Amelia Winata is a Naarm Melbourne-based writer and curator. She is an editor at Memo Review and was most recently curator at Gertrude Contemporary. She holds a PhD in Art History from the University of Melbourne.
A presentation of works by Robert Mapplethorpe curated by the British editor Edward Enninful, Enninful x Mapplethorpe, at the 2025 Ballarat International Foto Biennale, finds resonance in opposites while turning binary thinking on its head.
A new exhibition by Melbourne painter Lisa Radford is animated by a deep interest in the way ideas circulate—and the connections between people that unfold over time.
Shaped by the movement between histories and cultures, the work of Thai-born, Aotearoa-raised artist Sorawit Songsataya draws on mystery and plurality as a means of knowing the world. The artist is now showing at Australian Centre for Contemporary Art and Monash University Museum of Art.
One of India’s leading contemporary artists, Mithu Sen’s ‘mind map’ exhibition at the Australian Centre for Contemporary art is focussed on dismantling discipline, power and surface niceties that are engrained in institutions from governments to the art world.
Since 1770, the British Spode brand has famously popularised the blue-and-white Chinese Willow pattern. A design routinely found on dinner tables, artists at Fremantle Arts Centre are reclaiming this globalised ‘misinterpretation’ to show its colonial logic.
The conceptual backbone of Bundit Puangthong’s art is the tension between holding onto the past and letting go.
For many Melbournians their first experience with the not-for-profit arts sector is with West Space, the influential institution that is now celebrating its 25th year of existence.
“There are no fixed rules about what form this exhibition can take,” says TarraWarra Museum of Art’s director Victoria Lynn of the TarraWarra International.
Jon Butt is a photographer in the most contemporary sense of the word. For Fieldcast, Butt’s solo exhibition at Bus Projects, the artist has produced work through means of destroying a scanner, a process that has allowed him to examine what he says are “the inherent artefacts of this destruction”.
Since Melissa Loughnan’s Melbourne gallery Utopian Slumps closed in 2014, people have been waiting with baited breath to see what the Melbourne gallerist and art historian would do next. The wait is over with the release of her new book Australiana to Zeitgeist: An A-Z of Australian Contemporary Art.
“Perhaps a common theme throughout is that brands change, people change and everything dies,” says Melbourne artist Darren Sylvester of the works in his solo exhibition at Neon Parc.
In her solo show, The Choreography of Cutting, Sally Smart has effectively traced her ongoing commitment to an investigation into three seemingly disparate topics: the historical Avant-Garde, traditional Indonesian folk art and the act of cutting.
