A corrupting metaphor? Artists ponder disease & the arts – Thursday 8 December talk at RMIT Gallery


Lienors Torre, Cabinet of Ocular Obscurities, referencing the grotesque sideshow or museum displays of biological abnormalities. Morbis Artis: Diseases of the Arts installation image by Mark Ashkanasy, RMIT Gallery, 2016.

Join  us on Thursday 8 December from 5.30-6.30pm  at RMIT Gallery when Sean Redmond co-curator of Morbis Artis: Diseases of the Arts discusses science, the arts and disease with Alison Bennett, Drew Berry, and Lienors Torre. And there will be poetry as well as pondering.

In his review on the exhibition for The Article, Sam Leach commented “The works provide scope for a poetic and elliptical understanding of the interactions between humans and non-humans and the ideas of connection and contamination.”


Lienors Torre’s multi-media and glass work on degenerative vision explores how our view of the world is metered and tainted by digital technologies. Consisting of a large glass eyeball, Ipad and augmented application, and a glass cabinet full of glass jars filled with water in varying degrees of opacity and with engraved eye images on them, eyes quickly become raindrops, as the liquidity of vision is brought to watery life. There are tears and scars that reflect across the eyes of this exquisite art-piece.

Alison Bennett’s touch-based screen work presents the viewer with a high-resolution scan of bruised skin. Invited to touch the soft and damaged tissue before them, their eyes become organs of touch, and their fingers work as sensory digits that feel as they move over what becomes a damaged but delicate bio-art surface.

In Drew Berry’s work, infectious cells are set free onto walls so that the very connective tissue of the exhibition room teems with the droplets of life and death. Herpes, influenza, HIV, polio and smallpox bacteria take flight, are magnified, so that those entering the space are hit by scale and size, and take part in this chorea of the senses.


Invasion of the Ants (2016), three screen installation by Joshua Redmond and Sean Redmond, Morbis Artis: Diseases of the Arts. Installation image by Mark Ashkanasy, 2016, RMIT Gallery.

In Sean and Josh Redmond’s three-screen video installation, ants become a different type of political disease. Combining found and actuality footage, the work uses the metaphors of ant invasion to re-envision the current refugee crisis and the way stateless people are made to be matter-out-of place. The central image of the piece, a flimsy toy dinghy floating on the salty water, recalls Australia’s turn back the boat policy, and the haunting truth that it is children who are made to suffer most. This is a disease of political undertaking.

What: Morbis Artis – panel discussion with Sean Redmond, Alison Bennett, Drew Berry and Lienors Torre.

When: Thursday 8 December 5.30-6.30 pm

Where: RMIT Gallery, 344 Swanston Street, Melbourne.

 Freeplease register.

RMIT Gallery to glow at White Night Melbourne


Nobuhiro Shimura’s video projection “Red Carpet 2010” on the RMIT Gallery front steps. Installation image: Mark Ashkanasy

RMIT Gallery will dazzle during White Night Melbourne Saturday February 20 from 7 pm to 7 am. The front steps will be awash with Japanese artist Nobuhiro Shimura’s video projection “Red Carpet 2010”.

Inside, RMIT Gallery throws open its doors to share its popular summer exhibition Geniale Dilletanten [Brilliant Dilletantes] Subculture in Germany in the 1980s + Australian Ingenious Amateurs.


RMIT Gallery – November 2015 – 27 Feburary 2016. Geniale Dilletanten: Subculture in Germany in the 1980s. Installation image Mark Ashkanasy.

RMIT Gallery’s façade comes alive with a dazzling light show and morphs throughout the night thanks to custom projection mapping technology by Joshua Batty and Mitchell Nordine from MindBuffer.


MindBuffer in action at RMIT Gallery White Night Melbourne 2014 – the team will be working their magic on the Storey Hall facade with their custom projection mapping technology.

Chill out at the Kaleide Theatre next door on Swanston Street with the all night German subculture film festival. From 7 pm to 7 am, the free 1980s German Subculture Film Festival will show a program of music, documentary and experimental films from the 1980s presented by RMIT Gallery and the Goethe-Institut Australien (all films are in German with English subtitles).

