Helen Grogan 

Selected documenation w/ writings 

  1. Zara Sigglekow, splitting open the surface on which it is inscribed

  2. Sarinah Masukor, spillover

  3. David Komary, POEM (with insistence on plurality) & INSIDE SMALL DANCE 

  4. Charlie Sofo, Catalogue of studio activities / Itinerary of scores 

  5. Gillian Brown, SET AND DRIFT 

  6. Tara McDowell, Observation proposition for interior of indicated edges as well as other unindicated parameters already in ocurrence - Rustavi 

Selected books


Daniel Ward (Ed.)  & no more poetryNO NO NO ISSUE TWO, no more poetry, Naarm, 2022.

Alex Gawronski & Knulp. Transplant; Sydney College of The Arts, University of Sydney, Sydney, 2021

Komary, David. & Galerie Stadtpark. POSITION; Schlebrügge, Vienna, 2020

Doughty, Jacqueline. & Hope, Cat. & Gardner, Sally. & Gellatly, Kelly. & Ian Potter Museum of Art, host institution. The Score / The Ian Potter Museum of Art; curated by Jacqueline Doughty. The Ian Potter Museum of Art, Parkville, 2017

Dornau, Lauren, Sally Gardner, Anneke Jaspers, and Hannah Mathews. 2014. Framed Movements; Australian Center for Contemporary Art. Melbourne, 2017

Mathews, Hannah. & Testen, Žiga. & Geddes, Stuart. To note : notation across disciplines; Perimeter Editions, Melbourne, 2017

McDowell, Tara (Ed.) & Testen, Žiga. 124,908; curated by Tara McDowell. 3-ply, Victoria, 2016

EXCERPT. Tara McDowell, ‘124,908’, McDowell, Tara (Ed.) & Testen, Žiga. 3-ply, Victoria, 2016
IMG 1. Helen Grogan, Observation proposition for interior of indicated edges as well as other unindicated parameters already in ocurrence - Rustavi (in publication form), Georgia. 2016
          Rather than add to the city Helen Grogan asks us to consider what is already there.  An outdoor mural populated with chiseled men and women. Cherry red seats inside a disused theatre. The metal lattice of an unfinished pyramid.
        Asked to contribute a new work for a city should never visited, Grogan  in turn invited three individuals she sees as authors, experts or benefactors of the exhibition to enact a score for observation at three different sites in Rustavi. The author-participants were Tamar Chaduneli, an artist who grew up in Rustavi; Ash Kilmartin, an artist participating in the exhibition; and Tara MacDowell curator of 124.908. Grogan asked participants to visit each site; locate the precise aspect she selected from photographs - the mural, half of the theatre seats, and one face of the pyramid - and simply describe what they see. The written observations were displayed, anonymously, at each site.

    Grogan’s proposition is predicated on intimacy and trust, and involves a redistribution (or even decentralization) of authorship that throws into sharp release the tension between centre and periphery, insider and outsider.

PHOTO CREDIT. IMG 1. Daro Sulakauri photograph in publication 124,908, photographed by Helen Grogan

124,908 was curated by Tara McDowell in conjunction with the 2nd Tbilisi Triennial, 2015. The exhibition  unfolded over one day throughout the postindustrial city of Rustavi in the Republic of Georgia, and featured artists: Xin Cheng / Leone Contini / Eliza Dyball / Clementine Edwards / George Egerton-Warburton / Cevdet Erek / Debris Facility / Emma Fitts / Amy Franceschini / Helen Grogan / Susan Jacobs / Ash Kilmartin / Ieva Misevičiūtė / Virginia Overell /Kateřina Šedá. Echoing the model of Lucy R. Lippard’s numbers exhibitions from the early 1970s, Tara McDowell and assistant curator Nicholas Tammens invited artists to propose temporary artworks, which were installed in the city center, factory square, museum, theaters, pyramid and zoo, working with local artists, students, and Rustavi residents.