Art Almanac August 2019 Issue

Art Almanac

August 2019 $6

Tom Freeman Julie Gough Simon Denny

Art Almanac August 2019

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Deadline for September 2019: Thursday 1 August, 2019.

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.

What is hand-made, psychic spaces and the innovation of artificial intelligence are inextricably linked to human processes of thought and labour, but that doesn’t mean they won’t slip from our grasp. Tom Freeman’s show ‘Brick’ at Cool Change Contemporary and ‘Mine’ by Simon Denny for Museum of Old and New Art both ruminate on technology but reject a digital aesthetic, reminding us to tune in to the natural world. Whereas Agatha Gothe-Snape and Wrong Solo in ‘Certain Situations’, Institute of Modern Art, and Julie Gough’s work in ‘Tense Past’, Tasmanian Museum & Gallery investigate states of consciousness and the making of meaning.

Contact Editor – Chloe Mandryk cmandryk@art-almanac.com.au Deputy Editor – Kirsty Francis 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 Assistant – Saira Krishan Accounts – Penny McCulloch accounts@art-almanac.com.au

Cover

Tom Freeman, Homemade handmade, mixed stoneware, clays and glazes on found brick, 2019, 14 x 23 x 23cm Photograph: Bo Wong Courtesy the artist and Cool Change Contemporary, Western Australia

T 02 9901 6398 F 02 9901 6116 Locked Bag 5555, St Leonards NSW 1590 art-almanac.com.au

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Darwin Aboriginal Art Fair Darwin Aboriginal Art Fair (DAAF) is an open invitation to experience a range of contemporary art and design practices from the oldest continuous living culture in the world. Held on Larrakia Country, at the Darwin Convention Centre from 9 to 11 August, DAAF will showcase the work of more than 2,000 artists from 70 Aboriginal and Torres Strait Islander community art centres across Australia, offering a rich exchange of art, culture and ideas.

Public program highlights include: film screenings, children’s activities, music, fashion and traditional dance performances, as well as artist talks on Saturday 10 August from 124pm, daily workshops and demonstrations on weaving, carving, screenprinting, painting and jewellery making, and the DAAF Foundation Indigenous Curators Program and Symposium, 7 to 9 August from 8.30am to 5pm. daaf.com.au Daisy Japulija of Mangkaja Arts working on her artwork for the Gorman Collection Photograph: Mangkaja Arts, Western Australia Courtesy Darwin Aboriginal Art Fair

bookworks Until 21 September, Monash University Museum of Art (MUMA) is hosting ‘bookworks’ a survey exhibition, which frames the art of contemporary artist book publishing.

Six leaders in the field – Adam Cruickshank (AUS), Will Holder (UK), Olaf Nicolai (GER), Roma Publications (NDL), Batia Suter (NDL) and Ella Sutherland (NZ) selected by curator, Australian designer and educator Warren Taylor, present alongside a display of 800 artists books and publications arranged in the Art Library from 100 national and international publishers, as well as scheduled workshops and forums.

The thematic connections between books, art and publishing, from the conceptual, technical and material to the history, production, classification and distribution are explored. The accompanying publication designed by Taylor is a dynamic reflection of the project. monash.edu Adam Cruickshank, Making Public the Making Public, Melbourne Art Book Fair, NGV, 2015 Courtesy the artist and Monash University Museum of Art (MUMA), Melbourne

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Hans and Nora Heysen: Two Generations of Australian Art National Gallery of Victoria

‘Hans and Nora Heysen: Two Generations of Australian Art’ chronicles the practices of both artists through captivating images depicting people, still lifes, interiors, and nature as well as lifelong correspondence displaying an artistic syncretism and generative relationship between father and daughter.

Written contributions by Angela Hesson, Allan Campbell, Anne Gray, Tracey Lock, Catherine Speck, and Chris Heysen highlight their work methods, inspirations and concerns of 20th-century Australian art and society, while paintings, sketches and studies demonstrate consistency and deep connection to place, and a shared reverence for the natural world. Their stories, individual and intertwined, provide a framework to chosen composition and motif while two photographs epitomise their passion for artmaking: Hans painting in the field and Nora sketching away in her studio.

