Giselle Au-Nhien Nguyen is a Vietnamese-Australian writer and critic based in Naarm/Melbourne.
In a new exhibition at Australian Galleries, Kyoko Imazu’s intricate papercuts show worlds in miniature—Some of works are only 15 centimetres tall, yet their detail is meticulous.
Now showing at RMIT Gallery, This Hideous Replica is a holistic experimental art undertaking, co-curated by Sean Dockray and Joel Stern, which encompasses an exhibition, performance programs, publishing and much else.
Since 2021, mosaic artists around the world have been working together to draw attention to the plight of Afghan women under Taliban rule. Now, an exhibition at Canberra Glassworks is showing the massive contribution by Australian artists.
Jane Guthleben’s paintings bring native flora to life. In her show at Edwina Corlette, the Sydney-based artist is focusing on coastal plants and the sea around the region.
Care is a word thrown around not just the art world, but many facets of life. Now, a new exhibition between Brisbane’s Institute of Modern Art and Griffith University Art Museum is questioning the complexities of the word and action.
Stacey McCall understands painting as both a domestic pursuit and a calm meditation. Her latest series Breathwork is showing at Michael Reid Murrurundi.
An exhibition at QAGOMA is taking inspiration from Bruce Pascoe’s Dark Emu, drawing from the gallery’s Indigenous Australian art collection to celebrate the connection between plants and Country.
Mai Nguyễn-Long’s latest exhibition at Wollongong Art Gallery takes influence from her Vietnamese heritage and living in a modern Australian setting—speaking to the trauma experienced by the diaspora.
Two years after Josh Muir’s untimely passing at the age of 30, the Koorie Heritage Trust celebrates his work and legacy in an exhibition co-curated by his mother and partner.
“It’s a call for the celebration of the multiplicity of perspectives, and the gathering of different viewpoints.” Ahead of the Biennale’s opening this weekend, we talk with long-time collaborators Cosmin Costinaș and Inti Guerrero about how this year’s Biennale is one of celebration, not fatalism.
The grassroots women’s art collective Womanifesto, which formed in Thailand in 1995, did not shut down with the rest of the world in 2020. Instead, it adapted, and now the works made by the Sydney contingent during that time are showing at 4A Centre for Contemporary Asian Art.
Dapeng Liu juxtaposes painted abstract landscapes with recreations of split-second frames from popular films, news and the internet in his new show at Art Atrium.
