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Agatha Gothe-Snape, the most expensive thing (2015)

  • 297 x 420
  • Edition of 5+AP, Pegasus Print
(Sold out)

Agatha Gothe-Snape's conceptual practice stems from improvisational performance. It draws upon and records interpersonal and spatio-emotional exchanges around art and art contexts. It takes many forms: prosaic performances (including dance), looped PowerPoint slide shows, workshops, texts (including correspondence, found texts as well as texts of a poetic character), visual scores and collaboratively produced art objects. It is marked by a minimal idealisation of colour and language and a frontal visual tactility. It results from agency being given to impulsive responses. Her process is without fixed limits and fosters transparency. The work inhabits spaces that are both physical and non¬physical. It occupies thresholds that are negotiable. It flirts with several things at once.
Agatha Gothe¬Snape (b. 1980, Sydney) has exhibited in major institutional exhibitions in Australia. Group exhibitions in Australia include Art as Verb, at Monash University Museum of Art (traveling to Artspace, Sydney) (2014);Trace: Performance and its Documents, curated by Bree Richards, at Queensland Art Gallery | Gallery of Modern Art, Brisbane (2014); Melbourne Now at the National Gallery of Victoria, Melbourne; Reinventing the Wheel: The Readymade Century, curated by Max Delany with Charlotte Day, Francis E. Parker and Patrice Sharkey at Monash University Museum of Art, Melbourne;Octopus 13, curated by Glenn Barkley, at Gertrude Contemporary Art Spaces, Melbourne (all 2013); Contemporary Australia: Women, curated by Julie Ewington et al at Queensland Art Gallery | Gallery of Modern Art, Brisbane;MCA Collection Volume 1, Museum of Contemporary Art, Sydney (both 2012);Power to the People, Contemporary Conceptualism and the Object in Art, curated by Hannah Matthews at the Australian Centre for Contemporary Art, Melbourne (2011); Primavera, curated by Katie Dyer at the Museum of Contemporary Art Sydney and New 010, curated by Hannah Matthews at the Australian Centre for Contemporary Art, Melbourne (both 2010).

In 2013, she exhibited a two¬ channel video installation and dance score (collaboration with choreographer, Brooke Stamp), Inexhaustible Present, in a two- person exhibition, Taking form, with with New Zealand artist, Sriwhana Spong, at the Art Gallery of New South Wales, Level Two Contemporary Project Space (curated by Anneke Jaspers). She was commissioned by the Sydney Harbour Foreshore Authority to create IT HOLDS UP, a temporal, temporary collaborative work with New Zealand artist, Mike Hewson, on the facade of the Museum of Contemporary Art Australia; she exhibited in INexactly THIS ¬ Kunstvlaai: Festival of Independents in Amsterdam as part of the presentation by (Sydney's) Society (aka Susan Gibb); She completed a Drawing Wall projectat Shepparton Art Museun (curated by Elise Routledge), had a solo exhibition at The Physics Room in Christchurch, New Zealand and a solo exhibition, Late Sculpture, at The Commercial Gallery, Sydney (all 2013).