52 Artists 52 Actions: Small Acts of Disobedience Artspace Thames & Hudson

‘52 Artists 52 Actions’ is the substantial printed outcome of a year-long project initiated by Artspace, Sydney, who harnessed the digital platform of Instagram with artists in Asia to address the urgent, personal and political genuine crises of our day. The large format title makes the jump from the small screen with confidence and depth. As Larissa Hjorth writes, each post ‘represents a different action, gesture and intervention, that have meaningful affect not just in digital but also material and social worlds.’ Artists moved beyond the # in the experiment online and in this title are given an ample showcase with biographies, interviews, artist statements and reproductions. It’s a yearbook of dissent and forward thinking, which makes it an enjoyable and important archive.

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Tom Freeman Brick

John Buckley It has become easy to forget – or even disregard – the human processes that informed many of the world’s most formidable architectural structures. With the reign of mechanical replication, a shift into 3D printing, and the impending revolution that will likely see artificial intelligence absorb the diminishing contribution human beings still make to such structures, can you imagine a world constructed by hand today?

Tom Freeman’s latest solo exhibition, ‘Brick’ appears to be asking that very question.

Presenting the viewer with 16 works of sculpture, made up of augmented found materials – most predominantly, bricks – Freeman looks to investigate, and celebrate, the forgotten art of handmade brickmaking. A craft, which up until the turn of the 19th century, and the industrial revolution that followed shortly after, formed the structures, which are likely to outlive us all.

Through an insouciant use of repetition, text, and earthly additives, the show gently prods at the roles of craft, trade and tradition in modern history, and whether we might have reached a stage where they are no longer compatible with modern living.

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Julie Gough Tense Past Olivia Koh

‘A collection is as much about elimination of materials as inclusion; a collection tells as much about a maker as itself, therefore it is as contrived as any documented history with one maker.’ – Julie Gough, 1996 ‘Tense Past’ features works by artist Julie Gough from the last 25 years, including significant colonial and Indigenous artefacts from major collections across Australia. It is the first major survey of Gough’s practice and an insightful introduction for a first time viewer, as well as those familiar with her practice. Spread over a large wing of the Tasmanian Museum and Art Gallery (TMAG) it is both exhibition and museuological endeavour, with colonial representations of Tasmania’s Aboriginal people including the artist’s maternal ancestors.

Arranging these items alongside her sculpture, sound and video pieces, Gough’s sensitive treatment of the materiality of the Museum, and what is housed within is exceptionally comprehensive. With the collaboration of curator Mary Knight, ‘Tense Past’ dismantles institutional authority by parallel; through its creation of a collection of alternate history. The show’s title is congruent with the artist’s strategy of pairing and re-contextualising works so that there is never closure, only questions. It is also emblematic of a desire to examine personal chronology in parallel to moments in history: everything is under the microscope, including western conceits of time.

A wall text by Gough explains the first main gallery is dedicated to the Missing: ‘...between the 1790s and 1830s most Tasmanian Aboriginal people, perhaps 5,000, mysteriously disappeared. That is the way the historical reports and the school books present our story of being reduced to a few families, mostly living in exile in the Bass Strait islands.’

Gough displays objects that signify the prevailing attitudes towards Aboriginal people in Tasmania of that era, making tangible the violent acts and loss that they engendered, including a Huon Pine table, watercolours of “A Native Hut” and the cartoonish profile of an Aboriginal youth, a Mahogony clock previously owned by a Quaker settler family strikes the hour. Particularly, writing on paper is a pivotal colonial bureaucratic tool and Gough returns again and again to archival writing that documents English violence against Aboriginal people.

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Contemporary Worlds: Indonesia National Gallery of Australia Until 27 October, 2019 Australian Capital Territory Bold, experimental and political work from Indonesia’s most outstanding artists practicing since the fall of President Suharto, 1998, and his repressive ‘New Order’ regime, take a deep-dive into local and global issues such as social disobedience and the relationship between family and nation. With the advent of democracy, and the unfamiliar terrain it offered, we observe a number of younger artists strong on the scene speaking from personal experience and the wellspring of art-schools and educators who now adopt a critical lens.

