Anna Dunnill is an artist and writer based in Naarm (Melbourne). She works with textiles, ceramics and tattoo, and is the publishing coordinator at Art Guide Australia. Anna is also one half of collaborative duo Snapcat.
A jeweller friend remarked to me that if you come across work in a jewellery show and can’t immediately recognise who made it, it is probably by Lisa Walker.
Through a range of forms including sculpture and video, four artists from East Asia, Australia and New Zealand look at surveillance, artificial intelligence and the economies that drive, and are driven by, the global technology market.
When Angelica Mesiti debuted her acclaimed 2012 video work Citizen Band at the Australian Centre for Contemporary Art, then-director Juliana Engberg told her quietly at the opening, “I’m going to take you to Venice.” It took a few years, but Engberg was true to her word.
Rosslynd Piggott is drawn to substances that are slippery, liminal. They flow between states, take shape when held. My notes from her survey exhibition, I sense you but I cannot see you, read like a list of ingredients for a spell.
For The National, Tara Marynowsky has taken to “redirecting” a slew of 1990s film trailers, giving the female protagonists greater agency.
Elucidated with a level of technical finesse that Loxley describes as “dazzling,” Cassils’ work is fierce, raw and unflinching.
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.
Slipping between questions of constructed identity and culture, the agenda proposed by South/East Interference Vol. 2 is a bold and critical one.
Building on traditional knowledge and aesthetics, John Mawurndjul has established a thoroughly contemporary practice.
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?
Gothic Beauty at Bendigo Art Gallery shows the enduring lure of the elaborate yet sombre aesthetic, particularly fitting for the Victorian goldrush city.
For Paul Yore’s latest solo exhibition at Neon Parc, Your Capital is at Risk, the artist has mined his own practice in the same way he mines popular culture: pulling together every possible scrap of material into a jangling visual cacophony.
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