WATERLICHT, an immersive installation by Dutch art and design firm Studio Roosegaarde, will make its Southern Hemisphere debut at Fremantle Biennale this November.
Mike Parr’s The Eternal Opening takes place in a replica of Anna Schwartz’s Melbourne gallery that has been placed inside Carriageworks.
Critiquing the male gaze throughout art history, Qureshi questions the “absence of a female protagonist and even a point of view in major art collections,” she says. “Historically, there are not enough women’s voices in the art world.”
Let me begin with an anecdote to open this review, which is only marginally relevant to what is to follow. You’ll like this because when I finally come back to the subject you’ll go, ‘…oooh, clever!’
Denny’s prognosis in Mine is grim: as he says, instead of farming sheep and mining the landscape, we are now concentrating on mining and monetising data, with surveillance capitalism claiming human experience as raw material for extracting, prediction and sales: “We are all losing the game and the game is faulty.”
For In Cahoots: Artists collaborate across Country six art centres each invited a contemporary artist to visit and collaborate with the Aboriginal artists of their area: Neil Aldum, Curtis Taylor, Trent Jansen, Claire Healy and Sean Cordeiro, Louise Haselton, and Tony Albert.
Electric sounds reverberate inside Haroon Mirza’s pseudo-operatic composition, The Construction of an Act, at the Australian Centre of Contemporary Art (ACCA).
According to the exhibition room sheet, the word solidarity in the title was an invitation to “walk together.”
The expanse of the sublime and the particular exactitude of botanical studies are present in Valerie Sparks’s immersive wallpaper installations of a hybrid Australian landscape.
In the exhibitions Barkindji Blue Sky and Unvanished, Melbourne based Barkindji man Kent Morris uses digital photography to illustrate how Indigenous culture adapts to change.
Rolling out across Adelaide in October, Tarnanthi, an annual platform for contemporary Aboriginal and Torres Strait Islander Art, features an art fair, exhibition and festival this year.
Post-humanism anticipates a future in which bodies are enhanced, replaced or surpassed, and in which the status of ‘person’ isn’t defined by species or carbon-based physicality.
In art, a sense of mystery can capture a viewer’s imagination, creating a reprieve from our current reality. But as market forces risk turning identity into commodity, who is granted the privilege of artistic mystique?
With textiles as her medium, Hannah Gartside engages with the histories and textures of material—and is creating new work for MCA’s Primavera, centred on five powerful women.
Shepparton Art Museum (SAM) is reopening with a new $50m building, and a new identity. With eight exhibitions lined up, alongside unveiling its ceramic workshop, outdoor amphitheatre and tourist centre, its aiming to be a community hub as much as a gallery.
At a time when it feels more important than ever to support local artists, the Art Gallery of Western Australia (AGWA) is relaunching by celebrating the state’s art, visual language and storytelling with The View From Here.
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