the pleasurable, the illegible, the multiple, the mundane

Boris Achour, Jack Ball, Louise Bourgeois, Ellen Cantor, Carla Cescon, Laurent Grasso, Louise Haselton, Dylan Mira, Wura-Natasha Ogunji, Rachel Rose, Fannie Sosa and Jelena Telecki

Curated by Talia Linz​


Thursday 29 April, 6pm

Join us for the opening of our final exhibition in The Gunnery building before Artspace’s exciting redevelopment project begins. To ensure we can maintain safe capacity numbers please RSVP below.


Exhibition Dates
30 April – 11 July


  • Fannie Sosa, 'Cosmic Ass', 2015, (still), video, 15 mins 15 secs. Courtesy the artist

  • Wura-Natasha Ogunji, 'I saw a man falling he was flying he was fleeing', 2020 (detail), thread, ink, graphite and collage on tracing paper, 61 x 61 cm. Courtesy the artist and Fridman Gallery, New York

  • Jelena Telecki, 'Simple Pleasures', 2021, oil on linen, 107 x 103 cm. Courtesy the artist and Sarah Cottier Gallery, Sydney

  • Louise Haselton, 'The Pain Catchers', 2011, stainless steel, wool and branches. Private collection. Photo: Michal Kluvanek

  • Dylan Mira, 'as if i was a thing i could do in the dark', 2019 (still, detail), three-channel HD video installation, 12 mins, looped. Courtesy the artist

  • Boris Achour, 'Des jeux dont j’ignore les règles (Banc)/Games whose rules I ignore (Bench)', 2014, wood, leather, lead balls, HD video, 7 mins. Courtesy the artist and Galerie Allen, Paris

  • Jack Ball, detail from the series 'PDA', 2021, photographic rag, 110 x 159 cm. Courtesy the artist

  • Rachel Rose, 'Everything and More', 2015 (still), HD video, 10 mins 31 secs. Courtesy the artist, Pilar Corrias Gallery, London and Gladstone Gallery, New York / Brussels


Delving into personal belief systems as well as broader social frameworks, the pleasurable, the illegible, the multiple, the mundane explores the fabric of our relationships, from the interpersonal to the interplanetary. Here are private rituals, games between lovers, existential thought forms, historical mistruths, perennial riddles.

The artists represented cover wide ground but all engage with art as a means of embodied discovery or revelation. They present themselves as many and morphing in a web of relational identities: child, parent, lover, other. Past and future selves meet and diverge. Knowledge and faith come in and out of focus.

The works move between comedy and sincerity, irony and honesty, fiction and truth. Many draw on diaristic tendencies or something of the confessional, revealing quirky, personal and complex worlds. Poetry and symbolism dominate. As do forms of marking of the self – individual and collective – through time.

In this moment of global introspection and deceleration, the pleasurable, the illegible, the multiple, the mundane draws on love and loss, then and now, aligning intergenerational practices that engage with truth seeking and confidence tricking in the games of art and life.