RMIT Gallery’s White Night Story – come on in!

The White Night is still young – it might be midnight, but RMIT Gallery is open for another 7 hours of White Night light projection and interactive bioart. Come on in!

From Girlie Werewolves to dazzling audio reactive light displays – from the time the doors opened at 7 pm, RMIT Gallery attracted a crowd to the far end of the Swanston Street White Night precinct – and made an bold impact.

Crowds were gathered before the doors opened and filled the last night of the Morbis Artis: Diseases of the Arts exhibition – queuing for up to 45 minutes to get into ((20hz))’s red/blue ‘nauseating’ sound-light artwork.


Outside, the Storey Hall annex dazzled with printmaker Jazmina Cininas’ towering Girlie Werewolves offering a perfect photo opportunity as audiences jumped up on a bench and posed in the red-yellow-orange glow of the light projection.


Crowds also patiently waited their turn to get inside RMIT Gallery, listening to Mitchell Nordine’s SciFi-organic sounds which ignited Andy Thomas’ digital forms that exploded over the austere Storey Hall facade.

Around the corner, Viral Screens, by Morbis Artis curators Sean Redmond and Darrin Verhagen, intrigued. There is plenty of time to enjoy the artworks – come and see us!

RMIT Gallery facade transforms on White Night


If you’re heading to White Night Melbourne on Saturday make sure you pay RMIT Gallery a visit.

From dusk till dawn, the RMIT Gallery facade will be transformed into organic digital audio reactive light display called Ectoplasm by MindBuffer & digital artist Andy Thomas.

Thomas is a digital artist who creates intricate artwork and specialises in particle simulation based motion graphics, inspired by nature and technology.

MindBuffer is the combined music programming and synaesthesia exploration of RMIT lecturer Dr Joshua Batty and Mitchell Nordine. They met studying at RMIT University early 2010 and clicked instantly. Last year at White Night, they transformed RMIT’s iconic Storey Hall (home of RMIT Gallery) into a dazzling abstract light projection. Watch the video below:

“Last year was the first time we had the opportunity to projection map the entire facade of a building, which was an amazing opportunity offered by RMIT Gallery,” Batty said.

“This year, we have taken a more organic approach with the visuals, and moved beyond the geometrical tricks. What we plan is to work with the features of the facade and bring it into the three dimensional plane.

“We will also be adding an important audio component.”

Thomas is excited about using Storey Hall as ‘an enormous canvas’ for his work.

“I am so used to doing work on the small screen and this is very different. I can have organic elements growing up the building, and it’s going to very luminous as well.”

Nordine, who is handling the audio component, promises a cross between “Sci-Fi and organic”  and says people will be surprised by how the addition of sound will change their experience of the light display.

“Sound brings you a lot more into the space. Humans evolved to perceive space through sound, so it this additional element will be transformative,” Nordine said.

Anyone who has worked White Night knows the endurance required. MindBuffer and Thomas are no strangers to working festivals, having recently performed at country Victoria’s Rainbow Serpent Festival of electronic music and art.

Batty has a few tricks up his sleeve after being bed ridden for a week after last year’s White Night, which saw him working on top of the building opposite Storey Hall for the duration. It took its toll.

“This year, we have added a generative story engine, which will reveal different aspects throughout the night, without needing us to input new work the whole event,” Batty said.

“At White Night, people tend to come and go and experience lots of different things. We realised that no one sits in front of one work for a long period, so this year, we have taken that in account, along with a watchful eye on our own health.”

While you are at RMIT Gallery, step inside our Hybrid Worlds events and visit the final night of the interactive bio-art exhibition Morbis Artis: Diseases of the Arts, and watch ‘What big teeth you have’ an iteration of Jazmina Cininas’ Girlie Werewolf Project which will morph the face of the Storey Hall annex (next door to the Gallery) into a shape-shifting roll call of lupine ladies.

Listen to MindBuffer & Andy Thomas talk about Ectoplasm and the challenges of transforming the Storey Hall facade for White Night Melbourne.

When: 7pm Saturday 18 February to 7am Sunday 19 February
What: Ectoplasm, by MindBuffer & Andy Thomas
Where: RMIT Gallery facade (Storey Hall ) 344 Swanston Street Melbourne.

Behind the scenes – RMIT Gallery plans its Werewolf White Night event

Jazmina Cininas, What big teeth you have, projection mock-up, 2016.

Jazmina Cininas, What big teeth you have, projection mock-up, 2016.

RMIT alumnus and printmaking lecturer Dr Jazmina Cininas will present a bold new incarnation of her ongoing Girlie Werewolf Project on the Storey Hall annex next to RMIT Gallery during White Night Melbourne (18 February) from 7 pm to 7 am.

