Art Guide Australia — March/April 2022 by Art Guide Australia

Bill Henson April 2022

Roslyn Oxley9 Gallery roslynoxley9.com.au

MIKE PARR VOLTE FACE

February – April 185 Flinders Lane Melbourne 3000 mail@annaschwartzgallery.com www.annaschwartzgallery.com annaschwartzgallery.com

Exhibition entry is free biennaleofsydney.art Follow @biennalesydney

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National Art School in partnership with Artspace PARTICIPANTS at NAS: Jumana Emil Abboud (Palestine/England) Dineo Seshee Bopape (South Africa) Boral River (Bangladesh) Carolina Caycedo (Colombia/USA) Erin Coates (Australia) Cian Dayrit (Philippines)

EXHIBITION DATES

Jessie French (Australia)

12 March–13 June 2022 Open daily 10 am–5 pm with extended hours every Thursday 6-10 pm

Joey Holder (England) Marguerite Humeau (France/England) Pushpa Kumari (India) Latent Community (Albania/Greece) National Committee of the Friends of Myall Creek Memorial and local First Nations Communities (on Gamilaroi/Gamilarray/ Gomeroi Country, Australia) Wura-Natasha Ogunji (Nigeria/USA) Teho Ropeyarn (Angkamuthi/Yadhaykana, Australia)

LOCATION National Art School 156 Forbes St Darlinghurst

Free Entry

Image: Carolina Caycedo, Wanaawna (Santa Ana), 2019, (detail), photograph printed on fabric, 1500 x 160 cm. Commissioned by the Orange County Museum of Art, Santa Ana. Courtesy the artist and Commonwealth and Council, Los Angeles.

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bendigoartgallery.com.au

CURATED BY VICTORIA LYNN

24 MARCH – 10 JULY 2022 IMAGE: David Noonan, Mnemosyne 2021, video still, 16mm film Courtesy the artist, Roslyn Oxley9 Gallery, Sydney and Anna Schwartz Gallery, Melbourne. Composition by Warren Ellis. SUPPORTED BY

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A Geelong Gallery exhibition

Exhibition partners Anonymous donor Ruth Fagg Foundation Trust Creative Futures Design Fund

This is a Geelong Design Week exhibition

Sally Smart The Violet Ballet 2019 film (still) Performers: Deanne Butterworth, Brooke Stamp and Lillian Steiner Photographer: J. Wright © Sally Smart

geelonggallery.org.au

19 March to 3 July 2022

AUTUMN SEASON 2022

— FRIDAY 27 MAY

Image: Isaac Julien, Green Screen Goddess (Ten Thousand Waves), 2010, Endura Ultra photograph, Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney

FRIDAY 4 MARCH

Presented with the Adelaide Festival Isaac Julien (UK) / A Samstag & John Curtin Gallery Installation Helen Fuller (AUS) / Ceramics Daniel Jaber (AUS) / Performance

unisa.edu.au/samstagmuseum

Samstag Museum of Art University of South Australia 55 North Terrace, Adelaide 08 8302 0870 unisa.edu.au/samstagmuseum

Orange Regional Gallery 26 March – 26 June 2022 An Art Gallery of New South Wales touring exhibition

FRIENDS OF THE ORANGE REGIONAL GALLERY

William Kentridge I am not me, the horse is not mine 2008 (still, detail), Art Gallery of New South Wales, gift of Anita Belgiorno-Nettis AM and Luca Belgiorno-Nettis AM 2017, donated through the Australian Government’s Cultural Gifts Program © William Kentridge

orange.nsw.gov.au/gallery

www.orange.nsw.gov.au/gallery

Autumn 2022

Image courtesy Kaylene Whiskey and Iwantja Arts, photograph - Max Mackinnon

Laura Duffy Kaylene Whiskey Reko Rennie Gillian Wearing Showing at ACMI unisa.edu.au/samstagmuseum

4 December 2021 – 20 March 2022 acca.melbourne

A major project by the Australian Centre for Contemporary Art taking place at ACCA and extending across Melbourne through a series of satellite exhibitions and programs in the public realm. v

orange.nsw.gov.au/gallery

THE WOMEN’S SHOW

O9. O3.22 — O9.O4.22

LADIES WITH AN ATTITUDE WWW . VIVIENANDERSONGALLERY. COM

VIVIEN ANDERSON GALLERY

CONTEMPORARY INDIGENOUS ART unisa.edu.au/samstagmuseum

We hold you close Katie West A song of material intimacy

20 February – 24 April Presented with Perth Festival Tue-Sun l 10-5 51 James Street, Perth 6000

PICA Presenting Partner

→ pica.org.au

Perth Festival Visual Arts Program Partner

Government Partners

Photo: Ryan Sandilands

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Independent animation from Japan and Australia

Feb 18 – July 2 2022

The Japan Foundation Gallery

Curators

Artists

Deborah Szapiro Honami Yano

Cynthia Burke Jonathan Daw Jake Duczynski Simon Japanangka Fisher (Jr.) Kiyamamizuki Anthony Lawrence PAW Media Ryōtaro Miyajima Jilli Rose Jelena Sinik

Presented by

Shinobu Soejima Nicholas Tory Tjanpi Desert Weavers Shane Jupurrurla White Jason Japaljarri Woods Kōji Yamamura Honami Yano Steffie Yee Song Yungsung

Suppor ted by

jpf.org.au

One foot on the ground, one foot in the water 19 February– 24 April 2022

Bunjil Place Gallery 2 Patrick Northeast Drive Narre Warren VIC 3805 Catherine Bell Timothy Cook French & Mottershead Mabel Juli Richard Lewer Sara Morawetz Michael Needham Nell Patrick Freddy Puruntatameri Nawurapu Wunuŋmurra One foot on the ground, one foot in the water is a La Trobe Art Institute exhibition toured by NETS Victoria. Curated by Travis Curtin.

Proudly Presented by

Exhibition Partners

Exhibition Supporter The exhibition has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body, as well as receiving development assistance from NETS Victoria’s Exhibition Development Fund, supported by the Victorian Government through Creative Victoria. Image: Nell, I AM Passing through 2017, earthenware, enamel paint 63 × 44 × 45 cm. Courtesy of the artist and STATION, Melbourne and Sydney. Photographer: Ian Hill.

www.bunjilplace.com.au bunjilplace.com.au

Casula Powerhouse has been home to the prestigious Blake Prize since 2016 and has engaged artists both nationally and internationally with ideas of spirituality and religion. From March to May, you're invited to walk through our galleries and engage with thought-provoking artworks selected by this year's esteemed panel of judges, Australian multi-disciplinary artist Abdul Abdullah, curator Megan Monte and Rosemary Crumlin OAM who is an Australian Sister of Mercy and art historian. The winner of the 67th Blake Prize will be announced on the 12th of March 2022.

12 MARCH – 22 MAY 2022

IMAGE CREDIT: LEYLA STEVENS, “KIDUNG/LAMENT” 2019 (WINNER OF THE 66TH BLAKE PRIZE). VIDEO.

1 Powerhouse Rd Casula NSW 2170 (Enter via Shepherd St) Tel (02) 8711 7123 • www.casulapowerhouse.com • Free entry Open daily • Next to Casula train station • Free parking available

casulapowerhouse.com

nccart.com.au

Parallel Currents

ELISA JANE CARMICHAEL | TEHO ROPEYARN 11 MARCH - 23 APRIL 2022 onespacegallery.com.au

@onespacegallery

onespacegallery.com.au

March/April

2022

EDITOR AND PODCAST PRODUCER

Tiarney Miekus

WEBSITE AND SOCIAL MEDIA COORDINATOR

Minna Gilligan GRAPHIC DESIGNER

Jack Loel

DESIGN ASSISTANTS

Dylan Reilly Girivarshan Balasubramanian CONTRIBUTORS ISSUE #136

Timmah Ball, Rex Butler, Tracey Clement, Steve Dow, Briony Downes, Julie Ewington, Minna Gilligan, Neha Kale, Tiarney Miekus, Giselle Au-Nhien Nguyen, Victoria Perin, Diego Ramirez, Barnaby Smith, Andrew Stephens, Hamish Ta-me.

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Art Guide Australia acknowledges the Aboriginal and Torres Strait Islander peoples who are Traditional Custodians of Country throughout Australia. We particularly acknowledge the Boon Wurrung and Wurundjeri peoples of the Kulin Nation, upon whose land Art Guide Australia largely operates. We recognise the important connection of First Peoples to land, water and community, and pay respect to Elders past, present and emerging. artguide.com.au

Cover artist: Kiki Smith

front Kiki Smith, Harbor, 2015, cotton Jacquard tapestry, 302.3 x 194.3 cm. published by magnolia editions. photogr aph: kerry ryan mcfate. © kiki smith, courtesy pace gallery. back left Kiki Smith, Cathedral, 2013, cotton

Jacquard tapestry, 287 x 190.5 cm. published by magnolia editions. photogr aph: kerry ryan mcfate. © kiki smith, courtesy pace gallery. back right Kiki Smith, Parliament, 2017, cotton Jac-

quard tapestry with silver threads, 287 × 190.5cm. published by magnolia editions. photogr aph: tom barr att © kiki smith, courtesy pace gallery.

Art Guide Australia is proudly published on an environmentally responsible paper using Elemental Chlorine Free (ECF) pulp, sourced from certified, well managed forests. Sumo Offset Laser is FSC Chain of Custody (CoC) mixed sources certified. Copyright © 2021 Print Ideas Pty Ltd. All rights reserved. The opinions expressed are not necessarily those of the publisher. Material may not be reproduced in any form without permission. Information in this publication was correct at the time of going to press. Whilst every care has been taken neither the publisher nor the galleries/artists accept responsibility for errors or omissions. ISSN 1443-3001 ABN 95 091 091 593.

A Note From the Editor PR E V I E W

Alexander Okenyo: Amor Fati Who Are You: Australian Portraiture Marikit Santiago: For Us Sinners Shakespeare to Winehouse Naomi Hobson: Adolescent Wonderland Ezz Monem: In Search of Mohamed Djirrirra Wunuŋmurra Metaverse Shirley Purdie One foot on the ground, one foot in the water 23R D BI E N N A L E OF S Y DN E Y

Interview: José Roca and Anna Davis Feature: Ackroyd & Harvey’s Leaves of Grass Studio: Leanne Tobin Interview: Kiki Smith Feature: Tania Candiani is Branching Out Feature: Common Ground F E AT U R E

Amrita Hepi: Dance Dance Revolution State of Freedom C OM M E N T

Julie Ewington: On Balance F E AT U R E

Elvis: All Hail The King Radical Ceremony

Issue 136 Contributors TIMM A H BA LL is a writer of Ballardong Noongar

heritage who is influenced by studying and working in the field of urban planning. Her writing has appeared in a range of anthologies and literary journals. R EX BUTLER teaches Art History at Monash University and is one of the editors of the online weekly art review website Memo Review. TR ACEY CLEMENT is an artist and freelance writer. She has a PhD in contemporary art, as well as a diploma in jewellery design, an undergraduate degree in art history-theory and a master’s degree in sculpture. STEV E DOW is a Melbourne-born, Sydney-based arts writer, whose profiles, essays, previews and reviews range across the visual arts, theatre, film and television for The Saturday Paper, Guardian Australia, The Monthly, the Sydney Morning Herald, The Age, Sunday Life, Limelight and Vault. BR ION Y DOW NES is an arts writer based in Hobart. She has worked in the arts industry for over 20 years as a writer, actor, gallery assistant, art theory tutor and fine art framer. Most recently, she spent time studying art history through Oxford University. JULIE EW INGTON is a writer, curator and broadcaster based in Sydney. An authority on contemporary Australian art, especially art by women, and contemporary art from Southeast Asia, she has held both academic and curatorial positions, always focusing on contemporary art. MINNA GILLIGA N is a Melbourne-based artist. She has exhibited at the National Gallery of Australia, Heide Museum of Modern Art, TarraWarra Museum of Art, and more. Her practice also encompasses commercial illustration, which began with her role as staff illustrator for New York based publication Rookie Magazine (2011-2018).

is a writer, journalist and critic who has been writing about art and culture for the last 10 years. Her work features in publications such as the Sydney Morning Herald, SBS, The Saturday Paper, Art Review Asia and The Guardian and she is the former editor of Vault. TI A R NEY MIEKUS is editor of Art Guide Australia and a Melbourne-based writer whose work has also appeared in The Age, Sydney Review of Books, un Magazine, Meanjin, RealTime, Overland and The Lifted Brow (Online). She is the producer of the Art Guide Australia podcast. GISELLE AU-NHIEN NGU Y EN is a VietnameseAustralian writer and critic based in Naarm/Melbourne. V ICTOR I A PER IN is currently completing her PhD at the University of Melbourne. She is a regular reviewer for Memo Review. DIEGO R A MIR EZ is an artist, writer and arts worker. BA R NA BY SMITH is a critic, poet and musician currently living on Bundjalung country. His art criticism has appeared in Art & Australia, Runway, The Quietus and Running Dog, among others. He won the 2018 Scarlett Award from Lorne Sculpture Biennale. A NDR EW STEPHENS is an independent visual arts writer based in Melbourne. He has worked as a journalist, editor and curator, and has degrees in fine art and art history. He is currently the editor of Imprint magazine. H A MISH TA-MÉ is an established commercial photographer with a parallel career as an exhibiting artist. He has a focus on portraiture in both his commercial and fine art practice. CHER TA N is an essayist and critic. Her work has appeared in the Sydney Review of Books, Runway Journal, Overland, Gusher Magazine and Kill Your Darlings, among others. She is an editor at Liminal and the reviews editor at Meanjin. NEH A K A LE

A Note From the Editor

“There was a major legal milestone in 2008,” says the 23rd Biennale of Sydney director José Roca in our interview, “when Ecuador enshrined the rights of nature in its constitution. Several rivers and bodies of water attained some degree of recognition and legal personhood. We thought, if they can have a voice in court, why can’t they have a voice in an exhibition?” This gets to something central in this year’s Biennale: by encompassing both human and non-human participants—rather than ‘artists’—the Biennale considers the agency and rights of animals, plants and bodies of water, while also looking at environmental degradation, First Nations sovereignty, queer ecology, water healing, collectives, and sustainability. Titled rīvus, which is Latin for ‘stream’, the Biennale is an ode to rivers, wetlands and water ecosystems. With participants from 33 countries, the Biennale doesn’t just explore the relationship of humans to the world, but the inverse: the relationship of non-humans to the world. We can see this in British duo Ackroyd & Harvey’s lifelong, large-scale work with grass, advocating for a nature-centered future. Or contemplate Mexican artist Tania Candiani’s mesmerising installations that tell stories of waterways, migration, language and sound. Meanwhile our cover artist Kiki Smith has for decades, ever since a fortuitous visit to a Harvard museum in the 1990s, centered her concerns on the potential extinction of mammal life. When speaking about her work, Smith held in balance her role as an artist, alongside a care for nature and non-human entities. At one point she remarked, “It’s always brought me closer.” Closer to what? I asked. “To me and the world.” The world is a vast place in the 23rd Biennale of Sydney, and we hope you enjoy an insider look into the stories, ideas and provocations behind rīvus. Tiarney Miekus Editor and the Art Guide Australia team

“Titled rīvus, which is Latin for ‘stream’, the Biennale is an ode to rivers, wetlands and water ecosystems.” 27

Previews W R ITERS

Briony Downes, Tiarney Miekus, Giselle Au-Nhien Nguyen, Victoria Perin, Barnaby Smith and Andrew Stephens.

Hobart Amor Fati Alexander Okenyo Bett Gallery 18 March—9 April

The practice and philosophy of journaling, diarising and chronicling is at the heart of Alexander Okenyo’s Amor Fati. The show, made up of small still life works and large ‘text paintings’, can be regarded as a series of time capsules from Okenyo’s life as he negotiates the art world, family, the pandemic, and his community in the Derwent Valley of Tasmania. ‘Amor fati’ translates as ‘love of fate’ or ‘love of one’s fate’—a concept that fascinates Okenyo as it has been interpreted by the Stoics of the third century, as well as Friedrich Nietzsche in the late 19th century. “The philosophy allows me to understand myself less as an artist, and more a record-keeper, a note-taker,” he says. “I am enamoured of diarists like Helen Garner, whose notebooks have given her a place to record the experience of life to Alexander Okenyo, These small things. II, 2021, oil on board, 33 x 24 cm. herself . . . You see her vacillating between subjects micro and macro—politics, mortality, the state of her city, her street, her family, the kitchen table. “I’ve thought this is what I’m doing too—this is the role painting plays in my life. I’m keeping a record and developing my thoughts, not for the paintings’ sake but for me to live the best I know how, and crucially, to navigate the state of things as they are—to love one’s fate.” Okenyo, whose work is held in collections across Australia, says he has experienced a “renewed passion for the still life, the domestic object, and the rejection of pictorialising broader global themes.” He does, however, embrace a more worldly, less domestic context with the text paintings. Yet even in these there remains a thread of personal existential enquiry. “Questions of the meaning of art-making, the value of the practice, and my relationship with the time left to me, all steer my focus.” –BA R NA BY SMITH

Alexander Okenyo, Bright thought. I, 2021, timber, board, acrylic, oils, 87 x 63 cm.

Melbourne Who Are You: Australian Portraiture National Gallery of Victoria 25 March—21 August

From Polly Borland’s famous, golden, glittering photograph of Queen Elizabeth to Maree Clarke’s tremendously stitched possum skin cloak, titled Walert – gum barerarerungar, the exhibition Who Are You is centered on challenging the traditional conventions of portraiture. Bringing together artwork drawn from the permanent collections of the National Portrait Gallery in Canberra and the National Gallery of Victoria (NGV) in Melbourne, the show focuses on Australian artists, rethinking the concept of portraiture in imaginative guises. It moves John Nixon, Self Portrait (non-objective composition) (yellow cross), 1990, enamel paint beyond the solely figurative portrait to illustrate how on plywood, 177.6 x 165 cm. national gallery of connections to place and inner worlds are equally imvictoria, melbourne purchased through the art portant manifestations of self. foundation of victoria with the assistance of “Our hope is to show the surprising ways artists chase manhattan overseas corpor ation, fellow, 1991. © courtesy of the artist. represent likeness,” says NGV curator Beckett Rozentals. Divided into several sections surveying the nuances of documenting self, the exhibition includes over 200 works produced across time, and with multiple mediums. “I’m interested in seeing how artists choose to represent themselves and how we as viewers can take an active role in meeting the artist in that way,” Rozentals adds. This includes Brenda L. Croft’s 2014 photographic series Man about town, as well as Hoda Afshar’s Remain, 2018, a video documenting Australia’s border protection policy and the effect it has on asylum seekers. Not to mention Kaylene Whiskey’s vibrantly painted mashup of pop culture and life in the remote Iwantja community, with her painting Seven Sisters Song, 2021. A favourite for Rozentals is a punk outfit worn by Melbourne-based musician James Lynch in his youth. Assembled from the materials of leather, rubber, paint and blood, the outfit was acquired by the NGV after a former curator approached Lynch on a tram and asked about the meaning behind his fashion style. “James was a singer-songwriter for bands like Children of Sorrow and Vicious Circle in the 1980s,” says Rozentals. “Following this meeting, James was invited to recreate an outfit for the NGV. I really love the story behind Punk Outfit, 1984, as it encapsulates how this exhibition challenges our ideas and notions of portraiture.” —BR ION Y DOW NES

Sydney For Us Sinners Marikit Santiago

4A Centre for Contemporary Asian Art 26 March—15 May

Marikit Santiago, The Shepherd, 2021. photogr aph: garry trinh.

Dual theories of life’s beginnings inform Marikit Santiago’s work. The Western Sydney-based artist grew up hearing two stories of creation—one Catholic, one Filipino—which inspired the painting Original Sin. It shows Santiago depicting herself, pregnant and nude, with one child in utero and two more by her side. “That work was about considering the Christian doctrine of original sin, in that all mankind inherits this sin from Adam and Eve,”

says Santiago. “That prompted me to think about what is inherited by my children, and considers the guilt I feel as a mother.” The exhibition For Us Sinners includes Original Sin alongside new paintings which feature Santiago, her husband, and her three children as subjects. It’s a deliberate choice that rejects the Anglocentric nature of classical painting. “I love the figurative painting of Botticelli and Michelangelo’s work, but I do criticise them for being fair-skinned, and I do criticise that all the women are portrayed for the male gaze,” she says. “I always make sure that the gaze meets the viewer, and I paint the skin tones as they are. It gives me great power and also makes me very vulnerable to paint myself nude, but in order to say what I want to say about my skin tone, gender, and role as a mum and woman, it has to be my body—the body that nourished my children.” Santiago hopes that the exhibition will challenge viewers to consider representations of race and gender, and also be a welcoming space for families. “My show allows that gap for families to come in and feel like anyone can be engaged in art,” she says. “Art isn’t a place for the elite—it’s for everyone.” — GISELLE AU-NHIEN NGU Y EN

Canberra Shakespeare to Winehouse National Portrait Gallery 12 March—17 July

The National Portrait Gallery in London contains what is essentially a chronological history of Britain through portraiture. Yet the gallery is currently undergoing major refurbishments, and so the National Portrait Gallery (NPG) in Canberra will play host to over 80 works from its vast collection. As NPG curator Joanna Gilmour says of the London portraits, “It starts with Elizabethan and Tudor period portraits and goes right through to contemporary times.” Assembled from works usually on permanent display in London, Shakespeare to Winehouse includes portraits of well-known historical figures created by artists like Andy Warhol, Lucian Freud, Peter Paul Rubens and Tracey Emin. Rather than presenting portraits Shirin Neshat, Malala Yousafzai, 2018, archival chronologically, the NPG has curated six themes—Fame, ink on gelatin silver print on fibre based Power, Love and Loss, Identity, Innovation and Self paper. national portr ait gallery, london. Portraits—to allow images created centuries apart to be commissioned with support from scott collins exhibited side by side. “By doing it this way, we were able and lotta ashdown, in partnership with outset contempor ary art fund, 2018. © national portr ait to focus on how artists have addressed the same ideas gallery, london. across history—whether they are making portraits 500 years ago or today,” says Gilmour. One of the most significant works in the show is a small painting of William Shakespeare c. 1600-1610 by John Taylor, thought to be the only remaining portrait the playwright sat for during his lifetime. “It was the first work NPG London acquired when they were founded in 1856 and it rarely leaves London,” Gilmour reveals. “It’s a humble work, it’s not very big and the artist hasn’t gone to any trouble to make him look like more than just a regular person.” Gilmour also highlights a portrait of the Brontë sisters by their brother Patrick, as “it speaks volumes about the challenges women writers faced in the 1800s”, and Shirin Neshat’s 2018 portrait of activist and Nobel Peace Prize recipient Malala Yousafzai. “Neshat’s portrait of Malala is another smaller work, it doesn’t have to be on a large scale because her gaze is so strong and direct. To be able to look into the eyes of people like Malala Yousafzai and get a sense of their inner being is really inspiring.” —BR ION Y DOW NES 31

Port Augusta Adolescent Wonderland Naomi Hobson

Port Augusta Yarta Purtli Gallery 15 April—5 June

For Adolescent Wonderland, Naomi Hobson has turned her camera lens on the youth of Coen, a tiny town on the Cape York Peninsula in Far North Queensland. This loving, celebratory gaze, first shown for Tarnanthi 2021 and Naomi Hobson, Southern Kaantju/Umpila people, now touring regionally, explores the colourful way of life Queensland, born Coen, Queensland 1978, Rainbow for young people in a remote community: their interests, Twins “Donna brought us these wigs, I wanted one their relationships, their challenges and their joys. first and then Lexcine wanted one, she always trying “I wanted to give a voice to my young people so that to copy me, aye Lexcine.” Ada. “No Ada, you always copying me.” Lexcine. from the series Adolescent the world can see them: their energy, vibrancy and sense Wonderland (Revisited), 2020, digital print on of humour,” says Hobson, a southern Kaantju/Umpila paper, 81 x 110 cm. © naomi hobson/redot fine photographer based in Coen, a town of 360 people. art gallery. “They are the light of our community and even though they live remotely, they’re totally engaged in this new world with their style—their individuality is ever-present, as is their Indigenous heritage. It’s such a unique lifestyle.” The photos have an immersive quality to them. The viewer not only feels the energy of the day-to-day habits and recreation activities of Hobson’s subjects, but one also senses the scorching climate and the region’s rugged terrain. And all this makes for a striking juxtaposition with Lewis Carroll, whose celebrated children’s fable Alice’s Adventures in Wonderland proved inspiring for Hobson, and gave the show its name. “Alice’s adventures opened up my imagination and creativity,” says Hobson. “I’ve played with the title in a way to reflect young people’s imagination, to echo their life of colour and exploration. When I started photographing them, I saw that their life really was a wonderland and that there’s a large group of young people on a journey in search of themselves. Maybe the photographs are helping them to develop their own identity and be comfortable in it. “I always felt the need to highlight the young people in my community, because their stories are always misrepresented.” —BA R NA BY SMITH

Melbourne In Search of Mohamed Ezz Monem

This Is No Fantasy 29 April—22 May

Ezz Monem, In Search of Mohamed, 2021, multichannel video and sound, 35mm slides, Kodak Ektapro slide projectors, CRT TVs, bronze. courtesy of this is no fantasy.

People named Mohamed are encountered frequently across the globe, but for Melbourne-based Egyptian artist Ezz Monem, the name has personal resonance: his birth name was Mohamed Ezzeldin M. Abdelmonem. As well as being his first name, Mohamed is also a subject for creative exploration: it is the world’s most popular male name (with an array of spelling variants) and its most famous bearer is, of course, the prophet and founder of Islam. As part of his recent Masters research, Monem began to form an extensive archive in order to build “a visual portrait” of the name Mohamed. He collected snippets

from a long list of Egyptian films. The films sometimes referred to the prophet in a religious context, but more often involved various fictional characters, or actors named Mohamed in the credits. Monem would trawl through the films and make notes every time the name was used or displayed. Monem began digitally manipulating the collected scenes, making a series of strategic erasures. In films where someone says the name Mohamed, for example, he muted all sound except for the utterance of the name. Likewise, in film credits, he erased all text apart from where the name Mohamed appears. The resulting installation In Search of Mohamed includes multichannel video and photography works that explore the tensions between “the reverent and the profane”, he says, describing his investigations as highlighting the “ghostly boundaries of representation”. “It is about isolating and highlighting, so that you get some ambiguity,” Monem explains. “The connection between the name and the image is removed. You don’t know what or who is the ‘Mohamed’ being referred to in the scene.” — A NDR EW STEPHENS

Sydney Djirrirra Wunuŋmurra Michael Reid 3—27 March

Djirrirra Wunuŋmurra’s three-metre tall larrakitj (memorial poles) are perfect for the soaring interiors of Michael Reid's new Chippendale gallery, says curator Toby Meagher. Fifteen of the impressively patterned larrakitj will form an installation as part of the show, which Djirrirra Wunuŋmurra, Buyku, 2021, Larrakitj, 270 x will also run simultaneously at the gallery’s Berlin venue, 20 cm. photogr aph: jodie barker. doubling the amount of work on display. Meagher says it is a first for the gallery—expanding on the trend that has emerged during the pandemic in which visitors can view a show online or in person. In this case, they can see one half of the show in person, in either Sydney or Germany, and the entire production online. Wunuŋmurra hails from Arnhem Land in the Northern Territory and is the daughter of Yanggarriny Wunuŋmurra (1932-2003), who passed on the rights for her to use the family’s buyku imagery. But when community tensions arose about the usage, Wunuŋmurra pursued an entirely new direction as a retort. She began to explore using patterns related to the yukuwa (yam) leaf, with its distinctive three-pointed shape. Now, says Meagher, Wunuŋmurra’s work has two separate strands, yukuwa and buyku, with the former manifesting as gently spiralling floral motifs, the other more rigorously geometric. The various patterns appear on the larrakitj and in paintings on bark and board. Some of the larger board paintings incorporate the yukuwa design and use white on white, or on a soft pink ochre. “They are very delicate and waif-like paintings,” says Meagher. The gallery first showed Wunuŋmurra’s work last year in the group show Future Ancestor, alongside artists Christian Thompson and Regina Pilawuk Wilson. “That show was looking at really diverse contemporary Indigenous practice, where the artists were working in patterning to some degree, but with completely different approaches to each other,” Meagher explains. “This is our first chance since to work with Djirrirra—people loved the work.” —A NDR EW STEPHENS

Adelaide Metaverse

ACE Open 8 April—14 May

The visuals for metaverse, Mark Zuckerberg’s conception of a future, virtual online space, were launched last October to near-unanimous ridicule. But within that mockery was an edge of panic. When viewers watched The Jetsons in the 1960s, they were charmed and excited about the future of technology. Watching Zuckerberg Giselle Stanborough, Cinopticon, 2021, detail, wall drawing. courtesy of the artist. talk to cartoon simulations of the future on YouTube— we’re worried. We’ve seen what the internet can do and we’re not sure we want to live there anymore. Curator Patrice Sharkey has been programming exhibitions about the internet for years, and her latest, Metaverse, invites viewers to stoke some scepticism about the corporations that control our online world. Sharkey says that this exhibition was inspired by how the internet challenges nation-states, encourages the commodification of self, and seems to “harden some part of our identity”. Sharkey’s Metaverse has been created around two installations by Giselle Stanborough and Roy Ananda. Stanborough is presenting a new version of her Cinopticon (previously seen at Carriageworks in Sydney and The Lock-Up Art Space, Newcastle), which seeks to analogise the moment when your online attachments–your Apple watch, your phone GPS, your browser cookies—coalesce in a system of surveillance. The hand-drawn aesthetic of Stanborough’s wall-work is contrasted with Ananda’s piece, which features a digital data spray arranged in a huge, isometric map. The information in this diagram is drawn from 400 online personality quizzes taken by the artist–from the quasi-scientific Myers-Briggs Type Indicator to those time-killing questionaries that ask, ‘Which Disney Princess Are You?’ Ananda’s attempt to locate himself via the triangulation of this metadata will be arranged in an immersive tunnel space. Sharkey hopes that by dragging the internet into a physical space we can appreciate Big Tech’s “utopian to dystopian” projections that seek to change our offline life forever. The metaverse might not be our future, precisely, but there’s no turning off the internet now. — V ICTOR I A PER IN

Sydney Shirley Purdie Olsen Gallery 6—23 April

Shirley Purdie, Baggabal Gilban - Porcupine, Mabel Downs, 45 x 45 cm, ochre on canvas.

