French curator Sebastien Pluot has once stated that ‘to understand the work of A Constructed World you have to have been in it’. Since 1993 many documented and untold people have made this interpersonal contact with the artists and their work. ACW’s work is built on and around conversations that may have already-been, but emerge and become active again once we decide that a work of art has been made. These networks and contacts are the material, substance and memory of the works that accrue.

ACW have made 20 Partitions since 2004. Two have been sold to institutions (FRAC Pays de la Loire in France and MUMA in Melbourne) and two to private collections in Melbourne and Paris. The Partition is first of all a performance of speech, text and gestures across geography and time that potentially evokes who and where-we-are. These performances took place over decades, involving hundreds of participants and contributors and are now in places where they can be re-enacted, restaged re-presented and rethought in different ways for perpetuity.

The purpose is to incorporate and traverse performativity, rehearsal, re-enactment and display. Whilst each archive or documentation can be seen as perspicacious and discerning, it is not the intention of these works to find proscriptive authority but rather to enable a work that can be re-activated and remade by different audiences and in different contexts.

Amalia Lindo and Dean Schrieke present a live audio-visual performance to mark the closing of both/and, extending the themes of the exhibition. Lindo works live with the materials of the exhibition—footage and images drawn from her research, assembled and projected onto the gallery wall. Schrieke performs alongside on an analogue instrument designed to resist the logic of automation: one that responds to the body's conductivity, to pressure and moisture, and whose own origins are not without contradiction. Audio sourced directly from Lindo's video works shapes the sound as it unfolds, drawing the two practices into a single live work. The performance will be followed by a closing celebration, with a set by DJ Waste MGMT.

Lindo is a multidisciplinary artist whose work examines the hidden supply chains of data, labour, and natural resources that sustain contemporary technology. Schrieke is a postdoctoral researcher at the University of Melbourne and a practising sound and conceptual artist. Together they have presented collaborative works at the NGV, RMIT Gallery, and the Centre for Contemporary Photography, among others.

Doors open at 6pm, performance starts at 6:30pm sharp.

Haydens is pleased to present a selection of new artworks by Jacqueline Stojanović for The Melbourne Art Fair 2026. The focus of this presentation are two bodies of work: contemporary textiles and woodblock mosaics. The textiles, meticulously wound onto steel grids in Stojanović’s signature style, hark back to her ongoing series of Grids, while her mosaics break the mould of rigid geometry, referencing stars and celestial forms.

Stojanović’s textiles, titled Field drawings, feature a vibrant array of hues, the deep blues and greens of fermented indigo, bright yellows and ochres of mistletoe, pinks of both wattlebark and safflower, and the dull chartreuse of wild cherry ballart. Many of these materials have been scavenged from Stojanović’s local surroundings or grown in her garden. Others have more sentimental meaning, such as the dark yellows, browns, and greys drawn out of pomegranates from her mother’s tree. The inimitability of these colours is the result of an alchemical reaction of metallic mordants, plant tannins, and the fibres themselves, revealing a secret world that exists in our living environment.

Accompanying her Field drawings are a series of woodblock mosaics created while in Serbia. The inspiration for the mosaics can be drawn back to Stojanović’s experience of ancient tile works of Byzantium, still prevalent in the Orthodox churches of Belgrade. Sourcing earth, mineral, and plant-based pigments, like those used in eastern iconography, Stojanović utilises traditional painting techniques and hand-mixed pigments and mediums to broaden her spectrum of colour, furthering a connection between her culture and the natural world.

In contrast to nature, the mosaics and grid’s formal geometries reference iconic brutalist social housing blocks of her biographical homeland of former-Yugoslavia. The tension between wilderness and the rigidity of modern industrialisation is central to both these bodies of work, and her apt use of a subdued palette memorialises the connection to her diaspora.

Pairing these two expanded series highlights Stojanović’s interest in the relationship between colour and culture. The use of natural dyes and pigments extends her investigation into the essence and significance of colour, grounded in her culture’s spiritual beliefs of artistic depiction – void of figuration and using only that which comes from the natural world.

This is the sixth part of RENDER, a series that will be displayed in varying formats confounding the performance of choreography with its rendering. Shelley Lasica with contributions from Indiana Coole, Louella May Hogan, Claire Leske, Caroline Meaden, Kate Meakin, Andrew Wilson.

Assistance though Callie’s Berlin Residency 2023/2024 and The Australian Ballet.