White Night is when the heart of the city comes alive, pulsating with people of all ages who surge through the streets, laneways and gardens over 12 hours to watch illuminations, installations and interactive events.

RMIT’s iconic building – stunningly renovated 21 years ago – will morph into an enormous canvas as Cininas’ light projection with bite transforms the surfaces. In a way, it is a homecoming of sorts for Cininas.

“When I commenced my Fine Art degree in 1992, the annex served as the printmaking studio and it was here that I first fell in love with the medium,” Cininas said.

RMIT Storey Hall annex, photo by Helen Rayment, RMIT Gallery

RMIT Storey Hall annex, photo by Helen Rayment, RMIT Gallery

“In the early nineteenth century, Hibernian Hall (now Storey Hall) was leased to the Women’s Political Association, whose purple, green and white flag flew from the rooftop, inspiring the colour scheme for the Ashton Raggatt McDougall renovation in 1995.”

Cininas said that cultural constructions of women as intrinsically lupine have existed throughout the centuries, whether as nurturing mothers (think Romulus and Remus), as ravening man-eaters, or as inherently demonic. Research into such representations inspired Cininas’ doctoral research and Girlie Werewolf  Project. Four her her prints are held in the RMIT University Art Collection.

Jazmina Cininas Maddalena was a True Marvel in her Day, 2011 Linocut on arches aquarelle hot press 300 gsm paper 39.8 x 40.4 cm (image), 51.5 x 49 cm (sheet) Purchased through the RMIT Art Fund, 2013 RMIT University Art Collection Accession no: RMIT.2013.47

Jazmina Cininas
Maddalena was a True Marvel in her Day, 2011
Linocut on arches aquarelle hot press 300 gsm paper
39.8 x 40.4 cm (image), 51.5 x 49 cm (sheet)
Purchased through the RMIT Art Fund, 2013
RMIT University Art Collection
Accession no: RMIT.2013.47

Cininas’ light projection What big teeth you have is very timely in the current political climate and has global as well as local resonance.

“Where you’ve seen the most female werewolves occur in popular culture have been at times when women-kind itself had been under attack,” Cininas explains.

“The female werewolf has been far more prevalent than her relatively modest profile suggests. We see this not just in the suffragette era but also—with rather more dire consequences—during the Early Modern witch-hunts.

“The nebulous figure of the female werewolf has encompassed different, often contradictory, identities over time, absorbing changing perceptions of women, wolves, morality and the monstrous throughout the centuries.

“The advent of menstrual lycanthropes and Red Riding Wolves is part of an ongoing evolution and revolution that borrows from the past in order to create new possibilities for imagining the female werewolf.”

Jazmina Cininas Christina sleeps on both sides of Grandma's bed, 2010 Linocut on paper 52.8 x 71.8 cm (image), 76.5 x 91.5 cm (sheet) Purchased through the RMIT Art Fund, 2013 RMIT University Art Collection Accession no: RMIT.2013.45

Jazmina Cininas
Christina sleeps on both sides of Grandma’s bed, 2010
Linocut on paper
52.8 x 71.8 cm (image), 76.5 x 91.5 cm (sheet)
Purchased through the RMIT Art Fund, 2013
RMIT University Art Collection
Accession no: RMIT.2013.45

The RMIT Gallery light projection for White Night Melbourne 2017 is part of this ongoing ‘evolution and revolution’. Cininas said her images of female werewolves would provide a strong feminist statement in the light of women’s Take Back the Night initiatives as they glare down larger-than-life onto the audience, like sentinels.

“These Girlie Werewolves are going to be three stories high, and say, don’t you dare mess with me!”

This is Cininas’ first foray into light projection, and she has been working closely with an animator and technical team to translate her striking artwork of female werewolves, some of which are represented in the RMIT University Art Collection.

“Generally digital artists start with the building first and then decide what can they can do to animate the building,” Cininas said.

“Whereas with my project, the challenge is how to make these images that originated as prints work with the building, particularly with the distinctive façade of the Storey Hall annex which in turn distorts the faces of the werewolves. I want to really engage with the building and animate it in some way that makes sense with the images as well.”

Jazmina Cininas, light projection test on RMIT Storey Hall, photo by Helen Rayment, RMIT Gallery

Jazmina Cininas light projection test for ‘What big teeth you have’, RMIT Storey Hall annex. Photo by Helen Rayment, RMIT Gallery

One of the challenges Cininas faces is recreating her lupine ladies will loom billboard size over Swanston Street.

“Size is one of the technical challenges that I’m presented with. As a printmaker, I know if I’ve got to print something of that size, the DPI has got to be enormous. But is it the same for projection and what happens when you project film? Can you project normal film onto that? Can you use normal film software? So these are all of the grey areas that are outside my area of expertise, and that’s where, you know, I have other people to help me out.”

