Nicholas Mangan

Born 1979, Geelong (lives and works in Melbourne, Australia)


2001 Bachelor of Arts (Fine Art), Victorian College of the Arts, Melbourne, Australia
2007-2008 UDK, Berlin, Germany



Termite Economies: Phase 3, LABOR, Mexico (solo)
Termite Economies: Neural Nodes and Root Causes, Sutton Gallery, Melbourne (solo)

Termite Economies (Phase One), PICA Perth Institute of Contemporary Art, Perth (solo)
Termite Economies: Phase 2 (Metabolic Shift), Hopkinson Mossman, Wellington (solo)

Termite Economies, Sutton Gallery, Melbourne (solo)
74 million million million tons, SculptureCenter, New York (group)
SUPERPOSITION: Equilibrium & Engagement, the 21st Biennale of Sydney
Unthought Environments, The Renaissance Society, Chicago (group)

être pierre – Musée Zadkine, Paris (group)
Manipulate the World, Morderna Museet Stockholm (group)
Limits to Growth, The Dowse Lower Hutt, Wellington (solo)
4.543 billion. The Matter of Matter (Curated by Latitudes), CAPC musée d’art contemporain de Bordeaux, France (group)

By the Laws of Chance, Dunedin Public Art Gallery, Dunedin (group)
Limits to Growth, Institute of Modern Art, Brisbane (solo)
Let’s Talk About the Weather: Art and Ecology in a Time of Crisis, Sursock, Beirut (group)
The Eighth Climate (What does art do?), Gwangju Biennale, Gwangju
SeMA Mediacity Biennale, Seoul
Limits to Growth, MUMA (Monash University of Melbourne), Melbourne (solo)
Beyond 2°, MCA, Santa Barbara (group)
Riddle of the Burial Grounds, Extra City Kunsthal, Antwerp (group)
Brilliant Errors, Sutton Gallery, Melbourne
Ancient Lights, Labor, Mexico City

Rocks, Stones, and Dust, The University of Toronto Art Centre (group)
Other Currents, Artspace, Sydney (solo)
Concrete, Tophane-i Amire Culture and Arts Center / Mimar Sinan Fine Arts University Istanbul (group)
Ancient Lights, Chisenhale Gallery, London (solo)
Riddle of the Burial Grounds (curated by Tessa Giblin), Project Arts Centre, Dublin (group)

Octopus: Nothing Beside Remains, Gertrude Contemporary, Melbourne (group)
Anthropocene Monument, Les Abattoirs, Toulouse (group)
Creative Suite, Square2, City Gallery, Wellington (group)
Concrete, Monash University Museum of Art, Melbourne (group)
Melbourne Now, at National Gallery of Victoria (NGV), Melbourne (group)

9th Bienal do Mercosul, curated by Sofía Hernández Chong Cuy, Porto Alegre, Brazil(group)
Progess in Action, Sutton Gallery, Melbourne (solo)
Living in the Ruins of the Twentieth Century, UTS Gallery, Sydney (group)
Regimes of Value, Margaret Lawrence Gallery and The Substation, Melbourne (group)
Courtesy of the Artist curated by Alexandra Baudelot, CNEI, Paris (group)

A World Undone, Hopkinson Cundy, Auckland (solo)
Sinking Islands, Labor, Mexico City (group)
Some kinds of duration, Centre for Contemporary Photography, Melbourne (solo)
Running on Pebbles: through-lines with incidents and increments, The Snakepit, Auckland (group)

Talking Pictures (curated by Melanie Oliver), Artspace, Sydney (group)
The Big Wall Project (in association with ACCA), Crown Metropole Hotel, Melbourne (solo)
Talk about the weather, Y3k gallery, Melbourne (solo)

Nauru, Notes from a Cretaceous World, Hopkinson Cundy, Auckland (solo)
Nauru, Notes from a Cretaceous World, Sutton Gallery, Melbourne (solo)

Black Perils and Pearls: Ed Grothus’ Doomsday Stones, Gambia Castle, Auckland (solo)
Between a rock and a hard place, Art Gallery of New South Wales Project space, Sydney (solo)
New World Records, Sutton Gallery, Melbourne

A1 Southwest Stone, Gertrude Contemporary Art Spaces, Melbourne (solo)
Lucky Number Seven, SITE International Biennial, SITE Santa Fe, USA (solo presentation)
Revolving Doors: an exhibition in memory of Blair Trethowan, Uplands Gallery, Melbourne
The Shadow Cabinet, the second phase of “Master Humphrey’s Clock,” de Appel Arts Centre, Amsterdam
Lost and Found: an archeology of the present, TarraWarra Biennial, Melbourne (solo presentation)

Comparative material, Projects @ 230 Young Street Fitzroy/Sutton Gallery, Melbourne (solo)

