Skip to content



Friday 27 April 7pm

$40 per person (including glass of Prosecco on arrival, 1 x Raffle ticket and table snacks)
Teams of six people per table
Bookings essential due to limited capacity

Do you and your team have the Knowledge, Uniqueness, Nerve, Stamina, and Talent to snatch the crown?

Join your hosts Amy-Clare McCarthy and Sam Cranstoun as Brisbane’s art community duke it out to earn the title of ArtTrivia top dog. Prove your mettle across four rounds of mind-bending, art-themed examination and fight to see your name in lights beside fierce art world royalty like Krauss, Lippard, Bishop, and Nochlin.

Build your team of six, enjoy a night on the prosecco, and help support Boxcopy’s program. Fantastic raffle prizes from local Petrie Terrace and Paddington retailers up for grabs and a grand prize for the winning team.

For bookings and enquiries, email

there’s something happening here … extended remix
12 – 26 May 2018

Opening Event | Friday 11 May 6pm

Using objects and photographs, Caroline Phillips is interested in reconfiguring relationships of power, sexual politics and embodied experience to (re)present the relational art object as a feminist object. Through modes of connection and inter-relation in both her methodology and outcomes, Phillips (re)imagines an ethical feminist future. This current body of work, there’s something happening here…(extended remix), was developed during a recent three month residency at NARS Foundation, Brooklyn.

there’s something happening here…(extended remix) seeks to respond to the current political atmosphere of fear and violence, proposing feminist objects of protection and resistance. Stirrings of protest, retaliation and self-defense emerge through the whimsical and embodied forms. Domestic and industrial materials merge and transform into what could potentially be weapons, flotation devices, protective gear, tools and protest objects. These sculptural pieces are active and performative, enabling moments of transformation and action. Physical objects are then extended through performative photographs that imagine alternate behaviours and actions, transforming the mood and environment.

Caroline Phillips has recently completed four years of PhD research at the Victorian College of the Arts, University of Melbourne. Previously, Phillips’ work has been exhibited nationally and internationally including the George Paton Gallery, Melbourne, First Draft Gallery, Sydney, the Cité International des Arts, Paris, Slade School of Art, London and OCAD University, Toronto. She has been awarded a number of grants and residencies including NAVA Australian Artists’ Grant, City of Melbourne Arts Project Grant, Creative Victoria VicArts Grant, Australian Tapestry Workshop Artist in Residence and the Art Gallery of New South Wales Moya Dyring Paris Residency.

Image: Concealment #2, 2018, digital photograph, photograph by Danielle McCarthy.

to begin to hurt
9 – 24 March 2018

Jarrod Van Der Ryken is a Brisbane based visual artist whose practice negotiates contemporary life as guided by and housed within positioned histories and normative social structures. Van Der Ryken’s work often recalls personal and collective memory of time and place through performative video and installation. Their recent work has explored connections between personal anxieties around vulnerability in relation to concerns of sexuality, gender identity, and social status. Their work articulates this through symbolic gestures of passivity and voyeuristic object encounters. Applying an auto-ethnographic method, ‘to begin to hurt’ recalls a personal moment in time and place; the demise of a romantic relationship and onset of prolonged heartache.

Jarrod Van Der Ryken completed a Bachelor of Fine Arts (Visual Arts) at the Queensland University of Technology in 2015 and has presented solo exhibitions at Metro Arts and Outer Space in Brisbane, Firstdraft and Galerie Pompom in Sydney, and Screenspace in Melbourne.


18 November – 2 December 2017

Work-shy is a small selection of drawings and paintings in progress that reflects on the conditions of being an ’emerging’ artist in Brisbane over several years, and Ferguson having to support her practice through working at various government institutions including Centrelink. This ‘reality’ became radically translated through her experience this year of, (initially self-funded) study, art-making, and being an Australian artist in Europe through the Maumaus Independent Study Programme in Lisbon. This intensive period of study, a mix of visiting critical theorists and artists, along with the (sometimes revealing) reality of undertaking The Grand Tour Of Global Art Exhibitions – Venice Biennale, Documenta, Athens, Kassel, and Skulptur Projekte Münster, prompted the current, ongoing, body of work.

These works will be exhibited alongside a screening of ‘Maumaus 2017 NOTEBOOK, ETC,’ by Lucas W. Melkane (1988, Denmark), a video work that documents his very different experience as a colleague in the programme. 

Brooke Ferguson (1989, Australia) participated in the 2017 Maumaus Independent Study Programme in Lisbon, Portugal with the generous support of a 2017 Brisbane City Council Young and Emerging Artists Fellowship. She also undertook a residency at Parramatta Studios in October/November 2017. 


