Occupying warren-like apartments above Bon Marché Arcade in the Perth CBD, Cool Change has an already-evident agenda to contrast itself with the sobriety and commercial focus of neighbouring exhibition programs.
Artists in digital media, photography, painting, artist books, poetic films, and textiles come together under this exhibition banner to debate a relationship between certainty and uncertainty, knowledge and incomprehension.
Word, a group exhibition of 28 artists at Hugo Michell Gallery in Adelaide, is an in-house curated showcase of text-based work by Australian artists.
Australian Muslim Artists showcases the diversity of the contemporary Muslim experience in Australia, and in the current political and media climate, that is something that should be celebrated.
Sam Field’s paintings are like colonialist postcards from a post-apocalyptic Australian landscape. His terrains are assembled by combining national logos and images – from vintage Channel Nine logos and football teams, to Blundstone boots and lyrebirds.
“This was really a period in which art absolutely changed. It was at this time when art didn’t have to be a painting or a sculpture anymore, it could be a movement or a performance or an action or a book.”
“I wanted the cities to become complicated, towering machines floating in toxic soupy skies.”
Ashley Yihsin Chang lists her aims for the exhibition as threefold: to promote an opportunity for the local artists to engage with Taiwanese culture, to promote cross cultural dialogue for longer term benefits, and to provide a model for a community project with a global outlook.
Territory, geography, architecture, time. In their mid-career survey exhibition, Architecture Makes Us, Sonia Leber and David Chesworth wrangle with these structures, formed by humans, but which cannot fail to shape us in turn.
The Telstra National Aboriginal & Torres Strait Islander Art Award is now in its 35th iteration, and it remains as relevant as ever.
Painting with Thread at the Australian Design Centre is a portrait of the spirit and industry of the ATW and its weavers.
“I want people to be jolted into their bodies,” says curator Emily Cormack about the unnerving opening to the 2018 TarraWarra Biennial.
