Art Almanac May 2018 Issue

Art Almanac

May 2018 $6

Patricia Piccinini Alasdair McLuckie Biennale of Sydney

Art Almanac May 2018

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Deadline for June 2018 issue: Wednesday 2 May, 2018.

We acknowledge and pay our respect to the many Aboriginal nations across this land, traditional custodians, Elders past and present; in particular the Guringai people of the Eora Nation where Art Almanac has been produced.

Formalist dialogues within a variety of art practices are celebrated in this issue. The intricate beaded panels of Alasdair McLuckie juxtapose Patricia Piccinini’s fleshy fiberglass sculptures, while two biennials in Sydney and Adelaide bring together an array of media. Haunting cameraless photographs in ‘Antipodean Emanations’ pare back the medium of photography as another group show, ‘Vanishing Point’, enlists the camera lens to explore the trope of the island.

Contact Editor – Chloe Mandryk cmandryk@art-almanac.com.au Assistant Editor – Elli Walsh ewalsh@art-almanac.com.au Deputy Editor – Kirsty Mulholland info@art-almanac.com.au Art Director – Paul Saint National Advertising – Laraine Deer ldeer@art-almanac.com.au Digital Editor – Melissa Pesa mpesa@art-almanac.com.au Editorial Assistant – Penny McCulloch listing@art-almanac.com.au Editorial Intern – Soo-Min Shim Accounts – Penny McCulloch accounts@art-almanac.com.au T 02 9901 6398 F 02 9901 6116 Locked Bag 5555, St Leonards NSW 1590 art-almanac.com.au

Cover Patricia Piccinini, Tyre Lion, 2018, and Tyre Lion Cub, 2018, installation view ‘Patricia Piccinini: Curious Affection’ at Brisbane’s Gallery of Modern Art, 2018 Photograph: Natasha Harth, QAGOMA Courtesy the artist, Tolarno Galleries, Melbourne, Roslyn Oxley9 Gallery, Sydney and Hosfelt Gallery, San Francisco 5

Next Wave Festival ‘Next Wave’ features 31 world-premiere productions in creative spaces, theatres and galleries across the city of Melbourne from 2 to 20 May. Solo and curated exhibitions, workshops, inspiring dialogue and a lively program of performance-based works will showcase diversity in Australian artistic practices with questions directed at current social and world matters.

Festival highlights include the highly charged ‘Apokalypsis’ – 100 historical disasters presented in 60 mins – Kai Bradley, Rosie Clynes, Marcus McKenzie, Charles Purcell. ‘Deep Water Dream Girl’ by sculptor and filmmaker Athena Thebus considers queer identity, Catholicism and Filipina femininity, while Taree Sansbury’s dance-based piece ‘mi:wi’ explores climate change, culture and new generations.

‘Next Wave’ brings powerful new experiences to the audience reflecting on the past and present to determine challenges of the future. nextwave.org.au Apokalypsis performance shot Photograph: Sarah Walker Courtesy the artists and Next Wave Festival, Melbourne

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Dissonant Rhythms: Ross Manning Institute of Modern Art

This monograph documents artist and musician Ross Manning’s first ten-year survey exhibition ‘Dissonant Rhythms’ shown at Institute of Modern Art, Brisbane, in 2017. Manning produces extraordinary kinetic sculptures, large-scale mobile structures and installations constructed from everyday objects. Incorporating overhead fans, projectors, fluorescent light tubes, electronic materials and hand-made percussion instruments, these compositions become energetic fusions of light, colour and sound generating mesmeric multi-sensory encounters with familiar objects in new forms. Essays by Ellie Buttrose, Dr Caleb Kelly, Madeleine King and Dr Danni Zuvela and a collection of photographs altogether capture the intrinsic nature of Manning’s ideas and inspirations, and the fundamental principles of his practice.