Shirley Purdie paints, as she says, “to tell stories and to pass the stories and paintings along to my family and grandchildren and great-grandchildren.” These are ancestral stories of Country and Ngarranggarni (Dreaming), but also sites and moments that resonate with Purdie, from her birthplace of Mabel Downs Station to her family history. A senior Gija artist from the Warmun community in the Kimberley region of Western Australia, Purdie is influenced by acclaimed Kimberley artists. “There was Queenie McKenzie and Uncle Jack Britten and Rover Thomas, and my mother Madigan Thomas,” she says. McKenzie and Madigan Thomas were among the first

women artists to paint at Warmun in the early 1980s—then later, in the 1990s, Uncle Jack Britten said to Purdie, “You like to paint? I can get you a board and you do a painting.” Purdie says she “just went from there”. She now has a two-decade practice and is known for her rich use of ochre that is collected on Country. Purdie’s newest paintings develop her stories of family and Country. For example, Baggabal Gilban - Porcupine, Mabel Downs captures Purdie’s father’s totems—the fire and the porcupine—alongside a water python, Wallengernan, of which her father is a reincarnation. Meanwhile another recent painting, My Life. My Family., is a startling juxtaposition of an Aboriginal man being violently whipped against a tree, by two white station managers, at Violet Valley (Barloowan) before Purdie’s time. This is set against the relatively peaceful domestic life on Mabel Downs Station (Gilban) that Purdie experienced. After this whipping, Purdie’s grandfather created an escape plan that ensured his family’s safety for generations. As Purdie says, “So, my mother and her family packed up and got away. That’s them on the cart, and they go to a station with a nice gardiya (white person). That new station is where my mum met my dad and had all us mob, so she was happy—good place.” —TI A R NEY MIEKUS

Melbourne One foot on the ground, one foot in the water Bunjil Place 19 February—24 April

“Grief turns out to be a place none of us know until we reach it,” wrote Joan Didion in The Year of Magical Thinking. Art is often cited as one of the few places left in Western culture to have shared reflections on death and mourning—and this is being given form by 11 contemporary artists in One foot on the ground, one foot in the water. Giving expression to mortality and grief—which sits between the personal and collective, individual and universal, ephemeral and permanent—compelled curator Travis Curtin. “I was interested in universal experiences of death and dying, but held in tension with the deeply personal, deeply individual nature of the experience,” he explains. “I was looking at how objects are tangible residues of life that are left behind, and how they can speak Nell, I AM Passing through, 2017, earthenware, to a completely intangible experience of death. That’s enamel paint, 63 x 44 x 45 cm. courtesy of the how I see the power of art: to take an intangible experience artist and station, melbourne and sydney. and make it tangible for people to process and be with.” photogr aph: ian hill. Across works that speak to mortality in material, personal, and cultural senses, the exhibition includes large-scale works such as Michael Needham’s three-metre cast iron and steel monument, down to Sara Morowitz’s artist book, which contains photographs of the contents of Morowitz’s stepfather’s wallet on the day he died in a motorcycle accident. The show also includes Nawurapu Wunuŋmurra’s cluster of larrakitj (memorial poles) that reflect the mystery of transitioning from life to death (the artist passed away in 2018), and UK artist duo French & Mottershead will present a sound work which describes, in 20 minutes, what would happen to the listener’s body if they were to die at the moment of listening. Curtin, whose own experience of loss has influenced the show, tells how it’s not only about the death of others, but also our own mortality: “What do we leave behind for those people who are important to us in our lives, and what experience of our own death can we help to shape for them?” —TI A R NEY MIEKUS

23rd Biennale of Sydney: rīvus 12 March—13 June

“It branches out into a delta of possibilities, including how we can collaborate with non-humans, the rights of nature and how they are enforced, and how a body of water can enter into productive dialogue with artists . . . ” — JOSÉ ROCA

A RTISTIC DIR ECTOR, 23R D BIENNA LE OF SY DNEY

Tania Candiani, La Magdalena from La Magdalena y otros trabajos de campo, 2013, Honda, Colombia. photogr aph: tania candiani.

Biennale Curatorium. From left: José Roca, Artistic Director, 23rd Biennale of Sydney, Anna Davis, Curator, Museum of Contemporary Art Australia, Paschal Daantos Berry, Head of Learning and Participation, Art Gallery of New South Wales, Talia Linz, Curator, Artspace, Hannah Donnelly, Producer, First Nations Programs, Information + Cultural Exchange (I.C.E.), Barbara Moore, Chief Executive Officer, Biennale of Sydney. photogr aph: joshua morris.

Leeroy New, Rhizome Colony, 2017. Installation view for Wonderfruit Festival, Thailand. commissioned by wonderfruit festival, thailand. photogr aph: wonderfruit festival. copyright © wonderfruit festival.

Interview

W R ITER

José Roca and Anna Davis

Giselle Au-Nhien Nguyen

From sustainability to non-living participants to a focus on waterways, this year’s Biennale weaves multiple, entangled threads. We talked to artistic director José Roca and one of the four locally-based curatorium members, Anna Davis, about their process in bringing together the 23rd Biennale of Sydney.

GISELLE AU-NHIEN NGU Y EN

What is the significance of the Biennale’s theme rīvus? JOSÉ ROCA

For many years, I’ve been interested in the relationships that art establishes with nature. As a curator, I’ve leaned towards that—for example, organising residencies in the Amazon jungle for the Sao Paulo Biennial back in 2006. When I was approached by the Sydney Biennale to do a proposal, I took this as a starting point. I proposed the idea of rivers and waterways and the communities that they sustain, and the project morphed into what it is now. Despite keeping the name rīvus, which suggests a relation to the river, it branches out into a delta of possibilities, including how we can collaborate with non-humans, the rights of nature and how they are enforced, and how a body of water can enter into productive dialogue with artists, designers, architects and so on. A NNA DAV IS

A river or waterway is constantly changing and flowing, and connected to other things, and this prompted us into a shift in perspective. De-centering the human was one way that we wanted to do that—looking at practitioners who have been working to bring forth the voices of more than human entities in their work, and looking at these kinds of issues beyond a human agenda. JR

The Biennale is organised into conceptual territories that we’re calling wetlands. Each venue is a wetland or many wetlands, with different themes, relations between skies and the earth, assembled ecosystems, rewilding and caring for Country, saltwater ecologies and so on. We’re opting for a type of curating that does away with purity—we are not giving each partici-

pant distinct space, but rather, whenever possible, we have made the works to coexist in a somehow uncomfortable relation, to create a dialogue between them. GA N

The Biennale has been curated by a curatorium. How did this process work? JR

I moved to Sydney for the entire process to make it as local as possible. Even though I’m the artistic director and had the framework we started with, that has changed so much over the last year that I couldn’t claim it as my project. It’s a collective project that reflects our collective thinking. The curators have different backgrounds and ways of curating: some, like me, are more traditional curators in the sense that we work with artists and put together shows for institutions. Some are community organisers, working with communities on a smaller scale for a longer duration. They have the knowledge and are able to steer us in different directions. It’s a group of five people with different degrees of experience and interests that coalesce around a project, shape it differently and have produced something that reflects this connectivity. GA N

Many of the artists participating this year are collectives. Was this a deliberate curatorial choice? JR

We’re not using the word artists—we’re using participants, because not all of them consider themselves artists, and not all of them are even human. There are bodies of water that are invited as participants in the Biennale, as well as other objects.

Marguerite Humeau, The Dancers III & IV, Two marine mammals invoking higher spirits, 2019. Installation view at Centre Pompidou (2019), Paris. courtesy the artist, c l e a r i n g new york/brussels. photogr aph: julia andréone.

“We’re not using the word artists—we’re using participants, because not all of them consider themselves artists, and not all of them are even human . . . ” — JO SÉ RO C A

Our collective way of researching and curating as a curatorium has, perhaps naturally, led us to arrive at a number of collective processes as part of the Biennale. I personally think that some of the most powerful work is coming from artists working collectively across cultures and disciplines. GA N

What is the idea behind non-living participants in the Biennale? JR

There was a major legal milestone in 2008, when Ecuador enshrined the rights of nature in its constitution. Several rivers and bodies of water attained some degree of recognition and legal personhood. We thought, if they can have a voice in court, why can’t they have a voice in an exhibition? We have traditional custodians that can speak on behalf of the body of water. We’re calling them the river voices and they will be addressing the public directly. AD

Another participant in the Biennale is an ancient fish fossil from Canowindra on Wiradjuri Country in New South Wales. It’s an incredible non-human document about river systems and fish that also brings up ideas about extinction, evolution, water precarity, and the connection that we all have to water. By talking about the voices of rivers and how you might engage with them, we eventually decided the fossil would also become one of the participants in the Biennale and be allowed to speak in its own way about these kinds of issues.

GA N

There is a greater focus on sustainability with this year’s Biennale—what are you doing to meet this goal? JR

We took the idea of sustainability into how the Biennale is experienced by the public. We’re starting from a contradiction in terms—there is no such thing as a sustainable Biennale, because it’s about bringing the global to the local for a concentrated period of time. By definition, it is the contrary of sustainable. But we’re encouraging continuity, and we have been very conscious of the elements of perishable or temporary works after an exhibition ends, and the waste that the Biennale leaves after it ends. One of the components of that way of thinking is cultivating a Biennale that is more compact, that encourages people to visit by foot or public transportation. All the venues are close together, creating a path that can be experienced by anyone.

23rd Biennale of Sydney: rīvus

Various Sydney venues including: Art Gallery of New South Wales, The Cutaway, Circular Quay, Museum of Contemporary Art Australia, National Art School in partnership with Artspace, The Rocks and Walsh Bay Arts Precinct 12 March—13 June www.biennaleofsydney.art

Ackroyd & Harvey and Ben Okri, On The Shore, 2021. photogr aph: james knapp.

Leaves of Grass The acclaimed UK duo Ackroyd & Harvey are two of the most innovative artists working in environmental art today—and for the Biennale, they’re bringing their grass works to Sydney, advocating for a sustainable future. W R ITER

Andrew Stephens

Ackroyd & Harvey, REBEL, 2021. photogr aph: mark massey.

“It comes down to our relationship with nature: we are part of nature; we are in the web of it.” — ACK ROY D

Last June, UK-based artist duo Ackroyd & Harvey launched a massive 16-metre-long slab of grass onto the River Thames. Emblazoned on the lush oblong of lawn were words written by acclaimed writer Ben Okri: “Can’t you hear the future weeping? Our love must save the world.” Fused to a cork raft, the grass floated on the river, rising and falling with the tidal swell. Ackroyd & Harvey (Heather Ackroyd and Dan Harvey) love grass, which they have used as a primary art material for about 30 years to great acclaim. For them, it is a living substance that speaks powerfully to the ecological crisis we are living through. After all, photosynthesis is at the heart of supplying energy for life on earth, and for maintaining the oxygen content of the atmosphere. As they say, photosynthesis can be regarded as our “true economy”, the basic alchemy of all life, the “gold of the sun transmuting into the green of life”. Grass is also central to the latest Ackroyd & Harvey project being installed in the entrance foyer of the Art Gallery of New South Wales as part of the 23rd Biennale of Sydney. The Biennale’s title rīvus—a word referring to rivers, wetlands and other salt and freshwater ecosystems—is perfect for Ackroyd & Harvey’s ecology-focused work, especially as grass is

intimately connected with water. Operating beyond the usual parameters of art making, Ackroyd & Harvey entwine their practice with a spirited and vocal activism (they are also the co-founders of the group Culture Declares Emergency), and have created installations and sculptures of notoriety, recently showing at the Tate Modern. “Our work is always moving between art and activism, and more recently has focused on activism with the parlous state of multiple tipping points in terms of degradation of the environment,” Ackroyd says. “The science has been on the table since the 1800s. You can just see how it has become such a horrible political kicking ball.” When the pair first collaborated in 1990, they each had been working independently with grass— but together they went to a new level as they started deeper scientific research and made chlorophyll “the primary medium that binds us”. They began producing extraordinary realist portraits made of grass. Using grass as a sort of photographic paper, Ackroyd & Harvey stimulate chlorophyll with different light exposures to make it more or less active, fostering a range of tones from dark green to bleached yellow. These tones form the imagery.

Ackroyd & Harvey, Dilston Grove, 2003, watering.

For their Biennale project, Ackroyd & Harvey’s large five-metre-high panels of germinated grass seeds—including Indigenous species—will manifest as full-figure portraits, with cutaways of facial close-ups. The people whose faces will feature is a careful selection process: Ackroyd & Harvey say the decision-making will be collaborative, decided when they arrive in Australia to make the portraits. Harvey describes their grass portraits as being images produced on a molecular level, rather like pixels. “What is lovely about the chlorophyll molecule is that it is exactly the same in structure as the haem molecule in our blood,” he says. “The only difference is that in chlorophyll it has magnesium as a binder at its centre, and in our blood it has iron. Life on this planet is here because plants are able to harness energy from the sun and transform it, which gives us all the foods we have, the atmosphere we breathe. Everything is because of it.” Both artists have been excited at the prospect of using Indigenous Australian grass seeds in their AGNSW work, with collaborators in New South Wales exploring varieties, germination times, and responses to different light levels. Interactions with the Indigenous-based youth climate network Seed Mob has also informed them of First Nations understandings of environmental issues. “Grasses are the most successful plant on the surface of the planet,” Ackroyd says. “Rice, corn, barley, wheat . . . and some people would say

that humanity is in service to the grasses. Sea grasses and tropical forests have an extraordinary level of carbon dioxide absorption. So, if we put photosynthesis and ecology at the centre of our economy, then we really are shifting the way we perceive our place in the world. It comes down to our relationship with nature: we are part of nature; we are in the web of it. But our systems of economy tend to be around consumption and high levels of industrialised production. All these things need to shift. Chlorophyll is completely life-enhancing.” When they hear the oft-levelled criticism that art is rarely politically effective, Ackroyd & Harvey aren’t rattled: they point to artist Joseph Beuys, who helped found the German green party Die Grünen, and also created the 7000 Oaks land artwork, in which 7000 oaks were planted in and around Kassel, Germany. One of Ackroyd & Harvey’s ongoing projects is Beuys’ Acorns, in which more than 100 acorns were collected from the Beuys Kassel trees, and then germinated. They are now periodically displayed as a living installation. “Beuys was putting ecology, education and collectives at the heart of things,” Ackroyd says. “That was a catalyst for us to go and get the acorns.”

Ackroyd & Harvey

Art Gallery of New South Wales 12 March—13 June

Studio

Leanne Tobin

“And being on Country has given me permission to speak loudly; to tell the truth about what has happened to the Dharug, to my family, and also to make work about the shared need to care for Country.” —LE A N N E T OBI N

PHOTOGR A PH Y BY

AS TOLD TO

Hamish Ta-mé

Tracey Clement

Leanne Tobin is a Dharug woman, living on Dharug Country at Springwood in the lower Blue Mountains of New South Wales. The Dharug of the greater Sydney region were among the first to bear the brunt of invasion, including disease, slaughter and institutionalised policies of ‘assimilation’. Yet through her practice, which spans painting, playwriting and large-scale public sculpture, Tobin infuses this history with stories of connection, resilience and triumph. Tobin, who often works collaboratively, and has a studio based under her house, is known for bringing both cultural and personal Dharug stories to light, especially those connected to place. She talks about the way these stories change how she views the landscape, the importance of caring for Country, and her new work for the 23rd Biennale of Sydney.

PL AC E

Growing up I didn’t know about my Aboriginality. I didn’t know about my heritage, my nan hid it. I was actually in the Northern Territory, working in Kakadu as an Aboriginal resource teacher when I found out [in 1986]—which is quite weird. I’ve moved around a lot, and I always respect Country that I’m on; I’m very careful. So it was really difficult for me when I was up there. I was surrounded by Aboriginal people who were totally immersed in their cultural experience and still connected to ancient ways that a lot of us in Sydney have had disrupted. I was very aware, very respectful and, you know, almost fearful of even saying, “I’m Aboriginal too” or “I’m connected to Sydney”. I’m now on Dharug Country [in greater Sydney]. And being on Country has given me permission to speak loudly; to tell the truth about what has happened to the Dharug, to my family, and also to make work about the shared need to care for Country. That’s fundamental; it’s why I do what I do. I’ve been back on Dharug Country since 1997, but here in Springwood for the last 11 years. And I was only able to build this studio underneath my house because I won the Parliament of NSW Aboriginal Art Prize in 2011. I won it with a painting called Defending Country. I’d been having a back and forth conversation with the land council who were denying our existence. I was so angry. I just had to put this painting together. And next thing it won the $40,000, which I just did not expect! I see myself as so blessed and so lucky. LE A N N E TOBI N:

PROCESS

Along with making collaborative artworks and teaching, I have a mural painting business and I’ve been working on large-scale urban design commissions—which I never saw coming, but a lot of urban planners now want to bring traditional stories from Country to the foreground. So the studio has become an ideas space. I start with ideas here and then they get taken in different directions and put into different formats. I realised I used to do a lot of pretty paintings and while they’d sell, they really didn’t have the stories. Coming back to Dharug Country, and finding my family connections down here, generated a huge surge in my work. I felt compelled to put forward our untold stories. People don’t know local Aboriginal stories from Sydney. Stories change how you view the landscape. And that’s what I try to share with all the work I do. A lot of my collaborations are with people who are coming together with the same sense of purpose—whether they are family members, or other artists, or my Aboriginal students at TAFE—they’re wanting to reconnect, to get stories out there; to highlight stories of place. It’s incredibly rewarding working with other people, and you have to make sacrifices too. This is a big one that I’ve learnt from collaborations: sometimes you have to hand over something that you know you could do yourself, because I want people to come along for the ride. I don’t want it to just be about me, I want other people to be lifted up. LE A N N E TOBI N:

PROJECTS

My current urban design project, working with UAP Company for NSW Transport at Schofields, highlights that the area [Schofields, a suburb on the fringe of Sydney] is on a sedimentary red silcrete deposit on Dharug Country, where spear tips and scrapers were sourced and traded up and down the coast. I’m also in an exhibition, Dyarubbin, The Hawkesbury River, which is about Dharug cultural connection to that river. We all need fresh water and clean air to live. That’s a shared concern. The theme of this Biennale of Sydney is rīvus. It means 'stream' in Latin and I’ve done work about rivers before, so I guess that’s why they invited me. My piece for the Biennale is called Ngallawan. It means “we live, we remain”. We’re still here, despite everything that has happened, we live and we remain here on Country. Ngallawan has three components: an animation, an interactive weaving project, and a sculptural installation of glass eels which are being fabricated by Ben Edols and Kathy Elliott. It’s harking back to a creLE A N N E TOBI N:

ation story from this area [Dharug Country], which is shared by Gundungurra and Dharug mob, about Gurrangatty, an eel-like Ancestral Being that created the mountains and the rivers here. But it’s also about the amazing life cycle—the transition—of eels. The adult eels swim all the way from the rivers to the Coral Sea, then the babies, which are clear and commonly called glass eels, drift back to their ancestral homes. And when they enter the rivers in the estuarine environment they start to change colour. They become the colour of the river. So I see it as a metaphor for Dharug people. From being transparent, we are now becoming visible; but we’ve always been here. Ngallawan.

Leanne Tobin

ICE and The Cutaway at Barangaroo 12 March—13 June

Kiki Smith, Cathedral, 2013, cotton Jacquard tapestry, 287 x 190.5 cm. published by magnolia editions. photogr aph: kerry ryan mcfate. © kiki smith, courtesy pace gallery.

Interview

W R ITER

Kiki Smith

Tiarney Miekus

Since the 1980s acclaimed American artist Kiki Smith has been creating multidisciplinary works on mortality, sexuality, nature and embodiment. From sculptures of the body, to drawings based on mythology and fairy tales, to incredible tapestries—which are showing for the Biennale of Sydney—Smith has pushed at the boundaries of form, creating works that are beguiling in their existence. Her work has shown in five Venice Biennales, and in 2006 she was recognised by TIME Magazine as one of the ‘TIME 100: The People Who Shape Our World.’ Here, Smith talks about the process of making art and being patient in the face of the uncontrollable.

TI A R NEY MIEKUS

For someone whose work looks at cycles of decay and renewal, has making art felt different to you recently, with a pandemic and growing environmental degradation? K IK I SMITH

No, I just think it teaches one patience and being quiet, and really understanding that you can’t go through life ‘willing’ the next thing you do. It’s about acceptance of things—of time and limitations. And maybe about prudence—being more prudent and thinking in a more modest manner, and realising you’re not that in control of things, and seeing that as a great gift. TM

Is creating a sense of filtering or understanding those larger uncontrollable things? KS

I think it’s a lot about making a proof. It’s like a proof of yourself, or a reflection—something to reflect back on yourself. It takes a certain amount of energy to manifest things out of nothing, and it’s certainly not out of any necessity other than your own necessity. Artists are extremely driven people, much to the chagrin sometimes of their families and everyone else around them. We’re like a train going through a house. You’re manifesting things that have reference to the whole history of what has existed, and what you’ve learnt from what everyone else has done in the world, and then you have your own slice that makes you preoccupied by something, and very curious and tenacious about manifesting it physically. Part of it is maybe psychological, and then the other part is like a divine gift I’ve been given. But I need to work every day—a lot. It’s not like I can just be blind in the dark, drawing and

it comes out perfect. I make endless revisions and mistakes and corrections. TM

I first encountered your work through your earlier sculptures, particularly of the female body and your bodies of great frailty, vulnerability and abjectness. These works have been aligned with post-feminism and the Aids crisis throughout the 80s and 90s, but I wonder if you reflect differently on them now? KS

I think they fit with the times when I made them, but then they fit with my age when I made them. I’m 67 now, and it was in my thirties that I made most of that work. That’s a time when you’re grappling between your childhood and trying to become an adult—even though I’m slowly, slowly, slowly still doing that. But I was a very conflicted person about everything and in a lot of discomfort with being in the world, and those works fitted to social things that were happening— but really, it came out of my personal discomfort. I don’t think that my personal discomfort is unique, and certainly in terms of being a woman there’s a great deal to have discomfort about: the pressures that are put on women that don’t belong to them inherently. There are times in your life where you’re trying to figure out how to shave off the parts of your inheritance—your cultural, personal inheritance—that doesn’t fit you. And you experience it personally, but then everybody’s experiencing their own personal version of that, in all different ways. I feel lucky to have grown up when I did, and to become an artist when I did. I feel like it’s part of the

“You have to be like a lightning rod and catch as much static electricity, lightning coming through the atmosphere, and then ground it somehow in a form.” — K I K I SM I T H

Kiki Smith, Harbor, 2015, cotton Jacquard tapestry, 302.3 x 194.3 cm. published by magnolia editions. photogr aph: kerry ryan mcfate. © kiki smith, courtesy pace gallery.

first generation of women artists that really got to do their work: not unhindered, but much closer to not being hindered. I think women are still hindered in all aspects of life, but it was really a moment where things were changing. But for me it wasn’t intentional. It was completely out of discomfort. TM

Discomfort is an interesting word because you grew up Catholic, which seems to me a very body-centered religion, and you also worked as a medical assistant, and your father and sister both had different illnesses—they’re things all related to the body, and all quite painful. And something about those earlier works does seem painful to me. Is that something you would identify with? KS

I certainly did [laughs]. But at the same time, I always had firstly a humour about things, and second, a tenacity. I have a lot of force in me—hopefully not too much in a bad way, but I didn’t want to be stopped. I needed to make my expression and I remember being criticised by friends of how I made things, people saying they were too tentative or precarious. And then I thought, “Fine, I’ll just make it worse. I’ll make it worse and worse and worse.” I’m also a lousy crafts person. I really love craft and decorative arts, and, as I get older, it becomes more apparent how my real focus in life is something about decorative arts, about the nuances of how people configure things. Like printmaking is something that is completely enthralling to me and exists at every aspect of my life. I think for most artists they’re very driven by nuanced, formal concerns. TM

That makes me think of your father, Tony Smith. He was a renowned minimalist sculptor and there’s a narrative given to your work that your figurative sculpture was a rejection of his more modernist, masculine approach. And you’ve very politely rejected that stance in interviews I’ve read. KS

My father’s work was very ‘body oriented’ in the sense of scale. The scale was always in relationship to the body. And he was an architect, so he was used to thinking about people in space, in occupying space. Then some of his work was figurative in a certain way, but it was also based in natural phenomena—octahedrons and tetrahedrons. My sister Seton Smith is an artist too, and she makes photographs of nature or architecture, and we’re all very engaged in whatever we were doing, but it all could exist simultaneously.

When you were making your early figurative work, especially in the late 80s and early 90s, it seems like the art world was so centered on performance and identity-driven art. KS

Identity-driven art happened after I stopped making the [early] figurative pieces, which was the mid-90s. But figuration wasn’t really popular then [in the late 80s]. When I started making figurative things it wasn’t on purpose. Somebody gave me a copy of Gray’s Anatomy, which is that famous anatomy book from the 1800s, and it resonated for me. It really resonated. I could just look at the liver system or the mouth, everything was so exciting. The person who also really liked anatomy was Jean-Michel Basquiat, and at the same time [as me]. But he became known for his work 10 years before I did, and he was younger than me, but he really liked anatomy. He was looking at Gray’s Anatomy and working very directly from it also—but figuration wasn’t popular. When I came to New York, after a couple of years I fell into a group of artists called Collaborative Projects Inc. and they had all gone to this thing called the Whitney Program. Most of them had been very influenced by thinking about art in relationship to social movement—making films, magazines and bands. Generally, they weren’t making abstract work. They were making some kind of representational work, but not necessarily figurative. People started focusing on the possibilities of representational work and making art that was accessible. It wasn’t art that someone had to know a lot about to have an experience. TM

Something I love in your work is the recognisable imagery from mythology, fairy tales and folklore. Where does that stem from? KS

My mother used to read us fairytales and my father read us Edgar Allan Poe, which of course is much scarier, but even the fairy tales are scary. Like I love The Tinderbox, which is a story of a witch being locked underground by a soldier returning from war. I guess I identify with that witch being locked in a box, because that is something that comes often to my mind. There are also biblical children’s stories that still resonate for me. Then later I saw Joan Jonas made work based on fairy tales. She is a brilliant artist and a big influence on me in no particularly apparent way. But in the mid-90s I stopped making figurative work: I visited Harvard’s Peabody Museum and the woman scientist I spoke to was making predictions about how many mammals would become extinct in the next 50 years—I stopped making figures and went back to

Kiki Smith, Earth, 2012, cotton Jacquard tapestry, 299.7 cm x 194.3 cm. published by magnolia editions. photogr aph: kerry ryan mcfate. © kiki smith, courtesy pace gallery.

focusing on animals. It was also a moment when sexual identity politics was becoming more overt and a big part of the art world, and I didn’t know if I had anything to say about it. I wasn’t trying to work topically, but, I think at that time, what I learnt about the mammals, it was so sorrowful and mournful, and I collected newspaper articles about animals for a couple years and made poster boards from them. Then I just started making images of animals, and then I got into fairy tales because I thought it was an intersection in my cultural history where there was this active relationship between animals and humans. TM

In the fairy tale-related works there are often depictions of women, and something I appreciate is how the representation changes—sometimes the women are very powerful, sometimes they’re being hunted. It’s not one-dimensional. KS

We’re all complicated. I’m complicated. I have no agenda to try to make a freedom front—I just want to make what I’m given, and it can’t be everything. When I was younger there was an external push to make things that “fit together” and it wasn’t interesting to me. We’re all very contradictory in our being. I don’t want to make didactic work, or work that comes out of an agenda. You have to be like a lightning rod and catch as much static electricity, lightning coming through the atmosphere, and then ground it somehow in a form. You know, I wish I could go back to Gray’s Anatomy and things like that, but I don’t know how to. It’s territory that I love, but it doesn’t tell me how to speak through it anymore. When I was younger, I was much stricter about how I had to draw a certain way or do things a certain way, and all of that disappeared over time. TM

That falling away of self-imposed strictness to something looser seems like a passage many artists go through. Is it because you get more confident?

