Melbourne Food + Wine Festival
12-23 March 2010

Image: Natasha Frisch It’s ... nothing really (2006). Single channel video.

Image: Natasha Frisch It’s ... nothing really (2006). Single channel video.

The High Life is a series of rooftop art projects curated by West Space that will be a feature of this year’s Melbourne Food + Wine Festival. The Festival invited West Space to work with contemporary artists to present artworks that reflect upon themes initiated in this year’s festival keynote project ‘The Metlink Edible Garden’. West Space has commissioned eight artists to make new work that responds to ideas around plants and gardens, food sustainability, urban landscapes and environmental concerns more broadly.

Working across some of Melbourne’s best-loved rooftops for the duration of the festival, the artists have also responded to the unique flavour of each establishment. How will artists interpret the hunter/gatherer ethos at Sarti Bar and Restaurant, or the flamboyant cheekiness of Madam Brussels? How will they respond to the understated but oh-so-Melbourne elegance of the Order of Melbourne, or the cool as a cucumber and high as a kite atmosphere of Rooftop Bar?

Sarti Restaurant & Bar: Hotham Street Ladies + Natasha Frisch
Rooftop Bar and Cinema: Dell Stewart + Adam Cruickshank
The Order of Melbourne: Andy Hutson + Kirsten Bradley
Madame Brussels: Tai Snaith + Carl Scrase

Closing Night Event: Tuesday 23rd March

The Melbourne Queer Film Festival

12 – 28th March 2010

Opening night Wednesday 17 March at the Astor Theatre



MQFF is the biggest and oldest queer film festival in Australia, and screens the best in queer film from Australia and around the world.

Centre for Contemporary Photography

Gallery Two

David Van Royen

Not Moving

19 March – 16 May 2010

Opening night Thursday March 18, 6-8pm


Not Moving is an exploration of self-portraiture within photography to display no movement and to create a still frame. This photographic series examines the process of becoming older by exploring that one’s ‘persona’ or ‘inner picture’ somehow remains the same within one’s mind throughout the course of one’s life.

We have a specific self-portrait inside our minds that does not shift like a photograph. It is this image that we attempt to maintain in spite of its possible discordance with the reality of our physical appearance. Like many artist self-portraits that examine mortality, this series concentrates on the environment around the subject, as well as my own state within the particular place displayed.

These photographic images display ideas that permeate my life without relying on the traditional ‘returned stare’ that dominates the genre of self-portraiture. Through this the window to my soul/persona becomes the photographic frame rather than my eyes. Within these images the release cable from the camera represents the physical action of taking the photograph, symbolising my attempt to ‘refresh’ the internal photograph of myself.

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