artists that
should-know-each-other or should-be-known to formalise an encounter. The email
here is concept and medium, as these far-away artists sent their work via the
Internet, avoiding the logistical nightmare of transporting artworks. Although
I have never used the BCC function myself, or have been included as a BCC in
somebody else’s thread (can’t imagine this ever happening with good
intentions), I’m interested in this show’s approach to the email as an all-encompassing
force. 


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Image: Installation view of BCC at Blindside. Photograph by Sebastian Kainey.

Stepping into Blindside’s new premises in North Melbourne—I
forgot they moved and initially went to their old address at the Nicholas
Building—one encounters six works of eclectic mediums. The layout establishes
the act of witnessing and extraction as overarching themes by positioning two
moving image works that touch on ecology, North and South of the space. These
are Cass Lynch and Mei Swan Lim’s fascinating video Dampland 2 (2024),
which addresses Noongar stories as witness accounts of landmass shifts across
centuries; and Reece Cahill’s Warholian take on an oil rig shot during sundown
called hard times (2021-2026). Facing each other, these videos are a
through line that resonates smoothly with Gemma Weston’s WITNESSING
(2024-2025), a dizzying mural of A4 prints transcribing social media ‘stories’.
This triad stands out as the conceptual core of the exhibition, as the rest of
the works appear to be floating in a more tenuous relationship with each other.
Thus, the notion of BCC as a witness of extraction is pushed to its limits,
making one wonder if we are all blind carbon copies in a totalising email.&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
Dampland 2 is an eight minute single-channel video
mounted on a humble flat screen with headphones. It consists of Lynch’s
voiceover, shots of water flows, layers of iconised waves and an engrossing
sound design. The spoken track is about the Swan Coastal Plain in WA and its
changing sea levels, distorted through the climate crisis. Lynch invokes traditional
Noongar stories to explain the sea level rise by those who experienced it
20,000 years ago. It’s an engaging example of oral traditions and how
contemporary artists continue to honour this lineage through experimental
techniques. Lim’s atmospheric sound design is generous to the spectator, who
may find themselves entranced by Dampland 2. Due to the intimate quality
of Lynch’s narration, I felt like I was listening in at times, rather than
being the subject of address—an interesting device in the context of BCC.


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Image: Installation view of BCC at Blindside. Reece Cahill, hard times. Photograph by Sebastian Kainey.


Cahill’s hard times is more subdued, presenting
footage of an oil platform off the coast of WA on a CRT monitor for an hour.
Recorded on a static tripod from the shore at dusk, it captures how the night envelops
the oil rig until it becomes a series of meaningless lights. The video is
reminiscent of Andy Warhol’s Empire (1965), a Super 8 film about the
Empire State waking up at night. This style of video-making is inherently slow,
presenting a challenge for the artist and the viewer. Cahill’s hard times, like
Warhol’s Empire, is about everything that surrounds the object in the
frame, rather than the shot itself. We know that when we go to sleep, the oil
rig is consuming the soul of the earth. This eerie realisation—registered at
any given moment in the punitive economy, and polluted air we breathe—animates
the action in the video. There’s so much happening outside the frame, that
little occurs within it. hard times triggers this experiential
reflection and the embodied realisation that we are immersed in an extractive
system.


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; WITNESSING by Gemma Weston is a sprawling mural of
268 A4 sheets. The sheets exclusively depict white Comic Sans on a black
background, evoking the labeller aesthetic that office workers, zine makers,
and punks seem to be fascinated with. Weston’s sheets extend into Blindside’s
tucked-away office, and I’m happy to report that it is a small space—the marker
of a good ARI (I shall be donating this EOFY). Weston made the text by
transcribing social media ‘stories’ for as long as the transmission was on
screen. Therefore, advertisements tend to be more detailed. It is a confronting
mass because it flattens war crimes with sponsored creams, reflecting the media
assault that floods most people’s attention until cognition shuts down. The
most banal entries were the most interesting for me, ranging from ‘The White
Stripes over a montage of children learning and doing craft activities’ to ‘A
baby Jesus statue looks like Phil Collins.’ Trying to read as many of these
captions as I could, a portrait of the artist’s algorithm began to emerge:
there’s a lot of alternative rock in there. Mixing some entries about arts
leadership with bombs, I suddenly felt like I was going through the remnants of
a voracious consumption disguised as labour.


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Image: Installation view of BCC at Blindside. Gemma Weston, WITNESSING. Photograph by Sebastian Kainey.

The entry that most captured my attention was ‘Tarot
reading: The Moon, The Sun, The Wheel of Fortune.’ These promiscuous cyphers
dating back to the late Medieval period are floating here without
interpretation, despite their capacity to accommodate a wide range of meanings.
This line is emblematic of how contemporary users disengage with information,
leaving behind a trail of slogans whose function becomes sheer circulation.
Such a barrage of un-interpreted “content” encourages a passivity that verges
on hypnotism. The tarot reading ironically speaks to this condition, as it
displays a never-ending cycle. With the tarot of Marseilles on hand: astral
bodies weep as industries hollow the earth at night (The Moon). The economy
purports to return these resources in the morning through shitty extractive
services, like private/public transport, social media, or A.I.-powered email
(The Sun). No choice, forever on repeat, day after day, spinning on a wheel
(The Wheel of Fortune). Kill me.&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; It is
noteworthy that an exhibition about the BCC email function attracted works that
spoke to a sense of disaster. One suspects it is becoming increasingly clear
that we are data cows in a unified system of exploitation that encompasses
public and private enterprises. This logic of extraction influences
everyday life too, for it becomes a naturalised protocol that informs how we
relate to each other. The oil rig absorbs fuel like the bohemian bureaucrat
extracts social capital out of their precious community one email at a time.
Everything is take, take, take.