The Winter Garden Christine McFetridge M.33 and Bad News Books

‘The Winter Garden’ seeks to identify the familiar in a place continually changing.’ – Christine McFetridge Inside the cloth-bound covers of this book Melbourne-based photographer Christine McFetridge shares her interpretation of what ‘home’ means. Drawing on memory and nostalgia the artist explores her own sense of belonging with a collection of photographs taken while visiting her hometown of Christchurch, New Zealand.

The singular placement of the images and the clean white pages between offer moments to pause and reflect, to turn the pages back and contemplate our own recollections and connection to place. A written piece by Ish Doney reminisces on what once was, now changed. ‘You wonder if you still have the right to call this home,’ the author concludes.

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Patricia Piccinini Curious Affection Jeremy Eccles

‘It’s been a decade in the making, but GOMA’s invitation to create a whole world has been a dream for me’. In several speeches during the opening weekend of her solo show, Patricia Piccinini didn’t stint on her gratitude to the Queensland Art Gallery for its gift of the entire ground floor at its Gallery of Modern Art – the first time it’s been offered to an Australian artist.

The sheer size of its echoing spaces does require artworks (and an imagination) that can fill them convincingly. And Piccinini is one of the few artists in the world who might fit the bill.

She also has appeal outside the ‘art-world elite’, as was evidenced in 2016 when an audience of 1.4 million viewed ‘Comciência’ in Brazil, making her more popular than Renoir and Picasso that year. Perhaps those numbers encouraged critic John McDonald to describe her work as ‘Disneyfied’ in the National Gallery of Australia’s recent ‘Hyper Real’ show. Piccinini may have been addressing him when she asserted, ‘It’s not Hollywood; their monsters have to be killed, while my monsters are loved in the stories I and viewers make up around them’.

And they’re loved via their eyes. Just as the artist won hearts with her running-shoe/monkey’s eyes in the Museum of Contemporary Art Australia’s ‘New Romance’ exhibition, so here, the cheeky Pollinator (2017) peers into the womb of the faceless, legs akimbo creature that you meet when first entering Piccinini’s ‘whole world’, but any unsavoury thoughts are dismissed by those winsome eyes.

Move through the 3,000 waving transgenic plants that fructify this darkened space, and the eyes on Kindred (2018) will be the next to suck you in. For this wistful orangutan mother with babies that are clearly mutating towards the human, is sister to the sad-eyed Big Mother from 2005 – pieces that the artist hails as ‘classic Piccinini’. But you’re not merely sucked in to sympathise, rather to reflect upon the nature of evolution and, indeed, to ponder the pangs and joys of motherhood itself.

Surrounded by her family at the opening, the artist – who has described herself as ‘chemically female’ in the past – made several references to her own IVF experience in producing the children who also appear in her artworks. That must have influenced her scientific investigation of such matters as CRISPA gene-editing, as well as the yen to imagine futures beyond the realms of science. But, as you climb up from The Field (2018) and are confronted by something that is chemically and mechanically male – Heartwood (2018) – questions spring to mind about the predominantly female nature of the Piccinini enterprise.

Heartwood is a massive, three-legged figure without eyes, though three helmeted heads hang from his mighty torso like autumnal flowers. Perched on a shoulder is an eagle – intended, says the artist, to suggest an acceptance by nature of this unnatural beast. For me, though, this confabulation on high cried ‘Prometheus’ – the male who stole fire from the Gods and was perpetually punished by an eagle devouring his liver by day, only to have it restored for further pain each night. Is that a story Piccinini would want conjured, I wonder, or has this macho figure failed to throw out her expected gynophoric scents?

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Elsewhere at QAGOMA, Picasso’s ‘Vollard Suite’ is on tour from the National Gallery. It reminds us that people have been wishing themselves into imagined identities like the Minotaur throughout time. At a ‘World Science Festival’ forum discussing Piccinini’s work, I was attracted to the summation from Cosmos Editor Ellen Finkel that she is ‘offering aspirational mythologies that science could adopt’.

