3D Ausstellungen



    21 Apr 2022 – 08 May 2022

    TONANTSINTLALLI a multidimensional Mother Earth By Desiree Hernandez Ibinarriaga and David Marcelino Cayetano Opening Thursday 28th April 6:30-8:30pm The creative practitioners Desiree Hernandez Ibinarriaga, Nahua (Aztec), Chamula (Mayan), and Euskaldunak (Basque) woman and Marcelino Cayetano, Nahua-Mexika man welcome you to appreciate the multidimensional reality through a series of photographs, video and designs and from Mexico and Australia to understand the real world with its material and immaterial connections through deep listening, observation, sensation and appreciation. This exhibition is for you to be immersed in the multidimensional world we exist in and connect with the material and immaterial. To have relationality with Tonantsintlalli – Our Madrecita Tierra. The connection with EVERYTHING. They invite you to slow down and feel the textures, the sounds, the colours, shapes, the structures, dimensions and energies in a more detailed manner and imagine or remember, connecting the past with the present understanding the non-linear time in Indigenous worldviews. Look at the whole, the diverse dimensions, and understand Country as a unit, the relationship of everything, how everything is interconnected through the law of relationality. Go beyond the tangible world and think about the material and immaterial together, the connection between all entities through acknowledgement of the importance of culture, language, relationships and connections. Currently, we move towards the womb of our Mother Earth (Tonantsintlalli), since we come from her and we return to her, with her everything, without her nothing, we need to revive the learning of caring for her. The creative practitioners invite you to a live experience of the interconnections through ways of knowing and doing. Desiree Hernandez Ibinarriaga. Indigenous Mexican woman with Nahua (Aztec), Chamula (Mayan), and Euskaldunak (Basque) heritage. Desiree is a creative practitioner, collaborative and social design maker and thinker. She is Lecturer at Monash Art Design and Architecture, and Coordinator for Indigenous Higher Degrees by Research being part of Wominjeka Djeembana Research Lab. With over 14 years of experience in the design field, across disciplines including decolonising design, Indigenous design, sustainability, social, furniture and interior design, Desiree’s practice focuses on Indigenous peoples’ building of capacity and better ways of partnership, collaboration, and communication between Indigenous and non-Indigenous people through design. Desiree’s purpose is acknowledging and recognising the relationality between people and Place while privileging Indigenous knowledges, by enhancing biocultural diversity conservation and regeneration towards collaborative resilience, cultural identity pride and sustainability. David Marcelino Cayetano of ancestral roots Nahua-Mexika, who for more than seven years has been dedicated to audio-visual art, photography, muralism, poetry and music from the worldview of the original peoples of him. Likewise, he is a teacher of his native Nahuatl language and a promoter of traditional medicine that his grandparents inherited him. He published a book about legends regarding the nature and sacred places of the Huasteca "Kamanaltlajtolmej Xilitlan / Narratives in Náhuatl de Xilitla". Throughout his career he has documented the wisdom of his ancestors such as language, dances, medicine ceremonies, traditions, customs, etc. He has served as a community authority in his own community with the position of Municipal Delegate, he studied civil engineering at the Regiomontana University. During his stay in Monterrey he was a producer and host of the TVRadio program “Voces Originarias” on TuVoxTV, thus he has also made murals from his ancestral worldview and is passionate about everything related to the traditional medicine of his ancestors who inherited him, as well as teaching classes of Náhuatl. He currently makes indigenous cinema and is co-founder of the independent film production house “Bironga Films”, which has presented his audio-visual works in the National Cinema, National Mask Museum, Institute of Anthropological Research, National School of Languages, Linguistics and Translation of UNAM, among other cultural and academic spaces.