Eko Nugroho, Carnival trap 2, 2018, resin, wire, upcycled plastic, iron and synthetic polymer paint National Gallery of Australia, Canberra Purchased 2018 Courtesy the artist and National Gallery of Australia, Australian Capital Territory

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Melbourne Modern: European art and design at RMIT since 1945 RMIT Gallery Until 17 August, 2019 Melbourne

Works from the RMIT Art Collection, RMIT Design Archives and public and private collections come together in ‘Melbourne Modern’ highlighting the influence of European artists, architects and designers who arrived in Melbourne post World War II with their rigorous creative skills and bold philosophical ideas of modernism, many of whom found employment at the then named Melbourne Technical College. The exhibition presents a fascinating examination of the impact these emigré educators had on RMIT teachers and students, then and now.

Philip Zmood, Two seater open sports car, British Carriage and Automobile Manufactures Automobile Body Design Competition (rendering), 1962-1963, ink, pencil, paper RMIT Design Archives, Phillip Zmood Collection Photograph: Stephanie Bradford Courtesy the artist and RMIT Gallery, Melbourne

Charlie Sheard Absolute Abstraction

Manly Art Gallery & Museum Until 1 September, 2019 Sydney

Leading abstract artist Charlie Sheard summons his personal connection with European, Chinese and Australian cultural history through a language of pure abstract forms and colour, developed over 40 years. The artist will be in conversation at the gallery on 11 August with Michael Hedger on ideas and approach revealing ‘the spiritualism of his almost ritualistic technique and dedication… and a deep affiliation with Kandinsky’s assertion that “more sensitive souls” will be moved by the effects of colours.’

Blue Poem, 2015-2016, acrylic mediums on polyester, 215 x 198cm Courtesy the artist and Manly Art Gallery & Museum, Sydney

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Telstra NATSIAA Museum & Art Gallery of Northern Territory (MAGNT) 10 August to 3 November, 2019 Northern Territory

‘Telstra NATSIAA’ demonstrates the richness and diversity of contemporary Indigenous art practices, and the pre-eminence of Aboriginal and Torres Strait Islander voices within the visual arts. This year’s finalists’ exhibition showcases the work of 68 First Nation artists from across Australia – from Christopher Pease’s final installment of a six-part series referring to the 1820 etching of the south-west coast of Australia and the slaying of Nyoongar tribesman, Yagan, to Nici Cumpston’s photograph focusing on the crises facing the Darling River and our responsibility to take action.

Gutinarra Yunupinu, finalist Telstra National Aboriginal & Torres Strait Islander Art Awards 2019 Courtesy Museum & Art Gallery of Northern Territory, Darwin

Lucreccia Quintanilla A Ripple and an Echo Linden New Art Until 1 September, 2019 Melbourne

‘A Ripple and an Echo’ by artist Lucreccia Quintanilla seeks to broadcast the hidden sounds that are present in the world we live in, those we do not hear, obscured by the noise around us. Four conch shell-like sculptures implanted with mobile phones act as speakers to amplify Quintanilla’s sound compositions; recordings of the natural and human world, becoming further intensified by their placement within the gallery space.

‘These works must be approached with a spirit of exploration and openness,’ suggests curator Juliette Hanson.

We shall dance by the light of the moon, 2017, ceramic and mobile phone, dimensions variable Photograph: Leela Schauble Courtesy the artist and Linden New Art, Melbourne

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An Idea Needing to be Made: Contemporary Ceramics Heide Museum of Modern Art Until 20 October, 2019 Melbourne

Ceramic artists from home and abroad explore ‘the vessel’, how it is used today and continues to be reimagined in ‘An Idea Needing to Be Made’ it includes Australians Kirsten Coehlo, Pippin Drysdale, Ernabella Arts, Simone Fraser, Gwyn Hanssen Pigott and Nicolette Johnson. The show is inspired by Pigott who saw the form as more than a utility, as an opportunity to loop back and question the relationship between function and design, though with this historical foregrounding the exhibition is very much about contemporary approaches.