Jeremy Eccles is a specialist arts commentator who has been writing, broadcasting and filmmaking in Australia since 1983, with a special interest in Indigenous culture.

Queensland Art Gallery | Gallery of Modern Art Until 5 August, 2018 Queensland

Installation view ‘Patricia Piccinini: Curious Affection’ at Brisbane’s Gallery of Modern Art, 2018, featuring The Couple, 2018 Photograph: Natasha Harth, QAGOMA Installation view ‘Patricia Piccinini: Curious Affection’ at Brisbane’s Gallery of Modern Art, 2018, featuring The Field, 2018 and Kindred, 2018 Photograph: Natasha Harth, QAGOMA Installation view ‘Patricia Piccinini: Curious Affection’ at Brisbane’s Gallery of Modern Art, 2018, featuring The Grotto, 2018 Photograph: Natasha Harth, QAGOMA Courtesy Queensland Art Gallery | Gallery of Modern Art

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Vanishing Point Elli Walsh The island is a fascinating trope. On the one hand, it’s fraught with dark colonial histories – think Prospero in Shakespeare’s The Tempest violently subjugating Caliban on his native isle; a microcosm that applies, of course, to our own ‘island home’. It’s also a site of wilderness, where Freud’s concept of the id flourishes, liberating the primal urges that are repressed in ‘civilised’ society. ‘Kill the pig. Cut her throat. Spill her blood’ chant the shipwrecked little boys in Lord of the Flies as they succumb to their primitive under-selves. This is a far cry from European representations of fictionalised Pacific paradises and the phenomenon of ‘islomania’, which imagines an Edenic escape from the woes of life.

The paradoxical ubiquity of island landscapes within the popular imagination is unpacked by five female artists in ‘Vanishing Point’, an exhibition that conceptualises the isolated landmass as a place where opposing ideas meet. Featuring works by Consuelo Cavaniglia, Ellen Dahl, Yvette Hamilton, Taloi Havini and Salote Tawale, the artist-led presentation filters personal narratives, socio-political considerations and commentary on cultural histories through the photographic apparatus of the lens.

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SUPERPOSITION: Equilibrium & Engagement The 21st Biennale of Sydney Eleanor Zeichner

In 1973 the ‘Biennale of Sydney’ was a bellwether, one of the first in a now-packed calendar of international biennales. Currently in its 45th year of operation, it must continue to grapple with the substantial task of representing international and Australian contemporary art practice, while speaking persuasively to diverse audiences. This edition’s Artistic Director Mami Kataoka, Chief Curator of Tokyo’s Mori Art Museum since 2009, has delivered an exhibition that serves this need, turning these sometimes-conflicting requirements into a strength. Presenting the work of 70 artists and collectives across seven venues, the show seeks balance between the local and the global, and between official histories and individual memory.

While the overarching theme of ‘superposition’ – a term from quantum mechanics referring to the paradoxical duality of microscopic particles in motion – may at first glance seem overly complex, it doesn’t weigh the exhibition down with jargon. Kataoka deploys the concept with a light touch. She grants numerous entry points to the casual and scholarly viewer alike, offering vast experiences from the subtle to the bombastic. The presentation explores the multiplicity and interconnectedness of the human condition, replete with conflict, community and resilience. In an anniversary year, it also takes multiple opportunities for historical reflection and revision.

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Propaganda Mornington Peninsula Regional Gallery Until 8 July, 2018 Victoria

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Evelyna Helmer Broken Open

Thienny Lee Gallery Until 15 May, 2018 Sydney

‘Propaganda’ presents posters from all of the major 20th century conflicts, revealing the power of information graphics and communication strategies in eliciting fear, loathing and calls to action. Drawn from the Australian War Memorial’s collection of historical propaganda prints – one of the largest in the world – the images are presented alongside newly commissioned works by three contemporary Australian artists; Alison Alder, Mini Graff and Jake Holmes. These works offer fresh perspectives on the unique aesthetics and politics of advertising.