Angus Bowskill,&#38;nbsp;Reece Cahill, Cass Lynch, Mei Swan Lim, Ella Valentine, Gemma Weston, and Clare Wohlnick, BCC, Blindside, 
8 July 
– 1 August 2026.

Photography by Sebastian Kainey.


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		<title>Jack Ball, Mystery Solved, by Siân McIntyre</title>
				
		<link>https://dispatchreview.info/Jack-Ball-Mystery-Solved-by-Sian-McIntyre</link>

		<pubDate>Wed, 15 Jul 2026 05:45:56 +0000</pubDate>

		<dc:creator>dispatch review</dc:creator>

		<guid isPermaLink="true">https://dispatchreview.info/Jack-Ball-Mystery-Solved-by-Sian-McIntyre</guid>

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Jack Ball, Mystery Solved
	by Siân McIntyre.
	Saturday, 18 July 2026


Ball’s exhibition Mystery Solved is installed in
Passage Gallery, a shopfront on level 1 of Chinatown’s Prince Centre, Sydney.
While photography is the initial process of Ball’s image making, their work
moves through multiple stages of abstraction. Images are shifted through crop,
zoom, cut, scale, layer and collage to play with texture, colour, and form,
allowing us to lose ourselves in the goopy, messy beauty of making and
material. The installation, viewed through the gallery's glass frontage, is a
tangle of collaged prints. The textures are juicy, wet, tasty, slimy, sexy,
slippery, hard, soft, cool. They are bodily—but bodily insides—stomach linings,
veins, mucus. 


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; The cotton rag prints are supported by materials of utility:
S hooks, screw hooks, rope. Each has been treated with tenderness and
curiosity. By dipping S hooks, screw hooks and rope ends in wax, Ball
transforms mass-produced hardware into embellished accessories; they are
claimed and coated. The process of dipping by hand is traced on the objects,
some with drips suspended in motion as wax set on the cool metal. The wax flows
through the exhibition; looking through the window, you notice that the feet of
some prints show tide marks from multiple wax dips, speaking beautifully to the
watery text commissioned by Dylin Hardcastle that accompanies the exhibition.


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Screens are hung behind the suspended prints towards the
back of the gallery, encouraging the viewer to peer between the sculptures to
see looped videos of liquid gushing—the colours are hyper—pink frothy water
running beside a car wheel, foaming white beside an orange net. These contrasts
of fluid form with industrial mass-produced objects play with our conception of
un/natural. The pink water is chemical off-stream from an industrial area; the
orange plastic net beside the foaming running water is echoed by a cotton rag
print behind the screen that is glossy, fleshy, marbled, like dyed salmon
flesh. Natural is synthetic. 


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Ball tells me that the abstract shapes of the large-scale
prints are taken from airport runways—roads designed for efficient taking off
and landing. Installing the shapes as overlapping objects transforms them from
regulated road maps into chaotic clusters of paths and detours. Some are cut
into strips and arranged like impotent horizontal Venetian blinds. Eyelets are
studded along the edges with nuts and bolts securing each strip to a vertical
trunk. Prints suspended with ropes and hooks are anchored down by silky,
sausage-shaped sandbags. They slump on the floor, corseted by the taut ropes
that attach them to the hanging prints.


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Image: 

Installation view of Jack Ball’s Mystery Solved, at Passage Gallery, photographed by Document Photography.


There is movement between suspended cotton rag paper, nuts,
bolts and eyelets, coiled ropes, slippery sandbag weights, running fluids
contrasted with static industrial objects. This
tangle of materials and images viewed as a whole through the window is
stunning, but peering beyond the glass wall boundary—through the gaps that Ball
has created between prints, to the screens, to the ceiling, to the walls—we are
taken inside a private diorama, a scale model of a something that refuses
classification.


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
Ball describes how material from the Australian Queer
Archives informed the development of this work, in particular, newspaper
clippings from the 1960s to 1980s that were saturated in anti-trans rhetoric.
One could argue that we don’t need to delve into the archive to see anti-trans
media, but perhaps the archive provides a lens to view the hatred that allows
for distance. By referencing historical transphobia, Ball can point to what we
are seeing today with the knowledge that this is not new, that others survived
it before them, and that delicious, embellished, joyful and collective movement
tested rigid straight lines long before the archive—and after.


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
The title Mystery Solved feels almost tongue in cheek
when considering this layered research and tenderly detailed installation. Ball
describes the images as ‘assembled through a dyslexic logic, a slippery grammar
in which images are guided by texture, sensation, and sticky, sweaty feelings.’
None of this is straightforward. That is not the intention. 


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
Ball is generous to share this work with us. We have seen
how divergent identities of artists are either celebrated or attacked in direct
response to funding interests. Ball’s show took place a month after Jazz Money’s book was pulped, while Barbi
Ghanoush received threats for running Drag Bingo for Palestine events, during
Sydney Writers’ Festival, which was lobbied to follow Adelaide Writers' Week’s
lead and cancel an appearance by Palestinian author Randa Abdel-Fattah. Mystery
Solved opened during the Biennale of Sydney, which cancelled Bhenji Ra’s
ambassadorship following pressure from lobby groups and board member Morry
Schwartz. Ra released a statement on 16 June outlining the ‘media harassment
and doxxing’ she experienced due to her ‘public opposition to genocide in
Gaza.’ The newspaper clippings Ball references in this work are not static
historical documents; the content is regurgitated whenever identity transitions
from novelty to threat. Referring to the newspaper clippings from the 1960s to
1980s, Ball states ‘In these articles our bodies are objectified, scrutinised,
and questioned inappropriately by cisgender people. Themes of fraudulence,
secrecy, and truth are seen throughout.’ 


