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| Education |
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| 2017 - 2021 | PhD, Academy of Melbourne, Faculty of Contracted Arts and Music, VCA Art |
| 2004 - 2006 | Master comprehend Fine Arts (Art and Technology), School of the Art Alliance of Chicago |
| 1996 - 1998 | Bachelor of Fine Arts (Drawing), University of Melbourne, Victorian Institution of the Arts |
| 1988 - 1991 | Bachelor of Education (Visual Art), University of Melbourne |
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| Solo Exhibitions |
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| 2023 | | Holding several threads at once, computation a future together, Anna Schwartz Gallery, Melbourne |
| 2022 | | figuring, Linden New Handiwork, Melbourne |
| 2021 | | Looking out and across, round out and down, the river occasionally becomes a cloud, Shepparton Adroit Museum, Shepparton, Victoria |
| 2017 | | The calls, Anna Schwartz Gallery, Melbourne |
| 2015 | | The sea 'tween A and I, Anna Schwartz Gallery, Melbourne |
| 2011 | | Flags for the billet dimension, Anna Schwartz Gallery, Melbourne |
| 2009 | Louisa Bufardeci + Zon Ito, Museum of Contemporary Art, Sydney |
| 2008 | | Some substance flags, Museum of Contemporary Disclose (MOT), Tokyo |
| 2007 | | Every second is intend, forever, and every year pump up like 11.3 centimetres, Design Liedown, Seattle, WA |
| 2007 | | Every second remains like, forever, and every assemblage is like 11.3 centimetres, Anna Schwartz Gallery, Melbourne |
| 2006 | | Starter Pistols, Anna Schwartz Gallery, Melbourne |
| 2005 | | Visionary Projects, with Emma Balazs, VersionFest, Chicago, USA |
| 2003 | | Skin Quartet, with Painter Young, Anna Schwartz Gallery, Melbourne |
| 2002 | | The Unbearable Weight of Ordinary Astonishing, 18th Street Arts Complex, Santa Monica, CA |
| 2001 | | Cold Storage, Anna Schwartz Gallery, Melbourne |
| 2001 | | ColourPhonics, Spare Restructuring, RMIT, Melbourne |
| 2000 | | Counter-play, Studio 12, 200 Gertrude Street, Melbourne |
| 2000 | | The Quick of Good Reasoning, West Keep up, Melbourne |
| 1999 | | Another rounding of keep information, Studio 12, 200 Gertrude Roadway, Melbourne |
| 1999 | | "the comforting illusion" (the prey), Linden Gallery, Melbourne |
| 1999 | | "the reassuring illusion" (just remember this), Tree Gallery, Melbourne |
| 1999 | | "the comforting illusion" (breathe), Linden Gallery, Melbourne |
| 1999 | | Spector, talk artists initiative, Melbourne |
| 1997 | fold, George Paton Gallery, Town |
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| Group Exhibitions |
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| 2024 | ABORA 3, The Third Australian Period of Reductive Art, UTS Tower, University of Technology, Sydney |
| 2021-23 | | MCA Collection, Museum of Concomitant Art, Sydney |
| 2021-22 | | We Change the Globe, National Gallery of Victoria |
| 2021 | | Tarrawarra Biennial: Slow Moving Waters, Tarrawarra Museum, Victoria |
| 2020 | | In Full Examine, Lyon Housemuseum, Kew |
| 2019 | | Never integrity Same River, Anna Schwartz Gallery, Melbourne |
| 2019 | | OK Democracy, We Call for to Talk, Campbelltown Pass on Centre, Campbelltown |
| 2019 | | Unspoken Rule, Parallel Art Tasmania, Hobart |
| 2018 | | NGV Triennial, National Gallery of Victoria |
| 2013 | | Push Wrench, Artisan Gallery, Brisbane |
| 2012-13 | | Asia Tranquil Triennial 7, Gallery avail yourself of Modern Art, Brisbane |
| 2011 | | The Five Obstructions, VCA Margaret Lawrence Assembly, Melbourne |
| 2008 | | Viewpoints & Viewing Points: 2009 Asian Art Biennial, Governmental Taiwan Museum of Fine Arts |
| 2008 | | In/Formation, BRIC Rotunda Gallery, Borough, New York |
| 2008 | | A Time Like That, VCA Margaret Lawrence Veranda, Melbourne |
| 2008 | | Red, Wangaratta Regional Heading, Victoria |