Kathy Butterly, Multi, 2018, clay, glaze, 13.5 x 12.5 x 13cm Art Gallery of New South Wales, Sydney Purchased with funds provided by the Mollie Douglas Bequest Courtesy the artist and Heide Museum of Modern Art, Melbourne

Art & Industry Celebrating 45 years of publishing, Art Almanac continues to serve and be shaped by people who engage with art everyday.

Our practice supports the sustainability of our arts community in all its forms. We have experience as artists, in critical writing, working in galleries and festivals, design, teaching, digital media and the curatorial field.

Art Almanac is more than a magazine.

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Artist Opportunities We have selected a few galleries and funding bodies calling for submissions for Art Awards, Artist Engagements, Grants, Public Art, Residency Programs, Exhibition Proposals and more.

Enjoy and good luck!

4A Beijing Studio Program 2019 Residents announced Three artists, Jessica Bradford, Owen Leong and Emily Parsons-Lord, have been selected to participate in 4A Centre for Contemporary Art’s – 4A Beijing Studio Program. The month-long residency at Shen Shaomin’s studios in Beijing gives the artists an opportunity to embark on research for new projects in the rich cultural surroundings of the region, while allowing them to build professional networks and observe the changes taking place in one of the most important cities in Asia.

Jess Bradford, 4A Beijing Studio Program recipient 2019 Photograph: Jacquie Manning Courtesy 4A Centre for Contemporary Asian Art, Sydney

Singaporean-born and Sydney-based artist Bradford works with painting, ceramics, video and installation, which explores her mixed heritage by examining representations of cultural identity. Her current body of work consists of painted concrete dioramas, which explore the topics through a Chinese cultural theme park in Singapore named Tiger Balm Garden, and questions how we define Chinese culture while engaging with personal and collective memory and concepts of cultural inheritance.

Leong’s practice uses personal mythologies to explore identity and transformation, which draw on his interest in systems of power, culture and representation. He uses the body, subjectivity and

personhood to reflect on universal aspects of human nature, using modes of performance, photography, video and sculpture to express these ideas.

Parsons-Lord creates installation and performance works that exist at the fringes of natural sciences and politics; she transforms research into poetic artworks that can be inhaled, disappear or melt before your eyes, informed by research and critical dialogue with climate sciences, natural history, and politics. With tragi-humour, scale, and performance, this artist interrogates the materiality of invisibility, magic, and stories about reality.

4a.com.au

Blacktown City Art Prize

Entries close 5pm, 8 October 2019 Artists from all over Australia are invited to enter the Blacktown City Art Prize, now in its 24th year it offers cash prizes and acquisitive awards for entries in drawing, painting, sculpture, ceramics and mixed media. The winner will receive $15,000 with three supporting prizes to also be awarded: Aboriginal Artist Prize ($2,000), Local Artist Prize ($2,000), People’s Choice Prize ($1,000). This year, the winners of the Local Artist Prize and Aboriginal Artist Prize will also have the opportunity to undertake a two-month residency in one of Blacktown Arts’ Main Street studios. blacktownarts.com.au

Doug Moran National Portrait Prize

Entries close 2 September 2019 The Moran Arts Foundation is calling for entries for the 2019 Doug Moran National Portrait Prize, Australia’s richest art prize. The prize invites entries of original works from Australian artists which capture Australians from all walks of life, whether a public figure or someone from their own circle of experience.

Works must be painted at least partly from life with the sitter known to the artist and aware of the artist’s intention to enter the Prize. There is a total prize pool of $180,000 with the first prize winner to be awarded with $150,000. The finalists exhibition will be on view from 1 October to 1 December, at Juniper Hall in Paddington, Sydney. moranprizes.com.au

Copyright Agency Fellowship for a Visual Artist

Applications close 1pm, 23 September 2019 The Copyright Agency’s fellowship program awards one $80,000 Fellowship each year to an established Australian visual artist to develop and create new work in any medium for exhibition or public presentation. To be eligible to apply applicants must have a contract to exhibit their work with a commercial or public gallery, or a letter of intention to exhibit. The Fellowship is for projects starting after 1 January 2020. All relevant information and criteria can be found on the Copyright Agency website. copyright.com.au Art & Industry 47

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Mornington Peninsula EVERYWHEN Artspace

Manyung Gallery Mount Eliza

60 Mt Eliza Way, Mt Eliza 3930. T 0419-595-222.

W www.manyunggallery.com.au H Tues-Sat 10.00 to 5.00, and first Sun of the month 10.00 to 3.00. Aug 3 to 24 Sarah Boulton, Julie Hutchins and Eve Marks.

