Mostafa ‘Moz’ Azimitabar’s story is one of resilience, hope, and the transformative power of art. For Moz, the theme of love is central, both in his art and his activism.
His quote, “Love is how we kill the monsters. We are all one family, connected by our humanity,” speaks to the healing and revolutionary power of compassion, understanding, and solidarity.
In Biraddali Dancing on the Horizon, now showing at Perth Institute of Contemporary Arts (PICA), Australian-Filipina artist Bhenji Ra explores pangalay—a dance form indigenous to the Tausug and Bajau peoples from the Sulu Archipelago and Sabah in the Philippines.
Shaped by the movement between histories and cultures, the work of Thai-born, Aotearoa-raised artist Sorawit Songsataya draws on mystery and plurality as a means of knowing the world. The artist is now showing at Australian Centre for Contemporary Art and Monash University Museum of Art.
Consuelo Cavaniglia’s sunny studio in an industrial area of Sydney’s inner west reflects the artist’s fascination with light. Her recent glass works, now showing at Chau Chak Wing Museum, play with apertures, shadows, reflections and transparencies.
When times are hard, we often turn to art to remind ourselves that beauty and hope persist. An exhibition at Murray Art Museum Albury brings together nine artists from varied disciplines to examine how art can be used as an agent for good.
Partners in life and art, Will and Garrett Huxley’s sequined wonderland pays homage to their queer artist forebears. Their first collective survey, now showing at Fremantle Arts Centre, unfurls a decade of photography, music recordings, costume, film and performance.
In her audacious new exhibition, the Filipina Australian artist Marikit Santiago skewers the myths of the western canon and give pleasure and power—as experienced by women of colour—an arresting new form.
