"It's an attempt to locate genius instead of locating collective knowledge."


Scores etc.

Matt Day's performance work next to my video Flicker (2008), in the exhibition The Object as Score at Margaret Lawrence Gallery.


NY & Boston

Late last year I had the opportunity to visit the US for 2 weeks. I wrote a few notes down and thought I should at least share some of these surface touristy observations. Here they are in no particular order:

•Sandeck uses acrylic yarn
•Dan Flavin's fluorescent lights: are they still manufactured like that or does the museum have to get them custom made?
•Lygia Pape's work is incredible. Makes me realise I know nothing about South American modernism
•Seeing my own feet in Smithson's mirror works made me wonder what sort of shoes people first saw reflected in them
•Dindga McCannon's painting Empress Akweke, 1975
•Beuys' hat is so dramatic
•Dia: Beacon is a boys club. "Zero" at the Guggenheim was a boys club too
•Cambridge is a liberal town
•Massachusetts was an early abolitionist state
•The US is violent
•Noone knows exactly how many people get shot by police
•Business and enterprise has done too well
•There is a "Stop & Shop" every 50 yards or so along the highway
•New York talks about itself all the time
•It's mostly myth
•It's also a real meeting place
•I love gift shops
•Art is made by the living for the living

A piece of Ancient greek pottery, at the MFA in Boston.  Perhaps it has something to do with everyday life that makes these vessels so satisfying.


Was just talking to my friend Patrick on the phone and these 3 things seemed relevant:


mopping the floor & missing the spot where you are standing


Set, Darren Knight Gallery, Sydney

An artists or gallery website:

menu on the left side
text, small text
white background
clear images

professionalism can be deadening right? I'll try to make the best of it.



The other day I was sitting on the toilet looking at this and wondering

what the hell is in this bag. 


End of residency, 2014

A short film for Gertrude, 2014

(Participants: Claire Lambe, Annabelle Kingston, Javed de Costa, Brennan Olver, Sarah crowEST, Scott Miles, Joni Gear, Trish Roan, Sam La Marca).

Sub12 at the Substation, Newport, November 2014

A collaborative installation with Isadora Vaughan at Substation in Newport. Photos: Christo Crocker


I like writing in this blog because
I can maintain control.
I can change images when I want.
I can be indeterminate.


( ) at Gertrude Contemporary, September 2014 (photographs by Christo Crocker)

( )

(chopsticks), heat moulded (ramen restaurant, Melbourne, August 2014)
Tram sand (sanders)
Perfume sampler, cologne worn by previous Gertrude Contemporary resident artist 2012-2014 (refreshed regularly)
Hanging, cotton fabric 
(Completely) Black photographs (2010 & 2013)
Poppy seeds, black & white photograms
Measurements (the space between two works: W. Sievers at CCP,  S. Jacobs at TCB, B. Lunney at Gertrude Studio 12, S. Bailey at West Space, R. Mazzone at Seventh Gallery 2014) wood, white paint sourced from Centre for Contemporary Photography, TCB Inc., Gertrude Contemporary, West Space & Seventh Gallery
White, scuffed paper bought new (Deans)
Trail mix (spoiled)
Nails, from floor boards of studio 8
Slide Show, 80 holes
Black mat, vinylised foam



Slideshow of collected images, 20 images, duration: 3 mins. 2014


( )




Strikes, absences.

I went up to Sydney a week ago and managed to catch the end of the Biennale. I took this picture on my last day there. I feel conflicted about writing anything definitive about the BoS/Transfield issue. Partly because there has already been so much coverage of it in the media, perhaps to the detriment of the cause (its easy to get fatigued and disorientated when something is repeated endlessly). Its disturbing how the media really squeezes every bit of value out of an issue. Suffice to say that life isn't getting easier for asylum seekers. Nor is life getting easier for the disadvantaged, poor or marginalised, as both our major political parties move further and further towards 'free' markets and unfettered capitalism. I can't help but feel that we're all inextricably entwined in this system and that finding opportunities to push against it (or just to apprehend it) are rare. While there wasn't much mention of it in the official programme, I thought I should post this photo here.

You can read an interesting discussion of the issue by Danny Butt here


Woke up on Wednesday morning to find the sun shining directly through the crack underneath my door. Once a year alignment maybe.

Edit: Brennan thinks that once a year might be too big of a claim. I'm probably wrong on the science.


Seven days of wet.

Caught these this morning. I think they refer to this post.


Dogs waiting outside Savers
Dogs waiting outside Abesha Restaurant
Dogs waiting outside Woolworths
Dogs waiting outside the Bank of Melbourne
Dogs waiting outside Barkly Square
Dogs waiting outside Tiba’s Restaurant
Dogs waiting outside Westgarth Fish & Chips
Dogs waiting outside Aunt Maggies 
Dogs waiting outside Arts Project
Dogs waiting outside Cibi Cafe
Dogs waiting outside Liquorland
Dogs waiting outside Hot Dollar


Over Christmas I read The Uprising by Franco Berardi. Here is a bit:

Only if we're able to disentangle the future (the perception and conception of the future, and the very production of it) from the traps of growth and investment, will we find and escape from the vicious subjugation of life, wealth and pleasure to the financial abstraction of semio-capital.

The key to this disentanglement may be found in a new form of wisdom which harmonises with exhaustion. Exhaustion is a cursed word in the frame of modern culture, which is based on the cult of energy and the cult of male aggressively. But energy is fading in the postmodern world, for many reasons that are easy to detect.

Energy is fading because of the demographic trend: [human]kind is growing old, as a whole, because the prolongation of life expectancy, and because of the decreasing birth rate. A sense of exhaustion results from this process of general ageing, and what has been considered a blessing – the prolonged life expectancy–may prove to be a misfortune, if the myth of energy is not restrained and replaced with a myth of solidarity and great compassion. Energy is also fading because basic physical resources like oil are doomed to extinction or dramatic reduction. Finally, energy is fading because competition is stupid in the age of the general intellect. The general intellect is not based on juvenile impetus and male aggressively––infighting, winning, and appropriation. It is based on cooperation and sharing.

This is why the future is over, and we are living in a space that is beyond the future. If we are able to come to terms with this postfuturistic condition, we'll renounce accumulation and growth, and will be happy sharing the wealth from our past of industrial labor and from our present of collective intelligence. If we are not able to do this, we will be doomed to a century of violence, misery, and war. 

Last year I took stock a bit. I turned 30. I've wondered about my practice of art making and institutional exhibition making. I've also wondered who my people are, and where this has led me. I don't know. But I know there's a lot to do and I hope to do more of it in 2014.

(Sorry about this photo, I saw it in office works yesterday and thought it was pretty wrong on a lot of levels. )


A short film.

Showing in the Gertrude Residency exhibition, opening this Friday 15th November, Gertrude Contemporary. This video has a narrated soundtrack, which was performed by Helen Grogan.