1/39 Cook Street, Flinders 3929. T 0419-896-473.

E info@mccullochandmcculloch.com.au W www.mccullochandmcculloch.com.au H Daily 10.30 to 4.00. The Mornington Peninsula’s specialised Aboriginal art gallery, Everywhen Artspace directors Susan McCulloch & Emily McCulloch Childs represent the work of 40 Aboriginal art centres from around Australia. To Aug 31 Winter Salon: Warm hues + Winter Lights. Rich palettes and soft hues feature in a wide-ranging exhibition of Aboriginal and select non-Indigenous Australian art from eight regions. Including Kimberley ochres by Patrick Mung Mung and Mabel Juli, lush colour works from the APY Lands; night sky paintings by Vicki Cullinan, artists of Utopia, water sites and salt lakes by Candy Nakamarra, Nora Wompi and others, atmospheric coasts by the Peninsula’s Miodrag Jankovic, layered abstracts by Queenscliff artist David Beaumont and Queensland artist Claudine Marzik. Plus a wide selection of carvings, ceramics and other 3D works.

Frankston Arts Centre and Cube 37 Galleries

27-37 Davey Street, Frankston 3199.

T (03) 9784-1896. W www.thefac.com.au Free entry to all galleries. H Tues-Fri 9.00 to 5.00, Sat 9.00 to 2.00. Art After Dark every evening from dusk. To Oct 19 FAC Design Store: Revamped Jewellery Boutique.

To Nov 2 FAC Mezzanine: When the Cows Come Home by Jordan Richardson. Aug 1 to Oct 26 FAC Atrium Gallery: Neo Pop by Alan Delon, Nick Walker and Fury. Aug 9 to Sept 6 Cube Gallery: FAC Open Exhibition 2019: Women in Art. From Aug 15 Glass Cube Gallery: Baluk Arts: Barring-buluk Too-roodun Following their tracks... FAC Curved Wall Gallery: Pier to Point by Steve Salo.

Eva Marks, Pinken 3, 40 x 31cm Courtesy the artist and Manyung Gallery Mt Eliza

Manyung Gallery Sorrento

113a Ocean Beach Road, Sorrento 3943.

T (03) 9787-2953. W www.manyunggallery.com.au H Daily 10.00 to 5.00 (except Tues and Wed).

Aug 3 to 24 The world of Abstract – featuring Natasha Barnes. Paintings inspired by the artist’s travels and the rich African landscapes.

Gordon Studio Glassblowers A Working Hot Glass Studio & Gallery

290 Red Hill Road (cnr Dunns Creek Road), Red Hill 3937. T (03) 5989-7073.

E mail@gordonstudio.com.au W www.gordonstudio.com.au H Daily 10.00 to 5.00.

Manyung Gallery Flinders

37 Cook Street, Flinders 3929. T 0412-770-055.

W www.manyunggallery.com.au H Fri-Mon 10.00 to 5.00. Aug 3 to 24 Figure me by Maria Coyle featuring indoor and outdoor figurative sculpture.

Natasha Barnes, Garden of Eden, 170 x 170cm Courtesy the artist and Manyung Gallery Sorrento

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CBD The Rocks Art Gallery of New South Wales (AGNSW)

Art Gallery Road, Sydney 2000. T (02) 9225-1744, 1800-679-278. W www.artgallery.nsw.gov.au Admission charges apply to some exhibitions.

