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Artist Curator Geometry Colour Contemplation Re-thinking History #brownmaninawhitemuseum

Some painting I saw yesterday: examples from the inimatable Jenny Watson’s 5 decade-career @fsmyergallery concisely curated by @davidsequeirastudio; Nicholas Curries’ @nicholascurrie monumental paintings consolidating his developing visual language to riff on Indigenous identity, popular culture and art history, sometimes in the one canvas, and Caesar Florence-Howard’s material-led investigations of the painted surface, both in NEW26 @acca_melbourne; Alasdair McLuckie’s @alasdairmcluckie playful remix of modernism’s greatest hits, in a pop up show at Level 1, 53 Bourke Street in the CBD until Tuesday; and Karen Black’s @karenblackstudio dense, painterly compositions that spill over the picture frame @suttongallerymelbourne

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$~ Launching tomorrow ~ Edited by Anna Briers, Direct Bodily Empathy – Sensing Sound is a book that explores sound as a medium, posing questions around the ways artists use deep listening – to audible currents and felt vibrations, sirens and noise – as a means of collective attunement, of knowledge building, and as a tool for critically engaging with a planet in crisis. Catalysed by the two-part exhibition curated for the tenth anniversary of the Len Lye Centre, the publication takes a polyphonic approach through the connective tissue of acoustics. It places the work of Len Lye in concert with major contemporary artists from Aotearoa and abroad, pairing essays and expanded texts from leading scholars with intriguing works from the sonic field. Here, sound installations, resonant objects, graphic scores, visual music, kinetic sculptures, field recordings, experimental films, musical composition, choreography, and broader sonic artefacts echo, fracture and accord. Join us for an afternoon of sound, moving image, readings and conversation. The launch will include a special screening of Len Lye’s Swinging the Lambeth Walk, contributions by Rachel Shearer and Janine Randerson, Roger Horrocks’ reading of Len Lye’s Sense Days, and a reading of Gascia Ouzounian’s Counterlistening. Senior Curator and Editor Anna Briers and Head of Public Practice and Creative Enquiry Lleah Smith will then be in conversation. As the formal programme comes to a close, the cinema will shift into a deep listening experience through an audio playback of Mia Salsjö’s A Score for the Len Lye Centre, we will be carried into an afternoon of drinks, refreshments, conversation and an opportunity to purchase the book. Saturday 10 October 2026 3:00 – 4:15pm: Welcome + book launch. From 4:15: Performance, drinks & snacks, book purchases.$

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$The sound of freshly printed pages turning…. Excited to usher this new book into the world: Saturday 3-5pm @govettbrewster with @fermentingknowledges Hugely grateful to collaborate again with the star team @perimeterbooks 🔈 How can sound act as a material force of consequence in the world? Edited by Anna Briers, Direct Bodily Empathy – Sensing Sound is a book that explores sound as a medium, posing questions around the ways artists use deep listening – to audible currents and felt vibrations, sirens and noise – as a means of collective attunement, of knowledge building, and as a tool for critically engaging with a planet in crisis. Catalysed by the two-part exhibition curated for the tenth anniversary of the Len Lye Centre, the publication takes a polyphonic approach through the connective tissue of acoustics. It places the work of Len Lye in concert with major contemporary artists from Aotearoa and abroad, pairing essays and expanded texts from leading scholars with intriguing works from the sonic field. Here, sound installations, resonant objects, graphic scores, visual music, kinetic sculptures, field recordings, experimental films, musical composition, choreography, and broader sonic artefacts echo, fracture and accord. Considering the ecological, political, technological, and sensory dimensions of sound, Direct Bodily Empathy asks: Can architecture be a musical score? Can the body be an instrument? Can colour be heard? What does a healthy ecosystem sound like? How can sound act as an indigenising gesture? What are the techno-politics of machine listening? And what sirens and warnings are needed to survive the future. Featuring work by Lawrence Abu Hamdan, Roy de Maistre, Andrew Faleatua, Oskar Fischinger, Simon Ingram, YoungEun Kim, Yona Lee, Len Lye, Machine Listening (Sean Dockray, James Parker, Joel Stern), Ross Manning, Yuko Mohri, Mel O’Callaghan, Mia Salsjö + the New Zealand Symphony Orchestra, Aura Satz, David Sequeira, Rachel Shearer, Weather Cry (Phil Dadson and James McCarthy); and texts by Anna Briers, Len Lye, Machine Listening, Gascia Ouzounian, Aura Satz, Rachel Shearer and Janine Randerson, Lleah Smith, Mark Peter Wright.$

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David Sequeira

@davidsequeirastudio