    31 Mar 2022 – 17 Apr 2022

    RENEE COSGRAVE & DOROTHY NILSON(NZ) Whanaunga is an exhibition of new paintings by Renee Cosgrave with works by her Whaea (Aunty) Dorothy Nilson. Whanaunga means relative in te reo Māori. Renee’s oil paintings were made over the last few years and during this time Renee has been connecting to culture. These works speak to concepts of whakapapa (geneology), whenua (land), te reo Māori (language) and rāranga (weaving). Renee’s oil paintings are abstract and explore colour and repetition. The colour in Renee’s works tend to reference colours in land and waters, becoming dedicated to sites or an elder. These works are simple in their construction and they are enjoyable for the artist to make, usually constructed from left to right, like reading a book or like the way weavings are constructed. Tension, rhythm and being relaxed are important when Renee makes these works. Renee shares the exhibition space with her aunty as this show is very much about whānau (family). Renee was attracted to Abstract, a sombre, small and very dark painting of flowers, hiding in her whaea’s home. Both Renee and Whaea Dorothy use art making as a tool for healing and growth. Whaea Dorothy and Renee are from the Ngāti Tūwharetoa iwi (tribe). Renee is based in Narrm on Wurundjeri Woi wurrung Country and Whaea Dorothy lives in Tāmaki Makaurau (Auckland), Aotearoa (New Zealand).



    02 Dec 2021 – 19 Dec 2021

    Blak Dot turns 10! Celebrating a Deadly Decade! As we celebrate a deadly decade of Blak Dot and First Nations excellence we thank everyone who has put their heart and soul into this space. We will continue to practice self-determination, reciprocity, and respectful relationships with all community groups who walk through our doors. We will also continue to support vibrant contemporary First Peoples art and center our cultural and artistic leadership. We look forward to discovering and sharing great art and artists with you for another decade as Blak Dot Gallery continues to showcase the outstanding talent of our First Nations artists.


    ko kori toku ingoa

    12 May 2022 – 29 May 2022

    kori is a shapeshifter. kori is a shift shaper. kori is a shit stirrer. kori is an interdimensional entity. Sean’s body is a vessel for kori. kori is coming into this world! kori is not from the here and now. kori does not yet understand human traditions. kori does not yet understand social constructs. But kori wants to connect. kori needs community. kori is a persona that is becoming an identity. kori is an extension of Sean. Sean is becoming kori. Sean is throwing a baby shower to welcome kori to this world.



    10 Mar 2022 – 27 Mar 2022

    Adapt22 // A collection of mixed Media artworks created by Josh Deane Developing his creative identity in the fashion industry. Josh utilised his experiences to develop an exhibition where he dressed models head to toe in bespoke wearable art. A concept almost unimaginable in the recent times. Josh adapted to the changes forced by lock down. By exploring his emotions and his endless desire to create. Josh attempts to heal and escape the isolation and separation from society felt over the last two years. Josh Deane Josh is an Indigenous Contemporary Artist/Model from Naarm /Melbourne, Australia. Josh creates contemporary art influenced by his own life and experiences. An avid tattoo enthusiast, this passion for art and fashion is reflected on Josh’s body, which is approximately 80% covered in over 10 years+ worth of ink. Scouted whilst working as a hairdresser, Josh has travelled across the globe as a Model and Content Creator, previously modelling fashion campaigns for luxury brands, e-commerce and runways in Paris, China and Milan. As an artist he has had the pleasure of painting denim at activations around Australia for Levis,Business openings and various events. In 2019 He launched his own capsule collection of hand painted denim; by Josh Deane and successfully held a sold out launch “Xihibt” (Exhibition/ Fashion Runway) in March 2020. Josh Deane loves working within the Creative Industries and is extremely passionate about representing diversity within it. Living with a firm belief that the act of creation can bring healing and inspiration to others.


    Through the Eyes of Her Children

    03 Mar 2022 – 21 Mar 2022

    Through the Eyes of Her Children by Young Eritreans Australia celebrates our voices and how we connect with each other and culture creatively, living in the diaspora. This exhibition brings together young Eritrean artists living in Narrm (Melbourne), Boorloo (Perth) and around the world, and was supported by Arts Gen. Young Eritreans Australia (YEA) is a platform established in 2019 with the aim to connect, build and support our community across the country by creating a safe space for young Eritreans to learn, connect and celebrate their roots. YEA also networks with and supports fellow Eritreans around the world by engaging in campaigns and fundraisers that support vulnerable peoples and human right initiatives. Artists: Ariam Christobel Elliott Féven Zewdi Iman Abdulhai Manal Younus Maranata Gebremedhin Mariam Geme Studio 13 Weaam Abdu



    11 Nov 2021 – 28 Nov 2021

    By: Nicholas Currie UN-SPORTS-MAN-LIKE both questions and celebrates masculinity, the body and sport culture and iconography. A collection of paintings created by movements used by the body in sporting and performance actions surrounded by an installation of figurative sculptures to coexisting in the space. In imposed hypermasculine spaces and activities the idea of the body is questioned constantly. Sport and performance give strength and sense of belonging to many people aligning with identity and how to represent yourself in a social space. The installation of the figurative sculptures follows a narrative of the figures attending a gallery show for a fellow teammate, the creation of the figures are named and based loosely of significant figures in the artists life.