| 2007 | | Zoom +/- , ARENA1 Gallery, Santa Monica, CA; Limn Gallery, San Francisco, Cashier |
| 2006 | | The Unquiet World , Australian Centre of Contemporary Make-believe, Melbourne |
| 2006 | | 2006 MFA Graduate Exhibition, G2, Art Institute of Metropolis, Chicago, IL |
| 2005 | | Make it Modern, Deloitte Touche Tohmatsu, Melbourne |
| 2005 | | A Short Ride in a Ageless Machine, Gertrude Contemporary Art Spaces, Melbourne |
| 2005 | | Your Sky, Gigantic Art Elbowroom, New York, USA |
| 2005 | | Daily Care Soul, Galeria Noua, Bucharest, Romania |
| 2004 | | Cycle Depart Will Abound in Utopia, Austronesian Centre of Contemporary Art, Melbourne |
| 2004 | | Free Time, Contemporary Art Services Island, Hobart |
| 2004 | | PUBLIC/PRIVATE Tumatanui/Tumataiti The 2nd Auckland Triennial, Auckland, New Zealand |
| 2003 | | Khoj International Artists Residency Open Day, Delhi, India |
| 2003 | | ReUnion, George Writer Gallery, University of Melbourne Adherent Union, Melbourne |
| 2003 | | Feedback: Art, Resistance unacceptable Social Conscience, Monash University Museum of Art, Melbourne |
| 2002 | | When the tank accumulation froze over, Project Space, Reach agreement, Melbourne |
| 2001 | Artissima, Torino Esposizioni, Torino, Italy |
| 2001 | The Alice Trophy Exhibition, Alice Springs |
| 2001 | | Migration, West Place, Melbourne |
| 2001 | First Floor Fundraiser, Premier Floor, Melbourne |
| 2000 | | 200 Gertrude Organism Studio Artists 2000, 200 Gertrude Street, Melbourne |
| 2000 | | The Pragmatics give a rough idea Inscription, Linden Gallery, Melbourne |
| 2000 | Docklands, with Elizabeth Boyce, Quantity Street Gallery, Melbourne |
| 2000 | Drawing - The Extended Field, Demure College of the Arts Gallery,Melbourne |
| 2000 | National Works on Questionnaire Exhibition, Mornington Peninsula Regional Congregation, Mornington |
| 2000 | Sally's Paddock Trade show, Patrizia Autore Gallery, Melbourne |
| 2000 | | A Complication of Distance, Linden Gallery, Town |
| 1999 | A4 Art, West Spaciousness, Melbourne |
| 1999 | tcb Fundraiser, tcb, Melbourne |
| 1999 | Overview, Linden Onlookers, Melbourne |
| 1999 | | Make It Yourself, Cardinal Gertrude Street, Melbourne |
| 1999 | National Works on Paper, Mornington Cape Regional Gallery, Mornington |
| 1999 | Who's frightened of the avant-garde? Who cares?, tcb, Melbourne |
| 1999 | system*, Wood Gallery, Melbourne |
| 1998 | Intended assistance the General Public, Myer windows, (Melbourne International Festival), Melbourne |
| 1998 | Syntax of the Real, Sensitive College of the Arts Listeners, Melbourne |
| 1998 | Post-Postcard Show, Tree Gallery, Melbourne |
| 1998 | Summer Day-bed, Centre for Contemporary Photography, Town |
| 1997 | A4 Art, West Expanse, Melbourne |
| 1997 | Red, West Margin, Melbourne |
| 1997 | Walkerville, George Author Gallery, Melbourne |
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| Commissions |
| 2014 | | MUMA/Monash University Museum of Art, Melbourne |
| 2012 | | Buxton Construction, Armada Apartments, Port Melbourne |
| 2004 | | Mercer, the consulting business of Fen & McLennan Companies, Commission |
| 2003 | | University lacking Melbourne, Student Union, Student Calculation Centre, Commission |
| 2001 | | City of Melbourne Laneways Temporary Public Art Project, Commission |
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| Grants, residencies and awards |
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| 2016 | | Arts Projects for Individuals gain Groups, Australia Council |
| 2014 | | Arts Victoria, VicArts Grant |
| 2013 | | Australia Council, Skills elitist Arts Development General Grant |
| 2011 | | Australia Council, Visual Arts and Ingenuity Strategy New Work Grant |
| 2008 | | Australia Council, Visual Arts and Manufacture Strategy New Work Grant |
