Giselle Au-Nhien Nguyen is a Vietnamese-Australian writer and critic based in Naarm/Melbourne.
The art of Léuli Eshrāghi is rigorous, beguiling and urgent: it’s searching for a future beyond the colonial present, and is showing at UQ Art Museum.
From her portrait of journalist and Manus Island detainee Behrouz Boochani to photographs of whistleblowers, Hoda Afshar gives us 21st-century images that speak to trauma, justice and humanity.
In Your choc-mint pelvik floor is so boring at Linden New Art, Anna Hoyle’s witty, colourful gouache paintings skewer advertising, self-help and consumer trends and culture.
Bringing together animation, painting, self-made footage and found images, Thao Nguyen Phan’s Becoming Alluvium is a mesmerising mixture of narratives.
Birds can tell stories of colonial movements, national identity and language.
Kunmanara Carroll has been honoured as the first Indigenous artist in JamFactory’s ICON series. Sadly, his exhibition Ngaylu Nyanganyi Ngura Winki had only been open for a short time when he passed away. He is now referred to as Kunmanara Carroll out of respect.
Rosella Namok’s Recent Paintings are about colour, alongside telling stories of Country and family from the Ungkum artist’s home in Far North Queensland.
In the group show PIVOT II at Onespace Gallery, artists make books that jump out of their bindings and on to the walls.
In From Australia: An Accumulation both artists and the general public use printmaking to respond to German curator René Block’s 1988 time capsule of Australian art. The exhibition, which starts at Latrobe Regional Gallery, will evolve as it tours during the next two years.
In her newest work, Angela Tiatia uses the myth of narcissus to hold a mirror to how we live today.
In This Brittle Light, at Buxton Contemporary, six Light Source Commissions, which began as online works during the pandemic, transition into the gallery space and underline why art matters, no matter where you see it.