    01 Oct 2021 – 17 Oct 2021

    GOOD BREAD is an Afro American expression of pleasure and approval for a person, place or situation. Brought to you by Cubby Art Party, y'all could say that Good Bread is the art party that we've been... kneading! At Good Bread, you can expect a wide array of flavour from a lineup of established and emerging artists from across the globe. We're cutting y'all some scrumptious slices of what we got over three weeks in October, so you can celebrate how you want to. Butter up the dance floor on Opening Night. Snap your fingers at our Spoken Word event. Join us for a Jam Session. Get the tea at our Artist Talk. Good Bread goes with everything! Come break some with us.



    29 Jul 2021 – 15 Aug 2021

    A SOLO SHOW BY: YASK DESAI Yask Desai’s visually based project entitled Telia, attempts to reanimate and reexamine the experiences of the men who migrated from undivided India and worked as hawkers or travelling salesman within rural Australia in the late 19th and early 20th centuries. Telia was the word used to refer to Australia by some of the migrant’s families who were left behind in India. The final work involves the production of a photobook consisting of archival artefacts (including documents and collected historical photographs) in combination with his own photography. In its gallery exhibit form the work also includes a series of video poems that help to place Desai, as an Anglo-Indian artist, within the overall narrative framework of the project. "As an Anglo-Indian my own life experience within both the wider Australian and Indian societies and through the associated cultural bodies of each social group was invaluable in assisting me to attempt to understand the experience of cultural dislocation that the men who worked as hawkers may have faced." About the Artist Yask Desai is a Melbourne-based Australian-Indian visual artist who works with photography, video, archives and text. His work concerns itself with themes of place and collective and individual identity. Desai often combines historical and social research to explore the cultural connections between imagery, history and constructions of identity. He continues to work on multiple projects and his current work Telia, formed the basis of his Master’s Degree research. The work reimagines the lives of the men who migrated from India to Australia in the later half of the 19th century and worked as hawkers (travelling salesman) selling goods to the inhabitants of regional Australia. His work has been featured by Ballarat International Foto Biennale, and PIX India, and acknowledged as a finalist in the British Journal of Photography’s Portrait of Britain, Wyndham Art Prize, National Photographic Portrait Prize at the National Portrait Gallery, CLIP Award at the Perth Centre for Photography, HeadOn Photo Festival, Australia and New Zealand Photobook Award and was awarded ‘Most Critically Engaged Work’ at Salon at the Centre for Contemporary Photography in Melbourne. Yask is currently a candidate for the Masters in Photography at Photography Studies College in Melbourne.



