Recycled Monster Art
holemtaet hemia (hold this/ hold this tightly) is a new solo exhibition from Shari O’Dwyer at The Condensery, Toogoolawah, Queensland, that explores the woven memories between generations of South Sea Islanders in the Australian colony.
For artist Joel Sherwood Spring, working in video offers an entrée, with accessible technologies and immediacy, to his ongoing fields of enquiry about identity and capital, on display at his show Diggermode 2: Cloud Ceding at the Institute of Modern Art in Brisbane.
Tender Comrade, currently on show at Sydney’s White Rabbit Gallery, creates a new vocabulary of queer kinship by reimagining the relationship between artworks, bodies and space.
Healing: Art & Institutional Care, at La Trobe Art Institute, suggests a methodology on how galleries and exhibitions can repair complicated tensions.
NAP Contemporary’s group show, The Elephant Table, platforms six artists and voices—creating chaos, connection and conversation.
They might have been continents apart, but visual artists Man Ray and Max Dupain were aligned in their experimental vision, as a major exhibition at the Heide attests.
