Laura Carey is an arts worker, educator and artist. Laura has over 10 years of experience working across galleries, events, public engagement, and education. Her organisational experience has ranged from artist-run gallery spaces in her hometown of Dublin, community-based galleries in Sydney to key cultural institutions.

Most recently, Laura has been managing the creative learning team and the operation of the National Centre for Creative Learning at the Museum of Contemporary Art. Laura is also the co-founder of a newly formed engagement-focused partnership FLENK collective that connects audiences with contemporary art and artists.

In 2018, Laura collaborated with international artist Ciara Phillips to deliver her 2016 Biennale of Sydney participatory installation and print studio “Workshop 2010 -ongoing”. Laura holds a BFA Hons (National College of Art & Design, Dublin) and later continued graduate studies at UNSW Art & Design Sydney.

Joel Mu is a curator and writer living in Berlin. He studied philosophy, contemporary art-theory and art-history and curating performance in Sydney, Munich and Salzburg. Joel has worked for many years in the context of visual and performing arts, at times in international museums and galleries, as well as guest curator for the DAAD Artists-in-Berlin Programme, the Schinkel Pavillon and KW Institute for Contemporary Art.

Since 2015 he has been programming his own project space @groupsandindividuals, in Berlin. He writes about artists who follow atypical paths in life and art and is the author of Jupiter: Andreas Sell ‘Life Performance’ (BOM DIA, 2020), an artist monograph realised with funding from the Berlin Senate, Department of Culture and Europe. Joel Mu was born on Larrakia country and acknowledges the Larrakia people as the Traditional Owners of the Darwin region of northern Australia.

Penelope Cain is an artist with a research science background. She works with landscape in its widest definition, in particular the colonised, extracted and transformed landscapes of the Anthropocene and post-human. Cain’s art practice is located interstitially between scientific knowledge and unearthing connective untold narratives in the world; using video, installation, objects, flags, text, public participation in storytellings about the lands of the Anthropocene.

Across 2021 she has been researching the connection between lyrebirds impacted by climate-change associated forest-fires in Australia, and the effect of ash from these fires on glacier longevity in the New Zealand Southern Alps/ Kā Tiritiri o te Moana, working towards a sonic performance for three voices; lyrebirds, glaciers + snow algae.

Her work has been exhibited in commissioned and curated exhibitions nationally and internationally in Brazil, Britain, Australia, Taiwan, China and Korea. Most recently she has been awarded the S+T+ARTS Repairing the Present fellowship in The Hague (2022), working with urban lichen.

Francis Carmody is an Artist working between Melbourne and London.

Carmody’s work is presented as products of distribution and power structures characterised by a wide range of forms, objects, actions and promiscuous research methodologies. Enacted by an initial action from the artist or a constructed model to be carried out by someone else, administrative and hysterical steps are rehearsed to realise projects.

In 2022 Carmody will begin a residency at Gertrude Contemporary as a Studio Artist.

Luke Conroy is a Tasmanian multidisciplinary artist currently based in The Netherlands. With a sociology and arts education background, Luke’s artistic practice engages with socio-cultural topics in meaningful yet playful ways, utilising humour and irony as essential tools for critical reflection and expression. The outcome of his work utilises an ever-evolving multimedia and audio-visual practice which includes photography, digital-art, video, sound, VR, textile, text and installation.

Luke currently works full time in an artist duo alongside the Dutch audio-visual designer and visual artist Anne Fehres. Working together since 2018, the duo specialises in undertaking socially oriented projects. These projects are the outcome of embedding themselves in a diversity of community contexts for between four to twelve weeks. To date, the duo has been selected for artist residencies across ten different countries and exhibited their work in multiple solo and group shows in galleries and public spaces across Europe.

Julian Day is an artist, composer, and writer who uses sound as a social and civic practice that reveals hidden power dynamics by stealth. This plays out within individual artworks (performance, sculpture, video) and in ongoing initiatives such as Super Critical Mass, a ‘radical orchestra’ project that reimagines the ensemble as a participatory vehicle for interaction.

Day has presented work at Whitechapel Gallery, Royal Academy of Music, Bang On A Can, Jewish Museum, Fridman Gallery, Sydney Opera House, Museum of Contemporary Art Australia, Australian Centre for Contemporary Art, Queensland Art Gallery of Modern Art, Institute of Modern Art, and MONA.

