Urs Fischer’s four-metre red wax sculpture, Francesco, 2017, is designed to be lit and slowly melted like a candle. Recently acquired by the National Gallery of Australia (NGA), the sculpture’s decomposition is being documented on social media—and attracting lively discussion.
Curated by Dr Pat Hoffie and Rosemary Miller, The Partnershipping Project brings together 20 installations, a database of interviews with artists, commissioned essays, and community workshops.
Melbourne-based curator and art historian Elizabeth Cross is less known for her own work as an artist, but this identification is shifting with the opening of her exhibition, Arborescent, at the Australian National University’s Drill Hall Gallery.
In his Venice work, We Don’t Really Need This / EMBASSY, Bell has wrapped a replica of the Australian Pavilion in chains (an institutional critique through an architectural intervention), sited it on a barge, and sailed it throughout the Venetian lagoon.
Undercurrent seeks to broaden how we acknowledge the Frontier Wars and massacre sites which scar country.
“These aesthetic choices are my history. My culture is pop culture. My background is TV, not religion or spirituality. I can only speak of my own life: I’m trying to make sense of it all, like everyone.” —Darren Sylvester
A Centre for Everything is a socially-engaged creative project operating at the intersection of art, learning, food, play, and activism.
Leonard Brown calls his residence in West Ipswich, Novo Poustinya, or ‘new hermitage’, a name usually bestowed on remote Russian Orthodox monastic communities.
As still as life celebrates the work of photographer Robyn Stacey, whose arrangements of museum holdings reconstitute the obsessions and occupations of historical collectors.
Both Frida and Diego were productive and intensive artists, so they collected photographs as iconography to paint from.
When encountering the work of multidisciplinary artist Sarah Contos one is often moved by surprise or curiosity, or caught off-guard by something dualistic, nostalgic or contradictory.
For Paul Yore’s latest solo exhibition at Neon Parc, Your Capital is at Risk, the artist has mined his own practice in the same way he mines popular culture: pulling together every possible scrap of material into a jangling visual cacophony.
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