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
Ball’s gentle push and pull with body, texture, natural and
unnatural, visible and invisible in Mystery Solved is inseparable from
the political climate that stifles it. In this context the title becomes
subversive; the exhibition obfuscates any straight lines between mystery and
solution. Ball’s decision to exclude the audience from entering the gallery
delineates their space from the public forum. Behind the wall of glass Ball’s
sculptural collages play, flirt, and entwine without uninvited bodies entering
or disrupting. Ball keeps the mystery close, because, as Bhenji Ra states,
‘What’s visibility without protection? A trap.’


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 Image: 

Installation view of Jack Ball’s Mystery Solved, at Passage Gallery, photographed by Document Photography.


Jack Ball, Mystery Solved, Passage Gallery, 22 May – 

 17 July, 2026.


Header images: Installation photographs of Jack Ball’s Mystery Solved, at Passage Gallery, photographed by Document Photography.
	

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		<title>Dispatch Review's 2026 Power 100</title>
				
		<link>https://dispatchreview.info/Dispatch-Review-s-2026-Power-100</link>

		<pubDate>Sun, 05 Jul 2026 15:50:24 +0000</pubDate>

		<dc:creator>dispatch review</dc:creator>

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	The annual ranking of the most influential people in West Australia’s art world, according to Dispatch Review.
	Thursday, 9 July 2026


Robert Buratti, Artist and editorial director, Art Collector Magazine.

Mervyn Street, Artist.

Jessyca Hutchens, Academic, curator, and AAANZ WA rep.

Margaret Moore, Founder and director, Moore Contemporary.

Jana Braddock, Creative Lead, Goolugatup Heathcote.

Colin Walker, Director, AGWA.

Hannah Mathews, Director, PICA.

Wendy Hubert, Artist.

Ricky Arnold, Executive director, Art on the Move.

Nina Juniper, Co-director, Vessel Contemporary.
&#38;nbsp;
Robert Cook, Curator, AGWA.

Rachel Ciesla, Curator, AGWA.


Penny Tassone,

Deputy director &#38;amp; marketing director, AGWA.

Clothilde Bullen, Manager, collections, ECU.

Sarah Wilkinson, Manager of Arts, Walyalup Fremantle Arts Centre.

Zali Morgan, Curator and chairperson, Community Arts Network.

Kamilė Burinskaitė, Founder and director, Kamilė Gallery.

Clarissa Ball, Board Member, AGWA.

Tabitha McMullan, CEO, FORM.

Shannon Lyons, Artist and public programs coordinator, Walyalup Fremantle Arts Centre.

David Attwood, Artist and Disneyland Paris.

Ron Bradfield Jr, Cultural consultant, independent curator, and artist.

Theo Constantino, Director, Lawrence Wilson Art Gallery.

John Prince Siddon, Artist.

Matthew Brown, Artist and Bill's PC.

Simon Lee, Philanthropist, Simon Lee Foundation for Contemporary Asian Art.

Jack Morellini, Artist and Light Works.&#38;nbsp; &#38;nbsp;
Helen Carroll, Curator, Wesfarmers Collection.
&#38;nbsp;
Amy Mukherjee, Manager, Martumili Artists.

Susanna Castleden, Director, John Curtin Gallery.

Olivier David, Consultant, art collector, and founder of OFFMARKET Gallery.


Ainslie Gatt, Art consultant.&#38;nbsp;


Paul Boyé, Writer and co-curator, Goolugatup Heathcote.&#38;nbsp; &#38;nbsp;Samuel Beilby, Artist and 

co-founder, 

underscore.

Brent Harrison, Curator, Lawrence Wilson Art Gallery.

Chandler Abrahams, Artist and 

co-founder, 

underscore.

Dan Bourke, Artist and General Manager, Cool Change Contemporary.

Janet Holmes à Court, Chair of AGWA Board and Director, Janet Holmes à Court Gallery.

Terri-Ann White, Upswell Publishing.

Ilona McGuire, Artist and curator, AACHWA.

Carly Lane, Curator, AGWA.

Abdul-Rahman Abdullah, Artist.

Yabini Kickett, Artist.

Adam Jorlen, Futurist and lead at The Naval Store.

Emilia Galatis, Curator.

Tim Burns, Artist and nuisance.

Chad Creighton, CEO, AACHWA.


Nick FitzPatrick, Artist.


Mummy's Plastic (aka Rose Kingdom-Barron), Perthonality.


Lia McKnight, Curator, John Curtin Gallery.


Jack Ball, Artist.

Andrew Varano, Artist and Gallery Director of AVA.


Grace Connors, Performance artist, impresario, and DJ.

Guy Louden, Artist and Collections Officer, Artbank.

Annika Kristensen, Curator and Vessel Contemporary board member.

Bennett Miller, Artist and head of operations, Artsource.

Ben Yaxley, Writer and critic.

Kate Hulett, Photographer and failed Teal candidate.

Peter McKenzie, Director, McKenzie's Auctioneers.

Gary Dufour, Curator and writer.

Lyn Di Ciero, Founder and editor, Artist's Chronicle.

Mia Palmer-Verevis, Hatched curatorial associate, PICA.

Gemma Weston, Artist.

Ron Nyisztor, Artist and gallerist, Nyisztor Studio.

Anna Reece, Artistic director, Perth Festival.

Georgia Hayward, Curator.

Corine van Hall, Public art consultant, Indarra Public Art.

Mark Stewart, Curator, Murdoch University Collection.

Joe Landro, Printing and framing, Joe's Printing.

Louise Dickmann, Collections co-ordinator, Janet Holmes à Court Gallery.

Pete Stone, Director of creative arts, Fremantle Council.

Rebecca Baumann, Artist.

Predrag Delibasic, Gallery Central.

Paul Chamberlain, Chair, AGWA Foundation.

Helen Curtis, Save the Kebab campaign.

Kieron Broadhurst, Artist.

Anna Louise Richardson, Artist.

Will Ek Uvelius, Co-director, Vessel Contemporary.

