C3 Fundraiser

Faux Studio

In 2014, c3 launched a series of curated fundraising exhibitions to assist with the long-term sustainability of the gallery and to raise money to support artists by reducing the gallery fees and paying sales commission. While raising money was the goal of the show, the team was keen to work with fundraising as a creative concept. 2014's Faux Museum explored how large-scale institutions create funding opportunities through their environments and functions, while 2015's Faux Fair presented a play on the economics of the commercial art fair. Both shows were a huge success and raised enough to reduce the exhibition costs by over a third for 2015/16. The gallery also gave 50% of the proceeds back to the artists who donated their work, adding another layer of cash support.
This year c3 presents Faux Studio, the highly anticipated third project in the series which explores the artist-led economy.
The exhibition launches on Saturday 3 December, 11am - 5pm with a special all day event from 11am - 5pm. Many artists will be working in the faux studios on the day and award winning food truck Ghost KitchenTaiwanese Street Food will be serving delicious food. A bar will run from 1pm.
Faux Studio will feature over 100 significant Australian artists, including: Aaron Christopher Rees, Ace-Ohio Wagstaff, Adam Stone, Adrian Stojkovic, Annabelle Kingston, Antonia Sellbach, Benjamin Woods, Betra Fraval, Brendan Huntley, Bryan Spier, Brigit Ryan,ChronoxDana Harris, Dane Lovett, Danica Chappell, Darren Sylvester, Dell Stewart, Dylan Palmer, Eddy Parritt, Eleanor Louise Butt, Emma Langridge, Emily Ferretti, Emily Floyd, Emily Raubenheimer, Eugene Howard, Gabriel Curtin, Georgie Mattingley Georgina Cue, Grace Wood, HaHa, Hoang Tran, Ian Wells, Ingmar Apinis, Jake Treacy, James Voller, Jemila Macewan, Jessie Willow Tucker, Jia Jia Chen, Jon Butt, Justin Hinder, Kate Hill, Katie Paine, Kathryne Genevieve Honey, Kenny Pittock, Lucas Golding, Masato Takasaka, Matt Fairbridge, Matthew Harris, Melanie Upton, Meredith Turnbull, Miranda Skoczek, Natalie Ryan, Neil Shurgold, Nicholas Ryrie, Nick Modzrewski, Nicola Page, Nina Gilbert, Olga Bennett, OSW (Terri Bird, Bianca Hester + Scott Mitchell), Peter Atkins, Peter Fifer, Pia Murphy, Pip Ryan, Pippa Mackgill, Rachael Hooper, Rebecca Delange, Roma Turnbull-Coulter, Ross Coulter, Rudi Williams, Sally Ross, Samantha McCulloch, Sanja Pahoki, Sarah CrowEST, Saskiah Doherty, Scarlett Rowe, Shelly McLane Alejos, Simon Attwooll, Simon Macewan, Simon Massey Di Valenza, Simon Pericich, Sophie Neate, Spencer Lai, Tai Snaith, Travis John, Vivian Cooper Smith, WTOA, Xanthe Waite and Yvette Coppersmith, with many more to be announced soon.
The Abbotsford Convent, 1 St Heliers St. Abbotsford, VIC 3067 Australia



Table is a new publication (True Belief) featuring contributions from Margaux Williamson, Sarah Weston, Amy Vuleta, Anna Varendorff, Manon Van Kouswijk, Meredith Turnbull, Nat Thomas, Dell Stewart, Tai Snaith, Dylan Martorell, Rachael Hooper, Kelly Fliedner, Nic Dowse and Adam Cruickshank.

A piece of furniture, with wayfaring objects crossing it’s terrain, a table can also be an orderly arrangement of data, or something submitted for consideration. The contents of this book are all of the above. 

Book Launch
Saturday 26th November 3 - 5 pm
Featuring a performance by Dylan Martorell.