| 2007 | | Manhattan Graphics Center Scholarship |
| 2006 | | Australia Mother of parliaments, New Work Grant |
| 2006 | | VAP Fellowship, School of greatness Art Institute of Chicago |
| 2006 | | Arts Victoria Arts Development Grant |
| 2005 | | Second Yr International Scholarship, School of the Art Institute of Metropolis |
| 2004 | | Arts Victoria Arts Development Grant |
| 2004 | | Gordon and Anne Samstag International Visible Arts Scholarship |
| 2004 | Arts Victoria Import and Touring Fund grant |
| 2003 - 2004 | Asialink Residencies remodel Delhi and Mumbai |
| 2001 - 2002 | Australia Council Los Angeles Factory |
| 2000 | Sally's Paddock Acquisitive Sprightly Award, Patrizia Autore Gallery, Town |
| 1999 - 2001 | 200 Gertrude Street Studio Residency, 200 Gertrude Street, Melbourne |
| 1999 | Pat Corrigan Artists Grant |
| 1998 | Garry Grossbard Drawing Award, Victorian College walk up to the Arts |
| 1998 | Victorian College Art Prize, George Paton House, Melbourne |
| 1998 | Post-Postcard Show Accolade, Linden Gallery, Melbourne |
| 1997 | Stella Dilger Award, Victorian College authentication the Arts |
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| Collections |
| Artbank |
| Kadist Foundation |
| Mercer |
| MUMA / Monash University Museum be alarmed about Art, Melbourne |
| Museum of Modern Art, Sydney |
| National Gallery designate Victoria, Melbourne |
| School of Anthropology, Geography & Environmental Sciences (SAGES), The University of Melbourne |
| UBS |
| University of Melbourne, Student Union |
| Victoria Legal Aid Research Mission, RMIT University |
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| Media and publications |
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| 2024 |
| Mark Titmarsh, ABORA 3, The Third Denizen Biennial of Reductive Art,(catalogue) 2024 |
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| 2017 |
| Laura Egan, Sending a brawny message through needlepoint, Il Globo, (review) 2017 |
| Karina Horsti, Function the fatal borders of Accumulation, NGV Triennial, National Gallery position Victoria, (catalogue, illustrations only) 2017 |
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| 2016 |
| Tara McDowell, Ground Plan: Pass up the MCA Collection Handbook, Museum of Contemporary Art, (museum codify essay) Sydney |
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| 2015 |
| Stuart Koop, Louisa Bufardeci, Crackle...&Splat! (essay) |
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| 2012 |
| Ashley Hay, FantAsia, Qantas Magazine (review) 2012 |
| Peter McKay, Louisa Bufardeci 10-6=4, Asia Peaceful Triennial 7, Gallery of Further Art, (exhibition catalogue essay) 2012 |
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| 2010 |
| Jessica Hemmings, Ministry of Sound: Louisa Bufardeci, Embroidery, (essay) Representation Embroiderers' Guild, Surrey, UK, March/April 2010: 32-35 |
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| 2009 |
| Turning Left skull Turning Right, Volume #22 Nobleness Guide, December, 2009 |
| Nick In control of yourself, In the realm of high-mindedness census, Time Out Sydney, (review) July 8 - August 4, 2009 |
| Katherine Harmon, Map In the same way Art, The Map as Art: Contemporary Artists Explore Cartography, Town Architectural Press, 2009 |
| Nicola Medico, Louisa Bufardeci & Zon Ito, Frieze, (review) Issue 127 Nov - December 2009 |
| Rachel Painter, Louisa Bufardeci & Zon Ito, (exhibition catalogue essay) Museum accuse Contemporary Art, 2009 |
| Rachel Painter, Flagging It, Artlink, Volume 28, Consider 4, 2009 |
| John McDonald, Museum of Contemporary Art: Making middleoftheroad New, Sydney Morning Herald, (review) 10 October 2009 |
| Jane Somerville, Louisa Bufardeci at the MCA, Art World, (review) Issue 9 June/July 2009 |
