ART+CLIMATE=CHANGE Festival
How do you give average citizens a sense of the overwhelming nature of man-made global warming? Might art be an empowering alternative?
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How do you give average citizens a sense of the overwhelming nature of man-made global warming? Might art be an empowering alternative?
BoS 2018 artistic director Mami Kataoka, explains that the 21st Biennale “will explore multiple viewpoints in search of a state of equilibrium.”
Claire Lambe weaves an uneasy narrative through a warp of found archives, personal records, films, studio documentation, architecture and design. In the formidable expanse of ACCA the installations in her solo show, Mother Holding Something Horrific, seem almost restrained.
“I like air conditioning, and I like looking at art, so visiting your gallery for the recent summer blockbuster exhibition seemed like a good idea.”
In Familiar Stranger, Australian and international artists grapple with the at times unsettling act of coming home.
In a world where one of the only consistencies is that there’ll be more bad news, Ash Keating has created a meditative space for viewers to find a brief respite.
Six Melbourne artists will exhibit new lithographic prints in Adelaide and Sydney this April.
Through a series of saucy, humorous and energetic paintings, Josh Robbins explores the performance of desire by portraying birds in the act of seduction.
Directors Aileen Burns and Johan Lundt add an antipodean twist to their global focus at Brisbane’s Institute of Modern Art, selecting Willem de Rooij and Fiona Tan to kick off the 2017 exhibition program.
Congratulations to Gary Grealy, winner of the National Photographic Portrait Prize 2017.
My first experience of Cementa in Kandos, NSW, (at the base of Combamolang Mountain) was Cementa 2015, its second iteration. The Twilight Girls (Jane Polkinghorne and myself) were invited to exhibit and we were collaborating with Mark Shorter in his guise as Renny Kodgers.
Through a combination of archival material and newly commissioned works, Orange: Sannyas in Fremantle considers the nature of devotion and religious experience.
The paintings of Betty Kuntiwa Pumani form a part of a larger, living archive on Antaṟa, her mother’s Country. More than maps, they speak to ancestral songlines, place and ceremony.
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.
Auckland-born and raised artist Lisa Reihana is ever the optimist, creating two new works signifying social cohesion to hang outside two Australian arts venues—Ngununggula, and Sydney Contemporary at Carriageworks —just as dark divisions seek to undermine the value of migration and Indigenous sovereignty.
An exhibition of newly commissioned works at the National Art School gallery in Sydney brings to light the historic and ongoing ties between Indigenous and Asian-Australian communities.
Gabriela Burkhalter’s The Playground Project at Incinerator Gallery reinvents the typically serious installation space, inviting children to play, reminding us of its importance within the arts.
Alchemist and artist, Natasha Walsh’s new solo show, The Window, embarks on a “new beginning” at N.Smith Gallery in Sydney.