Level 1
225 Bourke Street
Melbourne VIC 3000

This project is supported by the City of Melbourne 2016 arts grants program.


Ben Lerner Leaving the Atocha Station

... starts with Adam visiting the Prado to stand in front of Roger van der Weyden's Descent from the Cross, and finding someone there before him...

He was standing exactly where I normally stood and for a moment I was startled as if beholding myself beholding the painting, although he was thinner and darker than I. I waited for him to move on but he didn't. I wondered if he had observed me in front of the Descent and if he was now standing before it in the hope of seeing whatever it was I must have seen. I was irritated and tried to find another canvas for my morning ritual, but was too accustomed to the painting's dimensions and blues to accept a substitute. I was about to abandon room 58 when the man broke suddenly into tears, convulsively catching his breath. Was he, I wondered, just facing the wall to hide his face as he dealt with whatever grief he'd brought into the museum? Or was he having a profound experience of art?

I had long worried that I was incapable of having a profound experience of art and I had trouble believing that anyone had, at least anyone I knew. I was intensely suspicious of people who claimed a poem or painting or piece of music "changed their life,"especially since I had often known these people before and after their experience and could register no change. Although I claimed to be a poet, although my supposed talent as a writer had earned me my fellowship in Spain, I tended to find lines of poetry beautiful only when I encountered them quoted in prose, in the essays my professors had assigned in college, where the line breaks were replaced with slashes, so that what was communicated was less a particular poem than the echo of poetic possibility. Insofar as I was interested in the arts, I was interested in the disconnect between my experience of actual artworks and the claims made on their behalf; the closest I'd come to having a profound experience of art was probably the experience of this distance, a profound experience of the absence of profundity. 


Rebecca Solnit - The Faraway Nearby

I loved this book. To the point where I had to stop reading it intermittently in order to make it last. (I can read a book very quickly, and then it is done).
I need to reread it, these notes are from a few months ago, and I want to offer it to various people I know; my Mother, my aunts, my friends, my bookclub. It also made me want to read everything she has ever written, as did 'Men Explain Things to Me' the essays I read before this (they made me want everyone to read them).

So, I will read everything I can get my hands on, beginning with 'The Encyclopedia of Trouble and Spaciousness' which I have put down for other reasons – it's harder going, all that trouble – though Solnit manages to focus on community, humanity and hope in the direst of tragedies (Katrina, Fukushima and the BP Oil Spill). Her description of her experience of the Fushimi Inari Shrine in Kyoto is breathtaking. But here, now, from 'The Faraway Nearby'... I had trouble choosing bits to share here out of context.

The object we call a book is not the real book, but its potential, like a musical score or seed. It exists fully only in the act of being read; and its real home is inside the head of the reader, where the symphony resounds, the seed germinates. A book is a heart that only beats in the chest of another. The child I once was read constantly and hardly spoke, because she was ambivalent about the merits of communication, about the risks of being mocked or punished or exposed. The idea of being understood and encouraged, of recognising herself in another, of affirmation, had hardly occurred to her and neither had the idea that she had something to give others. 

At its best, visual art is philosophy by other means and poetry without words. Visual art asks the grandest questions, about the most essential ingredients of existence: about time, space, perception, value, creation, identity, beauty. It makes mute objects speak and it renews the elements of the world through the unexpected, or it situates the everyday in a way that asks us to wake up and notice. This kind of art raises fundamental questions about the act of making, about what it means, whom it is for, what happens in that engagement with materials and history and embodied imaginations. I arrived in the realm of visual art in my early twenties, and it was a spacious arena in which to come of age, one that opened up the terrain in which I would travel to create and converse. I was invited into the conversation, to speak and to listen and to learn. 

Who hears you? To have something to say is one thing; to have someone who hears it is another. To be heard literally is to have the vibrations of the air travel through the labyrinth of the listener's ear to the mind, but more must unfold in that darkness. You choose to hear what corresponds to your desires, needs and interests, and there are dangers in a world that corresponds too well, with curating your life into a mirror that reflects only the comfortable and familiar, and dangers in the opposite direction as well. Listen carefully. 


