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A film about acting and the 80s (coming soon).

Dying Marxists

The 6th Athens Biennale: ANTI
Curated by Stefanie Hessler / Kostis Stafylakis / Poka-Yio
Participating artists: Spyros Aggelopoulos*, Monira Al Qadiri, Loukia Alavanou, Korakrit Arunanondchai & Alex Gvojic, Ivana Bašić, Tianzhuo Chen, Chim Pom, Sarawut Chutiwongpeti*, Brody Condon*, Celia Daskopoulou, Ted Davis, Danielle Dean, JP Downer, Nina Runa Essendrop*, Georgia Fambris, Cao Fei, Ed Fornieles*, Angelos Frentzos, Sarah Friend, Front Deutscher Äpfel, Dorota Gawęda & Eglė Kulbokaitė, Eva Giannakopoulou, Gigas, Joey Holder, Carsten Höller, Callum Leo Hughes*, Actually Huizenga (of Patriarchy), Jacob Hurwitz-Goodman & Daniel Keller, Binelde Hyrcan, Maryam Jafri, Sascha Jahn & TheBoundCollective, Jakub Jansa, Geumhyung Jeong, Kahlil Joseph, Florence Jung, Raja’a Khalid*, Joy Kolaitis, Peter V. Kritikos, Laboratory for Microclimates*, Euripides Laskaridis / Osmosis*, Delaine Le Bas*, Candice Lin, Fei Liu, Rachel Maclean, Basim Magdy, Miltos Manetas, Marianne Maric, Eva and Franco Mattes, Metahaven, Quenton Miller, Molleindustria, Shana Moulton, Sirous Namazi*, Narcissister, New Models, Pinar Öğrenci, Marisa Olson, Uģis Olte & Morten Traavik, Omsk Social Club*, Ilias Papailiakis, Eva Papamargariti*, Yuri Pattison*, Heather Phillipson, Signe Pierce*, AnnaMaria Pinaka*, Wong Ping, Michail Pirgelis, Agnieszka Polska, Lykourgos Porfyris*, Porpentine Charity Heartscape, Johannes Paul Raether*, Jon Rafman*, Kosta Rapadopoulos / Jasin Challah, Tabita Rezaire, Roee Rosen, Iepe Rubingh, Saeborg, Tai Shani*, Heji Shin, Aliza Shvarts*, Helle Siljeholm*, Marianna Simnett, Linnéa Sjöberg, Panos Sklavenitis*, Marilia Stagkouraki, Jenna Sutela, The Agency, The Domestic Godless*, The Peng! Collective*, Ryan Trecartin, Theo Triantafyllidis, Anna Uddenberg*, Nicole Wermers, Tori Wrånes, Lauren Wy, Lu Yang, Young Boy Dancing Group, Costas Zapas, Zhala*

With support from Mondriaan Fonds.

Protected: Portfolio 2018

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I hope my legs don’t break

Here I am, writing you a letter

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A Distracting Movement is Never in a Straight Line

Joey Ramone, Rotterdam
25 March – 6 May 2017

JOEY RAMONE is proud to present A Distracting Movement is Never in a Straight Line, the 1st solo exhibition in the gallery by Australian artist Quenton Miller. The exhibition opens on Saturday 25 March at 5 – 8pm and runs till Saturday 6 May 2017.

Drawing is an everyday way of thinking in Miller’s practice, functioning both as independent works and storyboards for other mediums. This exhibition combines drawings rendered in steel and slides, alongside printed and moving image works that deal with acting techniques and screen history. The space sets a scene of framing, cutting, reading, looking and embodying on behalf of an employer.

The work of Quenton Miller looks at the relations between thought, form and format. His projects misuse narrative making tools from art fields and non-art fields, looking at language manipulation and the way narratives are able to create or erode political realities.

Miller (1981, AU) has exhibited at Centrale Fies, Trentino (2016), SMBA, Amsterdam (2015), Apex Art, New York (2008, 2011), 1646, the Hague (2016), West Space, Melbourne (2011). His work produces a range of formats and outputs, including texts published by Guernica Magazine and the Believer, and cartoons appearing in journals and daily newspapers. Miller also collaborates with Ilke Gers, as the publication collective Action. During their simultaneous exhibitions at JOEY RAMONE, works made as Action will be inserted around the gallery.

Guernica Magazine

Like many of the artifacts of its age, the 1923 silent film Souls for Sale tells two stories. The first is somewhat ordinary, a preacher’s daughter leaving behind a seemingly picturesque small-town romance to set out for a life on her own. (And because this was old Hollywood, that escape involves jealousy, uncovered secrets, and murder.) The second, which likely provided a stronger pull than the love story, is of the thrill of cinema itself. The heroine, played by Eleanor Boardman, steps off a westbound train onto a location shoot in the California desert and spends the rest of the film climbing the ropes of the movie industry. The narrative soon becomes a series of behind-the-curtain glimpses at the studios and backlots of films in production at the time; there are cameos by Charlie Chaplin and King Vidor, a well-known director who would become Boardman’s real-life husband. The appeal of the movie was the appeal of Hollywood and, perhaps more than anything else, a celebration of the idea that the movie business was open to regular folks from small-town America if they had enough ambition and grit, and just a little bit of luck.

Read the full article here


Alongside the commerce of an art fair another form of distribution is taking place. Unidentified hired pickpockets move through Art Rotterdam taking visitors’ wallets. The wallets are taken to a redistribution desk, where small amounts of cash are redistributed according to an algorithm and estimated demographics, and the wallets are returned with an Art Edition: A certificate of the exchange. The Pickpockets aim to be invisible so the work circulates through people watching, rumour and distribution materials. Collaboration with Ilke Gers as Action Publishing Collective.