It’s going to be fabulous! Come and check it out on White Night. Oh – and for the record, Jazmina Cininas is not a werewolf.
What Big Teeth You Have

When: 7pm Saturday 18 February to 7am Sunday 19 February
What: Girlie Werewolf Project by Jazmina Cininas
Where: Storey Hall annex, 342 Swanston Street Melbourne.

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RMIT Gallery Christmas & summer opening times

RMIT Gallery will be closed from Saturday 24 December to Monday 2 January 2017, reopening on Tuesday 3 January. 

Are you in the city over summer? Come into our air conditioned gallery right in the centre of the cultural district and enjoy our interactive summer exhibition – Morbis Artis: Diseases of the Arts (until 18 February  2017).

Have a play with (((20))) VIM\SIMS which explores visually and sonically induced motion sickness (pictured above). Place your hand in the well of the plinth and watch shadows dance to the sound.The experience is in turns dissociative and enveloping – and potentially nauseating. This is serious academic discourse as popular entertainment; physical discomfort as fine art.

For those who prefer gentler interactive experiences, explore the work of Andrea Rassell. We are silently surveilling one another is a microscopically mediated installation that puts the human organism on the slide and offers up a perspective of that humanity as a crawling seething mass.

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.”

Don’t forget – RMIT Gallery is open until 7 pm every Thursday night, and from 12 noon to 5 pm every Saturday during exhibitions.

Merry Christmas from RMIT Gallery and thank you for your support in 2016. We look forward to seeing you in the New Year with more compelling exhibitions in 2017.



Photography & particle accelerators: Harry Nankin & Chris Henschke at RMIT Gallery


Harry Nankin installing his work Syzgy at RMIT Gallery as part of the exhibition Morbis Artis: Diseases of the Arts (until 18 February 2017)

In the final of our public programs for the exhibition Morbis Artis: Diseases of the Arts at RMIT Gallery (17 November – 18 February 2016) join us at RMIT Gallery on Tuesday 13 December from 12.30-1.30 pm when photographer Harry Nankin and artist Chris Henschke talk about their work.

In Harry Nankin’s work (pictured above) nine, multi-panel palimpsests are displayed on light boxes, and lake Tyrell in the semi-arid Mallee region of Victoria becomes semi-arid land as the impact of the contemporary ecological crisis finds its root and branch in starlight and shadowgram as live invertebrates mourn the age of the anthropocene.

The work ‘photo-poetically’ memorializes this erasure, resurrecting the dry lakebed into a focal plane upon which primal starlight is used to imprint photographic films on moonless nights. The environmental disease at the heart of this work is human-made: as we lay waste to our planet, the stars are slowly going out.

The prepared images include rare astronomical glass plate negatives from the telescopes at Mount Palomar (USA) and Siding Spring (Australia) and camera-less photographs of live native anthropods gathered from the lake’s shore.

Harry Nankin’s work honours the lost sacrament and acts as a metaphor for our global ecological predicament.


About Harry Nankin: Harry Nankin is an Australian photo media artist and educator. In 1993 Nankin put aside the camera altogether and he has been creating ‘photograms’ (and occasionally ‘chemograms’) in the studio and on location in forest, desert, atop mountains and under the sea.


Chris Henschke with his work Song of the Phenomena, opening night, Morbis Artis: Diseases of the Arts at RMIT Gallery. Photo by Vicki Jones.

Chris Henschke’s work explores anti-matter as we bare witness to how radiation is released by organic matter. Using an actual particle accelerator, the work shows how the humble banana emits antimatter on a regular basis. In an age where we fear the way antimatter impacts upon the nature of everyday life and the workings of the cosmos, we see how the organic itself brings potential dissolution to the human world.

About Chris Henschke

Chris Henschke is an artist and researcher who works with digital and analogue media and high-energy physics. He has exhibited around Australia and internationally, and has undertaken art residencies at the Australian Synchrotron, supported by an Arts Victoria Arts Innovation grant (2008), and the Australia Council for the Arts Synapse program (2010). He has developed and lectured courses in time based and interactive media at RMIT University, Monash University, and the ‘Art vs Science’ seminar series at the University of Melbourne Victorian College of the Arts. Currently, he is undertaking a Doctorate of Philosophy at Monash University, which includes on-site work at the European Organisation for Nuclear Research (CERN), Switzerland, as part of the ‘art@CMS’ collaboration.


What: Hanny Nankin and Chris Henschke artist talk

When: Tuesday 13 December 12.30-1.30 pm

Where: RMIT Gallery 344 Swanston Street, Melbourne

Free: register for tickets

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.