Sam Bloor, Artist.

Lee Kinsella, Curator, Lawrence Wilson Gallery.

Greg Molloy, Artist and Rook ARI.

Minali Gamage, PICA board member and collector.

Isobel Wise, Curator, AGWA.

David Handley, Founder/CEO/Artistic Director, Sculpture by the Sea.

Naomi Mossenson, Mossenson Galleries.

Wal Kolbusz, Artist and gallerist, Kolbusz Space.

Jude van der Meer, Consultant and curator.

 Emma Cornwall, Foundation manager, AGWA.

David Doyle, Founder, executive director DADAA.

Kit Messham-Muir, Academic, Curtin University.

Andrew Nicholls, Artist and curator.

Paul Gullotti, Director, Gullotti Galleries.

Joseph Cook, Editor, ARTERY Magazine.

Tristen Harwood, Writer.
 

Felicity Johnston, Director, Art Collective WA.


Delwyn Everard, Arts lawyer, board member of The Lester Prize and Perth Festival.

Liam Kennedy, Mangkaja Artists.&#38;nbsp;&#38;nbsp;

Glenn Iseger-Pilkington, Consultant.

Bradley Innes, Church of the Cactus.

Joshua Webb, Artist.


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		<title>Patches in a Glowing Landscape: A Reading Gregory Pryor’s Huddle Exhibition, by Jonathan W. Marshall</title>
				
		<link>https://dispatchreview.info/Patches-in-a-Glowing-Landscape-A-Reading-Gregory-Pryor-s-Huddle</link>

		<pubDate>Tue, 19 May 2026 13:07:05 +0000</pubDate>

		<dc:creator>dispatch review</dc:creator>

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Patches in a Glowing Landscape: A Reading Gregory Pryor’s Huddle Exhibition
	by Jonathan W. Marshall


Saturday, 23 May 2026


Gregory Pryor moved from Victoria to Western
Australia in 2003 to work at Edith Cowan University, Perth. After more than 23
years, Pryor is stepping down from teaching. It is therefore timely to reflect
on what one might read from his oeuvre, as distilled in the exhibition Huddle&#38;nbsp;from late last year, when set
against some of his earlier series and statements, as well as art historical
precedents—notably those of Australian landscape art and the writings of
Georges Didi-Huberman. I omit from discussion the wonderful collaboration between
Jennifer Moyle Ogbeide-Ihama and Pryor in the series of small poetically
diaristic and observational text-and-image works exhibited in Huddle,
because Moyle has published on these elsewhere—though this series also
addresses some of the concerns I identify below.[1]&#38;nbsp;As with any discussion of an artist’s work over many years, Pryor’s practice is
not confined to the themes I identify,
although these are important recurrent concepts across much of Pryor’s output.


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Pryor confessed
that when he first arrived in WA, even with some knowledge of the landforms of
Australia’s eastern states, he struggled to come to terms with the local
environment. Floral displays in the Perth hinterland seemed to him to almost be
“levitating” over WA’s
scorched earthen substrate. Early colonial explorers had surmised from this
abundance of colour and vegetation that the soil was “extremely fertile,” but
in fact much of the land at this corner of the continent is “the exact
opposite,” consisting of a “bare sandy terrain with few nutrients” yet
sustaining “extremely hardy flora.”[2] As Pryor observes, the
landscape continues to be “asking a lot of questions of me.”


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Comparing Pryor’s
canvases to the genre-defining work of Fred Williams, one is reminded that
Williams was known to apply multiple layers, sometimes using a partially wiped
away all-over ground, onto which a thicker impasto of “blotchy dabs” and
vertically presented planes of color might be added.[3]&#38;nbsp;These sometimes imparted to Williams’ depictions a curious glow; a sort of
virtual heat haze that seemed to come from behind and through the paint.


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Georges
Didi-Huberman has identified in the work of Fra Angelico a spiritual source of
painterly luminosity. Didi-Huberman
claims that Fra Angelico’s San Marco frescoes point to the fundamental paradox
of art. In the frescoes, as well as much of the later abstract art of the 20th
century, light comes to be expressed as a “patch [pan]” of painted
matter. Fra Angelico’s genius, according to Didi-Huberman, was to use paint to
allude to that which eludes visualization altogether—namely the “invisibility
and unrepresentability of the Divine,”[4]&#38;nbsp;immanent within the painting, creating a space in which representation
“circle[s] endlessly around a mystery.”[5]&#38;nbsp;As Pryor put it, the San Marco series shows that paint is not “inert,” but is
rather highly active in what it suggests to the viewer (the presence of the
Divine, Christ’s stigmata, etcetera).[6]&#38;nbsp;Pryor says one might almost describe this as a form “of&#38;nbsp;aesthetic transubstantiation” highlighting “the ability of paint to
become another substance when in dialogue with the divine.”[7] For Didi-Huberman,
the “patch” is symptomatic of the aporia of visual representation itself, of
its insufficiency, and of that which art can gesture at, but not hold on to.
God is never in the painting. Rather, spirit touches upon and passes through
the work via an unknowable action beyond signification and presence properly
defined.

&#60;img width="2143" height="1264" width_o="2143" height_o="1264" data-src="https://freight.cargo.site/t/original/i/0d0ca653a799f9480ee0b7b537ef1140fc439da4673bda848f61e29a1b5459f4/9.-Pryor_Midden-Parasites.jpg" data-mid="248570915" border="0"  src="https://freight.cargo.site/w/1000/i/0d0ca653a799f9480ee0b7b537ef1140fc439da4673bda848f61e29a1b5459f4/9.-Pryor_Midden-Parasites.jpg" /&#62;


Image: Gregory Pryor,&#38;nbsp;Midden Parasites, 2025. Courtesy of the artist.


