This exhibition takes its title from a complex, multifaceted work, ReVision (Melancolia) by Robert Owen devised in 1987. Revisiting it today, it is comprised of eighty-one painted acrylic canvas boards, each panel devoted to a colour representing a planet in our solar system. Earthy orange-red tones in the spirit of the planet Mars command the east and south edges, while the remaining hues drift, pulse, and play across the surface of the work’s universe.
Inspired by different genres of fiction and digital media, the artists in Ghost in the Machine at Outer Space, Brisbane consider avatars, ghosts, masks and levels of embodiment to ask: what if I’m more real when I’m projecting?
In Queer Territory at the Northern Centre for Contemporary Art, Darwin, curator Maurice O’Riordan has drawn together diverse works from the 1980s to the present day to present a snapshot of queer practice in the Territory.
Taking an expanded approach to Indigenous curatorial practice, the ninth TarraWarra Biennial features work responding to themes of regeneration, restoring spirit, and disrupting colonial space. Three artists discuss their contributions.
Phuong Ngo’s first major solo exhibition Inheritance, now showing at West Space, spans generations and continents, incorporates objects bought and sold across family lines, and draws on both spiritual and everyday rituals.
Blak In-Justice, now showing at Heide Museum of Modern Art, challenges the brutal systems that shape Indigenous incarceration in Australia—while charting the healing power of ancestral knowledge in the process.
It feels like everything is slowly but surely being affected by the rise of artificial intelligence (AI). And like every other disruptive technology before it, AI is having both positive and negative outcomes for society. One of these negative outcomes is the very specific, yet very real cultural harm posed to Australia’s Indigenous populations.
