The Asia Pacific Triennial of Contemporary Art has earned its rightful place in Australia’s cultural calendar for the ambitious scope of its artistic programming, highlighting the diversity and range of artistic practices across the Asia Pacific region. This 10th triennial, ATP10, features 150 artists and collectives from 30 countries.
From climate change to geography to cattle farming, Gathering Geographies at Sydney’s Darren Knight Gallery speculates on how the earth, via weather, time and resources, shapes human movement and creativity.
The bark paintings and larrakitj (hollow logs) in Naminapu Maymuru-White’s solo at Sullivan+Strumpf poignantly speak not only of Country, but an astral parallel: the Milky Way.
Creating layers of artificial and natural dyes, Jahnne Pasco-White’s quietly mesmerising canvases speak to an entwined relationship between painting, bodies, materials and the world, with work currently showing at Town Hall Gallery and Mornington Peninsula Regional Gallery.
From her portrait of journalist and Manus Island detainee Behrouz Boochani to photographs of whistleblowers, Hoda Afshar gives us 21st-century images that speak to trauma, justice and humanity.
Black, white and red dominate the art of Jenna Lee, an artist who is a Gulumerridjin (Larrakia), Wardaman and Karrajarri Saltwater woman with mixed Japanese, Chinese, Filipino and Anglo-Australian ancestry. The artist reflects on five of her recent artworks, with exhibitions at Melbourne Art Fair, Pride Gallery and Koorie Heritage Trust.
In the past ten days Australia has lost two important artworld figures. Both were senior artists working in Adelaide but with a reach extending far beyond the city or the nation.
The inaugural show in the new custom-designed space for Science Gallery Melbourne, MENTAL: Head Inside, is a young person-led take on mental health featuring more than 20 interdisciplinary projects from around the globe.
Based in Toronto, Anishinaabe artist Rebecca Belmore is showing her first Australian solo exhibition, creating acts of Indigenous resistance through art, language and bodies.
UK artist James Capper is bringing his insect-like, walking hydraulic sculptures to Hobart’s Mona, heralding an art practice of engineering, design and biology—all for a more sustainable future.
In 1985, the National Gallery of Victoria purchased Picasso’s Weeping Woman for $1.6 million, the most a public gallery had spent on an artwork. On year later, the painting was stolen and held ransom. Now, this unsolved mystery is being explored in the new SBS series FRAMED.
The work of Gordon Hookey is a meeting point of Indigenous resistance, activism, and the power of art—and his acclaimed paintings are currently showing in QAGOMA’s mammoth exhibition, the 10th Asia Pacific Triennial (APT10).
