Diego Ramirez

Artsworker Run Space

My KPI is 666 and yours is a great proposal. This open call is a close call for a MEMO review. My risk assessment matrix is a shrug because I can't handle more than 3 columns on excel and this got a whole lotta of 'em. I own a standing desk. No, really, I own a standing desk. If someone ever teaches you that an arts career is linear and that ARIs are 'stepping stones', tell them that I am personally offended. You may fail the unit but pass my personality test. Mambo is way cooler than salsa and success is more frightening than failure.

Artists

Damien Melchiori
Katie Paine
Bon Mott
Arthur Nyakuengama
Jessie Turner
Stacey Collee
Rachel Wu
Lauren Nevard
Kira Richards
Isabella Besen
Leyla Moxham
Alexander Fredriksson
Benita Beveridge
Remy Spanos
Kate Murrell
Lucy Wilson

Jessie Turner, *The Fire's Stone*, metallic inkjet print, 2022.

Arthur Nyakuengama, *Buff*, leather, boots, stuffing, plywood, boot polish, 82 x90 x24 cm. Documentation by Siro Massimo Piovesan Cavaiuolo.

Damien Melchiori, *Creative Destruction (installation view)*, dimensions variable, 2022. Documentation by Simon Strong. EB Myer Room, Victorian College of the Arts, The University of Melbourne.

Katie Paine, *A Lonely Circumnavigation*, single-channel video, enamel, fabricated trolley, yellow cord, 12.00 mins, 2022. Fabrication by Ellen Sayers. Documentation by Jon Butt.

Stacey Collee, PAPARAZZI [And she to me: “There is no greater pain/ than to remember, in our present grief/ past happiness (as well your teacher knows)!/ But if your great desire is to learn/ the very ro,ot of such a love as ours/ I shall tell you, but in words of flowing tears.] microphone, microphone cord, loudspeaker, 1 hr, 2022. Documentation by Kenneth Suico.

Rachel Wu, *Observation*, acrylic, micro-controller, ultrasonic sensor, 2022.

Kate Murrell, Close up image of surrounding material and installation, 2022.

Leyla Moxham, VCA Art Grad Show install 2022. Documentation by SLACK.

Remy Spanos, *Untitled*, colour darkroom print, 2022. Documentation by Lucy Foster.

ALEX FREDRIKSSON, *Tomb*, Analogue chromogenic print, 2022.

Benita Beveridge, *Shoulda-Woulda-...* , acrylic painted cardboard and upcycled yoga mat on astro-turf, 2022.
Public welcomed to lie down on yoga mat for a moment of self-reflection.

Kira Richards, *The Stars Have Fallen and So Have I* (detail), 2022. Documentation by Christo Crocker.

Jessie Turner, *Scrying mirror*, resin, obsidian, preserved moss, 2022.

Lucy Wilson, *a bookend*, inkjet print, oak frame, galvanised chain and used brick, 2022.

L Nevard, *take ibuprofen together*, cotton, wool, 200 x 109 cm, 2022. Documentation by Christo Crocker

Isabella Besen, *who cares? i kind've care*, grey Led, black enamel paint, gloss varnish, 2 walls, 2022. Documentation by SLACK.

Bon Mott _/\_, *Bonfire: Touch Too Much.*, Printed double-glazed toughened glass panels, black welded powder-coated steel frame, rubber, powder-coated sheet metal, smoke machine, charcoal, broken glass, magnets, plastic letters, black fabric, microphone stand, guitar leads, and microphones, 2019. Documentation by Jonathan Griggs.

Diego Ramirez

Diego Ramírez is an artist, writer and facilitator with hopes and dreams. He has shown at ACMI x ACCA, Human Resources LA, Westspace x Gertrude, and Deslave, Tijuana. Ramírez has written for Art Gallery of Western Australia, Art and Australia, NECSUS, MEMO and un Projects. As a facilitator, he is the Director at SEVENTH Gallery and sits in panels for Creative Victoria, City of Melbourne, and is a peer assessor for Australia Council. He is represented by MARS Gallery.

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