Kate Vassallo draws the line
Kate Vassallo’s Ripple marks the conclusion of Artereal Gallery’s exhibition program, as the Sydney gallery is closing its doors after nearly two decades.
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Ai Weiwei, Safe Passage, 2016, life jackets, inflatable raft, dimensions variable. Installation view (2016) at the Berlin Konzerthaus. Courtesy the artist. Photograph: Ai Weiwei Studio.
Oliver Beer, Live Stream, 2016, installation with hydrophones, speakers and underwater LED floodlights. Installation view (2016) for Nuit Blanche, Paris. Courtesy the artist and Galerie Thaddaeus Ropac, London. Photograph: Oliver Beer.
Nguyen Trinh Thi, Letters from Panduranga, 2015 (production still). Courtesy the artist.
Anya Gallaccio, Beautiful Minds, 2015–17, aluminium, clay, pump, computer, software, 500 x 500 x 500 cm. Courtesy the artist; Thomas Dane Gallery, London; and Blum & Poe, Los Angeles. Photograph: Luke Walker.
Kate Newby, The January February March, 2015, porcelain stoneware, earthenware, dimensions variable. Installation view (2015) at Hobart and Margaretville, New York. Courtesy the artist and Michael Lett Gallery, Auckland.
The theme for the next Biennale of Sydney (BoS), due to be held 16 March – 11 June 2018, has been announced. Artistic director Mami Kataoka has given the 21st BoS the title, SUPERPOSITION: Art of Equilibrium and Engagement.
“We are surrounded by conflicting ideas across all levels of humanity: different cultures; readings of nature and the universe; political ideologies and systems of government; interpretations of human history, including the history of art and definitions of contemporary art.”
Kataoka also released the names of 16 more artists who will be included in the 2018 BoS. “The participating artists in the 21st Biennale of Sydney, drawn from around the globe, have been chosen to offer a panoramic view of how opposing understandings and interpretations can come together in a state of equilibrium,” the artistic director says.
The 21st Biennale of Sydney artists confirmed to date include: Chinese artists Chen Shaoxiong, Geng Xue, Ai Weiwe and Jun Yang; Indonesian artist Julian Abraham ‘Togar’; Japanese artists Ami Inoue, Tomie Ohtake, Akira Takayama, Yukinori Yanagi, Noguchi Rika, and Koji Ryui; Australian artists Brook Andrew, Yasmin Smith and George Tjungurrayi; Kate Newby from New Zealand; Finnish artist Eija-Liisa Ahtila; Samson Young and Nicole Wong from Hong Kong; Indian artists Tanya Goel, Sosa Joseph, Prabhavathi Meppayil, and N.S. Harsha; Taiwanese artist Hsu Chia-Wei; Thai artists Tawatchai Puntusawasdi, and Mit Jai Inn; Camodian artists Sa Sa Art Projects, and Svay Sareth; Filipino artist Maria Taniguchi; Su-Mei Tse from Luxemburg; Oliver Bee, Anya Gallaccio, and Semiconductor from the UK; French artist Laurent Grasso; Vietnamese artist Nguyen Trinh Thi; Canadian artist Ciara Phillips; Malaysia artist Wong Hoy Cheong; and Haegue Yang from South Korea.
SUPERPOSITION: Art of Equilibrium and Engagement
21st Biennale of Sydney
16 March – 11 June 2018
Kate Vassallo’s Ripple marks the conclusion of Artereal Gallery’s exhibition program, as the Sydney gallery is closing its doors after nearly two decades.
A new exhibition at Bendigo Art Gallery takes us deeper into the life of the often-mythologised artist Frida Kahlo, through her personal photographs, clothing and objects, borrowed from Casa Azul, Kahlo’s house museum in Mexico.
Using a hand coil pinch technique, the pots created by the Hermannsburg Potters of Western Arrarnta in Central Australia illustrate the lived histories of the artists and their surrounding Country. Their latest creations are now showing at Bett Gallery in Hobart.
The Future & Other Fictions, a landmark exhibition at ACMI, reflects both the cultural forces that determine our reality and the power of imagining our world anew.
Since the 1980s Pat Brassington’s images have entranced the psyche of contemporary Australian art. With a new solo exhibition at Bett Gallery, Brassington gives a rare interview talking about studying art in her thirties, psychoanalysis, and discovering feminism through a wives’ book club.
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.