Terror Island (wish you were here)
7 October – 4 November 2017

The Northern Territory Emergency Response, colloquially known as ‘The Intervention’ has, as of this year, been inflicted on communities for the past decade. During these ten years rates of displacement, incarceration and suicide have risen categorically. Xenophobic actions of the Australian nation state have also continued in similar trends; activities that include the continued operation of offshore detainment camps. The works developed for Terror Island are a response to these episodes. They have been executed by utilising canonical Christian iconographic traditions as a foundational starting point. Step ashore.

Ryan Presley was born in 1987 in Alice Springs. His father’s family is Marri Ngarr and originate from the Moyle River region in the Northern Territory. He currently lives and works in Brisbane.  Presley’s work has been included in the 33rd Telstra National Aboriginal and Torres Strait Islander Art Awards in Darwin, Frontier Imaginaries: No Longer at Ease at the Institute of Modern Art in Brisbane, and was featured in the 2016 TarraWarra Biennial: Endless Circulation. He has recently completed a PhD (2016) at the Queensland College of Art.


26 August – 24 September 2017

Presentism looks back at ten years of Boxcopy’s history, through the lens of current practices of Brisbane-based artists who have participated in the program over that time. The title of the exhibition describes a tendency to interpret past events in terms of modern values and concepts. While often used negatively to critique particular accounts of history, in this case looking at the past through practices of the present testifies to the qualities of resilience and endurance that serve to sustain the practices of individual artist and the communities in which they operate.


Boxcopy is proud to be a founding member of All Conference – a national organising network comprised of 15 artist-led, experimental and cross-disciplinary arts organisations.

Representing a crucial stratum of the Australian arts ecology, All Conference members present diverse and innovative artistic programs which support the practices of living Australian artists. They connect these practices to diverse audiences via a passionate localism coupled with significant national and international peer-to-peer networks.

Founding members include: Alaska Projects (NSW), BLINDSIDE (VIC), Boxcopy (QLD), Bus Projects (VIC), c3 (VIC), Constance (TAS), FELTspace (SA), Firstdraft (NSW), Kings ARI (VIC), Moana (WA), Liquid Architecture (VIC), Runway (NSW), Seventh (VIC), Trocadero Artspace (VIC), and Un Projects (VIC).

Let’s Stay Together: the Politics of Collaboration
Speakers: Lisa Radford, Pip Wallis, Maddee Clark and Neika Lehman. Chaired by Amelia Winata.
Saturday March 24, 3 – 4.30pm
The Packing Room, Abbotsford Convent

Let’s Stay Together is the third in a three part, multi-state, lecture series organised by All Conference. For this iteration, we bring together artists and arts workers to discuss the expanded and complex notion of collaboration in contemporary art. Through a series of short papers, speakers will bring their perspectives to the theme, considering the social and political aspects of collaboration in a climate of austerity, bureaucratisation, and globalization. Papers will be followed by a short Q and A chaired by Amelia Winata.

What’s Love Got to Do With It? Love, Labour and Contemporary Art 
Speakers: Clare Cooper, Hana Pera Aoake (Tainui, Ngāti Raukawa), Talia Smith
Thursday 22 February 6.30 – 8pm
First Draft Gallery 13-17 Riley Street Woolloomooloo, Sydney

What’s love got to do with it? is the second in a three part multi-state lecture series organised by All Conference. A dominant attitude towards work is that enjoying what one does for a living should be payment enough. Indeed, this is often the justification for the relative low wage of arts workers. This leg of the All Conference lecture series brings together three arts workers who operate in very different ways within the not-for-profit sector in Australia and New Zealand. Through a series of short papers, speakers will bring their own perspective to the relationship between love and labour in the arts. Papers will be followed by a short Q and A chaired by Firstdraft Director Katie Winten.

Zero Wage: Research and Advocacy in the Visual Arts
Speakers: Marnie Badham, Esther Anatolitis, and Pip Shea. Chaired by Channon Goodwin.
Saturday 3 February, 2-3:30pm
Collingwood Art Precinct, 35 Johnston St, Collingwood

This discussion has been brought together by All Conference, a recently established organising network of small-scale, artist-run organisations. It invites speakers to respond to issues raised by the Australia Council for the Arts’ recent research report Making Art Work: An Economic Study of Professional Artists in Australia and by the National Association of the Visual Arts’ (NAVA) campaign for the payment of artist fees and the 2017 report S2M: The economics of Australia’s small-to-medium visual arts sector. The discussion aims to engage audiences further with local and international efforts to improve working conditions for artists and arts workers.