Evelyna Helmer’s latest paintings are portraits of an inner state. The artist sets up dialogues between intuitively painted abstraction and smooth shapes with strongly defined edges.

Geometric forms, including circles, squares and teardrops, carry conceptual and cultural weight – invitations to follow Helmer on her inward dive.

Syno, Australia has promised Britain 50,000 more men…, 1915, lithograph, 63 x 102.5cm Issued by the South Australian Government Australian War Memorial Collection Courtesy Australian War Memorial and Mornington Peninsula Regional Gallery, Victoria

Tacenda, 2018, oil on canvas, 30.5 x 40.5cm Courtesy the artist and Thienny Lee Gallery, Sydney

‘Broken’ references Japanese kintsugi, in which damaged pottery is repaired using gold.

The metaphor is clear: our lives are damaged by disappointment, lost opportunities and grief, yet we can be enriched by this damage.

Anna Gore Out in Style

Fontanelle Gallery Until 3 June, 2018 South Australia

Transboundaries QUT Art Museum Until 3 June, 2018 Queensland

Anna Gore considers the language of abstraction in her artistic practice as an alternative way to understanding worldly experience. ‘Out In Style’ presents a painting installation in bold colour and shape where form and process are influenced by emotion, aesthetic experimentation and an appreciation for the limitless possibilities between abstract painting and subject matter.

Withholding familiar visual cues of knowledge and meaning, Gore tempts the viewer’s imagination in a quest for interpretation.

This triennial exhibition features works by seven QUT alumni working across different disciplines, including dance, film media, political documentation, photography and installation. Curated by Kevin Wilson, the show examines interactions between a range of contemporary phenomena, from ecology, technology and psychology to politics, economics, science and nature. Crossing the boundaries of time and reaching into future worlds, artists consider the implications of our actions on others, what it means to work together and our relationship to what is outside us.

Out In Style installation (detail), 2017-18 Photograph: Grant Hancock Courtesy the artist and Fontanelle Gallery, South Australia

Keith Armstrong, Shifting Dusts, 2016, single channel video installation Photograph: David Campbell Courtesy the artist and QUT Art Museum, Queensland

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Gandrille, Marybel Schwartz, Valerie Sim and Sophie Weston. Public programs at RMIT Gallery: New Order: (RMIT student ID required) featuring Starlings: Sound Diffusion Collective/live DJ/performance art, Thurs May 3, 5-9pm. Industry talk: ‘Starting a collection’, Thurs 17 May 5.30-6.30pm. Book launch: Vincas Jomantas – Ken Scarlett OAM, Thurs May 31, 5.306.30pm. See ad page 15.

Tolarno Galleries

Level 4, 104 Exhibition Street, Melbourne 3000.

T (03) 9654-6000 F 9654-7000.

E mail@tolarnogalleries.com W www.tolarnogalleries.com Director: Jan Minchin (member of ACGA). H Tues-Fri 10.00 to 5.00, Sat 1.00 to 5.00.

West End Art Space

175-185 Rosslyn Street, Melbourne 3003.

T 0415-243-917. E westendartspace@gmail.com W www.westendartspace.com.au H Wed-Sat 11.00 to 4.00. May 5 to 26 (opening Sat May 5, 2-4pm) Aurora by Nick Horan, Instruments by Cliff Burtt, Chiaro Scuro by Sarina Lirosi (see ad page 98), (Un)natural by Jennie Rosenbaum.

Flinders Lane Anna Schwartz Gallery

185 Flinders Lane, Melbourne 3000.

T (03) 9654-6131. E mail@annaschwartzgallery.com W www.annaschwartzgallery.com Director: Anna Schwartz. H Tues-Fri 12.00 to 5.00, Sat 1.00 to 5.00.

ARC ONE Gallery

45 Flinders Lane, Melbourne 3000.

T (03) 9650-0589. E mail@arc1gallery.com W arcone.com.au Directors: Fran Clark and Suzanne Hampel (member of ACGA). H Tues-Sat 11.00 to 5.00. To May 19 Golden Hour by Cyrus Tang.