H Daily 10.00 to 5.00. Art After Hours: Wed to 9pm. To Aug 11 The essential Duchamp – the most in-depth survey of the art and life of Marcel Duchamp ever to be seen in the Asia-Pacific region. To Sept 8 Archibald, Wynne and Sulman Prizes 2019 – the Archibald, Wynne and Sulman Prizes is an annual exhibition eagerly anticipated by artists and audiences alike. To Sept 29 Jeffrey Smart: constructed world a display of the Gallery’s leading collection of works by the artist, including recent acquisitions, reflecting different stages and places in his career. To Dec 2020 In one drop of water – explores the significance of water in Asian art through a range of works from the Gallery’s collection. July 27 to Nov 17 Wirrimanu: art from Balgo – this small community in Western Australia has been home to some of Australia’s most extraordinary artists.

Gaffa Gallery

281 Clarence Street, Sydney CBD 2000.

T (02) 9283-4273. W www.gaffa.com.au H Mon-Fri 10.00 to 6.00, Sat 11.00 to 5.00. Closed Sun and public hols. Gaffa is an independent creative precinct, artist-run in attitude and execution. Aug 1 to 12 Touch II – Tania Allen, Timba Bridge, Wendy Cohen, Suzy Corcoran, Alison Duff, Jac Font, Carrie Fraser, Jane Gerrish, Jody Graham, Yvonne Haber, Joy Ivill, Kaye Mahoney, Janet Mitsuji, Jo Nolan, Gary Poulton, Susan Raleigh, Nicole Sacks, Doug Schofield, Megan Seres, Ann Snell and Julian Wolkenstein. Curated by Jac Font. Also, St Andrew’s IB Exhibition – St Andrew’s Cathedral School. Aug 15 to 26 Intermix by Rabia Khan, Persona by Kate Dunn & Shamanthi Rajasingham, and I Found Myself, Gazing At The Sun by Harry Bayston.

Also, A Whole New World by Leeanne Trew. Aug 29 to Sept 9 Big Thing by Mackenzie Rowe. Also, She is here & She exists by Alexandra Kostic D., and The Poets are Dancing by Bijanka Bacic.

The Ken Done Gallery

1 Hickson Road, The Rocks 2000.

T (02) 8274-4500 F (02) 8274-4545.

E gallery@done.com.au W www.kendone.com.au H Daily 10.00 to 5.30. The current exhibition is a parade of bright colours, optimism and open landscapes, life on the beach, Sydney Harbour and the underwater reef. Two major canvases from the 1990’s, one reef the other beach have pride of place as a throw back to different era of work. A selection of 104 Sydney

new small works on canvas in a variety of subjects, as well as some newly discovered older works completes the hang. Limited edition prints, including a new reef print of ‘Ultramarine coral head’ 2018, edition of 100, posters and other art related products are available for sale in the gallery shop.

Korean Cultural Centre Australia Gallery

Ground Floor, 255 Elizabeth Street, Sydney 2000.

T (02) 8267-3400. E info@koreanculture.org.au W www.koreanculture.org.au H Mon-Fri 10.00 to 6.00. To Sept 27 Take ( ) at face value explores various aspects of modern Korean society in a contemporary art form underpinning stereotypes and bias that evolve around us.

Lion Gate Lodge Royal Botanic Garden Sydney

Mrs Macquaries Road, Sydney 2000.

W rbgsyd.nsw.gov.au/wildthing Aug 4 to 18, 10am to 4pm Wild Thing a wild and wonderful art exhibition of creatures great and small that inhabit the Botanic Gardens. See ad page 109.

Museum of Contemporary Art Australia (MCA)

140 George Street, The Rocks 2000.

T (02) 9245-2400. W www.mca.com.au Free entry.

H Mon-Tues 10.00 to 5.00, Wed 10.00 to 9.00, Thurs-Sun 10.00 to 5.00. To Sept 22 Michael Armitage: The Promised Land. To Oct 7 Shaun Gladwell: Pacific Undertow.

Shaun Gladwell, Storm Sequence, 2000, single-channel digital video, colour, sound, 7:59 mins Museum of Contemporary Art, donated through the Australian Government’s Cultural Gifts Program by Andrew and Cathy Cameron, Courtesy the artist and Museum of Contemporary Art Australia

Fremantle

Perth City

Fremantle Arts Centre

Art Gallery of Western Australia

1 Finnerty Street, Fremantle 6160.

T (08) 9432-9555. E fac@fremantle.wa.gov.au W www.fac.org.au Free entry. H Daily 10.00 to 5.00.

