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Giselle Stanborough’s Cinopticon was relevant well before the current pandemic crisis. But as our personal and professional lives are moving online rapidly and more comprehensively than ever, Stanborough’s research takes on a kind of chilling urgency.
While physical galleries all around Australia may be closed for months, the necessity of invention may yet enrich art lovers worldwide with online innovation.
In the tales of popular culture, if a character encounters an interactive robot the occasion generally brings about one of two reactions: it’s either a wondrous, life-affirming moment, or it evokes total existential terror.
Nothing is what it used to be in the group show Just Not Australian. This is probably just as well, since the cultural artefacts that form much of the show’s raw material are not always pretty.
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