Chloe Stead is a writer and critic based in Berlin. Her criticism has been published by frieze, Spike Art Quarterly and AnOther Magazine. Her fiction was featured most recently in Pfeil Magazine #8, published by Montez Press. She holds a BA from Goldsmiths University of London and an MA from the Hochschüle für Bilendene Künste Hamburg.

Evacuated Exchanges in Enjoy's I Digress

At the end of the month of November, the temperature collapsed in on us all. It is this disorder of incoming summer that I crave the most, and the blanks in conversation are filled with talk about the weather. We all say we hate this small talk, but the weather is not this; the weather is enormous and apathetic. It is these strange heart murmurs in our communication that I am drawn to, our attempts to use some sort of language to discuss that which is far beyond our human capabilities. I digress is a meditation on this idiosyncrasy, inadequacy, labour and flux of language.

Katharina Grosse: The Horse Trotted Another Couple of Metres, Then it Stopped, Carriageworks, Sydney January 6—April 8 2018

When is an installation, a garment, or a building really a painting?

Mark Titmarsh is a visual artist working in painting, video and writing. His paintings and screen work are held in public collections across Australia, including the NGA, NGV, AGNSW, QAGOMA, AGWA, MUMA, NFSA, and in private collections in Europe and the United States. His current work executed under the rubric of ‘expanded painting’ is painting about painting, or painting that dissimulates into objects, videos, performances and texts. His book Expanded Painting was published by Bloomsbury in 2017. He is currently a tenured, part time lecturer in the Faculty of Design, Architecture and Building, University of Technology Sydney, Australia, where he teaches Interdisciplinary Studies.

Sorawit Songsataya: Starling ARTSPACE, Auckland February 2 – March 17 2018

A haphazard pile of shoes at the entrance to Artspace suggests I should slip mine off too. Padding barefoot into the now-carpeted gallery I feel a peculiar blend of vulnerability and wonder: it’s the opening for Starling, the hotly anticipated solo exhibition from Auckland-based artist Sorawit Songsataya, and people are sitting on the floor, occupying the dead-zones between red blood cells the size of beanbags.

Lucinda Bennett is a writer and curator based in Tāmaki Makaurau, Aotearoa New Zealand, where she is currently Visual Arts Editor atThe Pantograph Punch. She holds an MA in Art History from The University of Auckland, where she was also part of the curatorial team at Window. In 2017, Lucinda was the CNZ Curatorial Intern in Contemporary Art at Dunedin Public Art Gallery. 

Blood Money: Ryan Presley and Tess Maunder In Conversation

Ryan Presley is a Brisbane based artist originally from Alice Springs. His father’s family is Marri Ngarr and originate from the Moyle River region in the Northern Territory, while his mother’s family were Scandinavian immigrants to Australia. Presley utilises a variety of media and techniques and his practice involves a questioning and negating of historical and contemporary contexts. Presley utilises his own mixed heritage experiences and insights to contribute other understandings to the social and cultural nature of past and present colonial Australia.

Tess Maunder is an independent curator, writer and researcher currently based in Brisbane, Australia. She was curatorial colligate of the 11th Shanghai BiennaleWhy Not Ask Again led by Chief Curators Raqs Media Collective (11 Nov 2016 – 12 March 2017). In 2018 Maunder continues her curatorial fellowship at the State Library of Queensland and will launch her publication of artist interviews called Absolute Humidity, published by Hardworking Goodlooking (Manila/New York) and supported by Arts Queensland and Australia Council for the Arts. Tess writes regularly for publications, journals and catalogues.


My mother had a father who wouldn’t let her go to art school; he called her the ‘mad artist’. My grandmother told her not to let others’ ignorance hinder her, and taught her to be resilient. My mother had a husband who said she was worthless, one day he threw her around like a ragdoll, then one day was most days. I had a father who said the only value I would ever have relied on whether or not a man found me appealing. My mother taught me how to love myself in the face of fabrications.

Meth(odology) Lab: Making TIME

Goldin+Senneby presented the first iteration of Standard Length of a miracle in 2016 at Tensta konsthall in Stockholm. Constructed by artists Simon Goldin and Jakob Senneby, the substructure which is Goldin+Senneby exists as a collaborative exchange of ideas, examining economic, political and spatial concerns. Invited by Goldin+Senneby to work in partnership for the Brisbane iteration of the project Standard Length of a miracle (The Bootleg), Camila Marambio and Amaara Raheem presented a new work titled Meth(odology) Lab: Making TIME.