No, you just forget what your idea was [laughs]. No, no—it’s that you have the history of trust, and the more you trust what you’re given, the freer you can walk in that space. I know for myself my work hasn’t ever harmed me. It’s always brought me closer. TM

Closer to . . . ? KS

To me and the world. TM

For the Biennale of Sydney, you’re exhibiting five tapestries that look exquisite. I know you started tapestries around 10 years ago, but what prompted that shift? KS

Tapestries are an incredible form. First, they blanket the world, they blanket walls. I went to Morocco when I was young and saw wall hangings that blanketed and protected and revealed the culture at the same time. And then the whole history of European tapestries is a completely insane history. It’s so fascinating. When I was about 30, I went to Angers to see the Apocalypse Tapestry [a large medieval series of tapestries], which were one of the best things I ever saw in my life. They still shock me every time I look at pictures of them. But I never really thought that I would have the opportunity to work with the form. Because of modern technology and innovations with Jacquard loom weaving and computers, I was offered an opportunity by Magnolia Editions, which are in Oakland, California. It gave me the opportunity to use colour, which is something that I was very shy about. I always found colour very egocentric and so personal. It is so subjective that it made me nervous. I’ve been making black drawings on natural fiber paper for years. So, it gave me colour and the opportunity to make something in the form. So far I’ve made 13 tapestries and working with tapestry and Magnolia Editions has been a great journey for me.

Kiki Smith

Museum of Contemporary Art Australia 12 March—13 June

Branching Out Mexican artist Tania Candiani is bringing her large-scale installations to Sydney, in a startlingly poetic work reflecting the flows of waterways, sound, language, migration and ecosytems. W R ITER

Diego Ramirez

Tania Candiani is assembling an array of trunks and branches, from different trees, to create a large network of organic traces. These traces are made of conjoined branches that resemble floating veins, expanding and hovering over the aerial territory of the exhibition space, creating a sprawling structure for the Mexican artist’s installation Waterbirds. Migratory Sound Flow. Showing for the 23rd Biennale of Sydney, this poetic work combines nature and technology to reflect on migration, language and living ecosystems through the sound of birds. In response to the Biennale’s theme of ecologies as sovereign entities, Candiani’s installation also deploys air as material, by guiding the air to activate wind instruments—inspired by Mesoamerican designs of aerophones, such as the ocarina—which are positioned near the edges of her branch-like structures. These natural wind sounds flow alongside speakers, which in turn play the singing of aquatic birds, endemic to Australia. In the words of the artist, the project explores “the idea of transiting territories through sound, and traversing living bodies of water linked by the movement of birds, waterways that resemble a blood system or neurons.” In essence, it is a tree-like sculpture, with branches resembling waterways, accompanied by the sounds of wind and birds. While a host of collaborators are bringing this installation to life, including Interspecifics (programming), Juan Rosas (modular structure), Gilberto Chavez (clay instruments), Juan Carlos León (production) and RCDesign, the artist also explains her installation uses “recycled plastic, compressors with low electricity use, and the piece is modular so it can be packed with minimal crating—we are taking major considerations in terms of disposal.” These tangible

actions to reduce waste are a welcomed shift in the environmental practices of the art world, where ecological impact is rarely a consideration. Indeed, it is a well-known irony that shows tackling the environment often generate large amounts of waste that become visible once the exhibition is over, moments before hard rubbish collection. Candiani, alongside the Biennale of Sydney which includes this policy in its curatorial statement, seeks to rectify this incongruence by using natural materials, such as tree trunks, and implementing waste management for the de-installation of her pieces. Based in Mexico City, Candiani spends much of her time showing globally in major exhibitions. Her oeuvre is known for strategies that seek to embody sound as politicised language, in large-scale installations that combine tactility with electronic and analogue technology. In For the Animals, 2020, shown at ASU Art Museum in Arizona, she collaborated with musicians, engineers, zoologists, and scientists to create scores for different mammals, ranging from the bobcat to the jaguar, both endemic to the Sonoran Desert. Across video, drawings, and sculpture, the artist worked on this project for five years, alongside curator Julio César Morales. They were both seeking to create an understanding with not only other animals “but also the planet, where sound is common among its inhabitants. Since sound precedes humans, it is a reflection on listening and how frequencies can become an element that connects us all.” The work is also a comment on migration, prompted by the border issues in the Sonoran Desert, which is located in right Tania Candiani, Waterbirds. Migratory Sound Flow. Commissioned by Sydney Biennale, 2022. Render: RCD.

Tania Candiani, Reverencia (Reverence), 2019, installation of variable dimensions composed of HD video (color and sound), and two headdresses. 212 x 180 x 21 cm each penacho (bamboo, reed, wood, plastic tape, paper and feathers). fr ancisco rojas y carlos coronel,dancers; maestro marcos anderete, penacho maker.

“Since sound precedes humans, it is a reflection on listening and how frequencies can become an element that connects us all.” — TA N I A C A N DI A N I

Tania Candiani, Nocheztli, from the project Cromática (Chromatic), 2015, nopales, wooden tables, soil, grana cochineal, nests, and grana ink. photogr aph: tania candiani.

southwest United States and northern Mexico, where a wall dividing Mexico and the United States would inevitably affect the living conditions of these animals. Migration is a recurrent theme in Candiani’s work, who began her career in the city of Tijuana, which sits on the contentious border of Mexico and the United States. The artist first started as a writer and arrived in Tijuana to work as an editor, where she became acquainted with the art scene. Her background in writing offers a linguistic quality to her artwork, where she seeks to create a sonic commonality between species, objects, cultures, and concepts. In 2015, she represented Mexico in the 56th Venice Biennale with Possessing Nature where, in collaboration with Luis Felipe Ortega, she exhibited a hydraulic sculpture and video installation meditating on the architectural role and visibility, or invisibility, of water in Mexico City vis-à-vis Venice. In 2011, she received the Guggenheim Fellowship for the Arts, and has been a fellow of the National System of Art Creators in Mexico since 2012. In 2018, the Smithsonian Institution awarded her the Artist Research Fellowship.

As for her inclusion in the Sydney Biennale— Candiani’s work echoes some of the biggest concerns we face today. Since the onset of the pandemic in 2020, Australia has implemented some of the harshest border restrictions in the Western world, which included mandating severe restrictions on citizens entering or exiting the country, with few exemptions, for almost two years. In parallel to this fixation with border control, we recorded the hottest day on record since 1960, contributing to the increasing anxiety about climate change that haunts this territory. One can at once sense ecological migration as a defining characteristic of the 21st century, and picture the tensions—as well as ironies—that may continue to typify borders. Candiani’s body of work is perfectly situated to speak to these anxieties and prophecies, deploying sound to set up coalitions with other species while reminding us that movement is a natural state of being. In some ways, her message arrives to us like the chants of a transpacific bird, flying across the ocean to foreshadow the present.

Tania Candiani

The Cutaway at Barangaroo 12 March—13 June

Common Ground Central to the Biennale of Sydney is a focus on collectives coming together. We look at the stories and art behind three Indigenous collectives in rīvus: Iltja Ntjarra (Many Hands) Art Centre and Casino Wake Up Time from Australia, and New Zealand’s Mata Aho Collective. W R ITER

Neha Kale

Biennales have often upheld the idea of the artist as a singular genius. But for Hannah Donnelly, artistic practice isn’t just about individual talent. It’s a consequence of connections between people and intergenerational knowledge that’s nurtured and passed down. Donnelly, a Wiradjuri curator, writer and producer, is part of the curatorium for the 23rd Biennale of Sydney, championing the work of groups such as Iltja Ntjarra (Many Hands) Art Centre, Casino Wake Up Time and New Zealand’s Mata Aho Collective. But a collective ethos, she says, doesn’t just define the artists presenting work at the Biennale. It shapes the curatorial vision itself. “It’s really exciting, seeing the rise of collectives, co-artistic directors and curatorial models,” she smiles. “For me, working with collectives and working on First Nations land is about things that are actually good practice—consensus decision-making, the principles of free, informed and prior consent. It means having more conversations and being accountable to [more people].” She pauses. “How we define a work of art isn’t just about one person. It’s about everything around it too.” A moment shaped by climate crisis, a global pandemic and the failures of neoliberal capitalism calls for a different kind of art world—one that is inclusive, generous and imaginative. This Biennale refers to artists as “participants”, challenging Western hierarchies of art and craft. Titled rīvus, Latin for ‘stream’, it also gives voice to Sydney Harbour, rivers and waterways. These bodies of water, according to Indigenous thinking, aren’t passive elements of the landscape. They’re living, breathing beings. Donnelly says that rīvus imagines itself as a series of ‘conceptual wetlands’, a

metaphor that speaks to ideas of ecology, collectivity and co-existence. “In Sydney, we have this beautiful saltwater story in the Harbour and [a place] where saltwater meets freshwater in Parramatta,” says Donnelly, who is working with Dharug custodians and communities such as the Friends of Myall Creek. “But water is often dark and full of sad stories. A lot of the First Nations artists [draw on] ancestral knowledge of water, water as a site of conflict. There is a lot of work [that] looks at healing as well.” M ATA A HO COLLECTI V E

Sarah Hudson believes that art-making doesn’t have to be an isolated endeavour. It can be a collaborative expression that’s more than the sum of its parts. In 2011, Hudson, a Ngāti Awa, Ngāi Tūhoe and Ngāti Pūkeko artist, met Erena Baker, Bridget Reweti and Terri Te Tau—Māori women artists who shared her sensibilities. The four women, based in Aotearoa New Zealand, have been making work as Mata Aho Collective ever since, becoming known for their large-scale works. “We had read the same books, made work about similar things,” says Hudson. “We found great strength from being together in the art world, having friends by your side while trying to figure things out.”

right Mata Aho Collective, AKA, 2019, installation view, Àbadakone | Continuous Fire | Feu Continuel, 2019, National Gallery of Canada, Ottawa. commissioned by national gallery of canada, ottawa. courtesy the national gallery of canada. copyright © mata aho collective.

Casino Wake Up Time. photogr aph: k ate holmes. image commissioned by arts northern rivers for the bundjalung weaving publication project 2021, supported by the office for the arts.

Theresa Bolt, Small Woven Mat nesting in paperbark tree, 2018. photogr aph: imbi davidson © casino wake up time.

“How we define a work of art isn’t just about one person. It’s about everything around it too.” — H A N N A H D ON N EL LY

Casino Wake Up Time. photogr aph: k ate holmes. image commissioned by arts northern rivers for the bundjalung weaving publication project 2021, supported by the office for the arts.

Aho is the Māori word for weft. Sewing, an artform that connects disparate elements, is central to Mata Aho. At documenta 14, which took place in Kassel, Germany, the group showed Kiko Moana, 2017. The deep blue installation, woven out of tarpaulin, reflects their ongoing commitment to everyday materials and evokes taniwha—creatures that hide in oceans, rivers and caves. It speaks to their fascination with Māori deities as well as the knowledge carried by women’s bodies, a guiding tenet of their work. “There’s a goddess that looks after freshwater systems, Parawhenuamea, and a [goddess] Hinemoana that [looks after] the open sea,” says Hudson. “And then there’s a point where the rivers meet the harbours and those waters exchange.” This union of freshwater and saltwater is central to He Toka Tū Moana (She’s A Rock), a woven installation that will wrap around the columns of Barangaroo’s The Cutaway as part of the Sydney Biennale. “There’s a Māori proverb that talks about a rock in the ocean and the strength it has to stand up to these moving waters,” Hudson says. “We did some research into Barangaroo and we see her as a cultural beacon, a strong rock.” For Te Tau, Mata Aho’s evocation of Māori mythology isn’t just about upholding tradition. It’s about a sense of kinship with the natural world that can draw the viewer into a spirit of care and reciprocity. “We can trace our genealogy to these personified beings, so it creates the same responsibility as a family relationship,” says Te Tau. “If you are thinking of the [natural world] in terms of family, you are not going to

be extracting. You are thinking in terms of giving back.” CASINO WA K E UP TIME

Weaving is communal, a chance for women to find community. For Kylie Caldwell, it’s also a form of renewal, a way to make traditions she was searching for part of everyday life. Six years ago, Caldwell started working with Casino Wake Up Time—a collective largely based in Casino that has been meeting for 10 years to share stories and craft. The collective, also comprising Theresa Bolt, Auntie Janelle Duncan and Auntie Margaret Torrens, would gather plants native to Bundjalung Country (the northern coastal area of New South Wales) before spinning them into jewellery, bags and baskets. She describes becoming part of the group as a “gift”. “I lost my grandmother when I was six and never met my grandfather,” she says. “If you grow up in the Western world, [culture] is hard to find. Since I’ve had my children, I’ve not had the chance to gather with women, have yarns, talk about stuff. Our old women did that—they used to weave together, collect together and the children would follow.” Bundjalung Country is subtropical, a climate that lends itself to plants such as pandanus and buckie rush. “We weave with a buckie rush reed and then there is a beautiful native hibiscus which our string bags are made from,” she says. “We have a lot more wetlands because of progress and agriculture.” Although the group’s members have presented pieces at workshops and markets, the Biennale marks their first collaboration. Caldwell says that the group was playing with the idea of waterbeds. “But on the flipside, there is that song that goes, ‘How do you

Vanessa Inkamala, No Dig It, 2021, from the series Our Way (TBC), watercolours on recycled street signs, 45 x 60 cm. commissioned by the biennale of sydney. courtesy vanessa ink amala and iltja ntjarr a (many hands) art centre. © vanessa ink amala and iltja ntjarr a (many hands) art centre.

Selma Coulthard, Urrampinyi (Tempe Downs), West of Alice Springs, NT, 2021. Installation view of Kutja Malla Manttara – Collecting (Bush foods) in cloths, 2021, RAFT Art Space, Alice Springs. courtesy the artist and r aft art space. photogr aph: martina capurso.

sleep when the beds are burning?’” she grins. “Our bodies are composed of water, the things we eat need water. We need to pay attention to water now.” For the Biennale, the group’s weaving incorporates cast-iron bed frames, a motif that references traumas of colonisation—such as the dormitories associated with the Stolen Generation. “It’s about how that [removal] of culture interrupted weaving practices,” says Donnelly. Caldwell points out the connection between colonial violence and environmental damage. “It is about our homeland, where we sleep at night,” she says. “The connection to water is everything in our life.” ILTJA NTJA R R A (M A N Y H A NDS) A RT CENTR E

The great painter Albert Namatjira introduced the world to Western Arrernte Country: the intricate grooves of the MacDonnell Ranges, the purples and greens of the Central Desert. The Iltja Ntjarra (Many Hands) Art Centre has spent the last two decades preserving the watercolour traditions of the Hermannsburg School, the painting style Namatjira famously mastered at a Lutheran mission. The centre’s artists—whose members include Mervyn Rubuntja, Selma Coulthard and Kathy Inkamala— are dedicated to upholding their ancestor’s powerful visual legacy. But Marisa Maher, a Western Arrernte woman and the centre’s assistant manager, says that they are equally dedicated to voicing contemporary concerns. For instance, the previous 2020 Sydney Biennale saw the artists present works such as Homeless on my homeland, 2019, and My homeland

is being destroyed, 2019. The ethereal watercolour paintings and text, emblazoned on cheap, tartan, plastic laundry bags, spoke to displacement, dislocation and the disposability of land and culture. “Homeless on my homeland,” read the text on one bag. “This is something they [the centre’s artists] have experienced over the years, when they relocated to Alice Springs—trying to get their own place,” says Maher. “They want to express that through their painting, do something contemporary, show what they experience.” Rīvus will see the artists reprise this wit and sense of material invention. Thirty works, featuring watercolour images and text painted on salvaged road signs, mount a protest against practices such as fracking, a threat to Indigenous water sources in remote parts of the country. “You can really see the words in the paintings,” says Maher who is co-curating the presentation. “[It’s] about caring for Country, protecting Country. I think they are all great.”

Casino Wake Up Time

Walsh Bay Arts Precinct

Mata Aho Collective

The Cutaway at Barangaroo

Iltja Ntjarra (Many Hands) Art Centre

The Cutaway at Barangaroo 12 March—13 June

Dance Dance Revolution Across dance, performance and video, Amrita Hepi’s latest art isn’t only about protest, but what happens after the revolution. W R ITER

Cher Tan

Amrita Hepi, Monumental, 2021, production still. photogr aph: jacqui shelton. © amrita hepi. courtesy of the artist & anna schwartz gallery.

Watching Monumental, one might anticipate a voiceover reminiscent of documentary filmmaker Adam Curtis—an iconic, constrained, British cadence—entering the fray. The four-minute video intersperses a dance performance with grainy archival footage of bodies in movement and snapshots of news reports, presenting a collage of what artist, dancer and choreographer Amrita Hepi describes as “an economy of images”. Imagine a Curtis-esque narration again: “Their aim was to create a new world, one which . . . ” But Hepi’s art isn’t about the creation of just one world: what’s different about Monumental is that it leaves room for plurality of thought while interrogating the idea of monuments as sacred throughout Western history. As a First Nations woman from the Bundjalung and Ngāpuhi territories, these questions are not merely rhetorical for Hepi, who is concerned with how monuments are often objects unduly charged with meaning: “I wonder about destroying symbolic things, but then what’s left and how [do we] document it? Pathos doesn’t necessarily equal catharsis in the destruction of a thing. How can you continue to document something after it’s destroyed without continuing some kind of violence or neurosis?” The time is ripe for the toppling of monuments.

Following the resurgence of the Black Lives Matter protests in 2020, cities across the world have witnessed scenes of revolt involving the defacement of statues erected to commemorate violent acts of dispossession. As I write, fresh red paint has just been poured over the statue of James Cook at Catani Gardens in Melbourne. But even as Hepi is thrilled at the groundswell of rebellion and solidarity, she emphasises that Monumental—conceived before these events became a hot-button issue—is not purely reactive. She is mindful of a certain sanctimony that can result from acts like these. To her, destruction is only the beginning, following which it “needs to be replaced by the body, and surrounded by other parts of history that support this action”. While researching Monumental, she considered the Place de la République in Paris as a site of occupation during the Nuit Debout protests in 2016, similar to the Occupy protests in the United States, as well as the sacking of the ancient city of Teotihuacán in 600 A.D., which saw the structures and houses of the elite looted and burned in an uprising. These events prompted Hepi to question how protests become their own narratives, who gets to tell them and the ways in which they capture the collective imagination:

“How do we supersede the expectations of what is expected of us?” — A M R I TA H E PI

“How far can the story go until it’s so [multi]layered it almost becomes a different kind of mythology? How do you continue to tell a story of victory?” Hepi’s rise in the art world has been meteoric, guided by her ethos of camaraderie. As a child in Townsville, she loved dancing, attracted to its many accoutrements. And because she was raised within a tight-knit First Nations environment, there wasn’t the Eurocentric pressure to be “the best”, instead encouraging her to think about movement more laterally. At 20, after working at a dance studio in Sydney, she studied at the National Aboriginal Islander Skills Development Association, and then at the Alvin Ailey American Dance Theatre in New York. At these places she began to see the intermingling of theory and praxis, where the Bla(c)k body politic was the focus, teaching her non-hierarchical ways of art-making. “There’s definitely a ‘tyranny of structurelessness’ which I see happen a lot [in art spaces], where nobody wants to say what they actually desire,” explains Hepi when talking about her approach to art-making. “They’re [artists] too scared for it to look as if they’re taking control of the situation, but really what it requires is somebody to actually voice how or why it is they’re going to make a decision, or what they actually want.” To Hepi, making art isn’t about absolute control or visibility; rather it is about asking new questions, finding solidarity (which, to her, is simply friendship rather than an overarching “community”) and daring to take risks while holding space for others. It’s a tricky balance to achieve, often in a Eurocentric art world that prides a moralistic obsession with “doing the right thing” in a way that can be self-aggrandising and tokenistic. But gaining experiences outside of that bubble has proven beneficial. In 2013, after returning from New York, a friend asked Hepi if she wanted to teach dance classes at the now-defunct GOODGOD Small Club in Sydney. While initially a job opportunity for a broke graduate, the regularity and size of those classes (thrice weekly, with 240 people over three sessions

each night) made her realise an interest in teaching, particularly as she was dissatisfied by certain teaching styles as a student. “I would get everybody to do an Acknowledgement of Country with me and I would talk to them about things around their body . . . I could have a conversation with people in this really nice way; trying to make it feel like everyone in the class knew me,” Hepi reminisces. I was lucky to encounter this first-hand. Last year, Hepi and I were involved in EASY RIDERS, an experimental performance work critiquing the exploitative nature of the gig economy, led by artist Eugenia Lim. Most of the performers—including me—had no previous training. Some had never even been on a stage. As we worked through movement techniques, Hepi, as choreographer, would notice my tenseness and remark in her jovial manner, “You’re not just a brain, you’re a body.” Her effervescent nature helped us non-professional performers relax; there would often be laughter and conviviality. In Monumental, this is evinced in the typical Hepi way: deadly serious, but with a wink. The culminating moment in the video shows her and six dancers eventually destroying a white foam figure—a monument— with cricket bats, putting their bodies in its place, only for everything to be abruptly reversed. Hepi is ultimately thinking of what happens after a monument is toppled: “If we’re understanding a little bit more about sovereignty, about ourselves, about joy but also pain, about history, then what’s next? How do we continue to be interested in the work of ourselves without going into aphorisms? How do we supersede the expectations of what is expected of us?”

Monumental

Perth Institute of Contemporary Art (Perth WA) 19 February—24 April

State of Freedom With a lineup of intergenerational artists, the 2022 Adelaide Biennial of Australian Art: Free/ State is grappling with the state’s colonial origins, alongside questions of freedom and displacement. W R ITER

Steve Dow

The nation is still grappling with its past so that Australians can be free to forge a future together, says the 2022 Adelaide Biennial curator Sebastian Goldspink. This sense of time is more complex than it seems, where the event’s works are both poetically and viscerally “informed” rather than “defined” by the current pandemic, as much as other tumultuous world events: Black Lives Matter, marriage equality, bushfires and environmental collapse. Goldspink alighted on his Biennial title Free/State before seeing what most of the artists would produce for it, originally coining the theme specifically from South Australia’s “free settler” origins, which the state officially proclaimed in 1836 when South Australia became formed as a colonial settlement. The Biennial also engages with the notion that the state, both historically and today, can and does restrict freedom. “The one thing that unites all Australians is that we’re all displaced people, all of us,” says Goldspink. “Painfully, none more than Aboriginal people, displaced in their own land.” Goldspink relied largely on his simpatico artistic mindset giving him confidence in what participants would produce: a decade ago, Goldspink created the artist-run platform ALASKA projects, working in tandem with artists to create exhibitions in unused or disused spaces. “I’m known as a curator who is really embedded with artists,” says Goldspink, seated in the new Woollahra Gallery at Redleaf in Sydney, where he is the coordinator. “I’m talking to artists, visiting the studios. Not academic and removed but right in the midst of things.” Goldspink has assembled some two dozen art-

ists for the Biennial, both from senior and emerging artist ranks, in an intergenerational show. Created in the two-year footprint thus far of the pandemic, artists have taken imaginative leaps into futurism while addressing the tensions of shared black and white history. “I’m interested in the negativity of this period of time—sickness and death—but also, too, the positive aspects: for the artists, they’ve talked about how great it has been to have something in the distance to focus upon.” The senior artists include Julie Rrap, Tracey Moffatt, and Angela and Hossein Valamanesh (the latter of whom sadly passed away in early 2022), whose practices were “probably on the periphery” to begin with in the 1980s, and then “drifted towards the centre”, says Goldspink. “There was a very male-dominated culture in Australian art at the time, and this idea of making art about identity or about the environment, these artists really championed.” The Moffatt work is her 1997 short film Heaven, which turns the tables on traditional representations of desire, and was part of Moffatt’s international breakthrough show. It will be shown in a section of the Art Gallery of South Australia that explores the idea of transcendence into other worlds. “The work is still wild today,” says Goldspink. Meanwhile, Shaun Gladwell is presenting a new video work made for the Biennial, informed by lockdown in Melbourne and BMX and video game cultures. Indigenous artists are strongly represented: Goldspink has championed the work of Dean Cross, a Worimi man though his paternal bloodline, since Cross held his first solo show with ALASKA. In addi-

Dennis Golding, Kamilaroi/Gamilaraay, Untitled Botany Bay, 2018, photograph, 155 x 87 cm. courtesy of the artist. photogr aph: jack cook.

Laith McGregor, born Sunshine Coast, Queensland 1977, Nigh Night, 2013, Melbourne, pencil on two sheets of paper, 228 x 300cm (overall). roy and marjory edwards bequest fund 2014, art gallery of south austr alia, adelaide.

“The one thing that unites all Australians is that we’re all displaced people . . . Painfully, none more than Aboriginal people, displaced in their own land.” — SEB A S T I A N G OLD SPI N K

Still: Reko Rennie, Kamilaroi/Gamilaroi/Gamilaraay people, New South Wales, born Melbourne 1974, Initiation OA_RR, 2021, 4K three-channel digital video, PAL, stereo sound, 7 minutes, 37 seconds. commissioned by rising melbourne, courtesy of the artist and station, austr alia, photo: justin mcmanus.

Darren Sylvester, born Sydney 1974, Transformer, 2021, steel, neon, transformers, animator unit, mixed media, 220 x 130 x 48 cm. courtesy of the artist and neon parc, melbourne and sullivan+strumpf, sydney.

Installation view: Tom Polo, born 1985, Sydney, I still thought you were looking, 2019. courtesy of the artist and roslyn oxley9 gallery, sydney. photo: luis power.

tion, Dennis Golding, a Kamilaroi man, presents his work related to growing up on the Block in inner-Sydney Redfern, focusing on the iron lattice trimmings of Victorian houses normally associated with colonialism. Born in 1973, Goldspink remembers being taught little about Aboriginal history in school, while Captain James Cook was venerated as having “discovered” Australia. The politicisation of Gallipoli, pressed into nationalist service by former prime minister John Howard, came later. “I respect people’s right to be proud of that history—my great uncle was one of 56 Aboriginal service people at Gallipoli,” says Goldspink, who identifies as being of a mixed “Irish, Aboriginal [Burramattagal], convict” heritage. “They’re only just being honoured now . . . both my great uncles fought in World War I, my grandfather, he fought in World War II. And you look at their [service] cards, and it reads ‘complexion: dark’, and they didn’t get the same benefits white soldiers got, weren’t allowed into RSLs.” There remains, explains Goldspink, “forces that try to suppress cultural expression because they know what a powerful force it is politically”. This gets to an undercurrent of thoughts propelling Free/State, as “this process of trying to define our identity as we move to the future is a fundamen-

tally important thing for Australia, defining what we are, and at the heart of that is reconciliation with Aboriginal people, because [without reconciliation] it constantly holds us back”, says Goldspink. “Certainly, in my lifetime, roughly the period post-1967 [when a successful referendum amended the constitution to count Indigenous people in the census for the first time, and for the Commonwealth to make laws for Indigenous people] there’s been great change, but a lot more needs to be done. “A lot of the ‘facts’ we were told as Australian schoolchildren simply were not true. Captain Cook was not ‘the first European person’ to set foot on this continent,” continues the curator. “I remember an international curator said to me, ‘The fascinating thing when you work with Australia is you’re working with the world’, because of this amazing multicultural society with all these different voices. And I’m really happy to amplify those voices in the Biennial.”

