Overview, Images

methods for collapse

Gabriella Imrichova

29 Jun–16 Jul 2022

Invested in visual liberation through counter-intuitive practices, methods for collapse (m4c) is a live performance score which will go through cycles of destructive processing techniques over the duration of the exhibition.

m4c is a resistance to our seemingly inherent desires for knowing, progress and order (aka holding the world captive). It is an attempt to parallel a queer desire for becoming unlocatable/illegible through the “collapse [of] all reference and reconcilability” *.

m4c is the beginning of inquiries into a performance language which dis-locates/dis-orients (-to never reorient). A language to scramble the ease between image and label; an attempt to generate a phenomenology of kin.

Open to the public with no unveiling or revealing, m4c unlocks the gallery from its usual function. Constantly in flux, the work enters un-made and opens to the public as a work-in-“progress”. The gallery is now a studio space, and the public are invited to witness the writing, development, de-development (deterioration), and final collapse of the score.

* Bewilderment by Fanny Howe [text more than partially irrelevant]

29 June – 2 July
The site responsive score is written.

6 July – 9 July
Performers learn the score.

13 July ­– 15 July
The score is pushed through cycles of processing techniques.

16 July
The score goes through the cycles before being layered one on top of the other aka the final mode of the scores collapse.

Performed by

Mara Galagher
Sophie Gargan
Roslyn Orlando
Anika de Ruyter

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Onsite, Exhibition, Performance

methods for collapse is a live performance score that enters the gallery unmade and developed over the course of the exhibition. The score is then pushed through multiple processing techniques for its continued deterioration.


‘methods for collapse’ contains nudity and the use of low-toxic spray paint.

Opening: 30 Jun 2022, 8am

This program takes place on the land of the Wurundjeri people of the Kulin Nation. We recognise that sovereignty was never ceded - this land is stolen land. We pay respects to Wurundjeri Elders, past, present and emerging, to the Elders from other communities and to any other Aboriginal or Torres Strait Islanders who might encounter or participate in the program.


Connecting in the Grey Zone
IE.-BS, Connecting in the Grey Zones, curated by Anador Walsh, installation at Blindside. Courtesy of the artist. Photo: Nick James Archer.
Onsite, Exhibition, Emerging Curator

5–20 Dec 2019

Connecting in the Grey Zone

Jess Gall + Rebecca Jensen, Arini Byng, Eugene Choi, Ivey Wawn, Angela Goh, Isabella Hone-Saunders, ie.-bs