    08 Jul 2021 – 25 Jul 2021

    A Solo show by: SONJA HODGE JIRNDI /jirdi/ n. Leaf; leafy branch, bush (in sense of leafy branch). We are hournered to be hosting Sonja Hodge’s long-awaited solo exhibition JIRNDI at Blak Dot Gallery for NAIDOC week themed Healing Country. Jirndi is a Lardil word for leaf/leafy branch, which is a prevalent symbol used throughout Sonja’s artwork. The leaves reflect the growing journey of identity through reconnecting with family members and the importance of caring for, and healing, Country. Sonja expresses her identity as a Lardil and Yangkaal woman through her strong designs of wreaths, leaves, waterways and figures, which speaks to her Aboriginality and the pride she feels for the resilience of her people. Website 2.jpg SONJA HODGE - Lardil and Yangkaal woman Sonja is a Mildura-based artist and printmaker born in Meekatharra WA in 1969. Sonja grew up in Perth, WA and moved to Melbourne in 1990. After working and studying in Melbourne she relocated to Mildura in 1996. Sonja has a studio space at The Art Vault where she works in the areas of printmaking, painting, silversmithing and multi-media work where she explores her connection with culture, family, friends and the world around her. During the 90s, Sonja worked on many public art projects and exhibitions around the City of Melbourne, including the Swanston Street Walk Public Art Project and Can’t See For Lookin’. Throughout her career, Sonja has exhibited in group and solo exhibitions, such as Shiny Shiny Blak Bling and Tribal Expressions, with the Melbourne Fringe Festival, the Koorie Heritage Trust, Alcaston Gallery, Wartook Studio Gallery and The Art Vault. She has also worked in various arts sectors in curating and collections, which has guided her journey into branching into working full-time as an artist. Sonja’s printmaking journey began with the encouragement from Bill Young and Anita Lawrence, who suggested her painting designs would translate into the intricacy of Lino printing. In 2012, she undertook an Indigenous Visual Arts Residency, funded by Regional Arts Victoria at The Art Vault to work alongside artist Ros Atkins and Master Printmaker Peter Lancaster, to develop her practice into incorporating multi block and reduction Lino printing and Lithography. Currently, Sonja sits on the Board at Arts Mildura. JIRNDI is a culmination of Sonja’s extensive artistic practice, which includes her beginnings in painting to her expansion into printmaking. Since the 80s, her contribution to the presence of Aboriginal women's art in contemporary spaces, and in education, in South-East Australia is reflected in her passion for supporting emerging and mid-career regional artists. Sonja's creative journey has shaped not only her skills in the arts but also as a Blak woman in so-called Australia.



    17 Jun 2021 – 04 Jul 2021

    Hatch/hatʃ/ - Playing with the threads. Those needles seem sometimes magical, like the hands of my friends and compañeras. I try to copy the moves like a surgeon closing the skin after it breaks. We are used to repairing each other’s wounds through very simple words “yo te creo” (I believe you). Joining in the song even if some times we don’t speak the same language. I project their hands, which are now synonymous with healing caresses, while I feel all my beliefs falling and breaking down. It’s a great pleasure and a horrible pain inside my body. We heal in (de)constructing. Now that voice gets stronger cause it’s multiplied and tears of emotion fall when I realise that what we changed is irreversible we will not be the same as yesterday and we will not be the same tomorrow And you will never be alone anymore, now we have each other. Hatch /hatʃ/ female name 1. tr. To cross the threads of the weft between those of the warp, to weave some fabric. 2. tr. Disposing or cunningly or maliciously preparing an entanglement, deception or treason. 3. tr. Skilfully arrange the execution of anything complicated or difficult. - - - Solo exhibition by: Alejandra Lena Becerra Draghi



    06 May 2021 – 23 May 2021

    Presented by YIRRAMBOI Festival in association with Blak Dot Gallery. Imagine seeing images frozen in time of your ancestors in museums, taken by people documenting an ‘exotic’ sighting. Who has the power over their image? Ngioka Bunda-Heath’s new dance piece and photographic exhibition explores the idea of shifting the gaze and refocusing the colonial lens that has publicly framed her ancestors. The photographic element of Birrpai is a father (John Heath) and daughter (Ngioka Bunda-Heath) collaborative exhibition showcasing photographs of dancer and choreographer Ngioka Bunda-Heath’s paternal family members taken in the 1910s up until modern 2021. The black and white photographs were the work of Thomas Dick, the Port Macquarie oyster farmer whose early 20th century photographs, portraying pre-contact Birrpai life, are internationally renowned. They are the result of an incredible collaborative project carried out intermittently over a 10 year period from 1910; a period heavily infested by racism. The more modern photographs were taken by Bunda-Heath’s family and friends, capturing memories and moments. This exhibition looks at the portrayal of pre-colonial Indigenous culture through the lens of a non- Indigenous photographer and examines the impact of European occupation, especially on the Birrpai people of Port Macquarie and the Hastings region in NSW. Credits Choreographer and Performer: Ngioka Bunda-Heath Cultural Consultant and Performer: John Heath Dramaturge/Movement Director: Joel Bray Mentor: Theodore Cassady Sound Engineer: Daniel Nixon Lighting Designer: Siobhain Geaney Stage Manager: Steph Cox Producer: Erica McCalman Birrpai is co-commissioned by Chunky and Next Wave. Supported by the Victorian Government through Creative Victoria, City of Moreland, YIRRAMBOI Festival Resilience in Isolation Fund, Brunswick Mechanics Institute, Besen Family Foundation and Lucy Guerin Inc via a studio. The photographs in this exhibition are courtesy of the Australian Museum Archives and the Queensland Musume, Thomas Dick Collection.