Day has created many programs for ABC radio, interviewing such artists as Janet Cardiff, Laurie Anderson, and Pauline Oliveros, and has given presentations at Harvard University, UCLA, and Goldsmiths. Day recently completed their MFA at Columbia University and is now studying at the University of Oxford’s Ruskin School of Art.

Daniel Green is an artist, educator and producer living in London, United Kingdom. His artistic practice explores the objects and media we use to occupy our time, and how they are used to give our lives meaning.

Daniel’s work has been exhibited within Campbelltown Arts Centre, Runway Journal, Firstdraft, Pelt, Artspace and BUS Projects, and has performed at Electrofringe, The Now Now Festival, Liquid Architecture, Cementa and the Museum of Contemporary Art Australia.

Daniel was a co-director of the artist-run initiatives Firstdraft between 2005-2006 and Electrofringe in 2009-2010. He produced the Sydney Mini Maker Faire at the Powerhouse Museum between 2013-2016, and helped inaugurate the Young Creators Conference in 2016.

Jolyon Jones is an artist based currently in Berlin, where he has been studying fine arts at the University of Arts, Berlin since 2019. Simultaneous with completing his bachelor’s degree in Anthropology at Macquarie University, Jolyon became involved in various collaborative arts projects and exhibitions, all of which took place on Darug and Gadigal land.

Jolyon has been a practising artist for four years and has shown in Australia and Germany. Working between sculpture, drawing, video, and sound Jolyon seeks to interrogate the relationship between physical materials and the concept of memento as well as the consequences of narrative in charging and disarming the objects they possess.

Ella Judd is an emerging arts worker and artist who graduated with a Bachelor of Visual Arts from The University of Sydney in 2016. Since graduating, she has exhibited in multiple group shows and worked in cultural organisations in Sydney, Australia and Toronto, Canada. She has held a range of museum education and arts programming roles at the Art Gallery of Ontario, Academy of Canadian Cinema & Television, Australian Museum, Sydney Living Museums and Australian National Maritime Museum.

Ella is currently studying a Graduate Diploma in Early Childhood Teaching at The University of Melbourne and values the importance of facilitating connections between audiences of all ages and contemporary art.

Julius Killerby is an artist living and working in London. His work focuses on the psychological ripple effects of certain cultural and societal transformations. Part of Julius’ practice also includes portraiture and in 2017 was nominated as a finalist in the Archibald Prize for my portrait of Paul Little. His work has been exhibited at the VCA Art Space, the Art Gallery of New South Wales, the Art Gallery of Ballarat and Lumen Gallery.

Julius has 5 years of experience working within a team environment at three of Melbourne’s galleries, where he has co-curated, hung, and promoted over 30 exhibitions across a variety of media. He has also been invited to partake in a variety of educational outreach programs. Some of these include artist talks at several secondary schools as well as an ‘In Conversation’ with Richard Lewer and Lisa Sullivan on the relationship between Art and Philanthropy at Geelong Gallery.”

Beau Lai (formerly Lilly) is an artist and writer currently based in Paris, France. Beau spent their formative years working intensively within the contemporary arts industry on Darug and Gadigal land in so called Australia. They are most well known for self-publishing their essay and work of institutional critique, “Working at the Museum of Contemporary Art Australia. It does not exist in a vacuum”, in 2020.

Additionally, Beau has been a practising artist for 6 years and has exhibited across France, South Korea, Thailand and Australia. They envisage their works as acts of forging familial connections, through realising overt, self-indulgent fantasies of unified alternative realities. Through video, performance and installation, they aim to investigate the intentions behind making art as more than a spectacle or performative gesture within the structures of the gallery space.

They tried to obtain a Bachelors in Fine Arts at Paris College of Art but didn’t like it and dropped out.

Jessie Nash is an emerging artist and arts worker who seeks to provide for her surrounding arts communities, through a focus on accessibility, curiosity, and visitor experience. Most recently based on Bundjalung country in Northern NSW, Jessie has worked for the Institute of Modern Art, Australian Centre for Contemporary Art, and has worked in the drawing department at Queensland College of Art as a tutor.

Martyn Reyes is a Filipino-Australian writer and artist. He explores various intersections of identity in the form of creative nonfiction. This includes but is not limited to themes such as race, sexuality, gender, class, mental health and pop culture. His essays, articles, interviews and memoir has been published in the Sydney Review of Books, SBS Voices, Peril Magazine, LIMINAL Magazine and more. Martyn holds a BA in Communication from the University of Technology Sydney

Martyn has participated in literary development programs such as the WestWords Academy and The Writing Zone by the Writing and Society Research Centre at Western Sydney University. In addition to writing, he has a passion for creating and producing audio content. He was previously the host of FBi Radio’s Sunday Lunch (2018-2019) and produced stories for All The Best, Canvas and The ReReaders podcast.

