Rooted in the aesthetics of medieval and Latin-American colonial art, Maria Pia Mosquera’s work wryly re-imagines the contemporary world through the lens of religious iconography and Colombian folklore. She explores our ambiguous relationship with death through oneiric imagery that challenges the macabre with whimsical humour and invites reflection on our everyday lives.
Now showing at Home of the Arts (HOTA), the sophomore Gold Coast Triennial, Here and Now, brings together 42 contemporary artists to represent the depth and dynamism of the city’s artistic community.
For Lardil and Yangkaal writer and curator Maya Hodge, Archie Moore’s presentation at this year’s Venice Biennale is a powerful symbol of reckoning—one that asks the world to bear witness to the long shadows of colonial violence and clears space for possibilities ahead.
In an expansive show at the Chau Chak Wing Museum, seven leading Australian ceramic artists have reinvigorated one of Australia’s oldest museum collections by creating a contemporary potter’s quarter—known as the ‘kerameikos’ in Ancient Greece.
Anador Walsh reviews Ivan Cheng’s performance exhibition NP at Monash University Museum of Art—a three-day project, made in collaboration with a group of Year 11 students, that explores the loss of childhood innocence and role of documentation in performance.
After six months on the long-abandoned third-floor of Flinders Street Station in Melbourne, TIME • RONE has found its way to Perth, inside the historical Centenary Galleries—a wing of the Art Gallery of Western Australia that has been closed for over 20 years.
Even though women currently outnumber men in the arts by two-to-one, the industry remains rife with gender disparities from income to accommodating motherhood. So why, asks Neha Kale, is the growing visibility of female-identifying artists falling short of genuine, material change?
