Gabriela Burkhalter’s The Playground Project at Incinerator Gallery reinvents the typically serious installation space, inviting children to play, reminding us of its importance within the arts.
‘North Terrace: worlds in relief’ showing at Samstag Museum of Art, invites viewers to reflect on the complicated legacies of the cultural institutions that line Adelaide’s North Terrace.
The Darwin Aboriginal Art Fair (DAAF) celebrates 19 years of bringing local and international audiences together on Larrakia Country.
The everchanging nature of what constitutes a home is celebrated and explored in Boundaries: Transcended, now showing at the Bank Art Museum Moree.
Arwin Hidayat’s TERNYATA AKU MASIH BERBAHAS (It Turns Out I’m Still Breathing) at Mitchell Fine Art, presents a lifetime of visual storytelling, experimentation and curiosity.
In Cézanne to Giacometti: Highlights from Museum Berggruen / Neue Nationalgalerie currently showing at the National Gallery of Australia, viewers are invited to share a journey through the history of modern art from across the globe.
Have you ever wondered if someone who is no longer alive could create art? In answer to this question, biological artists Guy Ben-Ary, Nathan Thompson and Matt Ringold, in collaboration with the now deceased Alvin Lucier, have extended the experimental composer’s “ideas about the resonance of sound” for their immersive exhibition, Revivification at the Art Gallery of Western Australia.
Every two years, the Ramsay Art Prize opens to Australian artists under 40 working in any medium. Presented by the Art Gallery of South Australia and supported in perpetuity by the James & Diana Ramsay foundation, the prize seeks to spotlight contemporary artists at a formative moment in their careers.
Marru translates to “becoming visible” in Danie Mellor’s ancestral Dyirbal language (of Far North Queensland). In his current exhibition Danie Mellor: marru | the unseen visible at Queensland Art Gallery, the title reflects the work’s gentle ruminations on the complexities of the history of colonisation entwined with personal memories.
In an era of information excess and manipulation, Wang Zhiyuan’s Dictator Training Centre exhibiting at Passage Gallery, reminds us of contemporary art’s potential as an open-ended platform for reflection, dialogue, and shared authorship.
Hobart-based Max Mueller’s In the Sticks exhibition at Handmark Gallery features oil-on-linen works that show tranquil scenes of Tasmania, musing on how nature is managed and maintained in a context of civilisation and curation.
Described as “a space for reflection, remembrance, and the sharing of truth”, Kattidj Nagãr, now showing at John Curtin Gallery, is dedicated to the Aboriginal people who once resided at the Carrolup Settlement in Western Australia.
