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Hayden Fowler’s solo show, Future Distant History, had a distinct post-apocalyptic edge. The title was a clue (picturing the present as the past of a destroyed future is what post-apocalyptic stories do) and so was the pile of bones perched on a pretty white table.
Embodying a performance art born in Sydney’s queer club scene, Justin Shoulder’s latest solo show, Carrion, stakes out post-human, apocalyptic terrain, drawing our attention to the present age of excess and environmental misuse.
A couple of issues back I wrote about what the future of the commercial art gallery scene might look like, reasoning that whatever may come, the dealer-led model of a physical, bricks-and-mortar commercial gallery seems like the only rational way to do business.
In July, the directors of much-loved Sydney artist run initiative MOP Projects announced that the long-running gallery will close in December this year after more than 400 exhibitions which have supported the careers of up to 800 artists.
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