May 22 to June 23 (opening Thurs May 24, 6-8pm) Phanta Firma by Honey Long and Prue Stent.

BLINDSIDE

Nicholas Building, 714/37 Swanston Street (enter via Cathedral Arcade lifts, cnr Flinders Lane), Melbourne 3000. T (03) 9650-0093. E info@blindside.org.au W www.blindside.org.au H Tues-Sat 12.00 to 6.00.

May 10 to 19 Bureau of Meteoranxiety by Alex Tate and Olivia Tartaglia. Presented as part of Next Wave.

To May 5 Site(s) – Lina Buck, Garth Howells and Paul Murphy. Also, Intercambio: Cuba-Australia Video Exchange – Susana Pilar Delhante Matienzo, Adriana Arronte, Diana Fonseca Quiñones, Mia Salsjö, Robyne Latham and Angela Tiatia.

Curated by Damian Smith.

Alex Tate and Olivia Tartaglia, BoMa, 2018 Photograph: Michael Tartaglia Courtesy the artists, Next Wave Festival, Melbourne and BLINDSIDE Artist Run Inc.

Nick Horan, Aurora I, 2014, pigment print on rag paper, 150 x 107cm Courtesy the artist and West End Art Space

Melbourne 89

Redfern Surry Hills Green Square Aboriginal & Pacific Art

1/24 Wellington Street, Waterloo 2017.

T (02) 9699-2211. E info@aboriginalpacificart.com.au W www.aboriginalpacificart.com.au Director: Gabriella Roy (member of ACGA). H Tues-Sat 11.00 to 5.00.

May 12 to June 2 Tjungungku Tjukurpa Kunpu Rawangku Kanyinytjaku: Together we are protecting our stories. See ad page 143.

Artbank, Sydney

222 Young Street, Waterloo 2011. T (02) 9697-6000.

E enquiries@artbank.gov.au W www.artbank.gov.au H Mon-Fri 9.00 to 5.00.

Michael Reid Sydney

Standard House, 105 Kippax Street (enter from Waterloo Street), Surry Hills 2010. T (02) 8353-3500.

W www.michaelreid.com.au Directors: Michael Reid, Toby Meagher and Will Sturrock. H Wed-Sat 11.00 to 5.00. May 2 to 26 Petrina Hicks.

Soho Waterloo

Waterloo Design Centre, 105/197 Young Street, Waterloo 2017. T (02) 9326-9066 F 9358-2939.

E art@sohogalleries.net W www.sohogalleries.net H Daily trading, closed public holidays. May 1 to 31 Amica Whincop contemporary paintings and sculpture by Donal Molloy-Drum. To July ArtPark Australia – exhibition of 30 landmark sculptures at d’Arenberg, McLaren Vale, SA. www.artpark.com.au

Stella Downer Fine Art

1/24 Wellington Street, Waterloo 2017.

T 0402-018-283. E info@stelladownerfineart.com.au W www.stelladownerfineart.com.au H Tues-Fri 10.00 to 5.00, Sat 11.00 to 5.00. May 22 to June 9 (opening Sat May 26, 3-5pm) Viola Dominello.

Brett Whiteley Studio

2 Raper Street, Surry Hills 2010. T (02) 9225-1881.

E brettwhiteleystudio@ag.nsw.gov.au W www.brettwhiteley.org Free admission made possible by J.P. Morgan. H The Studio is open to the public Fri-Sun 10.00 to 4.00.

The Brett Whiteley Studio is managed by the Art Gallery of New South Wales.

Flinders Street Gallery

61 Flinders Street, Surry Hills 2010.

T (02) 9380-5663. E info@flindersstreetgallery.com W www.flindersstreetgallery.com H Wed-Sat 11.00 to 6.00, or by appt.

MAY SPACE

409b George Street, Waterloo 2017.