Adelaide Biennial of Australian Art: Free/State Art Gallery of South Australia (Adelaide SA) 4 March—5 June

On Balance If life were a set of scales, what would the balance be for Australian female artists today? With over five decades of thinking, writing on, and curating exhibitions centring Australian women artists, Julie Ewington reflects on the position of female artists in Australia today. W R ITER

Julie Ewington

What is the prospect for women artists in Australia in 2022? Today they are increasingly recognised, honoured, and, most important, emboldened. This was almost inconceivable 50 years ago, in the different world where we first read the celebrated Dorothy Dixer posed by American art historian Linda Nochlin, ‘Why are there no great women artists?’ In 1973, when I first published an article mentioning Vivienne Binns, I could not have predicted her extraordinary career, or her 2022 major museum survey On and through the surface. But the die was cast in the 1970s, with the passionate advocacy and activism of the Women’s Art Movements, and now women are crucial to innovation in the arts, as elsewhere in society. This is no overnight transformation. It’s the culmination of decades of experiment, advocacy, comradeship (and competition), heart-searching, and sheer hard work. We have seen the diffusion, even the popularisation, of feminist art practices. And as a result, women artists (and writers, filmmakers, musicians) have reshaped the country’s imaginative life, making, as in so many fields—law, medicine, sport, business, education, theology—huge changes in society. In recent years there’s been a huge acceleration in the recognition of the pernicious legacies of sexism, both here and internationally. I am thinking not only of the #MeToo movement since late 2017, with its resonances in Australia, but the courageous contributions made to public life in 2021 by Grace Tame and Brittany Higgins. Who could have predicted the great shift in community attitudes towards the indignities experienced by these (and many other) women? This has been amplified by public scrutiny that includes (among many distinguished contributions) Kate

Jenkins’s report Set the Standard and Jess Hill’s Quarterly Essay ‘The Reckoning: How #MeToo is Changing Australia’. Such frank conversations about women’s status and expectations in Australian public and domestic life are signs of great change. And 2021 was a certainly a tipping point. Artists have been central to these conversations: witness Sarah Goffman’s commissioned artwork for the The Monthly cover in May 2021 with the raw text ‘I believe her’. Drawing on home-made imagery from street demonstrations, Goffman summons activist wit and exemplifies continuing feminist advocacy. Not surprisingly, the visual arts world has seen signal developments in the last two years: the focus on women’s social and political struggle has fostered a climate of enthusiasm for both historical and contemporary art by women across Australian museums and galleries, and internationally in influential institutions such as Tate Modern, now committed to greater equity for women artists in exhibitions and collecting. And the Countess Report, most recently delivered in late 2019, has partnered with the National Gallery of Australia in its multi-pronged Know My Name project, contributing to the NGA’s Gender Equity Action Plan, which will be released for International Women’s Day. Know My Name is the most prominent of many Australian projects advocating for women artists, and an internationally significant exemplar. It was launched in November 2020 and the exhibition has been extended until June this year. Despite excellent intentions, the exhibition attracted informed criticism, as well as enthusiasm. About Know My Name’s claim to tell “a new story of Australian art”, critic Anne Brennan wrote in the thereviewboard, “That may be over-egging the pudding a little. Part 1 of the exhibition

Illustration by Minna Gilligan.

unpacked a narrative about the history of women’s practice that relied heavily on 40 years of feminist art historical scholarship.” And art historian Anne Marsh, writing in Artlink, made a similar argument in detail: her text is a valuable record of feminist achievement. As she argues, “In many respects, Know My Name is a belated response to the surge of interest in women’s art and feminism . . . ” Both are correct. To the mainstream, women and feminism have finally ‘arrived’. Be that as it may, Know My Name remains a genuine “commitment and call to action”. Sally Smart, artist and NGA board member, put it plainly to the Sydney Morning Herald in June 2021: “Know My Name means nothing. This is just the starting point . . . It has to be about the intellectual space, as well as the physical space which gets handed over.” Part of that is the massive Know My Name anthology: the first edition of 3000 sold out, another 4000 are being printed. Together with Marsh’s own extraordinary compendium Doing Feminism: Women’s Art and Feminist Criticism in Australia, published in late 2021, there is complementary food for thought, teaching and debate in coming decades.

On balance, this movement seems unstoppable. Today Australians are accustomed to women being prominent in cultural life, offering fresh ideas and narratives underpinned by life experience and informed by rigorous theoretical positions. But while gender bias is morphing, it has not vanished in the last 50 years, nor will it in the next 50, I imagine: “Pessimism of the intellect, optimism of the will,” as Antonio Gramsci famously imparted. Today, though, I do take heart from the energy of younger artists, with their insight into the operations of cultural power and urgent demands for change. This impatience is valuable, it is necessary. It is directed towards results. It embraces new challenges. This moment has been reached through the robust practices of generations of artists, critics and audiences ‘doing’ feminism, to borrow Marsh’s title. Commitment to change has fuelled this long struggle. And the brilliance of artists has fulfilled it in ways completely unexpected when feminist artists first gathered in the 1970s. This allows us to look to the future, when what today is considered extraordinary will have become expected, and when new and unexpected questions, problems and, one hopes, joys may be embraced.

All Hail The King With memorabilia coming to Australia direct from Graceland, how do we account for the enduring, almost divine, presence of Elvis? “More popular than Jesus” is how John Lennon referred to The Beatles in 1966, a line we could lend to The King himself. W R ITER

Rex Butler

Theologians have a fancy word or it: acheiropoeitos. Or “made without hand”. It refers to those religious icons that supposedly exist without human intervention, that just are the things they are meant to represent. The most famous example is the Shroud of Turin, now housed in a cathedral in the Italian city of Turin, which is said to be an image of Christ formed when he was wrapped in a burial shroud immediately after being taken down from the cross. Now on a piece of cloth we miraculously have Christ—not one of the thousands of paintings of him made by artists but an actual pressing of his face, in touch with the man himself. It’s been proven by carbon dating that the cloth dates from the Middle Ages, but no one believes that. The Shroud is still venerated: in 2013 it was taken out of the chapel in which it is usually held and livestreamed, where it drew an audience of millions. And if this seems irrelevant in what’s called a ‘post-religious’ society, have a look at Ash Barty throwing her wristbands into the crowd after a match at the Australian Open and the people clamouring. Those wristbands are her and the proof that you were once in her divine presence. Or think that every time a friend shares a photo of a sunrise over a beach to Instagram, it’s not just a photo but—this is the miraculous power of photos, which are also not made by hand—proof that they were actually there where they said, and want to make you feel there too. All of this is some way of explaining the peculiar pleasure—and perversity—of Bendigo Art Gallery’s Elvis: Direct from Graceland. It’s an exhibition of some

300 items from the estate of Elvis Presley, which are usually housed in the family home of Graceland, Memphis, Tennessee, but have for a moment been let out from their final resting place. Thus we will have the obvious, musical-history-important costumes, both the early rockabilly leather jackets and later rhinestone-encrusted jumpsuits. We’ll have the guitars that Elvis as often as not didn’t play but let dangle suggestively between his legs as he danced. We’ll have the diamond-studded Maltese Cross designed for him by his late-in-life lover Linda Thompson. But we’ll also have—maybe as a reminder of the excess that eventually killed him— his red MG sports car, his Harley Davidson and even his gold-plated telephone. And we’ll even have—this perhaps a sign of the innocence that was lost—his first-grade school crayon box and the hymn book he took to church each week. Then there are the photos: Elvis as a boy, Elvis with his parents, Elvis in the Army, Elvis getting married, Elvis playing Vegas. Of course, Elvis is one of the most beautiful and iconic human beings of the 20th century. But as Andy Warhol—a thoroughly religious artist: there is a great show on the topic currently on at the Brooklyn Museum—made clear in his silk-screens, you need only a smattering of his features (the curve of his lips, the tilt of his hips, the

“Elvis is not called The King for nothing. He cannot be explained, he does not need to be justified.” — R E X BU T LE R

Elvis Presley in the 1968 NBC television special, Singer Presents… Elvis, later known as the ‘Comeback Special’. photogr aph: fathom events/cinevents. © epe. gr aceland and its marks are tr ademarks of epe. all rights reserved. elvis presley™ © 2021 abg epe ip llc.

pomp of his pompadour) and you have him, he is there before you. Elvis is not called The King for nothing. He≈cannot be explained, he does not need to be justified. He simply comes out of nowhere in the same way as a king’s legitimacy cannot be questioned. Look for a moment at one of the extraordinary photos, sure to be in the show, of the young Elvis with his parents Vernon and Gladys. Nothing can possibly account for how they in their absolute ordinariness produced someone like him. It’s as though God came down from the heavens and decided for some reason to manifest himself in Tupelo, Mississippi, on 8 January 1935. We will go to see the show at Bendigo because all of those objects were once in the presence of Elvis. They all touched or were touched by him and therefore in a way are him. Beyond any social history they might relate—the story of a small-town boy swallowed

up by celebrity culture who lost his way—there is simply Elvis, who rises over any such tragic figure, like Christ resurrected after his death. Elvis has already outlived his time, his circumstances, those earlier lamentations of his selling out and even his ironic reclamation as kitsch icon. He will simply now live on forever. And he has left his relics behind for us to venerate. Go see the show on a Sunday, early in the morning, with the church bells of Bendigo ringing in the background. Then hum Elvis’s ‘In the Ghetto’, his brilliantly updated version of the birth of Christ. No one “made” Elvis. He just is, there before us, acheiropoeitos.

Elvis: Direct From Graceland Bendigo Art Gallery (Bendigo VIC) 19 March—17 July

Radical Ceremony Ceremony and radical activism may seem like differing forces, but The 4th National Indigenous Art Triennial is showing us otherwise, centering itself on art, action and change. W R ITER

Timmah Ball

From Yawuru artist Robert Andrew’s ‘writing machines’ to Wiradjuri artist Nicole Foreshew’s clay vessels, The 4th National Indigenous Art Triennial: Ceremony honours the rituals practiced across culture, Country and community that remain embedded in First Nation people’s lives and practices today. By celebrating Indigenous artists as “radical agents”, the Triennial puts forward ceremony as an action that nourishes while also seeking change. Including over 35 artists, with works across dance, writing, performance, painting, ceramics and architecture, curator Hetti Perkins describes how the Triennial has been conceived “to reflect the many ways in which culture can be expressed or embodied, and how ceremony in the contemporary context continues.” Since the early days of colonial occupation, various government policies have attempted to disempower Indigenous people from engaging in ceremonial practices—and so the Triennial becomes a powerful statement honouring the continuation of ceremony in its many iterations from the personal, public, celebratory and radical. In linking the ritual of ceremony with radicalism, the Triennial has a geographical edge that cannot be ignored: the Triennial’s home, the National Gallery of Australia, is situated close to the Tent Embassy in Canberra. As Perkins acknowledges, “I don’t think it’s possible to present a project like this on Ngambri and Ngunnuwal country in Kamberri/Canberra without it being political, and not even possible to do anything anywhere without it being inherently political—of which, of course, the 50th anniversary of the Tent Embassy is a poignant reminder.”

Ceremony demands that we address colonisation and assert Sovereignty through art. But it also demonstrates that contemporary First Nations artists are achieving this in multiple ways. Perkins’s lifelong experience in art and activism ensures that Ceremony remains deeply activist in scope and intention while expressing this in complex ways that celebrate artistic ingenuity. Works such as the tree scarring project by Dr Matilda House and her son Paul Girrawah illustrate that protest takes place in many forms by engraving messages into living trees in the NGA sculpture garden as a permanent marker. Meanwhile artists such as Robert Fielding highlight the impact of settler occupation of Ngambri and Ngunnawal land by recreating the abandoned cars on his Country, an introduced Western object that is also reclaimed by communities as an essential way to visit family. Further elements of ceremony and protest are evident in the work of Yarrenyty Arltere Artists, a collective who met and began working through the community hub and arts centre in the Larapinta Valley Town Camp, Alice Springs (Mparntwe). Featuring 16 artists led by fellow artist Marlene Rubuntja, the collective’s work Blak Parliament House defies typical activist expectations by grounding itself in gentleness, with bursts of colour, humour and joy. Here, brightly coloured animals are created in a hand-sewn version of Parliament House, where the communities’ voices are heard and engaged in debate. While clearly stating that change is urgently needed in Australia, the Yarrenyty Arltere Artist’s activism appears alongside a light playfulness, showing a future where the artists

Hayley Millar Baker, Gunditjmara and Djabwurrung people, Nyctinasty, still, 2021. image courtesy of and © the artist.

Portrait of Joel Bray, Wiradjuri people, National Gallery of Australia, 2021.

“I don’t think it’s possible to present a project like this on Ngambri and Ngunnuwal country in Kamberri/Canberra without it being political . . .” — H E T T I PER K I NS

are their own radical agents—something that can be achieved not only by force, but with beauty and soul. As Rubuntja shares, “In my head and heart, I grew all these ideas and I started feeling well again. Now I feel like a strong woman.” Such messages reverberate in urban artists' work in the Triennial. SJ Norman’s Bone Library, part of a larger performance work Unsettling Suite, is an urgent commentary on invasion and the active preservation of language made by First Nations people. The performance sees him inscribe language onto the bones of sheep and cattle, which becomes a ceremonial affirmation that Indigenous languages did not die out but live on, even in the bones of “totemic colonial beasts” as he describes. Like the Yarrenyty Arltere Artists, his work displays a delicate quality and ritual sensibility. It demands solutions to settler imposition while demonstrating that activism can take multiple forms. Other views of ceremony are shown through the cinematic work of Hayley Millar Baker, which draws the audience into the personal. Exhibiting her first film, the acclaimed photographer delves into her psyche and domestic sphere by creating a fictional home which acts as a symbolic entrance into her head. She describes the work as “stepping away from fixed narratives, leaving the works open to more ambiguous interpretations, but always based on some sort of truth.” And this reveals that while truth telling remains

central to Blak art, it can be expressed in intimate, evocative ways while remaining connected to wider community needs. As Perkins reflects on the exhibition at large, “Their works are at once very personal and also speak with a ‘common tongue’ or language that taps into the things we all share as Kooris/Murris/ Anangu/Yapa etc etc!” New video work by dancer Joel Bray provides hope as much as it laments the pervasive horror of colonisation. With an innovative practice in contemporary dance blending comedy, audience participation, text and live art, his new work promises to engage audiences in urgent discussions while continuing to express a unique dynamism which pushes dance into ritual protest. Perkins explained that “protests are a form of ceremony in some ways, acts of faith, processes of change, coordinated community actions with a collective outcome, or intimate expressions of belief . . .” And audiences will find a richer understanding of the interwoven legacy of art, ceremony and activism in this exciting Triennial.

The 4th National Indigenous Art Triennial: Ceremony National Gallery of Australia (Canberra ACT) 26 March—31 July

lintonandkay.com.au

Adrian Lockhart Cool Water 5 - 27 March Mandoon Estate Gallery

Adrian Lockhart, ‘Three Bathers’ 2017, Acrylic and crayon on canvas, 100 x 150 cm

James Corbett Making It Breathe 4 - 27 March Subiaco

James Corbett, ‘Boardtrack Car No. 9’, Found materials, 30 x 91 x 37 cm

Alan Muller River Aerial And Terrestrial Paintings and Drawings of Derbarl Yerrigan Swan River 1 - 25 April Subiaco Alan Muller, ‘Western View to Mooro Katta’ 2021, Acrylic on canvas, 60 x 90 cm

Subiaco 299 Railway Road (Corner Nicholson Road) Subiaco WA 6008 Telephone +61 8 9388 3300 subiaco@lintonandkay.com.au

West Perth Stockroom and Framing 11 Old Aberdeen Place West Perth 6005 Telephone +61 8 6465 4314 perth@lintonandkay.com.au

Mandoon Estate Winery 10 Harris Road Caversham WA 6055 Telephone +61 8 9388 2116 info@lintonandkay.com.au

lintonandkay.com.au

Cherubino Wines 3642 Caves Road Wilyabrup WA 6280 Telephone +61 8 9388 2116 info@lintonandkay.com.au

Image: A Note to the Forgotten, (detail), 2020, Acrylic & oil on linen, 112 x 106.5cm

ADAM NUDELMAN Where Some Find Peace 23 March – 9 April

12 – 14 Meagher Street

nandahobbs.com

Chippendale \ NSW \ 2008

info@nandahobbs.com

nandahobbs.com

Clara Hali

The Circle & The Square

26 March – 22 May 2022 A Blue Mountains City Art Gallery exhibition CLARA HALI Portrait of a Hip 2022, bronze, 30 x 30 x 25 cm. Photo: Silversalt BLUE MOUNTAINS CULTURAL CENTRE:

Level 1, 30 Parke St Katoomba 02 4780 5410 bluemountainsculturalcentre.com.au

bluemountainsculturalcentre.com.au

hota.com.au

canberraglassworks.com

photo.org.au

Image: Luo Yang, San, 2019. Courtesy the artist and Migrant Bird Space.

08.04.22 — 07.08.22

KOVIC

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Agent Bodies

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K I LL I N

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rmitgallery.com @rmitgallery

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rmitgallery.com

Curated by Mikala Dwyer & Drew Pettifer

NYMO O

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Free entry Tue - Fri 11am-5pm Sat 12.30-5pm

G OR I A

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RMIT Gallery 344 Swanston Street, Melbourne, VIC 3000

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Don’t say I never warned you

when your train gets lost Curated by Michael Vale

Kara Baldwin, Philosophish, 2020, Big Mouth Billy Bass, audio recording (looped), Arduino Nano, Bluetooth unit, MP3 player, approx. 30 x 19 x 10 cm. Robotic installation on a loop discussing humour theory from the mouth of a novelty fish.

Kingston Arts Grant recipient Michael Vale presents a group exhibition featuring artists Simon Perry, Juan Ford, Gerry Bell, Kara Baldwin, Kez Hughes, Amélie Scalercio, Nicholas Ives and Michael Vale.

Friday 8 April – Saturday 7 May

The exhibition takes its title from the Bob Dylan song, ‘It Takes a Lot to Laugh, It Takes a Train to Cry’ (1965) as a perfect metaphor for absurdism. Through subtle humour and visual conundrums, all eight artists offer a playful meditation on the theory of absurdism, aimed to entertain rather than explain the ways of the universe.

Opening Thursday 7 April, 6–8pm

Kingston Arts Centre Galleries 979 Nepean Hwy, Moorabbin

RSVP arts@kingston.vic.gov.au Gallery hours Monday to Friday 9am–5pm Saturday 12–5pm This project is supported by the City of Kingston’s annual Arts Grant program.

kingston.vic.gov.au

SPIRIT OF PLACE 12 MAR — 3 APR 2022

A NEW CURATORIAL BLUEPRINT FOR THE LORNE SCULPTURE BIENNALE This 7th edition of the Lorne Sculpture Biennale, ‘Spirit of Place’, offers a new curatorial blueprint for the Biennale. Through innovation and visual reference, artistic genesis delves into the fabric of the village – producing works worthy of our entrance into the world of international biennales. The theme ‘Spirit of Place’ will be explored through a new curatorial model which asks participating artists to respond to 16 themes investigating Lorne’s histories and the beauty of its natural environment. LORNESCULPTURE.COM

lornesculpture.com

Image: Samara Adamson-Pinczewski, Around the corner 8, 2021 Courtesy of the artist and Charles Nodrum Gallery.

23 February–5 June 2022 Fiona Abicare, Samara Adamson-Pinczewski, Marion Borgelt, Consuelo Cavaniglia, Natasha Johns-Messenger, Inge King, Sanné Mestrom, Noriko Nakamura, Nabilah Nordin, Louise Paramor, Kerrie Poliness, Norma Redpath, Meredith Turnbull

McClelland Sculpture Park + Gallery 390 McClelland Drive Langwarrin VIC 3910

www.mcclelland.org.au info@mcclellandgallery.com mcclelland.org.au

Collingwood gallery

19 March - 24 April 2022

artsproject.org.au

LOUISE FORTHUN Paintings & Sculpture

CHARLES NODRUM GALLERY

267 Church Street Richmond Victoria 3121 charlesnodrumgallery.com.au (03) 9427 0140

5 - 26 March 2022

Crinkle, 2021, Bronze lost-wax casting, 27 x 17cm Photography by Christian Capurro

charlesnodrumgallery.com.au

John Borrack In Praise of Landscape 5 March to 29 May 2022 John Borrack: In Praise of Landscape is a celebration of this gifted painter’s contribution to the Australian landscape tradition.

Gippsland Art Gallery is proudly owned and operated by Wellington Shire Council with support from the Victorian Government through Creative Victoria.

gippslandartgallery.com

Image John Borrack (born Australia 1933) Cockburn Range Bluff, East Kimberley (detail) 2005 Watercolour on paper, 55 x 75cm © The artist

Gippsland Art Gallery Port of Sale 70 Foster Street Sale VIC 3850 Phone (03) 5142 3500 gippslandartgallery.com Open Monday–Friday 9am–5.30pm Weekends & Public Holidays 10am–4pm Free Entry

17 MAR - 2 APR Presented by Conscious Mic and Metro Arts

Ctrl+Alt+Del

Curated by Conscious Mic Ctrl+Alt+Del is a multidisciplinary arts event formed to reboot and reclaim arts and cultural spaces in a white colonial landscape. This vibrant group exhibition features artists who identify as First Nations, Pasifika and/or culturally and linguistically diverse. Image: Yuriyal by Serge Ah Wong. Photo by Carl Warner.

97 Boundary Street, West Village, West End, Brisbane

metroarts.com.au

Neva Hosking

The Last Garden on Loftus Crescent. March 2022 nsmithgallery.com

N.Smith Gallery nsmithgallery.com

@n.smithgallery

M-ArtGuide_FP-AHv3.indd 1

sheppartonartmuseum.com.au

29/10/21 11:42 am

LAUNCH / SATURDAY

APRIL / 4:30 PM 02 APRIL / 08 MAY

MICHAEL NEEDHAM Melancanny

Self Portrait as a Mummified Head, 2021 resin, recycled timber, ash, human hair, stoneware, reclaimed artificial cemetery flowers, stainless steel, acrylic lacquer, wax . 150 x 60 x 28 cm

STOCKROOM

98 Piper St, Kyneton 03 5422 3215 info@stockroom.space www.stockroom.space

stockroom.space

Dean Brown What’s left behind 17 MAR - 9 APRIL

CHALK HORSE 167 WILLIAM STREET, DARLINGHURST SYDNEY NSW 2O1O AUSTRALIA PH + 61 2 9356 3317 WWW.CHALKHORSE.COM.AU

chalkhorse.com.au

flg.com.au

Bill Lucas: Architect Utopian

24 February - 26 March

Art & Activism in the Nuclear Age 7 April - 14 May

Promise of Housing Miriam Charlie

7 April - 14 May

Rift 隙 Kien Situ 26 May - 2 July

Sydney Buries its Past

14 July - 20 August

Banquet

1 September - 8 October

SHE Robots: Tool, Toy & Companion

TIN 20 SHEDS 22

20 October - 26 November

Tin Sheds Gallery 148 City Rd, Darlington NSW 2008 Tuesday - Friday 11am - 5pm / Saturday 12 - 5pm (02) 9351 3115 tin.sheds@sydney.edu.au For more info visit sydney.edu.au/tin-sheds

sydney.edu.au/tin-sheds

Deborah Kelly CREATION 24 February – 28 May 2022 Grifﬁth University Art Museum 226 Grey Street South Bank Brisbane Q 4101 07 3735 7414 / artmuseum@grifﬁth.edu.au

Image: Deborah Kelly, still from For Creation (detail) 2021. Digital animation from analogue paper collage, 5min 32sec. Courtesy the artist

griffith.edu.au/art-museum

leonardjoel.com.au

mprg.mornpen.vic.gov.au

Australia’s most significant thematic Christian art prize

$25,000 major acquisitive prize Total $42,000 in prizes

ENTRIES CLOSE 5pm Western Standard Time 18 March 2022 To enter visit https://mandorlaart.com/2022-mandorla-art-award/ Major sponsor

Exhibition 21 May - 10 June 2022 Holmes à Court Gallery, West Perth

Revival, (detail) Type C print by 2021 Mandorla Art Award Finalist Sonia Payes (Vic).

mandorlaart.com/2022-mandorla-art-award

Visit MAGNT, the Territory’s premier cultural institution magnt.net.au magnt.net.au

OFFICIAL OPENING 25 FEBRUARY 2022 rmoa.com.au rmoa.com.au

A–Z Exhibitions

MARCH/APRIL 2022

Victoria

James Street, McClelland Drive,

Flinders Lane, Gertrude Street, Sturt Street, Federation Square,

Dodds Street, Punt Road, Rokeby

Street, Lyttleton Street, Dunns Road,

Nicholson Street, Willis Street, Abbotsford Street, Little Malop Street, Tinning Street, Cureton Avenue, Alma Road, Langford Street, Lydiard Street North, Albert Street, Horseshoe Bend, Bourke Street, Whitehorse Road, Vere Street, Barkers Road, Roberts Avenue, Templestowe Road, Church Street

March 11-29

Kulabbarl (Billabong) + Fibre Fun! Injalak Arts, Tjanpi Desert Weavers, Maningrida Arts

April 8-26

New Utopia Next gen painters of Utopia

EVERYWHEN Artspace 39 Cook Street, Flinders, Vic 3929 everywhenart.com.au everywhenart.com.au

VICTORIA

ACMI www.acmi.net.au Fed Square, Melbourne, VIC 3000 [Map 2] 03 8663 2200 Mon to Fri 12noon–5pm, Sat and Sun 10am–5pm.

Alcaston Gallery www.alcastongallery.com.au 84 William Street, Melbourne, VIC 3000 [Map 2] 03 8849 9668 Open by appointment. See our website for latest information.

1 February—2 April VOLTE FACE Mike Parr 29 April—14 May Photo 2022: Warwick Thornton, ‘Meth Kelly’ Warwick Thorntond

ARC ONE Gallery www.arcone.com.au 45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9650 0589 Wed to Sat 11am–5pm, Tues by appointment. See our website for latest information.

Image courtesy Kaylene Whiskey and Iwantja Arts. Photograph: Max Mackinnon. 21 February—10 April Ngura Pukulpa – Happy Place Kaylene Whiskey Yankunytjatjara artist Kaylene Whiskey envisions a world where reality mixes with fantasy and pop culture collides with traditional Anangu culture.

Barbara Mbitjana Moore, Ngayuku Ngura - My Country, 2021, synthetic polymer paint on linen, 152 x 198 cm. Courtesy of the Artist, Tjala Arts and Alcaston Gallery, Melbourne 2022. 2 March—18 March Here and Now: My Connection to Country Barbara Mbitjana Moore

Karen Mills, Emu and Saltbush, 2021, earth pigments and synthetic polymer paint on linen, 122 x 137 cm. Courtesy of the artist and Alcaston Gallery, Melbourne 2022. 30 March—22 April Unfold Karen Mills

Tracy Sarroff, Green and Orange, 2020, pigment ink-jet print on Juniper Baryta rag paper, edition of 5, 110 x 73 cm. 23 March–23 April Altered States Tracy Sarroff

30 March—22 April Shirley Macnamara

Lu Yang, Animal,DOKU: Live Alone Die Alone – The Karma Circle, 2022. 19 March–20 March DOKU: Live Alone Die Alone – The Karma Circle Lu Yang Live performance + permanent online exhibition. In an online era where our minds are allowed to flow freely through networks, do our physical bodies still matter? Lu Yang takes the exploration of digital augmentation into contemporary and historical realms for his latest motion capture performance.

Anna Schwartz Gallery www.annaschwartzgallery.com 185 Flinders Lane, Melbourne, VIC 3000 [Map 2] Tue to Fri 12noon–5pm, Sat 1pm–5pm. See our website for latest information. 1 February—7 May Peripheral Vision Alberta Whittle, Cyprien Gaillard, Haris Epaminonda, Hiwa K, James Nguyen & Victoria Pham, Sarah Morris, Yael Bartana.

Honey Long and Prue Stent, Vellum, 2021, archival pigment print, edition of 5, 108 x 72 cm. 27 April–4 June Land Of Milk And Honey Honey Long and Prue Stent Presented in partnership with PHOTO 2022.

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Art Gallery of Ballarat www.artgalleryofballarat.com.au 40 Lydiard Street North, Ballarat VIC 3350 [Map 1] 03 5320 5858 Open daily 10am–5pm. See our website for latest information.

3 March—10 April Sheilas: Personal landscapes A Backspace Gallery exhibition. 14 April—22 May Kate and Paul Vlcek: Beyond the never seen A Backspace Gallery exhibition.

Ararat Gallery TAMA

Art Lovers Melbourne Gallery www.artloversaustralia.com.au 300 Wellington Street, Collingwood, VIC 3066 [Map 3] 1800 278 568 Wed to Sat 10am–5pm or by appointment. See our website for latest information.

www.araratgallerytama.com.au 82 Vincent Street, Ararat, 3377 [Map 1] 03 5355 0220 Open daily 10am—4pm. See our website for latest information. A curatorial and collection focus that began in the early 1970s, the TAMA Collection is an extraordinary repository that tracks the development of textile and fibre-based practice from this time, through to today. Until 18 April John Eagle: Horizons Attrib.William Buelow Gould, (Portrait of a gentleman), circa 1830, oil on canvas. Collection of the Art Gallery of Ballarat.

Until 15 May The Stan Kelly Art Group: From the Garden

Sangeeta Mahajan, Navid. 12 March—31 March Art Lovers Australia Art Prize 2022

Heather Dorrough, Dusk (Wollombi Farm Series), detail, 1978, dyed and machine-embroidered cotton pastel down on plywood, 89 x 128 cm. © The artist’s estate, Ararat Gallery TAMA, Ararat Rural City Council and MDP Photography and Video.

Art Lovers Australia are proud to announce the ALA Prize Finalists who will be showcased in their upcoming ALA book launch. From portraiture to photography and landscape to abstract expressionist compositions, this exhibition celebrates the very best of emerging artists from all across Australia.

Until 15 May Backyard Havens Ella Baudinet, Ascent, 2021, oil on canvas, 122 x 122 cm.

Works from the TAMA Collection.

22 January—7 May Call and Response Bohdi Del Mar, Africa IV Fiat Lux.

This exhibition brings together recent acquisitions with older works from the Gallery Collection which connect to them in different ways.

9 April—5 May Punk Luxe

12 February—1 May Daryl Lindsay: En pointe Daryl Lindsay, member of the famous Lindsay family of artists and self-confessed ‘balletomane’ drew many studies of ballet dancers, starting with the 1936 Australian tour of the famous Ballet Russes company. 19 February—24 April Next Gen 2022: VCA Art and Design The Gallery’s annual celebration of work by students in the Ballarat region studying VCE art and design subjects.

