Giselle Au-Nhien Nguyen is a Vietnamese-Australian writer and critic based in Naarm/Melbourne.
The Brooklyn-based artist was the editor, model, stylist and photographer on a 2018 project, ‘Indigenous Woman Magazine’, now showing at Cairns Art Gallery.
Ceramicist James Lemon creates often irreverent, yet sublimely aesthetic, ceramic works. Ahead of his solo at Sullivan+Strumpf Sydney, and his showing in ‘Melbourne Now’, we visited his light-filled studio, talking about his process, insects and religion, faith and humour.
Sarah crowEST is particularly known for her “strap-on paintings”—large, wearable objects on stretched cloth that can be exhibited or worn. Ahead of her inclusion in Melbourne Now and her solo at LON Gallery, we caught crowEST in the final days of her residency at Billilla Mansion in Melbourne, where she talks through the importance of sustainability.
Gardens tell us a lot about the natural world and the ways in which humans respond to and shape their surroundings. Catherine Truman spent a year researching at Adelaide’s historic Carrick Hill estate, emerging with work that speaks to the tension between the constructed and natural.
The night sky tells many stories. For Indigenous Australians, it is also a symbol of sovereignty. Taking over the entirety of the Lawrence Wilson Art Gallery, Black Sky asserts this sovereign vision.
From sustainability to non-living participants to waterways, this year’s 23rd Biennale of Sydney looks at the rights of nature through 89 participants and over 330 artworks. Ahead of the opening this Saturday, we talked to artistic director José Roca and curatorial member Anna Davis, about the ideas and processes behind the Biennale.
“I never grew up with representation in those queer spaces, so creating my own works has really helped.” In stunning moments of joy and connection, Dylan Mooney’s art depicts the love between queer Indigenous people.
The art of storytelling has been integral to Chinese culture and history for thousands of years—and White Rabbit Gallery is exploring how contemporary artists are keeping this timeless practice alive, especially in today’s digital age.
For better or worse, data is intrinsic to modern life. In recent months with various data breach scandals, Australians have been reminded of its omnipresence— and in Data Relations at the Australian Centre for Contemporary Art, artists explore how data manifests both personally and societally.
“They’re visualising Country as spirit”: First Nations artists Maddison Gibbs and salllvage have been practicing deep listening to express connection to Country, exhibiting sound and sculpture works at Cement Fondu.
“What I represent in my work really reflects my life, because my work really reflects what I am personally going through,” says TextaQueen. Known for their texta creations, ahead of TextaQueen’s show at 4A Centre for Contemporary Asian Art they talk about skewering Bollywood archetypes via fictional film posters, starring queer and trans South Asian people.
For over three decades Do Ho Suh has worked across forms like installation, sculpture and film to interrogate diaspora and concepts of belonging. Suh’s first Australian solo is now showing at the Museum of Contemporary Art this summer.