In 2020, Martyn exhibited his video artwork ‘Ikaw Ang Ligaya Ko’ at PARI, Parramatta.

As a projection artist, Carla Zimbler distorts digitised fragments of her surroundings to alter perception and trigger sensory response. Working between on/offline environments, audiences are drawn into immersive spaces where sound-responsive visuals expand and dissolve into darkness.

Exploring the therapeutic qualities of colour and its impact, Carla siphons vivid light across interior/exterior architecture and soaks sculptural forms in rich textures as a live performative experience. Embracing projection mapping as an artistic device to induce shared emotion, she kindles desire for an otherworldly place of belonging.

Utilising creative technology and textiles to reposition the body in two concurrent realities, Carla shifts orientation, time and perspective to warp memory, redefine spatial boundaries and transcend the everyday. She invites audiences to question connectedness permanence and contemplate the intricacies of the micro/macro worlds we exist in.

Carla’s site-specific installations examine how light binds and separates, obscures and awakens.

• €20,000 for 17 weeks of engagement.
• Micro-grant of €600 to support additional professional development activities.
• Reimbursement for economy return travel to Venice (maximum €450).
• Reimbursement for relevant first aid training.

You will need to arrange and pay for:

• Accommodation (the Australia Council can assist with options).
• Travel insurance (you will need to provide proof of cover).
• Any additional costs in excess of the support listed above.

• €2,800 for six weeks of engagement.
• Micro-grant of €300 to support additional professional development activities.
• Reimbursement for economy return travel to Venice (maximum €450).
• Accommodation in a shared apartment (private room)

You will need to arrange and pay for:

• Travel insurance (you will need to provide proof of cover).
• Any additional costs in excess of the support.

The application form requires you to nominate your preferred participation timeframe:

• Mid April – mid August 2022 *you will be involved with vernissage
• Mid August to end November 2022 *you will be involved with deinstall

Support material items:

1. A short introductory video (maximum 90 seconds). Introduce yourself and tell us why you are interested in this opportunity.
2. A maximum two-page pdf file responding to the following selection criteria:
   • Experience in leading and managing a team within the creative and cultural industries. (150 words)
   • Operational and technical ability with reporting, maintenance, invigilation (including security) and daily risk management of exhibitions. (150 words)
   • Relevant customer service, communication and audience engagement skills. (150 words)
   • Interest, advocacy or connection to Australian visual arts practice. (150 words)
   • Connection to or interest in Marco Fusinato’s artistic practice. (150 words)

3. A maximum two-page CV illustrating relevant work experience, including the contact details of two referees

Please also state in your CV if you have;

• Fluency in other languages (Italian is highly desirable).
• Tertiary qualifications in Visual Arts, Art History, Art Theory or Arts Administration (desirable).
• Demonstrated ability to work with Microsoft products and SharePoint (highly desirable).
• Technical experience with audio visual exhibitions (highly desirable).

The application form requires you to nominate a minimum of two preferred participation timeframes for 2022:

• session one: 15 April to 29 May (6 weeks) *you will be involved with vernissage
• session two: 27 May to 10 July (6 weeks)
• session three: 8 July to 21 August (6 weeks)
• session four: 19 August to 2 October (6 weeks)
• session five: 21 October to 4 December (6 weeks) *you will be involved with deinstall.

Support material items:

1. A short introductory video (maximum three minutes) Introduce yourself and tell us why you are interested in this opportunity.
2. A maximum one-page pdf file responding to the following selection criteria:
3. Relevant experience in a team environment, in the visual arts sector, with an operational skill set for reporting, maintaining and monitoring the security and daily risk management of audio visual exhibitions. (150 words)
4. Experience with customer service, communication and audience engagement skills. (150 words)
5. Interest, advocacy or connection to Australian visual arts practice. (150 words)
6. A maximum two-page CV illustrating relevant work experience, including the contact details of two referees.

Please also include in your CV if you have:

• Fluency in other languages (Italian is highly desirable).
• Tertiary qualifications in Visual Arts, Art History, Art Theory or Arts Administration.
• Demonstrated ability to work with Microsoft products and SharePoint (highly desirable).
• Technical experience with audio visual exhibitions (highly desirable).

Please refer to our How to apply page for further information and guidance on support material upload requirements.