T (02) 9318-1122. E info@mayspace.com.au W www.mayspace.com.au H Tues-Sat 10.00 to 5.00. To May 12 Peter Tilley, Helen Mueller and Tania Smith. From May 16 Paul White, Daniel Shipp and Todd Fuller.

Viola Dominello, Brooklyn, 2018, oil on board Courtesy the artist and Stella Downer Fine Art

Sullivan+Strumpf

799 Elizabeth Street, Zetland 2017.

T (02) 9698-4696. E art@sullivanstrumpf.com W www.sullivanstrumpf.com Directors: Ursula Sullivan and Joanna Strumpf. H Tues-Sat 10.00 to 5.00, or by appt. May 12 to 26 (opening Sat May 12, 3-5pm with artist talks) Yang Yongliang.

Also, Karen Black.

Tania Smith, Untitled (walking), 2017, video 7:12mins Courtesy the artist and MAY SPACE

138 Sydney

Blue Mountains Blue Mountains City Art Gallery

30 Parke Street, Katoomba 2780. T (02) 4780-5410.

E info@bluemountainsculturalcentre.com.au W www.bluemountainsculturalcentre.com.au Adults $5/Conc. $3. Children under 16 free.

H Mon-Fri 10.00 to 5.00, Sat-Sun 10.00 to 4.00.

Public hols 10.00 to 2.00. To May 13 Sculpture Otherwise – small sculpture by artists participating in the Sculpture at Scenic World exhibition in 2018. An opportunity for collectors and the public to purchase works by Australian and international artists. May 12 to June 24 Mary Alice Evatt: Art for the People – features work by Mary Alice Evatt (1898-1973), artist and cultural advocate, who was married to Dr Herbert Vere ‘Doc’ Evatt, Justice of the High Court of Australia and prominent Labor party politician. Works from private and public collections provide opportunity to view artworks acquired and bequeathed by the Evatts including works by Fernand Léger, Henri Matisse, Maurice de Vlaminck and Amedeo Modigliani, and some by Evatt’s friends including Margaret Olley, John Coburn, Moya Dyring and Tom Gleghorn. Curated by Dr Melissa Boyde. May 19 to July 1 Out of Bounds – artists Rachel Peachey & Paul Mosig, Heidi Axelsen & Hugo Moline, Hannah Bath, Chris Carmody and Nick McKinlay use play and field studies as creative research tools to look at how the built environment effects the way we learn, process ideas and relate to each other, and the way we impose boundaries on our behaviour.

The artists use archetypal children’s play structures as a design reference and local parks as field sites for experimentation – working across photography, painting, drawing, sculpture, video and sound.

Georgia Humphries, Coloured Model, 2017, coloured paper card and sticky tape, 140 x 18 x 11cm Photograph: Silversalt Courtesy the artist and Blue Mountains City Art Gallery

Lost Bear Gallery

98 Lurline Street, Katoomba 2780.

T (02) 4782-1220. E info@lostbeargallery.com.au W lostbeargallery.com.au Director: Geoff White.

H Daily 10.00 to 5.00.

Nolan on Lovel Gallery

56a Lovel Street, Katoomba 2780.

T (02) 4782-6231. E gallery@nolanonlovel.com.au W nolanonlovelgallery.com.au

Norman Lindsay Gallery & Museum

14 Norman Lindsay Crescent, Faulconbridge 2776.

T (02) 4751-1067. E info@normanlindsay.com.au W www.normanlindsay.com.au H Daily 10.00 to 4.00. The Norman Lindsay Gallery is the home of the Magic Pudding and displays the work of artist and writer Norman Lindsay (1879-1969).

Rex-Livingston Art + Objects

182-184 Katoomba Street, Katoomba 2780.

T (02) 4782-9988. E art@rex-livingston.com W www.rex-livingston.com Director: David Rex-Livingston. H Thurs-Tues 10.00 to 5.00.

