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.
Before even entering the exhibition space where Shireen Taweel’s tracing transcendence was held, the adhan – the Islamic call to prayer – could be heard resonating throughout the cavernous building.
At first glance, the human protagonists in Brassington’s exhibition appear strangely familiar. On closer inspection, it becomes evident that they possess slight anomalies that render them unfamiliar.
Drawing traditionally takes the form of charcoal on canvas or graphite on paper, but arguably one can draw with anything that makes a mark: sand, light, ink, paint. The artists in Playback explore the potential of what drawing can be.
Eavesdropping, curated by Joel Stern of Liquid Architecture and Dr James Parker of the Melbourne Law School, tackles some big issues: technology, surveillance, privacy, detention, migration, and more.
Shane Cotton, a New Zealand artist of Pakeha (white New Zealander) and Mãori descent is referred to as a ‘history painter’.
Gerwyn Davies proves yet again that dressing up isn’t just fun and games.
Brodie Ellis’s video work, A Crystal World, 2016, cuts together footage of Australian mining explosions, sourced online, into a slow motion sequence.
If showing in an international biennale is a dream job for most young artists, then Nicole Wong, a recent graduate from the UK’s Nottingham University, has already ticked that box.
Wood smoke floats gently over the harbour from a far corner of Cockatoo Island. Under an open-sided shelter, fire is contained in steel drums.
As the lift doors open on Tolarno Galleries, where Bill Henson’s latest collection of untitled photographs is currently on display, the subdued temple-like atmosphere is immediately affecting.
The lived experiences of Marlene Gilson and N.S. Harsha are separated by both time and space.
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