CHEN WEI 陈维, Drunken Dance Hall, 2015, wood, steel, luminescent paint, broken glass, lights, acrylic, mirrors, site specific, dimensions variable. Photography Hamish McIntosh.
CHEN WEI 陈维, Drunken Dance Hall, 2015, wood, steel, luminescent paint, broken glass, lights, acrylic, mirrors, site specific, dimensions variable. Photography Hamish McIntosh.
BAI YILOU 白宜洛, Illumination, 2011, antique household lamps, approx. 600cm diameter. Photography Hamish McIntosh.
CHOU YU-CHENG 周育正, Bibliotheque #2, 2022, acrylic on paper, mounted on canvas, 212 x 480 cm. Photography Hamish McIntosh.
CHEN WEI 陈维, Drunken Dance Hall, 2015, wood, steel, luminescent paint, broken glass, lights, acrylic, mirrors, site specific, dimensions variable. Photography Hamish McIntosh.
Destruction often breeds renewal, but at what cost? With skyscrapers borne from the rubble of whatever came before it, the modern cityscape is ever-evolving, at once a force of demolition and creation. This is where White Rabbit Gallery’s latest exhibition lies: within the constant metamorphosis of urban China.
Amongst the group exhibition you may find an amassed collection of antique lamps by Bai Yilou, the setting of an abandoned disco by Chen Wei, ‘cardboard’ boxes that Hu Qingyan has recreated in marble, Hu Weiyi’s atmospheric photographs of demolished buildings, of which he says, “It’s as if every abandoned building, about to disappear, is attempting to sing its last note, and eventually they will come together to form a requiem for an era.”
View, in pictures, the abandoned cities of A Blueprint for Ruins.
ZHOU JIE 周洁, CBD, 2010, porcelain, rice, 80 x 400 x 400 cm. Photography Hamish McIntosh.
DRAWING ARCHITECTURE STUDIO 绘造社, Analogous City for Art, 2019, giclée print, 100 x 250cm. Photography Hamish McIntosh.
Ground Level – A Blueprint for Ruins. Photography Hamish McIntosh.
JIAN JUN XI 奚建军, The Empire, 2013, wood, mattress, pillow, light, books, clothing, closed-circuit camera, 520 x 286 x 286 cm. Photography Hamish McIntosh.
OUYANG CHUN 欧阳春, Volcanic Ash, 2013, Bronze, installed approximately 20 x 400 x 500 cm. Photography Hamish McIntosh.
TU WEI-CHENG 涂維政, Bu Num Civilization Revealed, 2003-07, photographic prints, artificial stone, installation, 228.5 x 479 cm. Photography Hamish McIntosh.
YUAN SHUN 袁顺, Soft Landing, 2018, wood, sand, lights, fog machine, stones, aluminium, just using 4 panels 400 x 400 cm total. Photography Hamish McIntosh.
YUAN SHUN 袁顺, Soft Landing, 2018, wood, sand, lights, fog machine, stones, aluminium, just using 4 panels 400 x 400 cm total. Photography Hamish McIntosh.
ZHANG DALI 张大力, Square 9, 2014, resin, 180 x 170 x 90 cm. Photography Hamish McIntosh.
ZHOU DONG 周栋, Exist, 2018-19, acrylic on canvas, 350 x 295 cm. Photography Hamish McIntosh.
A Blueprint for Ruins
White Rabbit Gallery
On now—12 May
The paintings of Betty Kuntiwa Pumani form a part of a larger, living archive on Antaṟa, her mother’s Country. More than maps, they speak to ancestral songlines, place and ceremony.
A presentation of works by Robert Mapplethorpe curated by the British editor Edward Enninful, Enninful x Mapplethorpe, at the 2025 Ballarat International Foto Biennale, finds resonance in opposites while turning binary thinking on its head.
Auckland-born and raised artist Lisa Reihana is ever the optimist, creating two new works signifying social cohesion to hang outside two Australian arts venues—Ngununggula, and Sydney Contemporary at Carriageworks —just as dark divisions seek to undermine the value of migration and Indigenous sovereignty.
In celebration of Artbank’s 45-year anniversary, two major exhibitions and a publication are on display. View, in pictures, Artbank’s Sydney exhibition, Art Text/Text Art.
Spring1883, Melbourne’s interactive and immersive fair returns, celebrating the collision of contemporary art installed amongst 18th century decor of The Hotel Windsor.
The central life-giving gesture of the breath is at the core of Max Athans’ first institutional solo exhibition. Their series of sculptures, collectively titled Breathform, take air into latex ‘lungs’ which create a whistle in the exhale, a deep breathy sound that echoes eerily through the galleries.