Exploring the legacy of 1980s subculture – Ash Wednesday & Darrin Verhagen


Einsturzende Neubauten’s Klangbewegung Maschine by (((20Hz))). Photography: Mark Ashkanasy, RMIT Gallery.

Join us at RMIT Gallery on Tuesday 8 December 1-2 pm as sound artist and RMIT senior lecturer Darrin Verhagen and sound designer and musician Ash Wednesday discuss the legacy of 1980s subculture on their music and sound design.

Ash Wednesday is an innovative Australian synth pioneer and a member of self-styled groups, JAB (1976 – 1979) and MODELS (1979 – 1980), where he combined analog synthesizer and experimental tape textures with punk/rock rhythms. He continued working with electronics throughout the 80’s with numerous and diverse, but relatively low profile projects – most notably, perhaps, being ‘Modern Jazz’, an ingenious, impromptu assemblage of electro-based, musicians/non musicians, performing live on stage to a randomly programmed drum machine/sequencer beat.

Darrin will discuss the research behind the intriguing Einsturzende Neubauten’s Klangbewegung Maschine by (((20Hz))). This single participant installation for sound, movement, vibration and light invites participants to experience a viscerally embodied, multisensory internalization of three classic Einsturzende Neubauten tracks. The Klang is current installted in RMIT Gallery as part of the exhibition Geniale Dilletanten: Subculture in Germany in the 1980s.


Einsturzende Neubauten’s Klangbewegung Maschine by (((20Hz))).  Vicki Jones Photography, RMIT Gallery, 2015.

What: The legacy of 1980s subculture on sound design.

Who: Darrin Verhagen and Ash Wednesday

When: Tuesday 8 December 1-2 pm

Where: RMIT Gallery, 344 Swanston Street Melbourne.

Bookings: Free. (03) 9925 1717

Summer at RMIT Gallery


Svenja Kratz,The Contamination of Alice: Instance #8  2014, plaster, glass, steel, MDF, diffused LED lighting, Raspberry Pi micro computer, Agar-agar, nutrients, Saos-2 cells DNA, perspex, sand, mini projector, video
Photography: Mark Ashkanasy, Courtesy RMIT Gallery


RMIT Gallery hopes you all had a relaxing Christmas and summer break. Mid January is traditionally a time workers head back to the office and carers look around for city based activities to entertain the children.

If you didn’t get a chance to visit our summer exhibition Experimenta Recharge over the Christmas and New Year period, now is the perfect time to do so.

Bring the family in for some school holiday fun and remember, when the days are hot, the air conditioned comfort of the gallery is the perfect place to have some time  out – and time to play with the media art works.

As well as our regular opening hours, RMIT Gallery is open to 7 pm every Wednesday night during the exhibition, and from 12 noon to 5 pm on Saturdays.

Our new Experimenta Recharge  video has just been launched – watch it here:


Arts critic praises RMIT Gallery performance in 2014

Installation view, Warlayirti: The Art of Balgo at RMIT Gallery. Photo Mark Ashkanasy, 2014. (extreme far right) A group of men, names and associations not given  Assembly banner 1981  Paint on calico 400.0 x 89.0 cm St Theresa Church, Balgo Collection  and (far right) Balgo men, names and associations not given  Assembly banner 1981  Paint on calico 197.0 x 71.0 cm St Theresa Church, Balgo Collection

Installation view, Warlayirti: The Art of Balgo at RMIT Gallery. 
(far right) Assembly banner, 1981. Paint on calico, 400.0 x 89.0 cm, St Theresa Church, Balgo, Collection and (far right), Assembly banner, 1981, Paint on calico, 197.0 x 71.0 cm, St Theresa Church, Balgo Collection. Photo credit Mark Ashkanasy, 2014.

With the new year comes reflection on performance in 2014 – and we are pleased to announce that RMIT Gallery gets a big tick from arts reviewer Robert Nelson (The Age, SMH) for two of its outstanding exhibitions in 2014. He writes in his yearly round up (Dec 31, 2014) that “The universities performed imaginatively, especially…RMIT with Warlayirti: The Art of Balgo and Experimenta Recharge: the 6th International Biennial of Media Art…”

In his review (23/11/2014), Robert Nelson writes “A beautiful exhibition at RMIT Gallery tells the story of a famous art centre in Western Australia:  Warlayirti: the art of Balgo.  Curated by Jacqueline Healy, the show hangs together with marvellous aesthetic unity.  Suites of majestic works bask in their colour and energy, scaffolded by an underlying history.”