For art in
Australia, this aporia of representation takes on a terrible colonial
inflection. The genocidal foreclosure of Indigenous sacrality and the land
tenure upon which it is based stands between any attempt by those of settler
descent to approach these ancient landscapes.[8] As Jane Jacobs and Ken Gelder point out, most representations of the Australian
countryside since colonisation have had an unsettling, “Uncanny” quality.
Landforms are read according to not only such highly familiar tropes of heat,
isolation, challenge, dryness, and threatening beauty, but also come to suggest
the unsettling return of that which at first seems unfamiliar, but is
not—specifically Aboriginal presence, sovereignty and its difficult to access
spiritual force.[9] As in Russel Drysdale’s Lake
Mungo studies, described by Tim Bonyhady as depicting a “boneyard” of ancient
presences in the landscape, forms in the earth come to stand in for the body of
the absented Indigenous subject.[10]


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Pryor’s work too
emits a sense of spiritually ambiguous painterly luminosity which is linked to
deferred corporealities. This is particularly the case with Pryor’s Lacunae&#38;nbsp;and Yilgarn Lacunae series (2014-16), successors to which appear at a
larger scale in Huddle. These surprisingly lush looking environments are
dense with biotic activity, often framing haunting narrative fragments. Pryor
has compared his works in this style to early modern icons, which offered
parishioners “in their tangible reality” of paint and board the hint of an
immense, “transcendental reality” of faith and spirit passing through the work,
assisting the viewer to approach those forces which are beyond all knowing but
which one feels within sacred sites and compelling landscapes.


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Pryor has extended
these themes in Huddle, with several works hinting at mythic or
ambivalent beings active across the surface of the land. Chris McAuliffe has
noted Pryor’s debt to Australian painters drawing on the Surrealist tradition,
and as in such precedents as Albert Tucker’s Futile City (1940), Pryor’s
landscapes are redolent of loss and damage.[11]&#38;nbsp;Pryor points out that several of his pieces depict “isolated landscapes of
Western Australia—many of which are landscape fragments or remnants. These
works are meditations upon the residues of country” which can be read to
some degree as “annals of destruction, templates of fracture and harrowing
memorials to loss and emptiness” following colonial and capitalist
despoilation.[12]
&#60;img width="2339" height="1316" width_o="2339" height_o="1316" data-src="https://freight.cargo.site/t/original/i/d5c10cf7c6961172e6773472efaf76beaff0240874a7fe65dbc47a053c168a0c/1.-Pryor_Black-Solander-detail-2.jpg" data-mid="248570908" border="0"  src="https://freight.cargo.site/w/1000/i/d5c10cf7c6961172e6773472efaf76beaff0240874a7fe65dbc47a053c168a0c/1.-Pryor_Black-Solander-detail-2.jpg" /&#62;


Image: Gregory Pryor, installation view of Black Solander, 2005.

Courtesy of the artist.


While Pryor’s
earlier pieces sometimes recall the work of Giorgio de Chirico, Paul Nash or
Eric Thake in their sparse, blocky arrangement of forms, the artist’s pieces in Huddle are generally more densely filled in. The glowing fertility of
these recent works is infused with lively expressions of green and blue—while
Pryor’s more ochre-toned paintings, by contrast, represent realms which are not
only drier but bleaker (see below). Pryor’s Black Solander series (2005)
might seem the very antithesis of such painterly expressions of environmental
vitality and spirit. Black Solander consisted of 10,500 illustrations of
dead and extinct WA plants from the historical record, covering the walls of a
single room at the Perth Institute of Contemporary Art, and which consequently
took on the character of a mausoleum. Nevertheless, even these
black-ink-on-black-sugar-paper works had an enticing, silvery glow and
reflectivity to them. Pryor has therefore used a diversity of modes and
applications to infuse his surfaces with a shimmering inspirited liveliness.
&#60;img width="2001" height="1694" width_o="2001" height_o="1694" data-src="https://freight.cargo.site/t/original/i/a64af9cc9f459e37db3e0b7545d6c3c2acdede6a78a76b3e84e6d5faabdae5be/8.-Pryor_Lignotuber.jpg" data-mid="248570914" border="0"  src="https://freight.cargo.site/w/1000/i/a64af9cc9f459e37db3e0b7545d6c3c2acdede6a78a76b3e84e6d5faabdae5be/8.-Pryor_Lignotuber.jpg" /&#62;


Image: 

Gregory Pryor, 

Lignotuber, 2025. Courtesy of the artist.


Pryor’s work might
therefore be seen to mark out a private cosmology of surreal vitalistic
associations, planting in his scenes significant objects and figures whose
precise identity and function cannot be deciphered. In The Pink Child&#38;nbsp;(2022), a glowing figure wanders, head down, past a vertical plane of blue rock
and vegetation. With Lignotuber (2025), curious flame-like shapes seem
to bob above a marshy ground bounded by spreading fields and plants tinged with
blue, green and red. From behind the tangled scrub of Carriage (2024)
emerges a group of hooded figures in red robes: a more somber version of the
happy-go-lucky Ku Klux Klan characters who populate the work of Philip Guston,
perhaps, focused in Pryor's depiction on some ambiguous rite. Many of Pryor’s
paintings from Huddle are moreover set upon radiant green, golden and
blue backgrounds recalling the ambiguous landscapes of Bill Hammond, who
famously oscillated between depicting “primeval” realms inhabited by striking,
lithe bird-headed figures, but which were nevertheless haunted by “ghosts,
shipwrecks,” and colonial “death.”[13]