    Here, There, Nowhere

    15 Apr 2021 – 02 May 2021

    Here, There, Nowhere presents works by artists Fazail Lutfi, Kareen Adam, and Manal - the first time a group of Maldivian artists are exhibiting works in Melbourne. This exhibition evolved out of conversations Kareen was having with her Maldivian peers about her series of coral drawings and paintings, which began during 2013 while she was living in Maldives. The conversations reflected on contextualising the idea of home and connection to place, especially as our physical and emotional distance oscillated and shifted from our place of birth. In one conversation with Topy Saeed (a creative director and artist also from the Maldives) we found a connection between Fazail, Kareen and Manal’s works. Each of us grew up in Male’ the capital of Maldives, and have lived away or are living away from our city. We all still hold strong connections and roots to our place of birth. In our lifetime, the once idyllic island village has transformed into a hectic city, shaped by the advances and troubles of rapid development and socio-political changes. Our works contemplate the current state of our city Male’ against our memories, the transformations it is going through, and how we are connected to that place now. However, each of us are processing these experiences from different perspectives: while Kareen’s work delves into nostalgia and the past, Manal’s work responds to the present condition of living in the dense city, and Fazail’s work explores the location of his body and self in relation to our place of origin. While we each have creative practices in different artistic mediums, collectively we present a visual discourse on (dis) connection to place, impermanence, fluidity, nostalgia and a yearning for stability and security. Juxtaposed and placed within shared boundaries of a gallery space - far away from where we come from - the stories, ideas and representations point to a space that one can never return to. Together we are Here, There, and Nowhere simultaneously.



    04 Mar 2021 – 21 Mar 2021

    A solo exhibition by: Tāne Te Manu McRoberts Our descent from the heavens, woven through time, each stitch generating the mana behind Ngā Atua Māori. Te Heketanga a Rangi is presented through a mix of traditional and contemporary weaving, Poi and digital designs inspired by Māori and Pacifica histories and genealogies. "E kore au e ngaro, he kākano i ruia mai i Rangiātea." 'I shall never be lost, I am a seed sown from Rangiātea.' About the artist: Tāne Te Manu McRoberts is a Māori weaver and designer of fine and intricate Polynesian attire. Inspired by his ancestral lineage he creates traditional and contemporary works, from natural and modern resources. Tāne Te Manu is direct descendant of Ngāti Mākino & Ngāti Rangitihi- Te Arawa & Te Whānau ā Apanui- Tauira Mai Tawhiti, all of which are descendants of Tahiti, Ra’iātea (Māohi) & Hawai’i (Māoli).


    Roots of Identity

    10 Feb 2021 – 28 Feb 2021

    From the Woiwurrung Language of the Kulin Nation, Narrun Yana translates as Spirit Journey. We feel this is fitting for our Collective because it reflects our journey from out of home care and high school into adulthood. It also reflects our journey as artists and contributors to our community.  Roots of Identity is our second exhibition as a Collective. It reflects our personal journey’s and experiences, and represents what community and home means to each of us examining the roots of who we are as artists and First Nations people. Narrun Yana is a safe space where we create work in a culturally safe environment that supports us to become economically independent as well as well as providing professional development opportunities within the arts and cultural sector.  Our goals for the future are to create opportunities for each other and other young blackfullas, and to be recognised as artists.  We hope to create a successful independent black arts business for youth. We invite you to join us on our journey. Artists: Teaka Willaims Chelsea McGinty Rubii Red Nakia Cadd Project supported by: Creative Victoria VACCA Proudly supported by: Australian Government Indigenous Languages and Arts Moreland City Council Creative Victoria Blak Dot Gallery