Left to right: © Carole Wilson, Sampled Lives – Renkum Atlas 2, detail, 2021, hand cut and stitched atlas pages on paper, cotton thread, 200 x 170 cm. © Tim Craker, Give Us This Day… (Tuesday), detail, 2021, plastic bread-tags, nylon monofilament, 28 x 28 cm. Until 19 June Pages From a Lockdown Diary

A bold and luxurious collection of works that will excite and inspire. Going where few exhibitions have gone before, this show is an imaginative collection of artworks that juxtapose rebellion with elegance, neon colours against moody pallets and unconformity with opulence. Punk Luxe draws on a number of cinemagraphic, music, artistic and literary influences. It denotes an edgy style, a rebelliousness to the status quo and an attitude.

Carole Wilson and Tim Craker. 115

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ArtSpace at Realm and Maroondah Federation Estate Gallery www.artsinmaroondah.com.au ArtSpace at Realm: 179 Maroondah Highway, Ringwood, VIC 3134 [Map 4] 03 9298 4553 Mon to Fri 9am–8pm, Sat & Sun 10am–5pm. Maroondah Federation Estate Gallery: 32 Greenwood Avenue, Ringwood VIC 3134 [Map 4] 03 9298 4553 Mon to Fri 9am–5pm. See our website for latest information.

Alison Bennett, 2021, Vegetal Digital (Waratah), video still of photogrammetry point cloud. ArtSpace at Realm: 26 March—22 May Conscious Projections Alison Bennett, Roberta Rich and Jonathan Homesey Conscious Projections invites Melbournebased artists Alison Bennett, Roberta Rich and Jonathan Homesy to Maroondah to create an ambitious site-specific new-media project at ArtSpace at Realm. The striking architecture of Realm—interior and exterior surfaces—is used as the canvas where the artists experiment with new media technologies, performance, video and projection. Uniting the artists is a tendency to explore internal worlds of diverse spiritual, cultural and gender identities and to present these externally through video and projection work. In this way, conscious choices in personal

self-expression are magnified into the public sphere—paving the way for dialogue within the community about diverse experiences of the self. Maroondah Federation Estate Gallery: 7 February–8 April Bloom Like Flowers Hsin Lin Hsin Lin’s new exhibition and series Bloom Like Flowers explores the process of blooming and our connection to nature. The exhibition features meticulously detailed acrylic paintings and prints that celebrate native Australian flora and wildlife, and highlight the ecologies and habitats that support and connect them. Hsin Lin is a local Maroondah artist affiliated with the Victorian Artists Society who has exhibited regularly since 2017. Maroondah Federation Estate Gallery: 7 February–8 April Still the Water Flows Maroondah City Council Collection Still the Water Flows is a selection of works from the Maroondah City Art Collection exploring how humans and nature are continuously ‘fluid’ and have the ability to adapt in times of turbulence, trauma and change. Since 2019 a constant stream of environmental and public health disasters—bushfires, floods and the Covid-19 Pandemic—has thrown obstacles and threats at the people and ecologies of Australia. These events have driven a need to resist, negotiate and move through a seemingly relentless sequence of obstructions and impacts on daily life. This exhibition responds to ideas and experiences of fluidity, change and adaptation as expressed in paintings, drawings and prints from the Maroondah City Art Collection.

Arts Project Australia www.artsproject.org.au Level 1, Collingwood Yards, 35 Johnston Street, Collingwood VIC 3066 [Map 3] 0477 211 699 Wed to Fri 11am–6pm, Sat & Sun 12noon–4pm. See our website for latest information. 19 March—24 April Circleworks Fulli Andrinopoulos, Julian Martin, Linda Puna, Louise Bourgeois.

Hsin Lin, A Lifetime Grit- Eucalyptus Macrocarpa, 2021, acrylic on canvas. 116

Curated by Trent Walter, Negative Press. Circleworks uses the formal aesthetics of the hand-drawn or handmade circle as a departure point to explore artistic processes, perspectives, experiences and stories. The exhibition features artworks by Arts Project Australia artists Fulli Andrinopoulos and Julian Martin, alongside works by Mimili-based artist Linda Puna and Louise Bourgeios. Each artist has produced their artworks within specific contexts–culturally, geographically and materially–yet they connect through the formal repetition of their circle-like motifs. This visual connection allows for

Fulli Andrinopoulos, Untitled , 2015, pastel on paper, 17.5 x 21 cm. FA15-0039 © Copyright of the artist. Represented by Arts Project Australia, Melbourne. the chance to closely consider the particularity of each artist’s visual sensibility. Circleworks aims to celebrate these relations while acknowledging cultural differences.

Australian Centre for Contemporary Art (ACCA) www.acca.melbourne 111 Sturt Street, Southbank, VIC 3006 [Map 2] 03 9697 9999 Tue to Fri 10am–5pm, Sat & Sun 11am–5pm. See our website for latest information. 4 December 2021–20 March Who’s Afraid of Public Space? A multifaceted project of exhibitions and programs exploring the role of public culture, the contested nature of public space, and the character and composition of public life. The exhibition continues ACCA’s Big Picture series, which explores contemporary art’s relation to wider social, cultural and political contexts. Developed by ACCA’s curatorial team Max Delany, Miriam Kelly and Annika Kristensen, with the support of a curatorial advisory group, Who’s Afraid of Public Space? is organised according to a collaborative, dispersed, distributed structure, encouraging a polyphonic and polycentric understanding of our increasingly complex public realm. Taking place at ACCA over the summer months of 2021–22, the project also extends across Melbourne with a series of satellite exhibitions in collaboration with cultural partners, as well as installations, events and projects in the public realm. For further information and a full list of artists and contributors, visit our website. 2 April–19 June Frances Barrett: Meatus Presented as part of Suspended Moment: The Katthy Cavaliere Fellowship Commissioning curator: Annika Kristensen. Drawing on her background in performance, curating and collaborative models of making, Frances Barrett has expanded the solo commissioning focus of the Katthy Cavaliere Fellowship to

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ACCA → Project Space: The Hoarding 2021, designed by Sibling Architecture, installation view, Who’s Afraid of Public Space? 2021-22, Australian Centre for Contemporary Art, Melbourne. Photograph: Andrew Curtis. present new sonic compositions and live performances by multiple artists. Alongside a major sound installation by Barrett, developed in collaboration with Hayley Forward and Brian Fuata, Barrett has curated specially commissioned sound compositions by artists Nina Buchanan, Del Lumanta and Sione Teumohenga, as well as a series of incursions by Debris Facility Ltd. A ‘meatus’ is an opening or passage leading to the interior of the body. Encompassing a range of sensations and functions, the plurality of meatus becomes a way for Barrett to explore the practice of listening that decentres the ear to activate the entire body, attuned to both conscious responses and unconscious intensities. Barrett has conceived of ACCA’s four galleries as an immersive environment of sound and light—a performative staging of the body, which bleeds and leaks, and into which the audience may enter to consider the physical, sensual and critical experience of listening.

Australian Galleries www.australiangalleries.com.au 15 Roylston Street, Paddington, NSW 2021 [Map 10] 02 9360 5177 Open 7 days 10am–6pm. 22 March—10 April Bush Calligraphy Camie Lyons 22 March—10 April Inside Water Danielle Creenaune

has two galleries which feature curated exhibitions of tapestries, textiles and contemporary art on a rotating basis.

Hannah Gartside, Bunnies in Love, Lust and Longing, 2015-19, found leather, suede and synthetic gloves, millinery wire, thread, weighted curtain cord, fabric, dimensions variable. Camie Lyons, Towards the sun, 2021, bronze, 87 x 62 x 31 cm. 28 April—15 May Garry Shead

21 December 2021—11 March Leftover Love Carolyn Cardinet, Hannah Gartside, Carolyn Menzies and Helen Philipp.

Australian Tapestry Workshop www.austapestry.com.au 262–266 Park Street, South Melbourne, VIC 3205 [Map 6] 03 9699 7885 Gold coin entry. Due to Covid-19 please check the ATW website for the latest viewing times. During your visit you will have an opportunity to observe the ATW weavers at work on contemporary tapestries from our mezzanine, as well as look down into the colour laboratory where the yarns are dyed for production. The ATW

Elise Cakebread, swatches from the Second String Project, ongoing series, textile waste and found materials. 17 March—3 June Mass Reduction Eileen Braybrook, Aaron Billings, Elise Cakebread, Aphra Cheesman, Joanna Fowles, Blake Griffiths, Eloise Raap, RaasLeela, Reiko Sudo/NUNO and Lisa Waup. 117

Gallery Gallery & & Stockroom Stockroom Level Level 11 & & 2, 2, 322 322 Brunswick Brunswick Street Street Wurundjeri Wurundjeri Country, Country, Fitzroy Fitzroy VIC 3065 www.brunswickstreetgallery.com.au www.brunswickstreetgallery.com.au Image: Image:Boxing BoxingKangaroos, Kangaroos,Stephen StephenBrameld, Brameld,2021, 2021,acrylic, acrylic,oil, oil,pastel, pastel, collage, collage, enamel enamel on on board, board, 122x81cm 122x81cm

brunswickstreetgallery.com.au

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Bayside Gallery www.bayside.vic.gov.au/gallery Brighton Town Hall, corner Carpenter and Wilson streets, Brighton, VIC 3186 [Map 4] 03 9261 7111 Wed to Fri 11am–5pm, Sat and Sun 1pm–5pm. See our website for latest information.

Historical and contemporary works from the Bayside Art and Heritage Collection by artists Alec Baker, Clarice Beckett, Craig Gough, Katherine Hattam, Lenton Parr and Stieg Persson, among others.

Bendigo Art Gallery www.bendigoartgallery.com.au 42 View Street, Bendigo, VIC 3550 [Map 1] 03 5434 6088 Open daily 10am–5pm. See our website for latest information. Featuring Australian Art from the 1850s to the present day, art from the Bendigo goldfields and 19th century European paintings, sculptures and decorative arts.

BLINDSIDE www.blindside.org.au Nicholas Building, 714/37 Swanston Street, (enter via Cathedral Arcade lifts, corner Flinders Lane), Melbourne, VIC 3000 [Map 2] Tue to Sat 12noon–6pm (during exhibition program). Closed on public holidays. 23 February—12 March Sacred Light: In the Shadows of the Land First Nations Project Kat Clarke, Adam Sutardy, Stevie Graymore, Hollie Johnson, Yaraan Bundle. Curator Kat Clarke.

Installation view Bayside Local, 2022. Photo Mark Ashkanasy. Until 6 March Bayside Local Bayside Local is a much-anticipated annual exhibition that celebrates the high calibre of work produced by artists demonstrating a link to Bayside. In 2022 we are excited to be including the work of year 11 & 12 VCE students from Bayside.

Kawita Vatanajyankur, Scale of Injustice, 2021, video still. Courtesy the artist. Commissioned by Channels Festival. 16 March—2 April Channels Festival: Kawita Vatanajyankur 16 March—2 April They Made a Meme Out of My Legacy Henrik Haukeland 6 April—23 April Songs so far Jenny Hickinbotham Elvis Presley, publicity still for Jailhouse Rock, 1957. © EPE. Graceland and its marks are trademarks of EPE. All Rights Reserved. Elvis Presley™ © 2021 ABG EPE IP LLC. 19 March–17 July Elvis: Direct from Graceland Created in partnership with Graceland, this exclusive exhibition explores the extraordinary life and style of Elvis Presley.

Meredith Turnbull Mood Mirror 2, (rectangle, circle, square, mirrors and tape), 2020, archival inkjet print on Hahnemuhle Photo Rag, 86 x 58 cm. Courtesy of the artist. 12 March—1 May Meredith Turnbull A major solo exhibition presenting recent works by Melbourne-based Turnbull who works freely across the mediums of sculpture, jewellery, photography and moving image to expand notions of art making and reflect on the role of creativity in the everyday. 12 March—1 May Collection highlights and recent acquisitions

One of the most iconic public figures of the 20th century, Elvis’s influence on music, design, art, and pop culture was profound. He is arguably the single greatest influence on the history of modern men’s fashion, constantly referenced and re-mixed by designers and celebrities today. The exhibition features a wide range of costumes and ultra-cool outfits, vintage memorabilia, and treasured items from his beloved Graceland home. Fashion highlights include Elvis and Priscilla’s wedding outfits, the repurposed ’68 Special costume he wore to meet President Nixon, the diamond-encrusted Maltese cross necklace designed by Linda Thompson, and a dazzling array of Vegas jumpsuits. Personal treasures include his gold telephone, karate gi, his first-grade crayon box from Tupelo, and the bongos Priscilla gifted him on their first Christmas together in 1959.

Evelyn Pohl and Yundi Wang. Courtesy of the artists. 6 April—23 April It’s raining, and I miss you Evelyn Pohl, Yundi Wang 1 March—31 May (Online) Mobile Anna Schwann, Jacqui Shelton, Francis Plagne, Frankie Zhang Curator Martina Copley 1 February—30 April (Online + screening IRL) Satellite Curator Bridie Lunney

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Brunswick Street Gallery www.brunswickstreetgallery.com.au 322 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 8596 0173 Tue to Sun 10am–6pm, closed Mon. 10 March—27 March Mygrations & Phenomenons Laura Deakin & Katherine Hubble

31 March—14 April Emerge: Ninth Edition Ashleigh Serpant, Joshua De Gruchy, Loralee Jade, Lynka Gowin, Phil McAloon, Renee Broders, Rubee Hay, Sammy Veall Brink Ingrid K Brooker 22 April—8 May Daydreams Jarrad Martyn Between the Trees Sarah Low

Propagate Nellie Peoples and Sharon Peoples

Enclose Su Liew, Tess Braden, Lis de Vries, Valeria Benavides, Anna Hechtman, Paul Edwards, Tessa Graham, Jess Buckley, Viviana Rojas and Sarah Berry

Fear & Preciousness Samantha Dennis

City Streets, Places and Favourite Spaces Zory McGrath

Cloak Jemima Penny

Culture Instance Hilton Owen

Making s Scene Gerhard Herbst

Bunjil Place Gallery www.bunjilplace.com.au 2 Patrick Northeast Drive, Narre Warren, VIC 3805 [Map 4] 03 9709 9700 Tue to Sun 10am–5pm. See our website for latest information. Bunjil Place is the first facility of its kind, bringing together creativity, entertainment and community in a way that is unparalleled in Australia. Melbourne’s south eastern region is a melting pot of cultural influences, stories, histories, ideas and perspectives. Our Gallery throws light onto how Australian artists interpret our home, the world, our experiences and existence.

Openings: Friday 22 April, 6pm–9pm.

Bus Projects www.busprojects.org.au

Gretal Ferguson, Nailed Down, silver plated copper, steel, 9 x 11.5 x 13 cm. 10 March—27 March From Little Things… Kath Inglis, Danielle Barrie, Polly Dymond, Daria Fox, Erin Daniell, Emma Cuppleditch, Katherine Grocott, Sarra Tzijan and Gretal Ferguson Πρόγονος/Ancestress Gabriella Bartolo Openings: Friday 11 March, 6pm–9pm. 31 March—14 April Still lifes, Japanese Scenes and One of a Girl on a Horse Edie Atkins

35 Johnston Street, Collingwood VIC 3066 [Map 3] Tues to Fri 12noon–6pm, Sat 12noon–4pm. See our website for latest information. 3 March–2 April The Stand Ups Cybele Cox, Dean Cross, Chris Dolman, EJ Son, Elyse Goldfinch, Melanie Jame Wolf 3 March–2 April Tributary Project Geoff Robinson, Ying-Lan Dann, Saskia Schut, Benjamin Woods Co-presented with Composite.

Fleeting Moments Peter Rush Sanctum Kate Symons ...in a valley lit by the moon Shellie Tonkin

William Hawkins, still of My Lunch with Sanja. 3 March–2 April My Lunch with Sanja William Hawkins 3 March–2 April Limits and Leavings Eleanor Armor and Nat Penney 5 March WORKSHOP: Body Politics Season 2 Facilitated by Archie Barry, led by Zoe Bastin.

Jarrad Martyn, Host, 2022, oil on canvas, 88 x 137 cm.

19 February—24 April One foot on the ground, one foot in the water Catherine Bell, Timothy Cook, French & Mottershead, Mabel Juli, Richard Lewer, Sara Morawetz, Michael Needham, Nell, Patrick Freddy Puruntatameri and Nawurapu Wunuŋmurra. At a time when many are experiencing complex feelings about the frailty of life and future uncertainty, this exhibition explores the subject of mortality and the inseparable link between life and death. The exhibition presents paintings, sculptures, installations and sound works, that challenge us to reckon with death and dying as an inherent part of life, invoking experiences of loss, impermanence, transience, remembrance, memorialisation and varied expressions of grief.

Emma Parker

The Space In Between Emma J V Parker

Mabel Juli, Garnkiny Ngarranggarni, 2020, natural earth pigments and charcoal on linen 120 × 180 cm. Courtesy of the artist and Warmun Art Centre, Western Australia. Photographer: Ian Hill.

One foot on the ground, one foot in the water is a La Trobe Art Institute exhibition toured by NETS Victoria. Curated by Travis Curtin.

Buxton Contemporary www.buxtoncontemporary.com Corner Dodds Street and Southbank Boulevard, Southbank, Melbourne, VIC 3000 [Map 2] 03 9035 9339 See our website for latest information. The museum is comprised of four public exhibition galleries, teaching facilities, and the largest outdoor screen in Australia dedicated to the display of moving image art. 121

CONSTANCE STOKES Exhibition Now Showing A survey exhibition featuring important paintings and works on paper from private collections and the Estate.

CONSTANCE STOKES 1906 - 1991, Woman with Orange Flower, oil on composition board, 55 x 39 cm. Copyright the Estate of the Artist.

Specialists in Australian Art Colonial, Impressionist, Modern, Contemporary and Indigenous painting, Sculpture and Decorative Art. Sourcing European masterworks on request.

Boonwurrung Country 5 Malakoff Street North Caulfield VIC 3161

Tel: 03 9509 9855 Email: ausart@diggins.com.au Web: diggins.com.au diggins.com.au

FOR UP-TO-DATE EXHIBITION DETAILS sign up to our mailing list at diggins.com.au

Gallery & Exhibition Hours: Tues – Friday 10 am – 6 pm other times by appointment

VICTORIA Buxton Contemporary continued... The museum is located in the heart of the Melbourne arts precinct where it provides a creative forum through which the University engages local, national and international audiences with the best of contemporary Australian and international art.

CAVES www.cavesgallery.com Room 5, Level 8, 37 Swanston Street, (The Nicholas Building), Melbourne, VIC 3000 [Map 2] Wed to Sat 12noon–5pm, or by appointment. See our website for latest information.

Anu Kumar, Ghar (Home) #8, medium format colour negatives. Courtesy of the artist.

Rebecca Belmore, Fountain, 2005. Single-channel video with sound projected onto falling water, 2m25s. 274 x 488 cm (overall dimension variable). Collection: Art Gallery of Ontario, Toronto. Image courtesy of the artist. 10 December 2021—8 May Turbulent Water Rebecca Belmore The first solo Victorian exhibition of internationally acclaimed artist Rebecca Belmore. Co-curated by Wanda Nanibush, Curator of Indigenous Art at the Art Gallery of Ontario and Angela Goddard, Director of Griffith University Art Museum, Brisbane.

Julien Comer Kleine, Luminous Decay, 2021. Glass, mild steel, rust (detail).

family), Julie Rrap and Milpa Space, Spinifex Arts Project (Maureen Donegan, Timo Hogan and Janine Hogan with Louise Allerton).

4 March—26 March Shifting Forces Julien Comer-Kleine, Nina Rose Prendergast, Gabrielle Skye Nehrybecki, Sean McDowell. A part of CAVES Guest Curator Program.

Camera Mainichi and editor Shoji Yamagishi Publications. Photograph: Rohan Hutchinson. 17 March—27 March Considered Environment: the Photobooks of Yukio Tabuchi and Camera Mainichi Rohan Hutchison

Platform for Shared Praxis #03, 2018, Tokyo University of the Arts, Museum. 1 April—23 April Platform For Shared Praxis #04 Agatha Gothe-Snape, Zoe Bastin, Mitchell Cumming, Brian Fuata, Helen Grogan, Yuko Hasegawa, Hirofumi Isoya, Jesse Hogan, Anna John, Haruko Kumakura, Joel Kirkham, Hiroaki Morita, Kana Nishio, Yuki Okumura, Nao Osada, Katie Paine, Manami Seki, Brooke Amity Stamp, Hiroshi Sugito, Atelier Ranzan, 4649 Galerie Tokyo. A part of CAVES Guest Curator Program. Julie Dowling, The Elements: O-thero (Earth), 2008, acrylic, polymer and ochre on canvas. The University of Melbourne Art Collection, Michael Buxton Collection, d onated through the Australian Government’s Cultural Gifts Program by Michael and Janet Buxton 2018. Courtesy of the artist and Niagara Gallery, Melbourne and Yamaji Art. Photograph: Christian Capurro. 10 December 2021—8 May Observance Karla Dickens, Julie Dowling, Julie Gough, Lisa Hilli, Betty Muffler and Angela Tiatia. Featuring work by Karla Dickens Julie Dowling, Julie Gough, Lisa Hilli, Betty Muffler, Angela Tiatia. Co-curated by Hannah Presley and Samantha Comte.

Charles Nodrum Gallery www.charlesnodrumgallery.com.au 267 Church Street, Richmond, VIC 3121 [Map 6] 03 9427 0140 Tue to Sat 11am–5.30pm.

Centre for Contemporary Photography www.ccp.org.au 404 George Street, Fitzroy, VIC 3065 [Map 3] 03 9417 1549 Wed to Sun 11am—5pm. See our website for latest information. 18 February—17 April We, Us, Them Cate Consandine, Anu Kumar, Raphaela Rosella (with Dayannah Baker Barlow, Kathleen Duncan, Tricia Whitton and

Louise Forthun, Crimson, 2004, oil on linen, 230 x 180 cm. 123

ar t g ui d e .c o m . au Charles Nodrum Gallery continued... 5 March– 26 March Paintings and Sculpture Louise Forthun

Counihan Gallery www.moreland.vic.gov.au 233 Sydney Road, Brunswick, VIC 3056 [Map 5] 03 9389 8622 Free entry. Wed to Sat 11am–5pm, Sun 1pm–5pm.

Craft Victoria www.craft.org.au Watson Place, Melbourne, VIC 3000 [Map 2] 03 9650 7775 Tues to Fri 11am–5pm, Sat 11am–4pm. See our website for latest information.

Roy de Maistre, The Boat Shed, c. 1920, oil on plywood, 45.8 x 55 cm. 2 April—23 April Modern Australian Painting and Sculpture Group Show.

Narelle White, My pink friend, (2020-21). artist’s clay-bodies, glaze. 10 February–26 March Alternative Provisions Alexi Freeman, Ella Saddington, James Walsh, Jessie French, Narelle White and Yu-Fang Chi

CLIMARTE Gallery www.climarte.org/gallery 120 Bridge Road, Richmond, Victoria 3121 [Map 6] 0458 447 702 Weds to Sat 12noon– 5pm. CLIMARTE harnesses the creative power of the arts to inform, engage and inspire action on the climate crisis. Bringing together a broad alliance from across the arts, humanities and sciences, CLIMARTE advocates for immediate, effective and creative action to restore a climate capable of sustaining all life.

Ema Shin, Hearts of Absent Women #9), 2020, embroidery, mixed media. Courtesy of the artist. 5 February—27 March Hearts of Absent Women Ema Shin 5 February—27 March The intimacy of scrutiny: Mig Dann Mig Dann. Curated by Zoë Bastin and Josephine Mead.

Alternative Provisions presents the work of designers and makers expanding material practice as an act of making good. The exhibition explores how unexpected and under-utilised materials, driven by the notion of ‘reuse’, are developed and used in interesting ways by today’s makers. This exhibition is presented as part of Melbourne Design Week. 1 March–2 April Chaos Theory: dforms Darren Healey Chaos Theory: dforms explores the chaotic nature of pattern by simulating rock formations found within the expanded cosmos. With sci-fi tinged curiosity, the unexplored and mysterious nature of the universe is engaged. 5 April–21 May Victorian Craft Awards Established by Craft Victoria in 2015, the Victorian Craft Awards is a biennial event presenting and celebrating excellence in contemporary craft practice. The Awards showcase exceptional works utilising craft skills, processes and materials and include emerging, mid-career and established craftspeople from across Victoria.

Katherine Boland, While the World Burns #2, 2021, acrylic, burnt timber, photomontage.

The Dax Centre

Until 19 March FIRE CLIMARTE is proud to start 2022 with FIRE, an exhibition by artists who have experienced or make work about fire. Fire, particularly in some counties and very much in Australia, is a huge consequence of the change in climate with global warming. Artists in FIRE have experienced its ravaging effects first hand. Participating artists, Katherine Boland, John Gollings, Jody Graham, Fiona Lee, Louise Morgan and Benedict Sibley. Creative Producer, Jo Lane. 124

www.daxcentre.org Jazmina Cininas, The Sparrow Made Some Beer, installation view, 2019. used beer caps, recycled timber, nails and re-purposed market umbrella stands, dimensions variable. Photo: Nadia Giuliani. Courtesy of the artist and photographers.

30 Royal Parade, Kenneth Myer Building, University of Melbourne, Parkville, VIC 3010 [Map 5] 03 9035 6610 Wed to Fri 11am–3.30pm, plus last Sunday of each month, 12noon–3pm.

5 February—3 April The Sparrow Made Some Beer Jazmina Cininas

The Dax Centre provides artists with lived experience of mental health issues opportunities for creative expression

VICTORIA while fostering social change by expanding the public’s awareness of mental illness and breaking down stigma through art.

seem to mark the way life is lived, and how this accelerated, endless production of things shapes our desires and subjective worlds.

to everyday life, Inner Hum is full of the unexpected—and asks us to question what we see on first glance.

D’Lan Contemporary www.dlancontemporary.com.au 40 Exhibition Street, Melbourne, VIC 3000 [Map 2] 0401 025 205 Tues to Fri 10am–5pm. See our website for latest information. 11 February—11 March Cliff Reid This survey exhibition presents the work of Cliff Reid, a significant and highly influential Ngaanyatjarra artist and a vivid storyteller whose knowledge of Country is told and performed by the bold figures of his canvases with movement, humour and drama. A dynamic painter, Cliff Reid’s legacy will be celebrated by bringing together a selection of his most powerful works for this major exhibition alongside several public programs in collaboration with the Papulankutja Arts Centre.

Deakin University Art Gallery at Burwood www.deakin.edu.au/art-collection 221 Burwood Highway, Burwood, VIC 3125 03 9244 5344 [Map 4] Tues to Fri 10am–4pm during exhibitions. Closed public holidays. See our website for latest information.

Hayley Millar-Baker, I’m The Captain Now, Untitled 8, 2016, inkjet on cotton rag. © and courtesy the artist and Vivien Anderson Gallery, Melbourne. 5 April—13 May There we were all in one place Hayley Millar-Baker A UTS Gallery touring exhibition curated by Stella Rosa McDonald. This exhibition surveys the photomedia artworks of Gunditjmara artist Hayley Millar-Baker. The artist uses historical reappropriation and citation, in tandem with digital editing and archival research, to consider human experiences of time, memory and place.

Divisions Gallery www.arts.pentridgecoburg.com. au/divisions-gallery Pentridge Shopping Centre, Level 1, opposite Pentridge Cinema [Map 4] Thu to Sun 12noon–6pm. See our website for latest information.

Jesse Dayan, Afternoon Breeze, 2021, oil on linen, 150 x 120 cm. 1 April—30 April Attention is a Kind of Love Jesse Dayan Attention is a Kind of Love is a selection of recent oil paintings from Jesse Dayan. For this solo exhibition, Dayan takes us to scenes that sit between the mythical and the domestic, the art historical and the now. Attention is a Kind of Love echoes the people and places that make up the most intimate parts of our lives.

Everywhen Artspace www.everywhenart.com.au 39 Cook Street, Flinders, VIC 3929 [Map 1] 03 5989 0496 Directors Susan McCulloch OAM and Emily McCulloch Childs. Fri to Tue 11am–4pm. Everywhen Artspace specialises in contemporary Aboriginal art from 40+ Aboriginal owned art centres around Australia. As well as regularly changing displays, the gallery presents a programme of specialised and themed exhibitions.

Charlie Sofo, The whole universe, 2021, digital colour video with sound. © and courtesy of the artist and Darren Knight Gallery, Sydney. 15 February—25 March Tutto Charlie Sofo Over the last two decades Naarm/Melbourne based artist Charlie Sofo has used the habitual activities of daily life as forms of poetic expression. Through the simple act of interacting with his surroundings Sofo creates a heightened attentiveness and awareness of the senses. This exhibition features Sofo’s video and moving image artworks spanning the last 10 years. Tutto, the Italian word for everything, explores Sofo’s interest in the proliferation of objects and images that

Karen Hew-Yin Eriksen, There, The Threshold, 2021, synthetic polymer on canvas, 114 x 100 cm. 25 February—27 March Inner Hum Charlotte Ivey, Karen Hew-Yin Eriksen and Belinda Wiltshire. Inner Hum presents an exhibition of three abstract painters who play with colour, gesture and movement. With subtle cues

Graham Badari, Kernalk (Ibis), 2021, ochre on paper, 41 x 46 cm (image size). Courtesy of the artist and Injalak Arts. 11 March—29 March Fibre Fun! + Kulabbarl (Billabong) An exhibition of figurative weavings, baskets and fish traps from Tjanpi Desert Weavers, Maningrida Arts and 125

ar t g ui d e .c o m . au 22 March—13 April Restraint Melinda Schawel

Everywhen Artspace continued... Numbulwar Numburindi Arts and ochre paintings on paper from Injalak Arts. Artists include Elaine Naroldol, Gabriel Malangurra, Graham Badari, Joe Guymala, Maath Malalngurra, Wilie Nalulwad. 8 April—26 April New Utopia An exhibition featuring new generations of painters from the homelands of Utopia, NT. Artists include Belinda Golder Kngwarreye, Bernadine Kemarre, Caroline Petrick Ngwarreye, Charmaine Pwerle, Esther Haywood Petyarre, Janet Golder Kngwarreye, Rochelle Bird Mbitjana, Selina Teece Pwerle, Teresa Purla.

