IMA, Brisbane

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Nicholas Mangan
Limits to Growth

Edited by Aileen Burns, Charlotte Day, Krist Gruijthuijsen, Johan Lundh
Texts by Max Andrews and Mariana Cánepa Luna (Latitudes), Helen Hughes, Ana Teixeira Pinto

This publication accompanies Australian multidisciplinary artist Nicholas Mangan’s survey exhibition “Limits to Growth.” The exhibition and book bring together four of Mangan’s most significant works of the past seven years, alongside a new commission. The works in the show tackle narratives from his own geographical region—Asia Pacific, in which his home country of Australia plays a colonial role—and weaves them into a bigger picture to take into account the global economy, resource extraction, and the ultimate power of the sun. Featuring an in-depth series of conversations between the artist and the Barcelona-based curatorial collective Latitudes, and essays by Ana Teixeira Pinto and Helen Hughes, this publication is richly illustrated with documentation of Mangan’s artworks and historical source material.

Copublished with the Institute of Modern Art, Brisbane; KW Institute for Contemporary Art, Berlin; and Monash University Museum of Art, Melbourne
Design by Žiga Testen

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Gordon Bennett
Be Polite

Edited by Aileen Burns, Johan Lundh
Texts by Helen Hughes, Ian McLean, Julie Nagam

Gordon Bennett: Be Polite follows the exhibition of largely unseen works on paper by one of Australia’s most visionary and critical artists, Gordon Bennett (1955–2014). The exhibition and publication are the first to present the work of Bennett since his death. Though rarely seen in exhibition contexts, Bennett’s drawing and writing formed the foundation of his practice.

This publication brings together three newly commissioned essays by art historian Ian McLean and curators and arts writers Helen Hughes and Julie Nagam. The selection of works from the Estate of Gordon Bennett comprises drawings, acrylic/gouache and watercolor paintings, poetry, and essays from the early 1990s to the early 2000s—a period that produced work of remarkable force and revealed the artist’s working methods, research focuses, and ultimately his ambitions for his work.

Copublished with Institute of Modern Art, Brisbane
Design by Žiga Testen

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Mikala Dwyer
Drawing Down The Moon


For more than 20 years, Mikala Dwyer has pushed the limits of installation, sculpture and performance, establishing herself as one of Australia’s most important contemporary artists.

Dwyer has been exhibiting internationally since 1982, and recent solo exhibitions include: the garden of half-life, University of Sydney Art Gallery, Sydney (2014), Goldene Bend’er, Australian Centre for Contemporary Art, Melbourne (2013), Drawing Down the Moon, Institute of Modern Art, Brisbane (2012); Costumes and Empty Sculptures, Institute of Modern Art, Brisbane (2008); Moon Garden, Aratoi Museum, Masterton (2008); The Addition and Subtractions and The Hanging Garden, Kunstraum, Potsdam (2007); I Maybe We, Museum of New Zealand Te Papa Tongarewa, Wellington (2005) and Art Lifts, National Gallery of Australia, Canberra (2002).

This book surveys Dwyer’s dabblings in the occult, focussing on her twenty twelve show Drawing Down the Moon at the IMA.

Essays by Anthony Byrt, Toni Ross, Michael Taussig, and an interview with Robert Leonard

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Simon Starling
In Speculum

Publication produced on the occasion of the traveling exhibition “Simon Starling: In Speculum“, Monash University Museum of Art, Victoria: 18 July – 21 September 2013; Institute of Modern Art, Brisbane: 5 October – 30 November 2013; City Gallery Wellington Te Whare Toi: 22 February – 18 May 2014.

Catalogue features new texts by Justin Clemens, Robert Leonard, and Richard Gillespie.

Marked by epic journeys and explorative narratives, Simon Starling’s work investigates the social, cultural and material implications of object-making. His ongoing excavation and transformation of the material world takes the form of associational assemblages that incorporate film, photography and sculptural forms, revealing rich, unexpected and complex histories.

The first career survey of the Turner Prize-winning artist’s work in Australasia, Simon Starling: In Speculum, brings together a major new commission and key works from the artist’s oeuvre that focus particularly on the site of the studio and workshop, and relationships between art, technology, history and modernity. This aspect of Starling’s research-based practice reflects the form and process of manufacture in both structure and concept.

An artist who often works site-specifically and in response to local geographies, Starling has developed a new work for In Speculum that engages the Great Melbourne Telescope (1868-69). Currently under restoration at Museum Victoria, the telescope was one of the largest in the world at the time of its production in the 19th century. Starling’s new project continues his interest in early scientific exploration and astronomy.

Simon Starling: In Speculum is a joint project by Monash University Museum of Art, the Institute of Modern Art, Brisbane, and City Gallery Wellington Te Whare Toi.

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