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; In contrast to
Pryor’s lush, almost tropical and tangled landscapes from Huddle, the
artist has produced a number of visibly flat, panoramic works in browns and
ochres, closer to Williams’ aesthetic. Here and elsewhere, Pryor has drawn on
aerial survey photographs of the broken fields and drylands of inland Perth
which show the “mosaic” quality of Western Australia’s soil profiles, as in
Pryor’s Perth series of 2011.[14]&#38;nbsp;Pryor’s works in this mode therefore present the landscape as a series of
irregular cut-ups, each of uniform colour, pieced together to make up an
overtly flat planar surface.&#60;img width="2188" height="1441" width_o="2188" height_o="1441" data-src="https://freight.cargo.site/t/original/i/ce99321b3efefed108ab694e19668484de7c95c0462e4fff00fc251c5141421d/11.-Pryor_Salt-Sleepers.jpg" data-mid="248570917" border="0"  src="https://freight.cargo.site/w/1000/i/ce99321b3efefed108ab694e19668484de7c95c0462e4fff00fc251c5141421d/11.-Pryor_Salt-Sleepers.jpg" /&#62;


Image: Gregory Pryor,&#38;nbsp;

Salt
Sleepers, 2025.

Courtesy of the artist.


The human figure in
these paintings is present, but deferred through various rhetorical and
painterly gestures, giving these pieces a sense of lost habitation. In Salt
Sleepers (2025), it is the anthropomorphising title that renders the
gorgeous stretches of pinky salt pans as bodies in their own right. This is
also suggested through visual puzzles, as with Two Sleepers (2025),
where careful inspection reveals the edges of the variegated assemblages to
delineate a massive prone couple lying across and within the earth. As Pryor
observes:

The
mosaic of soils in the Yilgarn Craton are not just a kaleidoscopic marvel, but
[by] depositing patches of paint into these works allows them to be conduits of
cultural and environmental transformation.[15]


Elsewhere, rather than fusing with the
landscape, the human is marked out as an intruder and despoiler. In Midden
Parasites (2025), a boozing character stands at the right, visibly set
apart from the landscape by his clear verticality, which contrasts with the
planar representation of the country. The man both seems to rise out of, and
fall into, a hollow filled with a grotesque pile of empty bottles. Here, one
thinks perhaps of such works by Pieter Breughel’s Landscape With Fall of
Icarus (1568),[16] where unimportance of the
human in the landscape, pushed off centre and miniaturised relative to the
scene within which they appear, functions almost as an afterthought. These are
resolutely anti-heroic works, with their planar arrangement functioning to
disorientate both the external viewer and those active within the pictorial
space. Without a horizon to provide spatial axes, Pryor’s works in this mode
recalls US Field Painting,[17]&#38;nbsp;suggesting an almost
unending landscape which exceeds human capabilities and thought.


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Pryor has noted
that he himself is at times almost “blinded” by the light in the Western
Australian landscape, where he takes on the role of The Pink Child whom
he painted for Huddle. Pryor sees his work as addressing the problem of
how to come at the landscape as someone who “has no ancestral link” to the
deep, mythic narratives and forces found in this Country. Pryor describes his
approach as a form of naïve but nevertheless curious and receptive “childish
groping,” in which he strives “to make meaning from this process of encounters”
in the landscape.[18] While those of us of
settler descent do not have access to the deep mythic encounters and Dreamings
of Indigenous belief, spirituality is not wholly foreclosed to us. Pryor
recommends “trying to get back” to those “things you can’t [actually] see in
the landscape” but which one dimly intuits through corporeal sensations and
flows of colour and light. Pryor’s oeuvre offers a case study in how to
navigate these Uncanny presences in the Australian landscape as it continues to
generate sensations of both melancholy and myth.


&#60;img width="2000" height="1360" width_o="2000" height_o="1360" data-src="https://freight.cargo.site/t/original/i/1662ef9ebf5849ae503f257de2999953cb391b82bf0ba69b7853e193e2f15e5b/13.-Pryor_Ngalak-Wonga-detail.jpeg" data-mid="248570918" border="0"  src="https://freight.cargo.site/w/1000/i/1662ef9ebf5849ae503f257de2999953cb391b82bf0ba69b7853e193e2f15e5b/13.-Pryor_Ngalak-Wonga-detail.jpeg" /&#62;
Image: Panel
by Pryor, from Gregory Pryor &#38;amp; Jennifer Moyle
Ogbeide-Ihama,
Ngalak Wonga, 2025, oil, acrylic &#38;amp; mixed media on canvas; each panel 21 X 15 cm. Courtesy of the artist.


Gregory Pryor, Huddle, Ellenbrook Arts HQ, 

17 

October – 

27

November, 2025.


Footnotes:

1. Jennifer Moyle Ogbeide-Ihama, “Ngalak
Wonga: Co-Creation Encounters,” Garland Magazine, 41 (Dec 2009), https://garlandmag.com/article/ngalak-wonga/. 


2. Gregory Pryor, “Mausoleum,” Antennae,10 (Spring 2009); see https://www.turnergalleries.com.au/pdf/09_pryor_mausoleum.pdf. 


3. Mark Dober, “Fred Williams,” Overland&#38;nbsp;(22 June 2012), https://overland.org.au/2012/06/fred-williams-engaging-with-landscape/. 


4. Chari Larsson, “Didi-Huberman’s
Symptom in the Image,” EMaj, 8 (April 2015), www.emajartjournal.com. 


5. Georges Didi-Huberman, Fra
Angelico (Chicago: Chicago UP, 1995), p. 100; also Didi-Huberman, Confronting
Images (Philadelphia: Pennsylvania State UP, 2005).


6. Pryor, opening night talk (Ellenbrook
Arts HQ: 11 Oct 2025).


7. Gregory Pryor, email
correspondence with the author (April 2026).


8. Ian McLean, Double Nation&#38;nbsp;(London: Reaktion, 2023).


9. Jane Jacobs &#38;amp; Ken Gelder, Uncanny
Australia (Melbourne: MUP, 1994).


10. Jonathan W. Marshall, Butoh
&#38;amp; Suzuki Performance in Australia: Bent Legs on Strange Grounds, 1982-2023 (Leiden:
Brill, 2025), pp. 63-64; Tim Bonyhady, “Disturbing the Dead,” Art Monthly, 105
(1997), pp. 9-12.