Federation University www.federation.edu.au/pogallery Post Office Gallery, School of Arts, Federation University Australia, Building P, Camp Street Campus, Cnr Sturt & Lydiard Street, Ballarat, VIC 3350 [Map 1] 03 5327 8615 See our website for latest information.

Kenneth Kronberger, Funky Fresh Discotheque, 2021, cardboard, prefabricated models, rotating mirror ball, LED lighting, animated film and sound, 31 x 31 x 23 cm, scale: 1:12. Courtesy of the artist. of Arts, Federation University, Australia. Kenneth Kronberger is supported by an Australian Research Training Program (RTP) Fee Offset Scholarship through Federation University.

Finkelstein Gallery

Kathrin Longhurst, Boss, 2021, oil on linen, 121 x 121 cm. 19 April—7 May Mind-Field Kathrin Longhurst

Fiona and Sidney Myer Gallery

www.finkelsteingallery.com

www.mlg.finearts-music.unimelb.edu.au

Basement 2, 1 Victoria Street, Windsor, VIC 3181 [Map 6] 0431 411 908 Open by appointment.

Victorian College of the Arts, 40 Dodds Street, Southbank, VIC 3006 [Map 2] 03 9035 9400 Tue to Sat 12noon–5pm. Free entry. See our website for latest information.

Flinders Lane Gallery www.flg.com.au

SCOPE21 installation view (detail) Post Office Gallery, Federation University. Courtesy of the artists. 2 March—18 March SCOPE22 Visual Arts Lecturers, Teachers and Honoraries An important Arts Academy annual exhibition, SCOPE presents new work by lecturers, teachers, research associates and research fellows who, as educators and researchers at Federation University, also sustain an ongoing rigorous artistic practice.

Level 1, Nicholas Building, corner Flinders Lane and 37 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9654 3332 Tues to Fri 11am–6pm, Sat 11am–5pm or 3pm on last Sat of each exhibition for de-install. Closed Sun & Mon. 1 March—19 March Holding Space Agneta Ekholm

Through an investigation into the historically intriguing, silent and static miniaturised world of the diorama and the contemporary art of animation, Kenneth Kronberger’s new work and PhD examination exhibition integrates these intriguing imagined formats, creating his own metamorphised ‘worlds’ and fantastical illusionistic spaces.

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10 March—9 April Be My Once in a Lifetime Rachel Button, Nick Mullaly, Nabilah Nordin Allowing ideas around tenderness, romance, clumsiness and dagginess to bubble away and percolate within their studio practices, Rachel Button, Nick Mullaly and Nabilah Nordin have developed new video, paintings and sculptures that can be connected with the messy sweetness that we know as love.

1 April—22 April Kenneth Kronberger: Behold The Animated Diorama!

This exhibition constitutes the visual outcomes emerging from a practice-led Doctoral research project at the School

Rachel Button, Bellybutton, (still from digital video), 2022.

14 April—21 May I am looking for you like a drone my love Aziz Hazara + Unknown carpet makers

Melinda Schawel, Drifting (detail), 2022, ink and graphite on torn and perforated paper, 105 x 75 cm.

Deeply impacted by the withdrawal of international troops from Afghanistan in 2021, Aziz Hazara has created new works that document the electronic waste and random junk left behind after two decades of foreign occupation. Combining these images with antique carpets from

VICTORIA

Aziz Hazara, I am looking for you like a drone, my love, (detail), 2021, digital photograph. the region, I am looking for you like a drone, my love alludes to the complexities of being human in a landscape of change and continuity.

Footscray Community Arts www.footscrayarts.com 45 Moreland Street, Footscray VIC 3011 [Map 2] 03 9362 8888 Tue to Fri 9.30am–5pm, Sat and Sun 10am–4pm. At Footscray Community Arts we are a dynamic arts precinct that provides space for new experiences, ideas, conversations, community, and connection.

Ibby Ibrahim, Self Portrait, 2021. His work references police violence, the media and the impact this has on the Black community. This exhibition is a protest against systemic racism, a platform to share important perspectives on the Black Lives Matter movement as a Deaf person of colour. Ibby is currently undertaking an ArtLife Residency, a program which supports artists with disability work towards ambitious and high-impact public projects.

fortyfivedownstairs www.fortyfivedownstairs.com 45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9662 9966 Tue to Fri 11am–5pm, Sat 11am–3pm.

Debra Winn, Robyn, 2021, monotype on Velin Arches paper 30 x 20 cm. 22 March–23 April From Within Debra Winn Printmaking.

Frankston Arts Centre www.thefac.com.au 27–37 Davey Street, Frankston, VIC 3199 [Map 4] 03 9768 1361 Tues to Fri 11am–4pm, Sat 9am–2pm. Please check website for current information on access and exhibition dates prior to your visit. Cube and FAC Galleries. Free Entry.

Photo Courtesy of UCT Libraries’ Special Collections and Archives. The artist has applied a purple hue to the original monochrome archival image.

March Frankston Ventana Fiesta – Ventana Arte Ventana Arte is a celebration of Latin cultures and the Visual Arts.

20 January—27 March The Purple Shall Govern Roberta Joy Rich Artist Roberta Joy Rich invites you to experience The Purple Shall Govern, a series of new installation works that hope to inspire recognition, reflection, resistance, and release. Through a process of reframing moments, affirming stories and anarchiving materials, the works encourage us to consider our histories and relationship to public spaces.

Braden Howard, Tuef, pen, pencil on paper, 105 x 155 cm.

Presented as part of Who’s Afraid of Public Space?, in collaboration with the Australian Centre for Contemporary Art.

Mixed media on paper.

5 March—2 April Ibby Ibrahim: BLM “My exhibition bases reality on a superhero plot line. It is a multi-layered, multi-sensory experience that explores good versus evil. It shows another side to the story - in this instance the police. I want to bring people in to make up their own minds. and trust me as an artist.” - Ibby Ibrahim. Artist Ibby Ibrahim invites you to explore his second solo exhibition Ibby Ibrahim: BLM.

22 February–5 March A Stream of Consciousness: One Year Later Braden Howard 22 February–5 March Hidden Dorothy Lipmann Paintings. 22 February–5 March 20-20 Hindsight James Yuncken Painting and mixed media. 8 March—19 March 21AD Group exhibition.

Joshua Searle, Untitled. 28 January—23 April Joshua Searle With recycled materials, bright colours and his distinctive iconography Searle 127

ar t g ui d e .c o m . au Frankston Arts Centre continued... explores ideas of race, politics and self-identity. Each piece shows a unique insight into his mind.

Fox Galleries www.foxgalleries.com.au 63 Wellington Street, Collingwood, 3066 [Map 3] 03 8560 5487 Mon to Sun 10am–6pm. See our website for latest information. Fox Galleries represents local and internationally based artists, who have their artworks in private and institutional collections. Fox Galleries promotes excellence in the arts through the production of exploratory work, art publication and the participation in Art Fairs.

Sam Lieblich, PHRASER: Technological Singularity, 2021. Courtesy of the artist and FUTURES. 3 March—5 March PHRASER: Test Dream Sam Lieblich

Dira Martinez Mendoza, Icosaedro (Mary Geometria).    17 February—26 March Latido de la Tierra (Heartbeat of the Earth) Dira Martinez Mendoza The earth has a heartbeat. The idea of this exhibition is to radiate this heartbeat and Dira’s invitation is to feel it in the deepest part of our being in the collage mixed media installation.

Eric and Nikita Demetriou, Abra Podagra, 2021, digital image, 1.959 x 2.759 ft. Courtesy of the artist and FUTURES.

22 February—26 March ‘Scaffold - Tierra Fractal’ by Argentinian-Italian artist Lena Becerra A mixed media installation exploring the subtle properties and structures of different materials that fold, hold or are flexible and adaptable. She questions those physics and draws parallels to human behaviours such as the love for silence, control, and manipulation.

31 March—23 April Gout! A Mad Malady Eric Demetriou Peter Thomas, The Cage is Free of Charge, 2021, enamel on felt, 180 x 134 cm. 2 March—30 March Hypernormal Peter Thomas

22 February—16 April Hatch/Hat Σ Lena Becerra Playing with threads and needles seem sometimes magical, like the hands of my friends. I try to copy the moves like a surgeon closing the skin after it breaks. We are used to repairing each other’s wounds through very simple words: I believe you. 3 February—23 April Gumnut Spheres Maria Fernanda Cardoso In this latest sculptures, Cardoso explores organic native Australian materials and traditions, turning her attention to natural wonders integral to our local surroundings who’s astonishing inherent beauty is often overlooked.

www.galleryelysium.com.au 440-444 Burwood Road, Hawthorn VIC 3122 [Map 4] 0417 052 621 Tues 1pm–6pm, Wed to Fri 10.30am–4.15pm, Sat 1pm–5.30pm, Sun 11am–5.30 pm. Mon and pub hols by appointment only.

Victor Rubin, Room to Move I, 2021-2022, acrylic on canvas, 92 x 122 cm. 2 April—30 April Room To Move Victor Rubin

3 February—23 April Art + Gift Boxes from Ecuador, Argentina and Australia FAC Design Store, FAC Foyer

FUTURES

UNESCO heritage listed Panama Hats. Leila’s puppets made out of found, new and upcycled materials. Kids dresses and adult tops made with natural fibres by a school social enterprise.

21 Easey Street, Collingwood VIC 3066 [Map 3] 0449 011 404 Thu to Sat 12pm–5pm. See our website for latest information.

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David Freney-Mills, Transcendence #5, stretched Hanshi paper on canvas, 188 x 155 cm.

VICTORIA

Geelong Gallery → Dianne Fogwell, Prescience, (detail), 2021, linocut, woodcut, burn drawings, pigmented ink on Hanji paper; unique state. Courtesy of the artist, Australian Galleries, Melbourne & Sydney, and Beaver Galleries, Canberra, © Dianne Fogwell. 12 March—31 March Gallery Elysium Stockroom Show Hani Isac, Paul Lasiapis, Camillo De Luca, Bart Sanciolo, Sonny Dalimore, David Badtke, Basil Kouvelis, Elio Sanciolo, Antonio Muratore, Christopher Raynor, David Freney-Mills, George Tzikas.

Geelong Art Space www.geelongartspace.com 89 Ryrie Street, Geelong, VIC 3220 [Map 1] Fri & Sat 12pm to 5pm. Other times by appointment. Closed public holidays.

Drawing largely from the gallery’s permanent collection, this exhibition brings together works by contemporary artists that re-interpret key paintings by McCubbin and explore recurring themes in his work through the lens of cultural diversity and feminism. A Geelong Gallery exhibition. Free entry. 5 March—19 June ex avibus Barbara Campbell Multi-disciplinary artist Barbara Campbell takes inspiration from the journey of shorebirds that migrate every year from one end of the globe and back along ancient flyways in ex avibus. A Geelong Gallery exhibition. Free entry. 5 March—19 June Prescience Dianne Fogwell

Ted May, Fence, oil on canvas, 150 x 150 cm. 9 April—30 April A Walk among the Gumtrees - A series of recently completed studio paintings. Ted May

Gallerysmith www.gallerysmith.com.au 170–174 Abbotsford Street, North Melbourne, VIC 3051 [Map 5] 03 9329 1860 Tue to Sat 11am–5pm. Gallerysmith presents a rotating program of contemporary art exhibitions across three spacious galleries by a hand-picked group of represented artists. We also present regular on-line exhibitions and work on off-site projects.

Shirley Ploog, Finds in the Shallows, oil on canvas paper, 29 x 41cm. Courtesy of the artist and Geelong Art Space. 11 March—7 May The little things A group exhibition featuring works by local and regional, contemporary craft makers and artists together with those from further afield.

Geelong Gallery www.geelonggallery.org.au 55, Little Malop Street, Geelong, VIC 3220 [Map 1] 03 5229 3645 Director: Jason Smith Open daily 10am–5pm. Until 6 March Exhume the grave—McCubbin and contemporary art

Dianne Fogwell’s multi-panelled installation, Prescience, presents a panoramic view of the Australian landscape, highlighting both its beauty and its precarity due to climate change. A Geelong Gallery exhibition. Free entry. 19 March—3 July P.A.R.A.D.E Sally Smart P.A.R.A.D.E. is the second work in Sally Smart’s trilogy in which she explores and contemporises the historical avant-garde performances and designs of the early 20th century Ballets Russes, widely regarded as the most influential ballet company of the twentieth century. Smart creates an experiential and immersive environment, comprising textiles (costumes and curtains), sculptural components and performance (video and sound) inspired by the sets and costumes designed by Pablo Picasso for the Ballets Russes’ Parade in 1917. A Geelong Gallery exhibition. Programmed to coincide with Geelong Design Week. Free entry. 129

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Sofi's Lounge, Level One

Angela Brennan Planet Abstract 9 April—28 April 2022 In collaboration with Niagara Galleries, Melbourne based artist, Angela Brennan, presents Planet Abstract, a suite of new abstract oil paintings. A gathering of planetary haloes, gentle fizzing endless explosions of energy, all spaced out in their own way. A party in a cool green world, a party for atoms, amoebas and angels. “When you make a shape of colour it makes space” observes the particle. “So many paintings to paint and they’re all there already” replies the wave. (Melissa Deerson, 2021)

Angela Brennan, Planet Abstract I, 2021, oil on linen, 125.5 x 146 cm. Photograph: Mark Ashkanasy.

Sofitel Melbourne On Collins The exhibition programme at Sofitel Melbourne On Collins is managed by Global Art Projects. www.gap.net.au. @globalartprojectsmelbourne.

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Ph 9653 0000 Open 24 hours sofitel-melbourne.com.au

VICTORIA Geelong Gallery continued...

Gippsland Art Gallery www.gippslandartgallery.com Wellington Centre, 70 Foster Street, Sale VIC 3850 03 5142 3500 [Map 1] Mon to Fri 9am–5.30pm, Sat, Sun & Pub Hols 10am–4pm.

Atong Atem, infrared mandut, wundut, 2021. Courtesy of the artist and MARS Gallery, Melbourne. Peter Waples-Crowe (Ngarigo), Gina Bundle (Yuin), Ivor Cantril, Debris Facility, Lichen Kelp, Baluk Arts, Andrew Goodman, Sebastian Weidemann (Columbia), Kate Rhode. Curated by Tess Laird. Ponch Hawkes, 500 Strong (i), (detail), 2019-20, digital print on cotton rag paper. Courtesy of the artist.

The Gippsland Art Gallery is situated at the Port of Sale, overlooking stunning waterways and parkland. Every year the Gallery hosts around twenty exhibitions of local, national and international significance, in addition to ongoing and evolving displays of the permanent collection. 5 March—5 June Gifted 19 February—14 August The Art of Annemieke Mein

11 March—9 April Gertrude Glasshouse: A Measure of Disorder Darcey Bella Arnold

19 March—3 July 500 Strong Ponch Hawkes In 2018 Ponch Hawkes embarked on a project to photograph 500 Victorian women. Calling on women from across the State over the age of 50 from all backgrounds, 432 women volunteered to be photographed in the nude to celebrate the diversity and reality of older women’s bodies. 500 Strong is full of images of older women with every right to be seen, ripping their clothes off, stepping out of public invisibility. Participants were encouraged to consider their anonymity and, if they wished, come prepared with a personalised face covering. Some women chose to show their faces. An official exhibition of PHOTO 2022 International Festival of Photography. Free entry.

Gertrude www.gertrude.org.au Gertrude Contemporary: 21–31 High Street, Preston South, VIC 3072 [Map 5] 03 9480 0068 Tues to Sun 11am–5pm. Gertrude Glasshouse: 44 Glasshouse Road, Collingwood, VIC 3066 Thu to Sat 12noon–5pm. 12 February—27 March Gertrude Contemporary: The Palace at 4pm Vittoria Di Stefano 12 February—27 March Gertrude Contemporary: Everything in Remission Atong Atem 9 April—5 June Gertrude Contemporary: Octopus 2022: Baroque-topus

John Borrack, Cockburn Range Bluff, East Kimberley, 2005, watercolour on paper, 55 x 75 cm. © The artist. Ronnie van Hout, Found UFO Image, 2015. Courtesy of Bus Projects, Melbourne. 22 April—21 May Gertrude Glasshouse: Being, Human Being: UFO Photography Part of the PHOTO 2022 International Festival of Photography. Curated by Mark Feary.

5 March—29 May In Praise of Landscape John Borrack 5 March—5 June Harbinger

Glen Eira City Council Gallery www.gleneira.vic.gov.au/gallery Corner Glen Eira and Hawthorn roads, Caulfield, VIC 3162 [Map 4] 03 9524 3402 Mon to Fri 1pm–5pm, Sat and Sun 1pm–5pm. Gallery closed for maintenance 14 March to 7 April. 10 February—13 March International Baccalaureate Visual Arts Exhibition 7 April—1 May Glen Eira Artists Society 7 April—1 May Glen Eira Cheltenham Art Group 7 April—1 May Glen Eira Historical Society (Gallery annexe)

Peter Ries, Vase, c.2000, glazed earthenware, 26.2 x 16 x 16cm. © The artist. Collection Gippsland Art Gallery. Donated by the artist through the Australian Government Cultural Gifts Program, 2019. 5 March—18 April Ceramic Stories: The Owen Rye Collection 19 February—15 May Recent Sculpture Kathy Luxford-Carr 131

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VICTORIA through the Australia Council, its arts funding and advisory body.

Hearth Galleries www.christinejoycuration.com

22 April—10 July Norman Lindsay: photographs to paintings

Contemporary ethical Aboriginal art. 208 Maroondah Highway, Healesville, VIC 3777 [Map 1] 0423 902 934 Wed to Sun 10am–4pm.

In Australia during the 1930s, sexually charged nude paintings and photography were taboo, Norman Lindsay’s work was often regarded as scandalous. Born into an artistic family, he was a prolific artist, producing paintings, sculpture, watercolours and drawings. Sidney Nolan, Ned Kelly: Nobody knows anything about my case but myself, 1945, ripolin enamel on cardboard, 63 x 75 cm. Heide Museum of Modern Art, purchased with funds provided by the Friends of Heide and the Heide Circle of Donors 1998 © Trustees of the Sidney Nolan Trust/ Licensed by Copyright Agency, 2022.

The success of Lindsay’s etchings were due to both Norman and wife Rose (née Soady) Lindsay’s combined skills. Rose Lindsay was also widely considered as a master printmaker. This exhibition will explore Lindsay’s use of techniques across media in developing his unique vision. A Horsham Regional Art Gallery exhibition.

Until 13 June Sidney Nolan: Search for Paradise Jillian Holroyd, Fish Feast, etching on paper. 1 December 2021—27 March Far North Bana Yirriji, Yarrabah, Pormpuraaw and Girringun Art Centre .

9 April–31 July Listening to Music Played Backwards: The Heide Collection

Horsham Regional Art Gallery www.horshamtownhall.com.au 80 Wilson Street, Horsham, VIC 3400 [Map 1] 03 5382 9575 Open daily 10am–4pm.

Mina Mina Jukurrpa, Pauline Napangardi Gallagher, synthetic polymer on Belgian linen.

Heide Museum of Modern Art 7 Templestowe Road, Bulleen, VIC 3105 [Map 4] 03 9850 1500 Tues to Sun and public holidays 10am–5pm. See our website for latest information. Until 6 March Heide II: House of Light Until 29 May Dean Cross: Sometimes I Miss the Applause Until 29 May Under Lamplight: Albert Tucker and Patrick Pound Until 29 May House of Ideas: Cynthia Reed’s Studio

29 April—10 July Mali marrng Mallee sky For some of us, the connection to nature is almost tangible, it influences who we are, how we connect to others and how we connect to ourselves. Mali marrng Mallee sky by Gail Harradine and Belinda Eckermann gives form to the invisible and unseen personal, familial, community narrative of connection to landscape.

30 March—26 June Mina Mina Dreaming – and other Women’s Business Pauline Napangardi Gallagher and Cherylyn Napangardi Granites.

www.heide.com.au

Gail Harradine and Belinda Eckermann, No 1. from the series Mali marrng Mallee sky, 2021, digital image. Courtesy of the artists.

Kawita Vatanajyankur, The Spade (detail), 2020, HD Video. Courtesy of the artist. 29 January—17 April Fertile Ground Fertile Ground brings together nine artists who use food as an entry point to discuss urgent political, societal and environmental issues. These artists offer food as a tool for activism, cultural exchange, repositories of history and visions for the future. Interrogated through the mediums of photography, video, sculpture and mixed media installation, Fertile Ground enables new perspectives and explorations in social space and thinking. A Centre for Contemporary Photography touring exhibition. Curated by Sarah Bond and Olivia Poloni. Fertile Ground has been assisted by the Australian Government

The artists’ first time collaboration merges digital photography, entomological research, electron microscopic imaging and First Nations cultural practices, to explore a shared knowledge and connection to the landscape around Lake Albacutya— Ngalukgutya in Victoria Mallee region. Their alliance manifests in new cultural ways of thinking through practice, in a desire to experiment and entangle these spheres—as they seek a greater understanding of the human experience of connection to Country. A Horsham Regional Art Gallery exhibition. Curated by Alison Eggleton.

Hyphen – Wodonga Library Gallery www.hyphenwodonga.com.au 126 Hovell Street, Wodonga, VIC 3690 [Map 1] 02 6022 9330 Weekdays 10am–6pm, Weekends 10am—3pm. 133

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VICTORIA Hyphen–Wodonga continued...

Explosive Forming is an illustration and investigation into the complex interplay between industry, ecology, and geology. Its starting point is taken from the local munitions industry—the Footscray Munitions Factories, a site adjacent Incinerator Gallery.

the only places in modern society for the public to go and simply exist, operating purely on a basis of trust. Told through the perspectives of three local multidisciplinary artists, this exhibition will explore the influence of stories, books, and community.

Islamic Museum of Australia

In celebration of International Women’s Day, there will be talks and workshops by the artists. Please check the website for details closer to the date.

www.islamicmuseum.org.au Helen Newman, Biosphere. 12 February—8 May Biosphere Abi Thompson and Helen Newman.

15 Anderson Road, Thornbury, VIC 3071 [Map 5] 1300 915 171 Mon to Sat 10am–4pm. See our website for latest information.

Incinerator Gallery www.incineratorgallery.com.au 180 Holmes Road, Aberfeldie, VIC 3039 [Map 4] 03 9243 1750 Tues to Sun 11am–4pm. See our website for latest information.

Kotodama, image by Avan Anwar and Junko Azukawa. 18 March—8 May Kotodama Avan Anwar and Junko Azukawa. Narjis Mirza, Hayakal al Noor, Bodies of Light, 2021, Blackbox theatre, AUT, Auckland. Photograph by Rumen Rachev. 24 March—15 July Hayakal al Noor (Bodies of Light)

Diego Ramirez, The Infinity of the Past, 2019, neon. 19 April—29 May Aeon Resurrection Emma Finucane, Diego Ramirez, Justin Shoulder, Jahkarli Romanis and Huntrezz Janus. Aeon Resurrection is an exhibition exploring transformation, resilience and healing within unstable environments. Framed within global and local epochs of ‘unprecedented times’, wherein conventions, codes and structures are dissembled and dismantled, this exhibition heralds ways of co-habitation within cataclysmic moments of death and regeneration.

A participatory light and sound installation by artist Narjis Mirza, inspired by the medieval Islamic philosophy of illumination. Animated Arabic calligraphy, projection, textile, subtle fragrances and voices provoke the seers’ imagination beyond the visible and the apparent.

Kotodama means “word spirit” in Japanese. It refers to the belief that mystical powers dwell in words and names. This exhibition is a collaboration between a Japanese ink artist and a Kurdish visual artist who have very different cultural and linguistic backgrounds, but have found they have the same value and respect for the spirit and energy held in words. In Kurdish culture, words are mystical tools used in poems to evoke a significant power and impact on people’s emotions.

The Arabic calligraphy is composed of the mysterious and isolated letters of the Quran that do not form words; they symbolise mystical and other worldly realities. The seer is invited to touch, sense, hear and feel the work, such that their body also becomes a vessel for the animated light. The haptic visual experience of Hayakal al Noor is an invitation to wonder, contemplate and return to our spiritual beginnings.

Ivanhoe Library and Cultural Hub www.banyule.vic.gov.au/ILCH 275 Upper Heidelberg Road, Ivanhoe VIC 3095 [Map 4] 03 9490 4222 Please check the website for details and updates on visiting hours and COVIDsafe guidelines.

Nicholas Burridge, Sitting at the Edge of Eternity, 2019, glass, gunpowder residue, timber, steel cabling. 19 April—29 May Explosive Forming: Nicholas Burridge

17 February—13 March Beyond the Page Deborah Bowen, Helen Platania and Julie Walker Libraries have always been places of community, signifying more than just a building for the storage of books. One of

Image by Chris Cook. 18 March—10 April Worthy Natives Chris Cook Chris Cook spends most of each year travelling the world working as Naturalist and Wildlife Photographer. A few years ago he started to actively work on bringing 135

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VICTORIA Ivanhoe Library and Cultural Hub continued... his passion for connecting people to nature in his own backyard and starting creating imagery of the native wildlife found in the Banyule. In this exhibition, Chris will present imagery that celebrates the wildlife and bountiful environs of Banyule. Please check the website for details of associated talks and events.

Jacob Hoerner Galleries www.jacobhoernergalleries.com 1 Sutton Place, Carlton, VIC 3053 0412 243 818 [Map 5] Wed to Sat 12noon–5pm and by appointment.

Kait James (Wadawurrung), Lisa Waup (Gunditjmara and Torres Strait Islander), Sandy Hodge (Lardil), Sharn Geary (Bundjalung) and Aunty Suzanne Connelly -Klidomitis (Wiradjuri).

Jewish Museum of Australia www.jewishmuseum.com.au 26 Alma Road, St Kilda, VIC 3182 [Map 6] 03 8534 3600 Tues to Fri 10am— 5pm, Sun 10am— 5pm. (Closed on Jewish holidays). See our website for latest information.

Installation view, Blak Jewellery— Finding Past, Linking Present, Koorie Heritage Trust.

5 March—15 May Off the Wall Mandi Barton, Simone Thomson and Charlie Miller. Alex Hamilton, Carbon Monoxide Apple HQ Federation Square Melbourne 9, 2022, pen, acrylic inks, pit pen, charcoal, pencil, photocopy, watercolour paper, 123 x 186 cm. 2 March—19 March The Land Will Not Run Down To The Sea Alex Hamilton Opening Thursday 3 March, 6pm–8pm.

Kingston Arts www.kingstonarts.com.au G1 and G2, Kingston Arts Centre, 979 Nepean Highway (corner South Road), Moorabbin, VIC 3189 [Map 4] Mon to Fri 9am–5pm, Sat 12noon–5pm. Free entry. G3 Artspace, Shirley Burke Theatre, 64 Parkers Road, Parkdale. Wed to Fri 9am–5pm, Sat 12noon–5pm. 12 March—2 April Artz Blitz 2022 Presented by Kingston Arts. Artz Blitz is an annual community competition featuring works in sculpture, painting, drawing, collage and creative writing by artists and writers of all ages and abilities. Works are created within 24-hours in response to a secret theme and then exhibited at Kingston Arts Centre Galleries.

Helmut Newton, Elsa Peretti, New York, 1975, Copyright Helmut Newton Estate, Courtesy Helmut Newton Foundation. 29 April—29 January 2023 Helmut Newton: In Focus

The Johnston Collection www.johnstoncollection.org 192 Wellington Parade, East Melbourne VIC 3002 [Map 4] 03 9416 2279 Open Wed to Sun, with three tours daily at 10am, 12noon and 2pm. We are closed on public holidays. Pick up from the Pullman Melbourne on the Park. Bookings essential. See our website for latest information.

Andrew Sibley, Bathing Beauty, 1964, oil and enamel on Masonite board, 122 x 107 cm. March 23—April 16 Paintings Andrew Sibley Opening Thursday 24 March, 6pm–8pm.

