Gabriella and Silvana Mangano: There is no there
Quiet and considered movement and gesture pervade Gabriella and Silvana Mangano’s lyrical, mainly video based, practice.
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Quiet and considered movement and gesture pervade Gabriella and Silvana Mangano’s lyrical, mainly video based, practice.
Tasmanian artist Rosie Hastie exploits the photographic medium like an illusionist. To create her work, Hastie combines skillfully placed lighting with wads of crumpled paper to produce the impression of a fantastical landscape.
Digging deep into this most universal of human experiences, LOVE at Melbourne’s Immigration Museum includes a wealth of objects from the Museum Victoria collection, as well as artworks and oral histories collected from the community.
Beyond Reason is an embrace of colour, shape and exuberant imaginings. The full-throttle aesthetic of these paintings, sculptures, ceramics, videos, fashion, and installations is only just contained by the space in the QUT Art Museum.
The work of the renowned American artist Adrian Piper will be presented alongside Amrita Hepi, a rising star in contemporary Australian performance art.
As urbanised humans are increasingly distanced from the means of food production, the choice of what and how we eat becomes a political act.
Adorn explores how items we put on our bodies are invested with meaning – not only by their creators, but by the people who wear them. The result is a series of stories as varied as the individuals who wear the objects.
Curiouser and Curiouser takes that classic of absurdity and perceptual play, Alice’s Adventures in Wonderland, as its starting point.
In These Hands expands into a broad survey, marking out the diverse practices of some 28 living Ernabella painters, ceramicists, punu (timber) workers and weavers working with tjanpi desert grass.
“In this new body of work my paintings focus on houses that were influenced by the trend of modernism that crept into the suburbs, mainly in the 1960s,” says Sweaney.
The work of James Geurts traverses a range of territories: fault lines in Bendigo, archaeological sites in Melbourne, Litchfield National Park in the Northern Territory, tectonic plates colliding in Italy and two different points on the meridian.
Milledge’s visual language slips between abstract painting and witchy mysticism; the connections between work and title often oblique. Is gazing at a painting and trying to divine its meaning really so different from reading entrails or casting bones?