11. Chris McAuliffe, “Gregory Pryor,”
from The Vizard Foundation Art Collection of the 1990s, online
collection notes (Art Gallery of Ballarat: undated), https://www.vizardfoundationartcollection.com.au/the-nineties/explore/gregory-pryor. 


12. Gregor Pryor, “The Yilgarn
Lacunae (2016),” artist notes, reproduced on Pryor, Gregory
Pryor, website (Perth), https://gregorypryor.com.au/exhibitions/the-yilgarn-lacunae 


13. “Traffic Cop Bay,”
unattributed entry on website of Te Papa Museum of New Zealand, Wellington. https://collections.tepapa.govt.nz/object/729540?page=1&#38;amp;rtp=1&#38;amp;ros=1&#38;amp;asr=1&#38;amp;assoc=all&#38;amp;mb=o. 


14. Gregory Pryor et al, Perth,&#38;nbsp;ex. cat. (Perth: City of Perth, 2011).


15. Gregory Pryor, email
correspondence with the author (April 2026).


16. Jonathan W. Marshall, “Brecht,”
in Magdalena Zolkos, ed., The Didi-Huberman Dictionary (Edinburgh:
Edinburgh UP, 2023), pp. 42-45.


17. Pryor, opening night talk (Ellenbrook
Arts HQ: 11 Oct 2025); Jonathan W. Marshall, “Art as a ‘break-down &#38;amp; cry
experience’: The Secular Cathedral of Mark Rothko,” program note for John
Logan’s play Red (Dunedin: Fortune Theatre, 2012). https://www.academia.edu/1510527/Art_as_a_Break_down_and_Cry_Experience_The_Secular_Cathedral_of_Mark_Rothko_Program_Note_for_John_Logans_play_.


18. Pryor, opening night talk (Ellenbrook
Arts HQ: 11 Oct 2025) &#38;amp; also mid exhibition artist talk (15 Nov
2025).


Header images:&#38;nbsp;
1.&#38;nbsp;Gregory Pryor, 


The Pink Child&#38;nbsp;(detail), 2022.
Courtesy of the artist.
2.&#38;nbsp;Gregory Pryor, Carriage, 2024
.
Courtesy of the artist.
	

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		<title>Pure Intention: Singapore Biennale 2025–26, by Marco Marcon</title>
				
		<link>https://dispatchreview.info/Pure-Intention-Singapore-Biennale-2025-26-by-Marco-Marcon</link>

		<pubDate>Fri, 08 May 2026 06:28:27 +0000</pubDate>

		<dc:creator>dispatch review</dc:creator>

		<guid isPermaLink="true">https://dispatchreview.info/Pure-Intention-Singapore-Biennale-2025-26-by-Marco-Marcon</guid>

		<description>
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	Pure Intention: Singapore Biennale 2025–26
	by&#38;nbsp;Marco Marcon.


Saturday, 9 May 2026

	
There is no use in complaining about the “proliferation of biennales,” as many of us did a couple of decades ago. Like international art fairs, biennales are part and parcel of the infrastructure of the globalised art world and are here to stay. The two events are two sides of the same coin: art fairs serve the market’s interests, biennales boast a veneer of independence and are usually government-funded.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Although I know that in the art world the separation between private and public, commercialism and independence, is often blurred, I find art fairs repulsive. The first of such events I ever visited was FIAC—now rebranded Art Basel Paris—held in the beautiful Grand Palais. As I stepped onto the first-floor balcony for a bird’s-eye view of the exhibition space, I noticed the vast nave divided into dozens of small booths. It reminded me of a battery-cage chicken farm, with dealers and gallerinas watching over the golden eggs produced by their artists, hoping for interest from Russian oligarchs and Middle-Eastern oil magnates.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; What offended me was not the unabashed commercialism but the implicit assumption that contemporary art can be reduced to small portable objects one can hang on plywood partitions separating cramped cubicles. What happened to the Gesamtkunstwerk or the grand utopian visions of the avant-gardes? It is true that some of the leading art fairs now incorporate a few large installations—but then, so do luxury stores.


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Image: Seung-taek Lee, installation view of Earth Play, 1989, acrylic on PVC balloon, diameter: 700 cm. Collection of Korea Advanced Institute of Science &#38;amp; Technology (KAIST).&#38;nbsp;Photographed by Marco Marcon.
A well-known art dealer once told me that they were in the business of selling “exclusivity.” But how does this square with row upon row of mundane selling stands? Where is the shock, the vision, the aura, the—dare I say it—romance? I am not proud of my aversion to art fairs, as it betrays residues of juvenile idealism I delude myself into having left behind. But I am far too old to change what has stayed with me since my youth.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Despite all the overlaps and complicities, we should not always paint biennales and art fairs with the same brush. In recent years, some leading international art surveys, including major ones like Venice and Documenta, have sought to distance themselves from market dictates. Documenta 15, for example, was by far the most radical attempt to rethink what an international art exhibition could be. Ruangrupa, the artists’ collective in charge of the event, challenged not just the market but also the traditional concept of international exhibitions as platforms for showcasing individual artists’ works.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; By all accounts, the experiment failed because, as is often the case, projects based on participation and process have little to say to those who have not been involved. In many cases, the public at large feels left out of conversations and exchanges they have not been part of. Unfortunately, a productive critical discussion about the achievements and failures of Documenta 15 was silenced by the clamour of preposterous accusations of antisemitism that sent German cultural commentators into hysterical moral convulsions. &#38;nbsp;&#38;nbsp;