Koorie Heritage Trust www.koorieheritagetrust.com.au Yarra Building, Federation Square, Melbourne, VIC 3000 [Map 2] 03 8662 6300 4 September 2021—27 March Blak Jewellery - Finding Past, Linking Present Ange Jeffery (Wiradjuri), Aunty Beverley Meldrum (Wirangu, Kokatha), Cassie Leatham (Taungurung), Hollie Johnson (Gunaikurnai, Monero Ngarigo), Isobel Morphy-Walsh (Taun Wurrung), Jenna Lee (Larrakia, Wardaman and Karajarri),

Kara Baldwin, Philosophish, 2020, Big Mouth Billy Bass, audio recording (looped), Arduino Nano, Bluetooth unit, MP3 player, approx. 30 x 19 x 10 cm. 8 April—7 May (Don’t Say I Never Warned You) When Your Train Gets Lost Presented by Michael Vale Artist Group Kingston Arts Grant recipient Michael Vale presents a group exhibition featuring artists Simon Perry, Juan Ford, Gerry Bell, Kara Baldwin, Kez Hughes, Amélie Scalercio, Nicholas Ives and Michael Vale. The exhibition takes its title from the Bob Dylan 137

Image credit: Abdul Abdullah Zofloya (groom1) detail

Image credit: Soft by Gideon Wilonja - winner Wyndham Art Prize 2021

UNIFORM Wyndham Artists: Abdul Abdullah Maree Clarke Gail Harradine Lisa Hilli Cassie Leatham Jenna Lee Claire McArdle Tiffany Parbs wāni toaishara Simone Slee Scotty So Lisa Waup

Art Prize 2022

Entries Open 1 FEB - 1 APRIL Exhibition 2 JUN - 7 AUG 2022 $15,000 Non Aquisitive Prize + $5,000 LEAP (Local Emerging Art Prize) Closes 1 April 5pm

Wyndham Art Gallery Great Art. Deep West. 177 Watton St, Werribee Vic

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VICTORIA Kingston Arts continued... song, It Takes a Lot to Laugh, It Takes a Train to Cry (1965) as a perfect metaphor for absurdism. Through subtle humour and visual conundrums, all eight artists offer a playful meditation on the theory of absurdism, aimed to entertain rather than explain the ways of the universe.

18 December 2021—20 March Scent Latrobe Regional Gallery Collection including the Ingrid McGaughey Glass Collection. A beautiful, ethereal exhibition featuring over 100 perfume bottles in the Latrobe Regional Gallery Ingrid McGaughey Glass Collection. This unique collection is on show in its entirety for the first time. 18 December 2021—3 April Lean David Cross 15 January—3 April Fibro Façade Catherine O’Donnell

Art Day South studio, 2018. Image courtesy of Arts Access Victoria. 4 March—2 April Art Day Smackdown

Constance Stokes, Woman with Orange Flower, oil on composition board, 55 x 39 cm.

Presented by Arts Access Victoria. Art Day Smackdown celebrates 30 years of the inclusive art studio Art Day South (ADS) and the marvellous work of the ADS studio artists. Art Day South began as a pilot program at Linden Gallery, before finding it’s new home at Dingley Village Neighbourhood Centre in 1995. Over the past 30 years the studio artists have presented work nationally and internationally. Art Day Smackdown encompasses a little bit of everything from the dynamic practices of the studio artists: sculpture, animation, graphic illustration, gestural painting, video, textiles, sound, performance and installation.

Latrobe Regional Gallery www.latroberegionalgallery.com 138 Commercial Road, Morwell, VIC 3840 [Map 1] 03 5128 5700 Open daily 10am–4pm.

Until 31 March Constance Stokes: Paintings and Works on Paper from the Estate April—May Angelina Ngal

Todd Fuller, Little Star, (still), animation, colour, sound, 6.44 mins. Courtesy of the artist and .M Contemporary, Sydney. 22 January—10 April Little Star Todd Fuller Fuller’s exquisite, hand drawn animation Little Star invites you into the imaginings of a dog who dreamed of space.

Lauraine Diggins Fine Art www.diggins.com.au Boonwurrung Country 5 Malakoff Street, North Caulfield VIC 3161 [Map 6] 03 9509 9855 Tue to Fri 10am–6pm. Other times by appointment.

Linden New Art www.lindenarts.org 26 Acland Street, St Kilda, VIC 3182 [Map 6] 03 9534 0099 Tues to Sun 11am–4pm. See our website for latest information. 10 March—10 April Relics Jarrad Martyn 12 March—5 June Time Fell Asleep in the Evening Rain Cyrus Tang

Specialists in Australian Painting, Drawing, Sculpture, Decorative Arts and sourcing European masterworks upon request.

Lauraine Diggins Fine Art at The Melbourne Fair. Gene Polt, Untitled, 1989, blown glass, 11 x 10 x 6 cm. Latrobe Regional Gallery Collection, Ingrid McGaughey Collection.

24 March—27 March The Melbourne Fair

Yuriyal Eric Bridgeman, Yalkope, Omdara, 2016, archival digital print on Hahnamuhle cotton rag, 109 x 125 cm. Image courtesy of the artist and Linden New Art. 12 March—5 June Yal Yuriyal Eric Bridgeman

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LON Gallery www.longallery.com 136a Bridge Road, Richmond, VIC 3121 [Map 6] 0400 983 604 Thu to Sat 12noon–5pm. See our website for latest information.

Nabilah Nordin, Louise Paramor, Kerrie Poliness, Norma Redpath, Meredith Turnbull.

Metro Gallery www.metrogallery.com.au 1214 High Street, Armadale VIC 3143 [Map 6] 03 9500 8511 Tue to Fri 10am–5pm, Sat 11am–5pm. See our website for latest information.

Southern Western emerged from the fortuitous coming together of two curators, in one place. Jane Polkinghorne and Gareth Hart found themselves living in the Mallee across 2019–2020, although drawn here from different places, and for different reasons. Through this, they both became intrigued by this fascinating region: it’s colonial history, the lifeblood of two river systems converging, it’s distal relationship to a Metropolitan city, the incredible First Nations artists that reside here, and the context of this place in relation to a sense of local, regional, national identity. Through this interest, Southern Western was born. The project brings together many significant artists from the region and afar, through a major new exhibition commissioned by Mildura Arts Centre.

Toby Pola. 30 March—23 April Toby Pola

McClelland Sculpture Park + Gallery www.mcclellandgallery.com 390 McClelland Drive, Langwarrin, VIC 3910 [Map 4] 03 9789 1671 Wed to Sun 10am–5pm. See our website for latest information.

Andrew Bonneau, Still life with Jaipur Pottery and Peacock, 2021, oil on board. 1 March—26 March Recent still life and portraiture works Andrew Bonneau 29 March—23 April Recent paintings Fabrizio Biviano Serpentine Bettina Willner

Jess Higgins, Fallen, 2019. Woodblock print ©. 11 February—3 April On Thin Ice Tuggeranong Arts Centre John Aslanidis, Sonic n 76, 2021, acrylic on canvas. 26 April—1 May Recent works John Aslanidis

Mildura Arts Centre Samara Adamson-Pinczewski, Around the Corner 7 2021, acrylic, iridescent acrylic and fluorescent acrylic with UV Topcoat on ABS resin (SLA), 52.5 x 19.5 x 49cm. Courtesy the artist and Charles Nodrum Gallery. 21 February—5 June A thousand different angles Fiona Abicare, Samara Adamson-Pinczewski, Marion Borgelt, Consuelo Cavaniglia, Natasha Johns-Messenger, Inge King, Sanné Mestrom, Noriko Nakamura, 140

www.milduraartscentre.com.au 199 Cureton Avenue, Mildura, VIC 3500 [Map 1] 03 5018 8330 Open Daily 10am–4pm. See our website for latest information. 19 February—1 May Southern Western Curated by Gareth Hart and Jane Polkinghorne

On Thin Ice is an arts-documentary collaborative project that asks: why do people really become addicted to ice? What stigmas do they face and how do they recover? It was commissioned by Tuggeranong Arts Centre (TAC) in 2019 in collaboration with journalist and author Ginger Gorman, artists, and community participants who are living with or recovering from addiction to crystal methamphetamine (ice). The participant’s stories are told through images, text, sound and installation in an exhibition including photographers Hillary Wardhaugh and Martin Ollman, sculptor Tom Buckland and printmaker Jess Higgins. 25 February—10 April Poking a stick at an ants nest Piero Garreffa Poking a stick at an ants nest, explores the subjects of nostalgia, cultural identity, and

VICTORIA linage, represented through my own lived experience. 8 April—22 May Assemblages Isabel Davies Mildura Arts Centre Collection. Isabel Davies is a Melbourne based artist whose association with the Mildura region goes back to the Mildura Triennial events. During that era, the direction of Isabel’s works were strongly influenced by the rise of the women’s art movement that was part of a broader socio-cultural reassessment in Western societies. Assemblages is dedicated to that pivotal period in the artist’s career. The works are all drawn from the Mildura Arts Centre Collection and include the well-known Masterpieces from the Kitchen series and the Mungo series. 9 April— 22 May Wetland and River Tasha Whitton ‘I enjoy walking and being in nature. I like watching birds and listening to the different sounds of birds and animals. When I go to the wetlands or river it makes me feel calm and peaceful. Painting has always been my passion and it makes me feel happy and excited. I love all different colours and making shades and shapes. Learning about the wetlands and water birds around me inspires me to paint them through my eyes.’ 14 April—5 June SMECC Multicultural Arts Exhibition: Our COVID experiences

Darogah Abbas Ali, Indu Antony, Felice Beato, Mitter Bedi, Jyoti Bhatt, Bourne & Shepherd, Samuel Bourne, Michael Bühler-Rose, Henri Cartier-Bresson, Chunni Lall & Co., Lala Deen Dayal, Francis Frith & Co., Gauri Gill, Khubiram Gopilal, Hamilton Studios Ltd, Johnston and Hoffmann, Willoughby Wallace Hooper, William Johnson, John William Kaye and John Forbes Watson, Karen Knorr, Annu Palakunnathu Matthew, Steve McCurry, Saché & Murray Studios, Pushpamala N with Clare ARNI, Nicolas & Company (attributed), Norman Parkinson, Anoli Perera, Suresh Punjabi, Marc Riboud, John Edward Saché, Charles Scott, Sawai Ram Singh II, Maharaja of Jaipur, Edward Taurines (attributed), Waswo X Waswo, Wiele and Klein Studio, Wilson Studios Bombay. Since its invention in Europe in the 1840s, the genre of photography has played an integral role in the course of Indian art history. Although it is often quoted that India is the most photographed country in the world, the history of its representation is more complicated, and more political than initially meets the eye. Visions of India: from colonial to the contemporary is the first major survey of Indian photography in Australia, and all artworks showcased are from the collection of Museum of Art & Photography (MAP), Bengaluru, one of the most celebrated collections of photographs relating to India in the world.

Monash Gallery of Art www.mga.org.au 860 Ferntree Gully Road, Wheelers Hill, VIC 3150 [Map 4] 03 8544 0500 Thurs to Sun 11am–4pm. Hoda Ashfar, Untitled, from the series Speak the wind, 2015–20. Courtesy of the artist and Milani Gallery (Brisbane). 2 April—26 June Speak the wind Hoda Ashfar

17 December 2021—20 March Visions of India: from colonial to the contemporary

www.monash.edu.au/muma Ground Floor, Building F, Monash University, Caulfield Campus, 900 Dandenong Road, Caulfield East, VIC 3145 [Map 4] muma@monash.edu 03 9905 4217 Tue to Fri 10am–5pm, Sat 12noon–5pm. Free admission.

Vivienne Binns, Thinking of Pattie Larter 2008, synthetic polymer paint on canvas, 72 x 100 cm, Collection of Christine Gilbertson, Melbourne, © Vivienne Binns. Image courtesy of Sutton Gallery, Melbourne. 5 February—14 April On and through the Surface Vivienne Binns Vivienne Binns is an important and singular figure in the history of Australian visual art, regarded for her groundbreaking and experimental work. Since the beginnings of her career, she has tested the philosophical underpinnings of art itself, both pre-empting and participating in the most significant cultural discourses of our times: from women’s social and sexual liberation to Australia’s regional identity. Curated by Hannah Mathews (Senior Curator, MUMA) and Anneke Jaspers (Senior Curator, Collections, Museum of Contemporary Art Australia), this major survey exhibition brings together over one hundred art works drawn from six decades of the artist’s practice.

Sunraysia Mallee Ethnic Communities Council. The past two years of the Coivd-19 pandemic have been fraught with many challenges. This exhibition aims to highlight the hope that the ethnic communities of Sunraysia have for the future, reflecting on their experiences as a way of healing.

Karen Knorr, The Queen’s Room, Zanana, Udaipur City Palace, Udaipur, 2010, archival pigment print. Image copyright: Karen Knorr.

Monash University Museum of Art – MUMA

2 April—26 June Old ways, new ways Tony Albert (Girramay/Kuku Yalanji), Lisa Bellear (Minjungbul/Geoernpil/ Noonuccal/Kanak), Peta Clancy (Bangarang), Brenda L Croft (Gurindji/ Malgnin/Mudpurra), Viva Gibb (Au), Gail Harridene (Wotjobaluk/Djubagalk/ Jadawadjali), Dianne Jones (Balardung/ Nyoongar), Leah King-Smith (Bigambul), Michael Riley (Wiradjuri/Kamilaroi), Damien Shen (Ngarrindjeri), James Tylor (Kaurna).

Monash University MADA Gallery www.artdes.monash.edu/gallery Monash University, Caulfield Campus Building D, Ground Floor, 900 Dandenong Road, Caulfield East, VIC 3145. Wed to Fri 10am–5pm, Sat 12noon—5pm during exhibitions. Free entry. See our website for latest information. 15 March—26 March Melbourne Design Week 7 April—23 April Melanie Oliver Curatorial Practice PhD. 141

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LORNE SCULPTURE BIANNALE 2022 BRONZE THRONE 4.15 X 1.85M lornesculpture.com

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Mornington Peninsula Regional Gallery www.mprg.mornpen.vic.gov.au Civic Reserve, Dunns Road, Mornington VIC 3931 [Map 4] 03 5950 1580 Tue to Sun 11am–4pm. See our website for latest information. Installation view of the 2021 NGV Architecture Commission pond[er] by Taylor Knights and James Carey at NGV International, Melbourne from 6 December 2021—28 August 2022. Photograph: Tom Ross. 17 December 2021—25 April The Gecko and the Mermaid: Djerrkŋu Yunupiŋu and her sister David Hockney, Self portrait IV, 25 March 2012, 2012, iPad drawing printed on paper, 94.0 x 71.0 cm (image and sheet). National Gallery of Victoria, Melbourne. A gift from David Hockney, 2019. © David Hockney.

Louise Rippert, Pink Bindu (Eva’s Circle), Photo: Andrew Wuttke. 26 March—31 July Collection+ Louise Rippert / Steve Carr MPRG’s Collection+ series brings together new and existing work by Melbourne based artist Louise Rippert alongside dynamic New Zealand contemporary artist Steve Carr. This exhibition looks at some of the unifying themes in Rippert and Carr’s work—time, repetition, stillness and tension, circular references and mandalas, structure behind simplicity, memories and family.

National Gallery of Victoria—NGV International

David McDiarmid, Q, 1994, from the Rainbow Aphorism, series 1994 computer-generated, colour laserprint , 37.4 x 28.3 cm (image), 38.4 x 29.3 cm (sheet) National Gallery of Victoria, Melbourne, Purchased, 1994, © David McDiarmid/ Licensed by Copyright Agency, Australia. 10 March—21 August Queer 9 April—28 August Transforming Worlds: Change and tradition in contemporary India

www.ngv.vic.gov.au 180 St Kilda Road, Melbourne VIC 3004 [Map 2] 03 8620 2222 Open Daily 10am–5pm. See our website for latest information.

National Gallery of Victoria—The Ian Potter Centre NGV Australia

25 November 2021—18 April Golden shells and the gentle mastery of Japanese lacquer

Federation Square, corner Russell and Flinders streets, Melbourne, VIC 3000 [Map 2] 03 8620 2222 Open Daily 10am–5pm. See our website for latest information.

4 December 2021—25 April Gabrielle Chanel. Fashion Manifesto 5 December 2021—28 August 2021 NGV Architecture Commission pond[er] by Taylor Knights and James Carey 17 December 2021—25 April Bark Ladies: Eleven Artists from Yirrkala

www.ngv.vic.gov.au

6 May 2021—27 March We Change the World 18 March—24 July Top Arts

Michael Riley, Maria, 1986; printed 2013, from the Michael Riley Portraits 1984– 1990 series, inkjet print on paper, 41.50 x 43.40 x 5.00 cm (frame) 39.10 x 40.90 cm (image). National Portrait Gallery, Canberra Purchased 2013, © Michael Riley/Copyright Agency, 2021. 25 March—21 August WHO ARE YOU: Australian Portraiture

Niagara Galleries www.niagaragalleries.com.au 245 Punt Road, Richmond, VIC 3121 [Map 6] 03 9429 3666 Weds to Sat 12noon–5pm, or by appointment. Niagara can assist collectors to discover emerging, contemporary and modern art as well as offer support with commissions for private and public works, including portraits. We offer private and corporate clients assistance with acquisitions, from planning, selection and documentation, to support with budgeting, framing, shipping and installation. 143

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RMIT Gallery → Cassils, Monument Push, Performance Still (Omaha Nebraska), 2017. Photo: Cassils with John Ficenec. Courtesy of the artist.

PG Gallery www.pggallery.com.au 227 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 9417 7087 Tue to Fri 10am–5.30pm, Sat 10am–5pm.

Anthony Green, United Nations, 2020, wood, pigment and mixed media, 215 x 245 cm. 3 March—17 March Masks And Maskness Anthony Green Masks and Madness: Traditional mask making as an ancient art form, found in cultures such as Columbia, have served as an influence in my mask making practice. I have been fascinated by the way in which masks allow a person to become something other. Traditional mask making cultures have established forms or totems which often lean toward clear formal tropes. Being of white

anglo-saxon heritage and lacking such tokens or dreaming, my masks seek to come from different origins of thought. Whilst these masks quote and invert traditional themes I have sought to incorporate traditional, biographical and contemporary themes that range in pertinent and playfulness.

ours to explore the nugget of strangeness that we often carry within ourselves and to the places we inhabit.

QDOS Fine Arts www.qdosarts.com 35 Allenvale Road, Lorne, VIC 3232 [Map 1] 03 5289 1989 Thu to Sun 9am–5pm. See our website for latest information.

Kathryn Madill, The Wayside III, monoprint, 30x 40cm. 14 April—5 May Towards Strangeness Kyla Cresswell, Catherine Macdonald, Prue MacDougall, Kathryn Madill and Nan Mulder Towards Strangeness brings together a group of New Zealand printmakers and with it, varying degrees of the inexplicable, the unfamiliar, and the mysterious. This exhibition features mezzotint, drypoint, monoprint, photopolymer, etching, and embossing. Toward Strangeness endeav-

Peter Gardiner, Torrent (waterfall 1), 2021, oil on board, 40.5 x 50.5 cm. 13 February—5 March Peter Gardiner 20 February—12 March Joanne Sisson 13 March—2 April Rimona Kedem 27 March—24 April Dick Collis 2 April—24 April Sophia Szilagyi

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RMIT Gallery www.rmitgallery.com 344 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9925 1717 rmit.gallery@rmit.edu.au Facebook: RMITGallery Instagram: @rmitgallery COVIDSafe policies and restrictions. 8 April—7 August Agent Bodies Brook Andrew, Anonymous, Georgia Banks, Leigh Bowery, Cassils, Megan Cope, Juan Davila, Matthew Davis, Alicia Frankovich, Lucian Freud, The Killing, Claire Lambe, Mike Parr, Samantha Petersen, Yhonnie Scarce, Anne Wallace and Ah Xian. Curated by Mikala Dwyer and Drew Pettifer.

20 November 2021—20 November Flow: Stories of River, Earth and Sky in the SAM Collection

8 February—28 April Sofi’s Lounge, Level One: Planet Abstract Angela Brennan

Silver Leaf Art Box

In collaboration with Niagara Galleries, Melbourne based artist, Angela Brennan, presents Planet Abstract, a suite of new abstract oil paintings. A gathering of planetary haloes, gentle fizzing endless explosions of energy, all spaced out in their own way. A party in a cool green world, a party for atoms, amoebas and angels. “When you make a shape of colour it makes space” observes the particle. “So many paintings to paint and they’re all there already” replies the wave. (Melissa Deerson, 2021)

www.silverleaf-artbox.com.au 3361 Frankston-Flinders Road, Merricks, VIC 3916 [Map 1] 0422 132 525 Sat and Sun 11am–4pm and by appointment Tues to Fri.

STATION www.stationgallery.com.au 9 Ellis Street, South Yarra, VIC 3141 [Map 6] 03 9826 2470 Tue to Sat 10am–5pm.

Shepparton Art Museum www.sheppartonartmuseum.com.au 530 Wyndham Street, Shepparton VIC [Map 15] 03 4804 5000 Daily 10am–4pm. 26 March—31 July Art in Conflict: An Australian War Memorial Touring Exhibition Nannette Shaw, kelp vessel, 2021, bull kelp and river reed, 11 x 6.5 x 5.5 cm. 5 March—27 March The sea, the sea Sarah Faulkner, Fiona Hughes (Tyereelore, Trawoolway, Bunurong) and Nannette Shaw (Tyereelore, Trawoolway, Bunurong). Prue stent, Honey Long and Amrita Hepi, This may not protect You, 2017. Courtesy of the artist and Anna Schwartz Gallery, Melbourne. © Amrita Hepi. 20 November 2021—1 May Amrita Hepi: A Call to Echo 20 November 2021—22 May Everyday Australian Design: Functional Design from the Ian Wong Collection 26 March—31 July Nusra Latif Qureshi 20 November 2021—17 July Brown Pots

Curated by Penelope Gebhardt, this exhibition of new work invites contemplation and celebration of the sea, her ecologies, cultural connections, her essence, and her depths.

Sofitel Melbourne on Collins

Dane Lovett, I knew things, 2021, oil and acrylic on canvas, 220 x 180 cm. Courtesy of the artist and STATION. 5 March—2 April Cool Water Dane Lovett

www.sofitel-melbourne.com Level 1, 25 Collins Street, Melbourne, 3000 [Map 2] 03 9653 0000

André Piguet, the hobbit, 2021, ink on washi paper, marker on paper, layered, 24.4 x 33.5 cm. Courtesy of the artist and STATION.

Ali Khadim, Transition/evacuation, 2015, gouache, ink, and gold leaf on wasli paper. Image courtesy of the Australian War Memorial.

5 March—2 April Selected works on paper André Piguet Angela Brennan, Planet Abstract 1. 2021, oil on linen, 125.5 x 146 cm.

9 April—14 May Particle Days Jon Cattapan 147

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Material Reverie TOWN HALL GALLERY THURS 20 JANUARY – SAT 9 APRIL 2022

Robert Brown Teelah George Dana Harris Lou Hubbard Shigemi Iwama Cassie Leatham Jahnne Pasco-White Louise Saxton

Jahnne Pasco–White, detail from ‘Making Kin’, 2020, natural dyed fabrics (avocado, black bean, sunflower, copper beech leaves, carrot, crab apple), earth pigments, violets, olives, crayon, pencil, recycled paper, linen, cotton, acrylic and oil stick on canvas, three panels; total 213.0 x 456.0 cm approx. Image courtesy of the artist and STATION. Photography by Christo Crocker.

HAWTHORN ARTS CENTRE 360 Burwood Road, Hawthorn, Victoria 03 9278 4770

boroondara.vic.gov.au/arts

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Sutton Gallery www.suttongallery.com.au Sutton Gallery: 254 Brunswick Street, Fitzroy, Melbourne VIC 3065 [Map 3] 03 9416 0727 Wed to Sat 11am–5pm.

Stephen McLaughlan Gallery www.stephenmclaughlangallery.com.au Level 8, Room 16, Nicholas Building, 37 Swanston Street, Melbourne, VIC 3000 [Map 2] Wed to Fri 1pm–5pm, Sat 11am–5pm and by appointment.

Warren Nichols, Western Port – Sky Land Sea, oil on canvas, 110 x 100 cm. 2 March—19 March Warren Nichols

Stockroom Kyneton www.stockroom.space 98 Piper Street, Kyneton, VIC 3444 [Map 4] 03 5422 3215 Thurs to Sat 10.30am–5pm, Sun 11am–3pm. See our website for latest information. 5 February—13 March Dictionary of Animism Amber Cronin

Swan Hill Regional Art Gallery www.gallery.swanhill.vic.gov.au Horseshoe Bend, Swan Hill, VIC 3585 [Map 1] 03 5036 2430 Tue to Fri 10am–5pm, Sat & Sun 10am–4pm. See our website for latest information.

5 February—13 March Elynor Smithwick, Madeleine Lesjak-Atton, Anthea Kemp, Michael McCafferty Presented by The Macfarlane Fund and Stockroom. 19 March—27 March Hannah Brontë Presented by Kyneton Contemporary Art Triennial.

Michael Needham, Self Portrait as a Mummified Head (detail),2021. Resin (polyester and epoxy), recycled timber, ash, human hair, stoneware, reclaimed artificial cemetery flowers, stainless steel, acrylic lacquer, wax 150 x 60 x 28cm. Photograph: Lakshal Perera. 2 April—8 May Melancanny Michael Needham A Path or Track Laid Down for Walking Greg Wood

Kate Tucker, Care Banner 1, 2021, calico, digitally printed cotton, bumph, acrylic, thread, linen, encaustic, acrylic mediums, board, earthenware, underglaze, bronze rod, 140 x 128 cm. Courtesy of the artist and Daine Singer. Photograph: Christo Crocker. 4 February—27 March Notions of Care Notions of Care explores the ways in which art and nurture are interlinked, through the works of Arini Byng, Snapcat, Polly Stanton, Kate Tucker and Katie West. The exhibition asks questions about the ways that art can care for both viewers and artists. Notions of care are unfolded, cultivated, and enforced. Notions of Care is a Bus Projects exhibition touring with NETS Victoria. Curated by Kathryne Genevieve Honey and Nina Mulhall. This project is supported by the Victorian Government through Creative Victoria, and received assistance from NETS Victoria’s Exhibition Development Fund 2020, supported by the Victorian Government through Creative Victoria.

Kendal Heyes, Woman on the Beach, Pokerwork on Saunders watercolour paper, 76 x 56 cm. 23 March—17 April Kendal Heyes 20 April—7 May Lindy Patterson

Talitha Kennedy, Tender Stick – Arise, 2022. Leather, nylon thread, polyester fibre, wire, lead, micro glass beads, 42 x 18 x 10 cm. Photograph: Darren Tanny Tan.

4 February—27 March Near and Far Robert Cue

2 April—8 May Tender Sticks Talitha Kennedy

Castlemaine artist Robert Cue is noted for his post impressionist style of landscape paintings, and in particular those of the Mallee and Central Victoria.

2 April—8 May Narcissus and Friends Vanessa Lucas

The artist explores bold forms in the landscape, often in a high key colour scheme. In this exhibition of oil paintings 149

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TarraWarra Museum of Art → David Noonan, Mnemosyne, 2021, video still, 16mm film. Courtesy of the artist, Roslyn Oxley9 Gallery, Sydney and Anna Schwartz Gallery, Melbourne. Composition by Warren Ellis. Swan Hill Regional Gallery continued... Near and Far, Cue has included recent works inspired by his visits to the remote Marquesas Islands in French Polynesia. 1 April—15 May Emma Samin Using her art practice as a mindfulness tool for overcoming anxiety and depression brought about by debilitating health issues, Emma Samin explores the ancient and meditative zone of the mandala through the most intricate rendering of personalised symbols. 1 April—15 May Changed Forever A new exhibition from the Shrine of Remembrance, Changed Forever: Legacies of Conflict, interweaves stories of migrants from war-torn countries and recent veterans of overseas service, reflecting the range and depth of experiences of conflict. The exhibition is based on a collection of oral histories undertaken by the Shrine with Australian Defence Force veterans of recent conflicts and peacekeeping operations, and migrants to Australia who have come here because of conflict.

TarraWarra Museum of Art www.twma.com.au 313 Healesville–Yarra Glen Road, Healesville, VIC 3777 [Map 4] 03 5957 3100 Tue to Sun 11am–5pm. Closed Christmas Day. Open 7 days a week. 24 March—10 July David Noonan: Only when it’s cloudless Curated by Victoria Lynn.

Tolarno Galleries www.tolarnogalleries.com Level 4, 104 Exhibition Street, Melbourne, VIC 3000 [Map 2] 03 9654 6000 Tue to Fri 10am–5pm, Sat 1pm–4pm.

It explores the impacts of global and civil conflict in changing lives and shaping contemporary Australia. The stories are enhanced with art, objects, photographs, audio-visuals and interactives. A&A, Mother and Child cabinet, (digital render). 150

12 March—26 March Mother and Child A&A (Adam Goodrum and Arthur Seigneur) The exhibition is part of Melbourne Design Week 2022, an initiative of the Victorian Government in collaboration with the National Gallery of Victoria.

Town Hall Gallery www.boroondara.vic.gov.au/arts 360 Burwood Road, Hawthorn, VIC 3122 [Map 4] 03 9278 4770 Mon to Fri 10am–4pm, Saturday 12pm–4pm, Closed Sundays and public holidays. See our website for latest information. Part of the beautifully restored Hawthorn Arts Centre, Town Hall Gallery features a diverse range of contemporary and innovative exhibitions displayed over three unique spaces.Town Hall Gallery also includes a gallery space for local artists and community groups, and an online shop with art and wares from local and international artisans. 20 January–9 April Material Reverie Robert Brown, Teelah George, Dana Harris, Lou Hubbard, Shigemi Iwama, Cassie Leatham, Jahnne Pasco-White, and Louise Saxton.

