“Years later I was walking down the street and I was hit by a wave of that pungent smell that explodes out the back of the garbage truck as it compacts the trash. As aromas of dogshit and grass clippings filtered through me I felt incredibly warm and got goosebumps.”
Millar-Baker uses digital technology to carefully render place through photographic assemblage, layering details found in a landscape to create an alternative narrative.
It’s a big jump from Australia to an island in the Baltic Sea. During 2017 and 2018 the London-based Australian artist Sam Smith visited the Swedish island of Gotland as part of an artist exchange organised by Western Australia’s International Art Space.
In Ian Tully’s solo exhibition, a farmer prepares for the inevitable move to Mars.
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.
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