The Mutant Message, Sutton Gallery, Melbourne (solo)
Super Natural, The Physics Room, Christchurch
Adventures with Form in Space, The Fourth Balnaves Foundation Sculpture Project, Art Gallery of New South Wales, Sydney
Uncanny Nature, Australian Centre for Contemporary Art (ACCA), Melbourne
New Acquisitions 06, Museum of Contemporary Art (MCA), Sydney

The Colony, Gertrude Contemporary Art Spaces, Melbourne (solo)

Molecular History of Everything, Curated by Juliana Engberg, Australian Centre for Contemporary Art (ACCA), Melbourne
2004: Australian Culture Now, The Ian Potter Centre: NGV: A, Melbourne
Primavera, Museum of Contemporary Art (MCA), Sydney

In the crux of matter, Sutton Gallery, Melbourne (solo)

The Obolus, Studio 12, Gertrude Contemporary Art Spaces, Melbourne (solo)

OBTX4Plastralwallmold, Penthouse and Pavement Gallery, Melbourne (solo)


2012 Studio residency, Recollets, Paris
2007 Gordon and Anne Samstag Award: 12 month Post -graduate Scholarship
2006 New York Studio Residency, VAB, the Australia Council
2003 Arts Victoria, New Work Grant
2001-02 Studio Residency, Gertrude Contemporary Art Spaces, Melbourne


2008 documentary screening CAA Santa Fe, New Mexico
2005 Floor talk, Australian Centre for Contemporary Art (ACCA), Melbourne
2004 Floor talk, NGV:A, as exhibiting artist in 2004:Australian Culture Now
Artist’s Talk as part of Primavera, Queensland Art Gallery
2003 Artist Talk at Swinburne Institute of TAFE, Prahran Campus
2002 Artist Talk at Victorian College of the Arts, Department of Drawing
2001 Artist Talk at R.M.I.T, Department of Landscape Architecture
2000 Artist Talk at Victorian University of Technology


McSpedden, Shelley, “Cultures of Fabrication: Intercultural Commodities” and “Sites of Engagement: The Commodification of Place” in Nicholas Mangan: Notes from a Creatceous World, 2010
Amore, Mellissa, “The Mutant Message”, Artlink, Vol. 27, No. 1, 2007
Backhouse, Meagan, “Box Office- Galleries”, The Age (Melbourne) Magazine, October 2006
Clemens, Justin, “ekphrastic obolus”, Eyeline, No. 50, Summer 2002/2003
“Ugly little, wicked little artists”, The Mutant Message, Sutton Gallery, 2006
Crawford, Ashley “From the Ice Age to Stone Age”, The Age, December 2004
“Like an antenna for cargo-cult transmissions”, The Age, October, 2005
“Seriously unnerved” Australian Art Collector, Iss. 38, October-December 2006
“Nick Mangan’s Environmental Armageddon”, Eyeline, No. 63, Winter 2007
Finkel, Jori “Welcome to New Mexico. Now create.”, New York Times, January 2008
Hall, Karen “A Thousand Freeways: Nick Mangan’s sculptures and articulated spaces” Eyeline, No. 54, Winter 2004
Hjorth, Larissa Gloss: An Exhibition and Magazine Project – Japan/Australia
Exchange, ex cat. Iss. 2, August 2002 (collaboration with Masato Takasaka)
Holubizky, Ihor “Mutable Spaces”, Eyeline, No. 48, Autumn/Winter 2002
Lee, Brendan “The role of representation”, Melbourne Magazine, Iss. 13, November 2003
Mangan, Nick Artist Statement,, Australian Culture Now, The Ian Potter Centre: NGV: A, Melbourne, 2004
Comparative material,, Projects@230 Young Street Fitzroy/Sutton Gallery, 2007
Milani, Josh “Sculptural ornithology”, ex cat. the obolus, Studio 12, Gertrude Contemporary Art Spaces, Melbourne, 2002
“Mutable Spaces”, Metro Arts, Brisbane, 2002
Nelson, Robert “A bolder gaze into the abyss of contemporary aesthetic”, The Age, December 2002
“Lumps and bumps give life texture”, The Age, November 2006
Palmer, Daniel, “In the crux of matter”, Eyeline, No. 54, Autumn 2004
Rainforth, Dylan, “Growth in the Machine”, Monument, No. 62, August/September 2004
Stanhope, Zara, “Natural history going troppo”, Adventures with Form in Space: The Fourth Balnaves Foundation Sculpture Project, Art Gallery of New South Wales, Sydney 2006
Strahan, Lucinda “Canon fodder”, The Age, October 2003
Vasiliou, Liza “In the Making”,, In the Making, Melbourne University Museum of Art, 2002