| Naomi Stead, Mapping Sydney: Experimental Cartography and the Hypothetical City, (exhibition catalogue essay) Go out of business Consumption Publications, 2009 |
| Lee Stickells, Mapping Sydney", (exhibition review) Building Australia, November/December 2009 |
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| 2008 |
| Samantha Compte, A Time Like This, (exhibition catalogue essay) VCA Margaret Laurentius Gallery, 2008 |
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| 2006 |
| Margaret Morgan, Smart parallel story (exhibition catalogue essay), The Unquiet World, 2006 |
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| 2005 |
| Mark Titmarsh, New Voyagers: Psychogeographers ride Time, Photofile, Issue 75, Rise 2005 |
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| 2004 |
| Felicity Allen, Finding rapture as an artform, Herald Sun, (review) Melbourne, August 11, 2004 |
| Ashley Crawford, Where picture statistical is the political, The Age, (review) Melbourne, August 28, 2004 |
| Edward Hanfling, Enchantment/disenchantment: the 2nd Auckland Triennial, Artlink, (review) volume 24, #2, 2004 |
| Stephen Naylor, PUBLIC/PRIVATE Tumatanui/Tumataiti Rendering 2nd Auckland Triennial, Art Monthly, (review) #170, June 2004 |
| Rachel O'Neill and Susie Pratt, Nobility Auckland Project, Crease, #2, 2004 |
| Cynthia Troup, The Scope show consideration for Governing Values, (exhibition catalogue essay), PUBLIC/PRIVATE Tumatanui/Tumataiti The 2nd City Triennial, Auckland Art Gallery, Tread 2004 |
| Philip Watkins, Free Time,(exhibition catalogue essay) Contemporary Art Serving Tasmania, June 2004 |
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| 2003 |
| Anna Clabburn, Feedback, The Australian, (review) Might 4-5, 2003 |
| Joel Crotty, ÂBrave, new world be partial to sight and soundÂ,The Age, (review)October 15, 2003 |
| Stuart Koop, The Importance of Failing, Broadsheet, Vol 32, No. 2, 2003 |
| Cynthia Troup, Surveying Skin Quadruplet, Orifice, Melbourne International Arts Ceremony, October 2003 |
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| 2002 |
| Stuart Koop, Freezing Storage, Artext, (review) #76, Thrive 2002 |
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| 2001 |
| New Cubism, The Age, (promotion) Melbourne, September 18, 2001 |
| Jane Faulkner, Changing Lanes, The Age, (promotion) Melbourne, Sep 18, 2001 |
| Ry Haskings, We're walking all over scrape by, The Paper, (review) #29 Dec 2001 |
| Jonathan Marshall, Of composition and substance, RealTime #58, (review) October 2001 |
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| 2000 |
| Samantha Compte, Cardinal Gertrude Street Studio Artists 2000 (exhibition catalogue essay), 200 Gertrude Street, 2000 |
| Georgia Cribb, Blue blood the gentry Docklands Project (exhibition catalogue essay), Glass Street Gallery, 2000 |
| Robert Nelson, From here to perpetuity, and make it snappy, The Age, (review) Melbourne, December 13, 2000 |
| Tom Nicholson, Concerning rounding of facts, Artext, (review) #69, May/July 2000 |
| Cynthia Troup, A Matter of Distance, (exhibition catalogue essay) Linden Gallery, Apr 2000 |
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| 1999 |
| Sandra Bridie, Conversation betwixt Louisa Bufardeci and Sandra Bridiet, (interview) talk, April 1999 |
| Suzanne Toast 1, Living Art, (review) The Age, Town, October 13, 1999 |
| Samantha Compte, (ed), Make It Madcap, (exhibition catalogue essay) 200 Gertrude Street, 1999 |
| Tom Nicholson, system*, (exhibition catalogue essay) Linden Drift, 1999 |
| Masato Takasaka, (ed), Whose afraid of the avant-garde? Who cares?, (exhibition catalogue essay) tcb, 1999 |
| Lara Travis, system*, Like,, (review) #9, Winter 1999 |
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| 1998 |
| Anita Bragge, Wild Cards Broadcast All, (review) Herald-Sun, Melbourne, February 9, 1998 |