As artistic director of NIRIN, the 22nd Biennale of Sydney, artist Brook Andrew is bringing together over 90 artists, creatives, collectives and communities from Australia and across the globe.
Phaptawan Suwannakudt brings Thailand’s Wat Pho temple to Australia through her multi-sensory installation Knowledge in your hands, eyes and mind at the Arts Centre Melbourne as part of Asia TOPA: Asia-Pacific Triennial of Performing Arts.
With a practice spanning three decades, Louise Weaver is well-known for her meticulously crochet-encased animal forms.
Grayson Perry takes to the stage in a one-person show, Them & Us, covering everything from politics and fashion to art and childhood toys. Briony Downes spoke to Perry ahead of his upcoming appearances in Sydney and Melbourne.
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.
Jumaadi’s exhibition My love is an Island Far Away at Mosman Art Gallery has been years in the making.
In the exhibitions Barkindji Blue Sky and Unvanished, Melbourne based Barkindji man Kent Morris uses digital photography to illustrate how Indigenous culture adapts to change.
Tricky Walsh’s exhibition Flatland, at Devonport Regional Gallery, is a scientifically and philosophically rigorous engagement with questions regarding reality, perception and dimensionality.
Embracing the current push led by museums, galleries and public collections to highlight the work of women artists, Lisa Fehily has opened Finkelstein Gallery, an all-female commercial art space in Melbourne.
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.
With a practice spanning four decades, Melbourne-based jeweller Susan Cohn makes both highly wearable and deeply political work.
Zoe Freney spoke to Freeman about her interest in everyday objects of mourning and loss, the ability of clay to hold memories, and her use of the brittle poetry of ceramics to create vessels that hold time, space, legends and tears.
