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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.
Many of Amor’s shadowy images have a cinematic quality. They read like film stills, fragments of a greater drama.
You have to wonder: How did we get here? How did we end up with art as a ‘critical practice’ that is neither really that critical nor particularly good art?
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