After its successful run at RMIT Gallery from 15 September to 8 November 2014, Warlayirti: the art of Balgo opened to great acclaim at the Araluen Arts Centre in Alice Springs on Friday 28 November, where it will run until 15 February 2015.

Robert Nelson also lavished praise on the poetic qualities of RMIT Gallery’s current exhibition Experimenta Recharge, which asks whether contemporary technologies can transform our view and understanding of the world.

The esteemed arts critic singled out works in the exhibition by Japanese artist Ei Wada, Korinsky (Abel, Carlo and Max) from Germany, the group La Société Anonyme from Paris and Dubai, Brazilian artist Anaisa Franco and indigenous artist Raymond Zada , as having “a poetic relationship with symbols which is often missing in interactive works.”

You can view Experimenta Recharge until Saturday February 21, when RMIT Gallery will be open from 7 pm to 7 am as part of White Night Melbourne. After that the media art exhibition will have a long tour around Australia. 






After the Big Bang – Korinsky’s sound installation in Experimenta Recharge


Abel Korinsky with his work Korinsky Collective: RL2000 2014 sound and mixed media installation dimensions variable. Photo Evelyn Tsitas, RMIT Gallery, 2014

Abel Korinsky with his work  RL2000 2014
sound and mixed media installation
dimensions variable. Photo Evelyn Tsitas, RMIT Gallery, 2014

We are all fascinated by artistic practice and the ‘working out’ of process that offers us a ‘behind the scenes’ glimpse of how creative work is developed. But what of the finished product?

German sound artist Abel Korinsky, who is in Melbourne on a two month residency with Experimenta and RMIT, gave audiences an insight into his process when he joined theoretical astrophysicist Dr Katie Mack and RMIT’s Lawrence Harvey, Associate Professor and Director of SIAL Sound Studios, on 29 October, 2014 at RMIT Gallery to talk about space – art – and Big Bang Sounds.

Missed the talk? Catch up with the podcast and blog – click here.

You can now see Abel Korinsky’s finished artwork using the ideas of the resonance of Big Bang sounds as inspiration for RL2000, by visiting the exhibition Experimenta Recharge: 6th International Biennial of Media Art at RMIT Gallery until 21 February.

Korinsky’s artwork RL2000 2014,sound and mixed media installation, picks up on the ideas he discussed in the Melbourne Knowledge Week talk available on podcast, and asks audiences to imagine that sound never fully disappears and is present in our universe forever. What would it sound like to hear all the sounds of the past and present? How would it change our perceptions of time and death?

Korinsky Collective: RL2000 2014 sound and mixed media installation dimenions variable. Photo Mark Ashkanasy, RMIT Gallery, 2014

Korinsky Collective: RL2000 2014
sound and mixed media installation
dimensions variable. Photo Mark Ashkanasy, RMIT Gallery, 2014

As part of the sound artist collective Korinsky (together with his twin brother Carlo, and younger brother Max) Abel presents the sound piece in an immersive installation inspired by the recent announcement by researchers at the Harvard-Smithsonian Centre that they had documented sound waves from the Big Bang soon after the birth of our universe. In a room in RMIT Gallery where the work is exhibited, when the lights go off intermittently the audience is plunged into darkness which quickly fills with fluorescent glow of paint on the spider-like central pod that is reminiscent perhaps of a 1950s Sci Fi movie set design. 

Korinsky Collective: RL2000 2014 sound and mixed media installation dimenions variable. Photo Mark Ashkanasy, RMIT Gallery, 2014

Korinsky Collective: RL2000 2014
sound and mixed media installation
dimensions variable. Photo Mark Ashkanasy, RMIT Gallery, 2014

The artists invite audiences to imagine the implications of hearing sounds from the past and to place themselves in a situation where perceptions of time, space and place might be disrupted.

Korinsky’s work has been developed during a residency with Experimenta as part of the EMARE AUS
CDN Move On Exchange (European media artists in residence in exchange with Australia and
Canada). This program is supported by the Culture 2013 Programme of the European Commission.