    Our Land Is Our Spirit

    19 Feb 2021 – 28 Feb 2021

    Our Land Is Our Spirit is a group exhibition showcasing five young Aboriginal and Torres Strait Islander aspiring artists through the Art Mentoring Program produced by VACCA. This exhibition is part of VACCA’s ongoing commitment to building protective factors in our children and young people and the importance of providing opportunities for young people to explore their cultural knowledge and identity through various art media including sculpture, painting and putting their art on gift cards. The young people who participated in the Art Mentoring Program have been inspired and mentored by the stories and experiences of three artists including Maree Clarke (Mutti Mutti, Yorta Yorta, Boon Wurrung), Emma Bamblett (Wemba Wemba, Gunditjmara, Ngadjonji, Taungurung) and Peter Waples-Crowe (Ngarigo). Funders Partners The Victorian Aboriginal Child Care Agency would like to thank the supporters of the 2020 Art Mentoring Project. Creative Victoria Neon Parlour Blak Dot Gallery


    Healing Through Buliana

    13 Nov 2020 – 29 Nov 2020

    It wasn't until I had my son that I realised how incredible the woman's' bodies are. We are strong and endure so much. We create life, we feed and nurture another being, and we continue to grow and provide all that we have. Birth is such an incredibly empowering experience. The birth of my firstborn child was very traumatic, I lost control, and when I was going into my second pregnancy, I was fearful of the end. Though, it was not at all to be feared. Pregnancy is so innate and natural, yet the westernised way has shifted the power and control from the woman to the hospital or physician. With my second birth and labour, I put faith in my body and knew that it would know what to do. I gave in to the waves of labour. It was such a pivotal moment in my life. Birth gives you immense strength that no one can take away from you. A woman's body is one to be cherished. These pieces depict the creation of life, motherhood, nurturing and nourishing our beautiful babies or bodies. It expresses the honour we should place on our matriarch.


    Existing on Two Planes

    12 Nov 2020 – 29 Nov 2020

    Melbourne Fringe Festival 2020 Omens, portents and messages from the other side. Stories of dreams, ancestral spirit visitors and the messages we receive daily as we walk through life. They are often warnings or telling of family events or suffering. A portent of death or of future birth. A warning of impending pain or a harbinger of future happiness. As Indigenous and First Nations people we walk through life tuned into the spirit plane as well as the living plane. We weave mana and meaning into the things we create and understand that the spirituality of things is integral to its existence in the material world.

    exhibiting artists

    neueste Werke

    • Manisha Anjali

      Friend to Flowers and Animals, 2022
      Audio, 1:23, looped
    • BLECK.

      Welcome, 2022
      200 x 80 cm (h x w)
    • Jesse Gall

      Fire, walk with me (baby mobile), 2022
      Mixed organic and inorganic matter, copper, aluminium, sterling silver, glass, nylon, bird seed, beeswax.
    • J Davies

      kori is coming! (Image #7), 2022
    • J Davies

      kori is coming! (Image #6), 2022
    • J Davies

      kori is coming! (Image #5), 2022
    • J Davies

      kori is coming! (Image #4), 2022
    • J Davies

      kori is coming! (Image #3), 2022
    • J Davies

      kori is coming! (Image #2), 2022
    • _/\_ (Bon Mott)

      High energy showers, 2022
      Mixed media vertical cosmic ray sculptures
    • J Davies

      kori is coming! (Image #1), 2022
    • SOAP (Camille McLeod, Lachlan Johnson, & Marcel Berthon)

      and I come out alive, 2022
      200 x 150 cm (h x w)
      Audio, 8:00, looped
    • Sean Miles, Agnes Whalan, _/\_ (Bon Mott), klari agar, SOAP (Camille McLeod, Lachlan Johnson, & Marcel Berthon)

      Nursery (Gallery 2 Installation) II, 2022
    • klari agar

      Tether, 2022
      Candle wax, glass, fire, varnish, latex, glue, copper, proximity and conversation, discarded nest material, tubing, dream about texture
    • _/\_ (Bon Mott)

      High energy showers, 2022
      silk, fan
    • Agnes Whalan

      Nest, 2022
      Mixed Media
    • Sean Miles

      ko kori toku ingoa, 2022
      197 x 290 cm (h x w)
    • SOAP (Camille McLeod & Litia Roko)

      and I come out alive II, 2022
      70 x 70 cm (h x w)
      Hand-embroidered cotton lace doilies, procion MX (cold-water) dye, resin, Sean’s circular black painting
    • Lucie McIntosh

      Narcissus Dish, 2019
      Crushed velvet, down, tin, enamel
    • Moorina Bonini

      Untitled (Charcoal Remains), 2022