July 27 to Sept 14 Other Suns: Cult Sci-fi Cinema & Art – featuring local, national and international artists exploring the less familiar underbellies of science fiction: the hybrid, the noisy, the forbidden, and the vernacular. Artists explore the detritus of the future, the ecologies of other spaces, and the polymorphic technologies of tomorrow. Also, Stuart Elliot: Fremantle 1988 – Stuart Elliott’s Fremantle 1988 is a ‘fakeological’ dig through 200 years of recent Western Australian history, from the time of invasion to commemoration of the national bicentenary in 1988. Elliott’s imposing and interactive cabinet of horrors is a multi-levelled painted assemblage, full of eccentric dramatisations and exotic reminisces that shed light upon a web of powerful local and national stories of conflict and survival.

Perth Cultural Centre, James Street Mall, Perth 6000.

T (08) 9492-6600 F 9492-6655.

W www.artgallery.wa.gov.au Free entry unless stated otherwise. H Wed-Mon 10.00 to 5.00 (closed Tues).

To Aug 5 WA Now: TJYLLYUNGOO/Lance Chadd: Ibelongyoubelongwebelong. A series of recent works trace the artist’s connection to people and place, in particular the Boorongurup (Porongorup Ranges), the oldest granite formation on Earth. Through portrait and landscape paintings and sculpture Ibelongyoubelongwebelong lays bare the the spiritual unity of land and people and afford the wider public access to this knowledge and adoption. To Sept 9 AGWA Design – Family resemblance. A collection display featuring a range of largely ceramic works that showcase the way some of the nation’s and world’s best makers create sequences and clusters of objects.

The display includes recent and older acquisitions by artists such as Ron Nagle, Gwyn Hanssen Pigott, Lucie Rie, Hans Coper, Margaret West and Sandra Black, amongst many others. To Sept 30 Screen Space: Undesirable bodies by Pilar Mata Dupont – filmed at, and in, Jurndawurrunha – a natural freshwater spring sacred to the Yindjibarndi people of the Pilbara region—the work considers, through poetry of filmic means, introduced ground and underwater flora as a form of colonisation and how contemporary conservation efforts can restore the equilibrium.

Jacob Pander and Marne Lucas, Incident Energy (film still), 2013, 4-channel Courtesy the artist and Fremantle Arts Centre

Japingka Gallery

47 High Street, Fremantle 6160. T (08) 9335-8265.

E japingka@iinet.net.au W JapingkaAboriginalArt.com H Open daily. Through Aug Gallery 1: My Journey through Ingarrda Country by Sonya Edney. Gallery 2: Bush Garden by Artists of Ampilatwatja.

Moores Building Contemporary Art Gallery

46 Henry Street, Fremantle 6160.

T (08) 9432-9898. E richiek@fremantle.wa.gov.au W www.fac.org.au/about/moores-building H Daily 10.00 to 4.00. To Aug 11 Creative Connections – a project that pairs artists with disabilities and poets, working together to create a range of varying artworks that demonstrate their diverse abilities and personalities.

Also, Resonance by Carmela Corvaia (WA) – sculptures and assemblages constructed from found materials combined with felting, twining and stitching. Aug 16 to Sept 1 (opening Fri Aug 16, 6pm) Merge – a body of two and three dimensional work by Margaret River artist Shayne Hadley inspired by observations of figures and their reflections upon water.

Pilar Mata Dupont, Undesirable bodies, 2018, three-channel digital video, sound, colour, 1/5, 16:16 mins State Art Collection, Art Gallery of Western Australia. Purchased 2018 Courtesy the artist and Art Gallery of Western Australia

To Nov 4 The Botanical: Beauty and Peril – this major exhibition explores the abundant beauty of the botanical world and the threats that assail it. Drawing from the renowned Janet Holmes à Court Collection and the AGWA Collection to present a vivid, involving and sometimes disturbing journey through the diverse representation by Australian artists of the glorious kingdom of plants. From Aug 17 WA Now: Breathing Pattern by Eveline Kotai – over the past 15 years, Kotai’s interest in material dissolution and

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