Kate Zambreno Heroines

I am so bad at this I know, but I have decided to just post notes from books I am reading, as there are so many, and I want to try to keep track a little. This seemed an appropriate one to start with. Also, read this.

I am beginning to realize that taking the self out of our essays is a form of repression. Taking the self out feels like obeying a gag order – pretending an objectivity where there is nothing objective about the experience of confronting and engaging with and swooning over literature. The comments on Frances Farmer is My Sister and allied blogs that have built sometimes to this glorious other text, this communion, this conversation, this casual liquidness, the superlative nature, that is generative and affirming as opposed to dismissive, that uses our own language instead of theirs.

p 281 Kate Zambreno Heroines


Dancing Umbrellas

Rebecca Baumann and Damiano Bertoli at Heide. Dancing Umbrellas. I always mean to go to Heide more.


Darebin Art Prize

Finalists /
Samara ADAMSON-PINCZEWSKI/  Rushdi ANWAR/  Justin BALMAIN/  Damiano BERTOLI/  Kate BEYNON/  Nicole BREEDON/ Jon BUTT/ Nicholas CHILVERS and Hanna CHETWIN  /  Nadine CHRISTENSEN  /  Zoe CROGGON/  Julie DAVIES and Alex RIZKALLA/  Elyse de VALLE/  DAMP/ Ara DOLATIAN/  Leslie EASTMAN/  Phil EDWARDS/  Simon FINN/  Carly FISCHER  /  Patrick FRANCIS/  Wanda GILLESPIE/  Tim GRESHAM/  Michelle HAMER/  Katherine HATTAM/  Linda JUDGE  / Cathy LAUDENBACH/  Jordan MARANI/  Kent MORRIS/  Noriko NAKAMURA  /  Petra NICEL/  SimonPERICICH/  Elvis RICHARDSON with James HAYES/  Louise RIPPERT/  Kiron ROBINSON/  NatalieRYAN/  Bill SAMPSON  /  Rachel SCHENBERG/  Vivian Cooper SMITH  / Tai SNAITH/  Dell STEWART/  Sophia SZILAGYI/  Georgia SZMERLING/  David WADELTON/  Daisy WATKINS-HARVEY  /  Alice WORMALD

Charlotte DAY / Director, Monash University Museum of Art
Nick SELENITSCH / Artist
Claire WATSON / Curator, Bundoora Homestead Art Centre

Opening night (winner announced) Thursday 10 December / 6-8pm

With special guest speaker
Associate Professor Robert NELSON / Monash University

Darebin Art Prize / 2015
11 December / 2015 — 21 February / 2016

Bundoora Homestead Art Centre
Cnr Snake Gully Drive and Prospect Hill Drive / Bundoora
Wed-Fri / 11am-4pm | Sat-Sun / 12noon-5pm

Free Admission


Big Pop Tropical Night Market

Popcraft Studio is hosting a Tropical Night Market on Saturday 12 December between 5pm
and 9pm.
This festive market will feature 20 hand-picked makers, designers and artists and an immersive multimedia experience with site specific sculpture and video projections by Scott Morrison, Eddy Carroll, Erin & Gus and Pauline Tran.

The market will feature the work of local ceramicists, jewellers, textile designers and artisans
including: Julie B ceramics, Pegs Marlow, Rosanna Ford, Beck Jobson and Ramona
Barry, Emma Greenwood, John Brooks, Ainslie Macauly, Lucreccia and Cecilia
Quintanilla , Sunday Morning Designs, Linnet and Mary Good, Shuh Lee, Dell Stewart, Lisa
Hilli, Cat Rabbit, Grafa Garden, Stella Has Knits, Tai Snaith, Oracles, Yoshie Burns and



We had some time in Tasmania in winter. It was bright and fresh.