Constructing the fictitious exhibition: The Imaginary Museum and the work of Peter Hill, Marcel Broodthaers and Marcel Duchamp — ANABELLE LACROIX
The collision of painting in our electronic age. Considering Van Gogh's 'The Night Cafe', Kandinsky's 'Panel for Edwin R. Campbell No. 4' and Frank Stella's 'Zambezi' — MARK STONE
Discussing the epic form in video art. For the exhibition of 'EPIC', at OFFoff Art Cinema, Ghent — MAX RAZDOW
The IMA's ongoing 'Greatest Hits' series and the shifting models of production and release within the music industry and in exhibiting video art — DANNY FORD
A revised understanding of the role and effects of the documentation of performance art. Documentation not as a supplementary effort but indeed as an entirely separate one — TARA HEFFERNAN
The dark landscapes of Adam Katseff usher in the phenomenology of memory like a strike of lightning, illuminating the dark corners of our minds — GEORGE PHILIP LEBOURDAIS, AMANDA ROSCOE MAYO, ADAM KATSEFF
The artistic-cum-geopolitical project 'Nowhereisland' and the potential of a borderless nation. Considering the island as an ideal space for the sentiments of contemporary art — BELINDA HOWDEN
Dissecting the poetry of Melbourne writer L. K. Holt: it acts as a subtle, but an everyday and distinctly modern performance of the Shadow-self and its tensions — SARAH WREFORD
A two-part introduction to The Maximilian at its launch, from the directors — TESS MAUNDER, LAURA BROWN
Anyone who has ever danced to music will agree that rhythm is a powerful force. A conversation between three on the potential of a correlating group — CARL SCRASE, LOREN KRONEMYER, JAMES MULDOON
The modern-day metamorphoses of author and reader are perhaps really a counter-metamorphoses to that of capitalism, able to do so as they function on the altogether different planes of the social and the individual — RASTKO ANTIC
Transforming Art History into an emotive discipline, as a new turn is considered for a discipline which has experienced numerous philosophical turns in the second half of the 20th century — EMMA BRÁSO
Vandalism emerges from the urban fabric as a response to its condition as a meeting place for competing contexts — NICHOLAS HERTZOG
How far may the curator's personal interpretation creep in? Investigating the successes and pitfalls of the role of this somewhat recently developed mode of curating, in discussion of Peter Eeley’s 'September 11' — AMY-CLARE McCARTHY
Pandering to the bourgeoisie? Political (dis)engagement, commerce and the role of the human body in the 1938 'Exposition Internationale du Surréalisme' — PETA RAKE
Renegade animism and gestures of indifference in 'A World of Glass'. The recent redemption of animism and its current social, cultural and political forms of reanimation — MARIANNE TEMPLETON