Sculpture at Scenic World

Mary Alice Evatt, Woman in green sitting on red chair, 1930, oil on board, 66 x 55.5cm Photograph: Graham Lupp Courtesy Blue Mountains City Art Gallery

1 Violet Street, Katoomba 2780. T (02) 4780-0250.

W sculptureatscenicworld.com.au H Daily 9.00 to 5.00. To May 13 Sculpture at Scenic World – this annual outdoor exhibition transforms the ancient rainforest floor into an outdoor gallery showcasing over 38 artworks along the Scenic Walkway, which winds through the pristine Jamison Valley and provides a unique sensory experience with subtle artworks and interactive installations. The free public program includes guided tours, curated artist talks and weekend workshops. See ad page 25.

New South Wales 161

Hobart Sullivans Cove Battery Point Art Mob

29 Hunter Street, Hobart 7000. T (03) 6236-9200, 0419-393-122. E euan@artmob.com.au W www.artmob.com.au Director: Euan Hills.

H Daily 10.00 to 6.00. Aboriginal fine art, including Tasmanian Aboriginal artists.

Handmark Gallery

Unique Tasmanian Art & Design, 77 Salamanca Place, Hobart 7000. Also, 2 Russell Street, Evandale, 7212. T Hobart: (03) 6223-7895, Evandale: (03) 6391-8193.

E Hobart: hobart@handmark.com.au, Evandale: evandale@handmark.com.au W www.handmark.com.au May 4 to 21 John Lendis new paintings.

May 25 to June 11 Jock Young new paintings.

To May 3 Evandale: Katy Woodroffe new paintings.

May 6 to June 13 Robyn McKinnon new paintings.

Colville Gallery

91a Salamanca Place, Hobart 7004.

T (03) 6224-4088, 0419-292-626.

E info@colvillegallery.com.au W www.colvillegallery.com.au H Daily 10.00 to 5.00.

May 18 to June 1 New Works by David Hawley.

Robyn McKinnon, Sub-urban, 2018, 130 x 180cm Courtesy the artist and Handmark Gallery

The Henry Jones Art Hotel

25 Hunter Street, Hobart 7000. T (03) 6210-7700.

E art@thehenryjones.com W www.thehenryjones.com Showcasing leading and emerging Tasmanian artists with a changing display of original contemporary artworks.

MONA Museum of Old and New Art David Hawley, Untitled, 2017, mixed media on canvas, 109 x 120.5cm Courtesy the artist and Colville Gallery

Despard Gallery

Level 1, 15 Castray Esplanade, Hobart 7000.

T (03) 6223-8266. E hobart@despard-gallery.com.au W www.despard-gallery.com.au H Mon-Fri 11.00 to 6.00, Sat 10.00 to 4.00, Sun 11.00 to 4.00. May 2 to 27 Art And Object. June 1 to 24 (opening Fri June 1, 5.30pm) Jenny Orchard and Dale Richards.

168 Tasmania

655 Main Road, Berriedale, Hobart 7011.

T (03) 6277-9900. E info@mona.net.au W www.mona.net.au Visit website for details.

Plimsoll Gallery School of Creative Arts, University of Tasmania

Hunter Street, Hobart 7000. T (03) 6226-4300.

E Jane.Barlow@utas.edu.au W www.utas.edu.au/plimsoll H Daily 12.00 to 5.00 during exhibitions, closed on Tues and public hols.

To May 27 Experimenta Make Sense: International Triennial of Media Art – Robert Andrew, Ella Barclay, Michele Barker and Anna Munster, Briony Barr, Steve Berrick, Antoinette J. Citizen, Adam Donovan and Katrin Hochschuh, Lauren Edmonds, Liz Magic Laser, Jon McCormack, Lucy McRae, Gail Priest, Matthew Gardiner, Jane Gauntlett, Scale Free Network: Briony Barr and Gregory Crocetti, Andrew Styan, Judy Watson and Katarina Zdjelar. Experimenta Make Sense expresses