The selection of Fiona Foley and Liu Bolin as the ‘headline’ artists for this year’s Ballarat International Foto Biennale in many ways beautifully sums up the spirit of this regional festival of photography.
Channels launches this year on 24 August with a showcase exhibition including artist Reko Rennie from Australia, London-Istanbul pair Noor Afshan Mirza and Brad Butler, and Almagul Menlibayeva who is based in Germany and Kazakhstan.
Along with being an independent curator, Butler is a Filipino-Australian writer and artist who continuously looks at the dynamics of power, systemic racism and racial hierarchies within a contemporary art context.
Other Suns is an ode to an idea of the future that has fallen into the past, a fond rear-ward glance at the aesthetics and cultural detritus of an age that was obsessed with, and optimistic about, outer space and frontiers.
Elaine Campaner’s photographs of multilayered dioramas reward intense viewing.
There is a concern for decolonisation, the environment and putting forward Indigenous perspectives, and championing a closer and more caring relationship with nature.
Wurundjeri and Dja Dja Wurrung woman Stacie Piper has been appointed as First Peoples Curator at the TarraWarra Museum of Art as part of the Yalingwa initiative.
The exhibition features Henson’s series Untitled 1985–86– informally known as ‘the suburban series’ – and a new body of work commissioned by Monash Gallery of Art for its 25th anniversary, Untitled 2018–19.
Invisible Threads places emphasis on Kotai’s more recent fabric collages, a technique she happened on by chance in the early 2000s.
In two new projects, Julie Gough continues her excavation of Tasmania’s First Nation history and the impact of colonisation.
Encompassing both created and found objects, jewellery, film, images, installation and sculpture, no surface holds marks the first time Catherine Truman’s science-influenced works have been brought together.
A jeweller friend remarked to me that if you come across work in a jewellery show and can’t immediately recognise who made it, it is probably by Lisa Walker.
In their debut solo exhibition Extinguishing Hope, now showing at UTS Gallery, Akil Ahamat uses darkness—both literal and metaphorical—to examine what can be gained when everything is lost.
Existing in the space between ritual, performance and ceremony, the body-centred work of Latai Taumoepeau rewrites the stories that shape our perception of Oceania—while using ancient traditions to tackle our most urgent modern concerns. Taumoepeau is now participating in Re-Stor(y)ing Oceania at Artspace.
Congratulations to Aisha Sherman-Noth, who has won the 2025 Glover Prize for Weeping birches on the avenue. The Tasmanian-based artist wins $80,000 for the painting, which depicts weeping birch and poplar trees along the Brooker Highway into Hobart.
In Biraddali Dancing on the Horizon, now showing at Perth Institute of Contemporary Arts (PICA), Australian-Filipina artist Bhenji Ra explores pangalay—a dance form indigenous to the Tausug and Bajau peoples from the Sulu Archipelago and Sabah in the Philippines.
In an interview with Louise Martin-Chew, Darrell Sibosado discusses his striking installation Ilgarr (Blood), currently on show as part of the 11th Asia Pacific Triennial, his major commission at the 24th Biennale of Sydney, and Illume, an upcoming collaboration with the renowned Bangarra Theatre.
Now showing at Manly Art Gallery & Museum, the 5th Tamworth Textile Triennial: Residue + Response, showcases 25 diverse artworks and considers what contemporary textiles can be.
