Gabriella and Silvana Mangano: There is no there
Quiet and considered movement and gesture pervade Gabriella and Silvana Mangano’s lyrical, mainly video based, practice.
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Quiet and considered movement and gesture pervade Gabriella and Silvana Mangano’s lyrical, mainly video based, practice.
Tasmanian artist Rosie Hastie exploits the photographic medium like an illusionist. To create her work, Hastie combines skillfully placed lighting with wads of crumpled paper to produce the impression of a fantastical landscape.
“Celebrities are our sun gods and we don’t really need to see them brought down to our level by ill-advised forays into art. I, for one, accept my celebrity overlords but I’d prefer them to stay where they are.”
Digging deep into this most universal of human experiences, LOVE at Melbourne’s Immigration Museum includes a wealth of objects from the Museum Victoria collection, as well as artworks and oral histories collected from the community.
Beyond Reason is an embrace of colour, shape and exuberant imaginings. The full-throttle aesthetic of these paintings, sculptures, ceramics, videos, fashion, and installations is only just contained by the space in the QUT Art Museum.
The latest exhibition at the TarraWarra Museum of Art, combines key moments in Patricia Piccinini’s oeuvre, shown among the all-consuming and devastating emotions in Joy Hester’s works on paper.
Slipping between questions of constructed identity and culture, the agenda proposed by South/East Interference Vol. 2 is a bold and critical one.
The work of the renowned American artist Adrian Piper will be presented alongside Amrita Hepi, a rising star in contemporary Australian performance art.
As urbanised humans are increasingly distanced from the means of food production, the choice of what and how we eat becomes a political act.
Adorn explores how items we put on our bodies are invested with meaning – not only by their creators, but by the people who wear them. The result is a series of stories as varied as the individuals who wear the objects.
Curiouser and Curiouser takes that classic of absurdity and perceptual play, Alice’s Adventures in Wonderland, as its starting point.
“It was blunt but to the point: is the art world full of posers? I had to think about that for a second…”
In his 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.
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.
Carol Jerrems’ intimate and revealing portraits of women, now showing at the National Portrait Gallery, are a touchstone for a generation of writers and photographers. For Josephine Mead, they also galvanise the power—and limits—of feminist legacy five decades on.
The intricate paintings of Nusra Latif Qureshi, now showing at the Art Gallery of New South Wales, remake and reroute imperial narratives and trace the borders of the shifting self.