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Image: Installation views of Adrian Wong's With Hate From Hong Kong,&#38;nbsp;2025. Photographed by Marco Marcon.
Large international exhibitions have to contend with more than market pressure, government interference, and the fatuous rituals of the international art world. Perhaps the most important curatorial challenge for any of these events is managing the relationship between the local and the global. Organisers must decide to what extent the event, despite its international nature, will have a meaningful relationship with the host city. In this respect, the Venice Biennale and Documenta set bad precedents as they are both largely disconnected from the historical and cultural specificity of their urban contexts. Conversely, Manifesta, a roving European art survey that changes its location every two years, was specifically created to establish a dialogue with the host community.&#38;nbsp;Pure Intention was also conceived to respond to and engage with the uniqueness of Singapore’s urban fabric and social history.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; While the event also includes a smaller but worthy museum display at the Singapore Art Museum (SAM), most of the works were dispersed across the city. To make it easier for the visitor and to create a thematic continuity responsive to the distinctiveness of the sites, works were located in four urban clusters: the Civic District, Orchard Road, the Rail Corridor area, and Tanjong Pagar.

&#60;img width="8160" height="6144" width_o="8160" height_o="6144" data-src="https://freight.cargo.site/t/original/i/5fe09a84e659ef7943490a886630a18e4359e7b4e23ff90e9ef988f8b511e002/image-4.jpg" data-mid="248019941" border="0"  src="https://freight.cargo.site/w/1000/i/5fe09a84e659ef7943490a886630a18e4359e7b4e23ff90e9ef988f8b511e002/image-4.jpg" /&#62;Image: Ahmet Öğüt, Pleasure Places of All Kinds, 2014. Photographed by Marco Marcon.

Allowing the works to engage with a variety of indoor and outdoor sites that represent some of the many dimensions of Singapore’s complex history and identity was a great decision by the curatorial team. It is also, arguably, an obvious approach for any biennale that doesn’t want to be mistaken for an art fair in disguise. Art fairs are so decontextualised that it would be more coherent and practical to hold them in major international airports. Dealers, buyers, and artists could all stay in airport hotels, possibly in the transit area, to avoid customs and immigration, and any risk of catching a glimpse of what was once called “real life.”
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Pure Intention’s dominant theme centred on the gap between the utopian visions of urban and economic development conceived by government and big business, and the everyday reality of people who have to live with the results of the “pure intentions” of politicians and businesspeople. Artworks were displayed in old markets, public housing estates, government precincts, shopping malls, offices, parks, cinemas, and many other public locations that represent different aspects of the city’s life.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Westerners can sometimes be a bit condescending about what they perceive as Singapore’s less-than-perfect liberal democracy. This is why it is refreshing when the questioning of official narratives comes from those who live in this remarkable city-state. However, visitors were not confronted with grand statements or strident denunciations. Artworks were low-key interventions, like notes in the margins of Singapore’s self-assured, carefully managed and meticulously planned urbanism. This is more persuasive than the spectacularity that so many other international art events court. Contemporary art festers on the edges where grand utopias begin to fray.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Of course, not all works in this exhibition are by local artists—although most are from Singapore’s Asian neighbours—or address aspects of Singaporean history and society directly. But nothing seemed out of context.&#60;img width="6032" height="8016" width_o="6032" height_o="8016" data-src="https://freight.cargo.site/t/original/i/8711dfe51924afa8917e9fc2e9319de715d9e47db47c08f9dd8bc766ff826d18/image-5.jpg" data-mid="248019940" border="0"  src="https://freight.cargo.site/w/1000/i/8711dfe51924afa8917e9fc2e9319de715d9e47db47c08f9dd8bc766ff826d18/image-5.jpg" /&#62;Image: Griya Seni Hj, Kustiyah Edhi Sunarso, Hyphen—, Tom Nicholson w Ary "Jimged" Sendy, Aufa Ariapputra, Nasikin &#38;amp; Omar Aryarindra, Sedudah banjir itu: No. 44 (When the flood is over: No. 44), 2025. An installation comprising 157 cast resin dolls depicting the 1963 handover of West Papua. Photographed by Marco Marcon.I also greatly appreciated the inclusion of historical works. Only the very best of these large-scale international art surveys—such as, for example, Carolyn Christov-Bakargiev’s Documenta 13—have the intelligence to create the conditions for a dialogue between the present and the past.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Curators and artistic directors frequently fall victim to a harmful form of presentism. This tendency is partly due to their lingering attachment to the modernist belief in the importance of the “now.” Additionally, the influence of the internet and globalisation tends to favour synchronic perspectives—those that focus on simultaneous events—over diachronic ones, which consider historical development over time. The present, offered to us by the instantaneity of global communication, is so bewilderingly immense that it quickly exhausts our ever-diminishing attention span, leaving little or no room for other considerations.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Singapore’s post-colonial history is very short indeed, and this biennale coincided with the 60th anniversary of its independence. What the country managed to achieve against unfavourable odds is an unparalleled feat of self-creation. But this exhibition highlights that development always comes at a cost. As Duncan Bass writes in the introductory catalogue essay:

Speculative investment and state-led environmental design are all symptoms of the same condition: the refusal to accept disorder as real. The participating artists do not aim to resolve these contradictions but to inhabit them.

Singapore Biennale 2025: Pure Intention, 31 October – 29 &#38;nbsp; March 2026.


Header images:&#38;nbsp;
1.&#38;nbsp;Kah Bee Chow, installation view of Effeminacy,&#38;nbsp;2012, digital video (colour, sound), 14 min 5 sec. Collection of the artist.&#38;nbsp;Photographed by Marco Marcon.
2.&#38;nbsp;Izat Arifm installation views of In Loving Memory, 2025, terrazzo bench and outdoor industrial paint, 83 × 119 × 69 cm. Singapore Biennale 2025 Commission.&#38;nbsp;Photographed by Marco Marcon.
	

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