VICTORIA A major group exhibition that explores the rich variety of materials contemporary Australian artists use in their practice. Natural fibres, minerals, discarded everyday objects and household items are foraged and upcycled to create new forms that depart from their inherent purpose.

03 9662 1484 Mon to Fri 10am–4pm, Sat & Sun 1pm–4pm, during exhibitions. See our website for latest information.

Paul Laspagis, Lysterfield Landscape 1, oil on linen, 1.3 x 1 m. essential presence that expresses a subliminal order, a harmony and permanence through a formal pictorial language. Recent Paintings Tom Sapountsis

Brock Q Piper, The Hypnotist, oil on canvas, Winner 2021. 4 March—21 March VAS George Hicks Foundation Contemporary Exhibition In this exhibition artists are asked to explore subjects from a modern perspective, challenging themselves creatively. Susie Raz, Elsa and Anneliese, 2020, oil on paper, 93 x 73 cm. Image courtesy of the artist. 1 March—9 April Community Exhibition: Between Worlds Jorge Rodrigo Ceballos, Yask Desai, Heather Felix, Andres Murcia, Susie Raz and Simone Schroeder. Between Worlds explores the migrant experience in Australia. Through four distinct bodies of work, the artists examine language, expectations, overlooked stories and family archives to illuminate the fears and struggles that come with forming a new home.

3 March—15 March Two in the Water R. Candy and L. Wang The coming together of two leading Victorian watercolourists, Lisa Wang and Rob Candy, to showcase the dynamic and spontaneous nature of watercolour. 2 March—14 March Steam Linda Weil Starting from a point of realistic naturalism, Linda Weil’s graphite drawings journey through a world of life based on cogs, gears, wheels, and mechanical constructions. 15 March—31 March Alike Ivana Marić and Trudy Kelder

Donald Bate, Freedom Flow, 2017, acrylic on stretched canvas, 203 x 99 cm. Image courtesy of the artist. 12 April—14 May Community Exhibition: The Intrigue of Images: Donald Bate The Intrigue of Images by Donald Bate is a community exhibition featuring high energy, vibrant paintings inspired by the beauty of the Australian landscape and its myriad forms.

The Victorian Artists Society www.victorianartistssociety.com.au 430 Albert Street, East Melbourne, VIC 3002 [Map 5]

Alike is a work of conceptual jewellery by Ivana Marić which examines the most profound and intimate of female relationships—those between mothers and daughters, sisters, best friends. For this exhibition, Marić teams up with photographer Trudy Kelder to explore universal female themes that connect us and also tear us apart. 16 March—5 April, Scratchboard & Watercolour – An Artist’s Journey Jan Lowe Offering a journey through Jan Lowe’s diverse art practice, this exhibition features works such as watercolour landscapes of Phillip Island, detailed scratchboard works of animals, and a series on European encounters from cities such as Prague. 23 March—5 April Solo Exhibition Paul Laspagis These paintings are drawn from the landscape, however they do not aspire to imitate what is seen but to distil an

Melbourne-based artist Tom Sapountsis’s large scale acrylic works are the product of an exploration into the relationship between form and colour, and the impact this has on a completed work’s level of energy. Each work is meticulously planned, prepared and painted—a distant mechanical process that contradicts the painting’s final, independent ‘living’ form. 6 April—19 April Autism Acceptance Month Exhibition This exhibition’s theme centers around the autistic experience of the exhibiting artists, especially as women and non-binary people who don’t fit into the autistic stereotype which results in less visibility, representation and diagnosis. As mainly expressionist artists, these works represent a highly personal and emotional sharing of experiences. 8 April—25 April VAS Autumn Select Exhibition One of three Select Exhibitions held each year by VAS, exhibiting artists cast votes that are used to decide the list of candidates for the Mavis Little Artist of the Year Award exhibition. The Autumn exhibition features the Mackley Prize for $2000 and the VAS Sculpture Prize. 20 April—3 May Artists Out of Hiding Mandy Bell Visual Artist Mandy Bell and Graeme Oliver (who also sculpts) are exhibiting artwork completed during ‘Covid Times’. They are accompanied by two guest artists Hannah Russell and George Eustice. The artwork is contemporary and offers a diverse subject range with both recent and treasured artworks from their individual work practices. 27 April—10 May Australia House Matthew Joscelyne In this exhibition, Matthew Jocelyne showcases Australia House Portraits of Australians preparing family Heritage recipes. 90 years ago, Matthew’s greatgrandmother launched The Herald Recipe Cookbook in Melbourne and Matthew will launch an updated version paying homage to his Great Grandmother Constance Drake-Brockman and the many great woman in his family. 151

wyndham.vic.gov.au/arts

VICTORIA

Vivien Anderson Gallery www.vivienandersongallery.com 284–290 St Kilda Road, St Kilda, VIC 3182 [Map 6] 03 8598 9657 Tue to Fri 11am–5pm, Sat 12noon–4pm. See our website for latest information.

Tjukapati James, Kungka Kutjara – Tjukapati, 2021, synthetic polymer paint on canvas, 147 x 147 cm. Provenance: Tjarlirli Art WA. 9 March–9 April The Women’s Show

Wangaratta Art Gallery www.wangarattaartgallery.com.au 56 Ovens Street, Wangaratta, VIC 3677 [Map 1] 03 5722 0865 Tue to Sun 10am–4pm. See our website for latest information. Until 8 March Visual Mix Tape - Artmania resident artists In response to the work of Jolt Arts and the Sonic Adventurers’ exhibition The Red Line, the studio artists of ArtMania Wangaratta have created a new body of work, Visual Mix Tape – a collection of their favourite songs as highly expressive and colourful artworks. Some offer an abstraction guided by the music, others a more literal interpretation of the lyrics or title of the song. 8 March—9 May In the After Emma White This series of new work by White navigates intergenerational legacy and the cathartic process of re-emerging after the loss of a mother. Through layered and foggy abstract representations, White’s paintings show undulating brush marks and vibrant earthy pigments that speak of landscapes, memory, and the ever-changing seasons of the North-East. The soft textural tapestries pay homage to a prolific textile practice that once belonged to her mother, existing now as rough and raw painted surfaces. The self-taught process of creating each hand-woven tapestry unpacks reflections of grief and

acknowledgement of missed opportunities and traditions that would commonly be passed from mother to daughter. 26 February—3 April The Red Line Sonic Adventurers Sonic Adventurers are a collective comprising seven emerging artists with intellectual disabilities, and two mentoring established artists. The group is an initiative started by the artists with JOLT Arts. Artists in the collective meet weekly to work on their practice with the focus of the collective being audio-visual work blended with visual art. Each of the artists has their own individual practice spanning a range of art forms including sound; visual art; video; writing performance and theatre.

Anderson Hunt, Idle Hands, red gum, forged steel, 200 x 550 x 225 mm. Wangaratta Art Gallery Collection © artist. 19 February—14 April Tonality - Wangaratta Art Gallery Collection Bringing together a selection of significant contemporary works from the Wangaratta Art Gallery and the Rural City of Wangaratta collections, this exhibition shines a spotlight on a rich and expertly curated collection established over the past 40 years. Together these works highlight practices, media and three-dimensional objects and their deep connection to views, people, place, ideologies and perspectives from a diverse group of artists from across the nation.

Walker Street Gallery and Arts Centre www.greaterdandenong.vic.gov.au/arts

Priyanka Kaur and Avneet Singh, Dancing Rani, 2021, acrylics and ink. collaborate to present a mix of abstract and illustrative artworks. 10 February—25 March Lineage and Line Michelle Neal and Angharad Neal-Williams Lineage and Line is an exhibition of drawings by Michelle Neal and Angharad Neal-Williams, a mother and daughter based in Naarm/Melbourne. The works represent finding a way to maintain their drawing practices throughout the lockdowns imposed by Covid-19. With lockdown blurring the usual markers of time their drawings became an important way to note the passing of days and to celebrate and record the small moments of a restrained life. The show reflects finding methods to maintain creative motivation and reasons to turn up regularly to draw.

Corner of Walker and Robinson Streets, Dandenong, VIC [Map 4] 03 9706 8441 Tue to Fri 12noon–4pm. See our website for latest information. 10 February—25 March JALSA: Celebration of South Asian women artists The word Jalsa suggests celebration and coming together in both Hindi and Arabic. This exhibition celebrates, brings together and amplifies South Asian women artists, who have been majorly underrepresented in the Australian artistic landscape. When women are celebrated for their arts and creativity, it amplifies their self-belief in what they can achieve. Drawing inspiration from lived experiences, rich cultures and creative journeys, in this exhibition three women artists from Indian and South Asian backgrounds

Vonda Keji, Dichotomy series, 2016, digital photograph. 5 April—17 June Seen Celebrating the local community through portraiture, Seen captures the faces and people of the City of Greater Dandenong. Join us to celebrate, through art, the people that make Greater Dandenong the vibrant place it is. 153

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westendartspace.com.au

VICTORIA

West End Art Space www.westendartspace.com.au 112 Adderley Street, West Melbourne, VIC 3003 [Map 6] 0415 243 917 Wed to Sat 11am–4pm. All other times by appointment only.

Rona Green, Pascal, 2017, hand coloured lino-print. 17 March—30 April Rona Green: 30 Years of Printmaking

Sarina Lirosi, Chapel of Dreams, 2022, archival inkjet print Ed of 3, 80 x 60 cm. 17 March—9 April Fray Sarina Lirosi Opening 23 March, 6pm–8pm.

The exhibition Rona Green: 30 Years of Printmaking is a comprehensive survey of the artist’s practice. Throughout her career, Green has demonstrated an enduring interest in the figure and dedication to developing extraordinary hybrid characters. Fuelled by a fascination with the animal, Green explores ideas about persona, transformation and the absurd. Bringing together examples of monotype, lithography, digital printing, etching, screenprinting, linocut and poppets, the exhibition provides a unique insight into the evolution of Green’s distinctive printmaking.

Wyndham Art Gallery www.wyndham.vic.gov.au/arts 177 Watton Street, Werribee, VIC 3030 [Map 1] 03 8734 6021 Mon to Fri 9am–5pm, Sat and Sun 11am–4pm, gallery closed on public holidays. See our website for latest information. 20 January—6 March Rapid Eye Movement

Carol Batchelor, Glow Round, 2022, oil on board, 90 cm diameter. 13 April—28 April Merge Carol Batchelor Guest speaker Robin Kingston.

Whitehorse Artspace www.whitehorseartspace.com.au Box Hill Town Hall, 1022 Whitehorse Road, Box Hill, VIC 3128 [Map 4] 03 9262 6250 Tue to Fri 10am–4pm, Sat 12pm–4pm. See our website for latest information.

During sleep, our brains move through five different phases. One of these is rapid eye movement (REM) where our eyes move quickly in various directions. It is here where most dreams occur, influencing our memory and mood. In an unexpected time of closure, separated from bodies, place and community, sleep has new meaning and materiality. It shapes our consciousness, movement, and social interactions. As the city stops, our dreams have exploded, populating our minds with unlimited visions and utopic desire. Rapid Eye Movement asks how we imagine and live through time, space, and our bodies, even as bureaucracy contains us. Catch these ideas in your waking hours at Wyndham Art Gallery in an exhibition guest curated by Timmah Ball and Raina Peterson, presenting the work of a range of artists exploring these possibilities. Curated by Timmah Ball and Raina Peterson. 24 March—15 May UNIFORM Abdul Abdullah, Maree Clarke, Gail

Abdul Abdulla, Zofloya (Groom). Harradine, Lisa Hilli, Cassie Leatham, Jenna Lee, Claire McArdle, Tiffany Parbs, wāni toaishara, Simone Slee and Lisa Waup. UNIFORM looks at the body as architecture, a site for response, interpretation and expression. It talks about how we use our bodies to express history, culture and experience through the use of external devices such as adornment and clothing. It reflects the internal and external body, the landscape of the body, protection and defence of the body and the gendered body. In UNIFORM the exhibition we are looking at the uniform within different cultures, societies, communities and stages in life that bind us, and also differentiate us. The wearable that defines us. Opening Thursday 24 March, 6.30pm–8.30pm.

Yering Station Art Gallery www.yering.com 38 Melba Highway, Yarra Glen, VIC 3775 [Map 4] 03 9730 0102 Mon to Fri 10am–5pm, Sat and Sun 10am–6pm. See our website for latest information. 26 February—5 April Wona Bae and Charlie Lawler Following on from their monumental installation Regenerator (2021) at the Art Gallery of NSW, their unforgettable collaboration with Melbourne street artist Rone at Burnham Beeches (2019), and numerous appearances as finalists and award recipients in the Yarra Valley Arts / Yering Station Sculpture Exhibition & Awards, collaborative duo Wona Bae and Charlie Lawler have brought their immersive, organic, concept-driven art to Yering Station’s historic winery building c. 1859. 27 February—4 April 20th Anniversary Yarra Valley Arts/Yering Station sculpture exhibition and awards. Indoor and outdoor artworks by sixty Australian sculptors. 155

A–Z Exhibitions

MARCH/APRIL 2022

New South Wales

Albermarle Street, Soudan Lane,

McLachlan Avenue, Blackfriars Street, Flood Street, Darling Street, Oxford

Street, Art Gallery Road, Powerhouse Road, Crown Street, Elizabeth Street,

Clarence Street, Glebe Point Road, Darley Street, Circular Quay West,

Hickson Road, First Street, Dean Street, Jersey Road, Watson Road, Goodhope

Street, Gosbell Street, Observatory Hill, Military Road, Edgeworth David Avenue,

Abbott Road, Riley Street, Balfour Street, Blaxland Road, Myahgah Road,

Old South Head Road

NEW S OUTH WALES

16albermarle www.16albermarle.com 16 Albermarle Street, Newtown, NSW 2042 [Map 7] 02 9550 1517 or 0433 020 237 Thu to Sat 11am–5pm, by appointment only. See our website for latest information. 16albermarle is a project space showcasing a range of international and Australian art within an intimate space in inner-city Sydney.

started in the mid 1950s with an interest in new and conceptual idea, as opposed to ISI, which had a focus on Indonesian art and culture. For decades the two schools competed, and their different philosophies could be seen in their graduates’ work. From Bandung, this exhibition features sculptor/painter Maharani Mancanagara, photographer Meicy Sitorus and video artist Eldwin Pradipta.

4A Centre for Contemporary Asian Art www.4a.com.au 181-187 Hay Street, Haymarket, Warrane/Sydney, NSW 2000 [Map 12] 02 9212 0380 See our website for latest information and opening hours.

Dick Roughsey, Dancers of the Rainbow Serpent, 1971, acrylic on board, 60 x 90 cm. © Dick Roughsey Goobalathaldin/ Copyright Agency, 2021.

Discover the joy of Matisse through over 100 works spanning six decades. This Sydney-exclusive exhibition offers an extraordinary immersion in the range and depth of one of the world’s most beloved, innovative and influential artists.

29 January—26 March Exhibition #8: Goobalathaldin Dick Roughsey & Friends Goobalathaldin Dick Roughsey (c19201985) was a Lardil artist and writer, children’s author, illustrator and a leading political figure in the early years of the Aboriginal Arts Board and Indigenous self-determination. This exhibition celebrates Goobalathaldin’s work across styles and temporalities which were the hallmark of his transcultural practice. It also features works by his peers and mentors - elder brother Lindsay Roughsey, lesser-known members of the Mornington Island art movement and artists Percy ‘bush-pilot’ Trezise and Ray Crooke.

Until 3 April Matisse Alive A vibrant festival of Matisse featuring new work, projects and art from the collection.

Marikit Santiago, The Serpent and the Swan, 2021, interior paint, acrylic, pyrography, oil and Dutch metal gold leaf on found cardboard, 162 x 77 cm. Image credit: Garry Trinh.

Maharani Mancanagara, Unjustified justify: amicus curiae, (detail), 2019, charcoal on shaped wood, 150 x 700 x 15 cm. 23 April—21 May Exhibition #9: New art from Bali and Bandung When people think of contemporary Indonesian art, the location that comes to mind is Yogyakarta. Home to the art school Institut Seni Indonesia (ISI), Jogja is famous as ‘a city of artists’. But Indonesia has other equally fascinating art scenes. Bandung for example, a large city east of Jakarta, is home to the other major art school ITB and many of its graduates. ITB

Henri Matisse, Blue nude II (Nu bleu II), 1952, gouache on paper, cut and pasted on paper, mounted on canvas, 103.8 x 86 cm. Centre Pompidou, Paris, Musée national d’art moderne, purchased 1984 AM 1984-276. © Succession H Matisse/ Copyright Agency 2021. Photo: © Centre Pompidou, MNAM-CCI / Service de la documentation photographique du MNAM / Dist RMN-GP.

5 March—8 May For us sinners Marikit Santiago

Art Gallery of New South Wales www.artgallery.nsw.gov.au Art Gallery Road, The Domain, Sydney, NSW 2000 [Map 8] 02 9225 1700 Daily 10am–5pm, Wed until late. Until 13 March Matisse: Life & Spirit, Masterpieces from the Centre Pompidou, Paris

Stephanie Majella Creigh, McCarthy, Catholic College, My Country, painting © the artist. Photograph: Robert Edwards. Until 25 April ARTEXPRESS 2022 ARTEXPRESS 2022 features a selection of outstanding student artworks developed for the art-making component of the HSC examination in Visual Arts in 2021 – a challenging year – and provides insight into students’ creativity and the issues important to them. 12 March—13 June 23rd Biennale of Sydney - rīvus In the 23rd Biennale of Sydney, participants from across six continents and beyond the realm of the visual arts will explore our connections, and disconnections, with water, and as a result, with each other.

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ar t g ui d e .c o m . au

Articulate Project Space www.articulate497.blogspot.com 497 Parramatta Road, Leichhardt, NSW 2040 [Map 7] See our website for latest information.

bition of student artworks selected from the 2021 NSW HSC practical examination in Visual Arts. The exhibition demonstrates the interests and passions of a new generation of young artists. Celebrating the artistic talents and achievements of young people, the exhibition features a selection of artworks from students who attended six local high schools: Bradfield Senior College, Chatswood High School, Glenaeon Rudolf Steiner School, Mercy Catholic College, St Pius X College and Willoughby Girls High School. 23 March—3 April Persian Graffiti Shokufeh Kavani and Arash Nedaiee.

Mark Ryan, Was Yours, Now Mine, (detail), 2022, oil, copper and paper on wood, 600 x 250 x 25 cm. 18 March—4 April Overlap Mark Ryan This solo exhibition is a culmination of culmination of Mark Ryan’s first phase PhD investigations into the themes of power, property and impermanent ownership: ’What once was yours, is now mine’ and vice versa. Furthermore, what was once no-one’s can become anyone’s. And all rights can be obliterated by aggression, obsolesce or the passage of time. From large low-relief wall sculptures to multi-piece constellations, the works on view are rendered in a colour palette and materials which appropriate the tones and textures of examined environmental resources.

This exhibition is a combination of traditional Persian calligraphy and modern Iranian abstract painting by Shokufeh Kavani and Arash Nedaiee. Persian Graffiti is a manifestation of Persian art and culture throughout history - from Persia to Iran. Through the use of traditional Persian calligraphy, this exhibition showcases two different styles of Persian art. Their work defies the Persian art canon by showing both the differences and similarities in a divided society of modern Iran.

Payne and Giselle Stanborough. This Willoughby City Council curated exhibition contemplates the technologisation of the human. It explores the notion of how technology is embedded within ‘the human’. It looks at the aspects of the body and personal identity and how these aspects may activate technology, be absorbed by it, or subsumed within it. Including immersive augmented reality installations, virtual reality, video art, sculptural installations, ephemeral art and technology based two-dimensional works, this exhibition explores art within the technological realm in a multitude of ways.

Australian Design Centre www.australiandesigncentre.com 101–115 William Street, Darlinghurst, NSW 2010 [Map 8] 02 9361 4555 Tues to Sat 11am–4pm. Free entry, donation encouraged.

6 April—24 April Beauty of Reflection Luce Lopez, Khing Sin McCotter, Eva Molnar and Vladimir Pavlovic. This is an exhibition of a diverse and vibrant collection of artworks which explore the ‘beauty of reflection’. These artists work across painting, pastel, printmaking, ceramic and mixed media to create tranquil and moody landscapes, sensual ceramics and a collection of traditional and abstract artwork. It is the nature of artists to observe beauty in the environment and within their personal experiences, but it is their ability to reflect on this beauty that allows their work to transform the experience into growth.

Opening Friday 18 March, 6pm–8pm.

Will Matthysen, Clock, 204, 2021. Photo: courtesy of the artist.

Art Space on The Concourse

10 February—15 March The Art of Making: Studio Woodworkers Australia Marvel at the unique qualities of Australian timbers and fine craft and design skills in this selection of furniture, objects and wall pieces by studio woodworkers.

www.willoughby.nsw.gov.au/arts 409 Victoria Avenue, Chatswood, NSW 2067 [Map 7] 0401 638 501 Wed to Fri 11am–5pm, Sat and Sun 11am–4pm.

31 March—25 May SIXTY: The Journal of Australian Ceramics 60th Anniversary 1962 -2022 SIXTY is a celebration of ceramics and sixty years of a publication dedicated to the craft. The exhibition is curated and produced by Australian Design Centre in partnership with The Australian Ceramics Association is an ADC On Tour national touring exhibition. Tristan Chant, Home, 2021, jacquard woven tapestry.

Grace Bu, Avaritia, 2021, photomedia. 23 February—20 March Smart Expressions 2022 Willoughby City Council presents an exhi158

27 April—29 May Human in the Wire Tully Arnot, Tristan Chant, Gary Deirmendjian, Susannah Langley (with Warren Armstrong), Trinity Morris and Sean Costello, Saffron Newey, Adam Norton, Miguel Olmo, Baden Pailthorpe, Tyler

Including outstanding work by 22 ceramic artists: Glenn Barkley, Kirsten Coelho, Greg Daly, Pippin Drysdale, Dan Elborne, Penny Evans, Honor Freeman, Susan Frost, Shannon Garson, Patsy Hely, Alison Milyika Carroll, Jeffery Mincham, Damon Moon, David Ray, Ben Richardson, Tania Rollond, Owen Rye, Jane Sawyer, Yul Scarf, Vipoo Srivilasa, Kenji Uranishi, Gerry Wedd.

NEW S OUTH WALES

Australian Galleries www.australiangalleries.com.au

prize explores the enduring importance of drawing within contemporary art practice. $5 entry adults, Under 18s free.

28 and 35 Derby Street, Collingwood, VIC 3066 [Map 3] 03 9417 4303 Open 7 days 10am– 6pm. 8 March—26 March From observation Julian Twigg 8 March—26 March Something This Way Comes Dianne Fogwell

Fleur MacDonald: Based on a True Story

8 March—26 March Kyoko Imazu Hiding Spots

Damian Wells, “Colours, like features, follow the changes of emotions” - Picasso, 2021, acrylic on canvas.

8 March—26 March Birds & Flowers Kate Hudson

16 April—25 June ARTEXPRESS

5 April—30 April Thornton Walker (TBC)

5 April—30 April There Boroughs Marina Strocchi

Based on a True Story references the once-popular craft of doily making practiced by women to lend their homes an air of gentility. A BRAG Foyer Space Exhibition.

Bathurst Regional Art Gallery

The drought which spread throughout Australia in the early 1950s was considered at the time to be the worst in the living memory. In 1952, artist Sidney Nolan was commissioned by The Courier Mail newspaper to photograph its deadly effects on northern Queensland’s stock routes. Nolan’s drought paintings and drawings are a direct response to this photographic series depicting the emaciated carcasses of horses and cattle. Drought features a selection of paintings loaned from the Geoffrey Hassall Collection, alongside evocative photographs from the Benalla Art Gallery collection. A BRAG Exhibition.

70–78 Keppel Street, Bathurst, NSW 2795 [Map 12] 02 6333 6555 Tue to Fri 10am–5pm, Sat and Sun 10am–2pm, public holidays 11am–2pm.

5 April—30 April City Characters Chris Ingham

25 Frome Street, Moree, NSW 2400 [Map 12] 02 6757 3320 Mon to Fri 10am–5pm, Sat 10am–1pm. See our website for latest information.

Yvonne East, Concerns with representation of the beloved, Austen age 14, 2020, charcoal on canvas, 74 x 85 cm. Image courtesy and © the artist. 18 February—9 April Dobell Drawing Prize An unparalleled celebration of drawing technique and innovation. Presented by the National Arts School, the biennial

9 April—5 June Sidney Nolan: Drought

Robert Hirschmann: Past Night

Bank Art Museum Moree (BAMM) www.bamm.org.au

Kandos-based artist Fleur MacDonald combines painted renditions of crocheted, tatted and knitted doilies with repurposed wooden salad and serving bowls, platters and trays.

An annual exhibition featuring a selection of outstanding student artworks developed for the HSC examination in visual arts in NSW. $5 entry adults, under 18s free.

www.bathurstart.com.au

Marina Strocchi, Tenement Lower East Side, 2021, acrylic on paper, 25 x 35 cm.

in 2021. Resident artists Tom Buckland, Genevieve Carroll, Harrie Fasher, Locust Jones and Aleshia Lonsdale were given an opportunity to expand their practice into a new medium, acquire new skills, and create an original animation. The resulting work and installations are showcased in CEL alongside the work of Todd Fuller, Damian Gasgoigne, Deborah Kelly and works by international artists William Kentridge, Geng Xue, and Sun Xun on loan from the Art Gallery of New South Wales and White Rabbit Gallery, Sydney. This exhibition is supported by BRAGS Inc., Create NSW Arts Restart, and Arts OutWest. A BRAG Exhibition.

William Kentridge, Tide table, 2003, 35mm film transferred to digital tape (betacam) shown as single channel digital video, black and white, sound, duration: 00:08:53 min; aspect ratio: 4:3. Collection Art Gallery of New South Wales, Purchased 2005. Photo: Diana Panuccio.

Reflections on life, death and rejuvenation are explored by artist Robert Hirschmann in asuite of paintings celebrating a new chapter in his life: the move from North East Victoria, through Sydney to the Central West region, and new beginnings at Portland. Hirschmann has been represented by King Street Gallery on William, Sydney, since 1990. A BRAG Exhibition.

12 February—3 April CEL: The Artist as Animator CEL is a synthesis of local, national, and international artists working with what South African artist William Kentridge calls “stone-age animation” (stopmotion animation) wherein the hand of the artist is ever present. These visually rich animations convey complex and at times fanciful narratives through a seemingly simple medium, cutting through technology to form a direct connection with the viewer. Under the tutorage of animator Damian Gascoigne, five regional artists from various disciplines were instructed in the foundations of animation during a residential intensive in Hill End

Nicola Mason, Cup full,2021, oil on canvas, 46 x 46 cm. Image and photo: Courtesy of the artist. 9 April—5 June Nicola Mason: Cycle 159

ar t g ui d e .c o m . au Bathurst Regional Gallery continued... For artist Nicola Mason, staying home through recent lockdowns has suited her creative lifestyle. In her domestic setting, nostalgic household appliances, loved kids’ toys, and finds from her daily walks with her four-legged friends all make appearances in the theatre of her still-life works. Mason was the recipient of a Create NSW Small Project Grant for development of work for this exhibition. A BRAG Exhibition. Hui Selwood: Cubi And Other Passage Hill End-based sculptor Hui Selwood presents a collection of painted steel sculptures of an abstract nature. In drawing inspiration from American sculptor David Smith’s final series of geometric stainless-steel works titled Cubi, Selwood cites their significance in their ability to illustrate not only the great pursuit of geometric abstract composition but also their nod to a figurative nature. A BRAG Foyer Space Exhibition.

Blacktown Arts Centre www.blacktownarts.com.au 78 Flushcombe Road, Blacktown, NSW 2148 [Map 12] 02 9839 6558 Tue to Sat 10am–5pm. See our website for latest information. 4 March—31 March Blacktown Proper Way In traditional Aboriginal society, women and men had distinct and gender specific roles they performed in their communities. Blacktown Proper Way maintains these ancient and evolving traditions of women’s and men’s business in today’s Australian society as local Blacktown

Aboriginal artists come together to explore and celebrate the uniqueness of producing art from a culturally proper way perspective. Blacktown Proper Way is about connection. In gender specific groups, men and women strengthen their connection with each other. Gathering together is how to establish connection.

5 March—25 April Noel Burgess: The Sound of Memories Woodford Academy A Blue Mountains Cultural Centre Exposé Program exhibition.

The project includes a series of cultural art-making workshops and public programs. Blacktown Proper Way is curated by Jamie Eastwood. 8 April—6 May Talking Posters: Garage Graphix 1981–1998 Talking Posters: Garage Graphix 1981–1998 presents a selection of screen-printed artworks, textiles and calendars alongside original equipment and materials from the renowned ‘Garage’ in Mt Druitt. The exhibition reveals the role of artistic collaboration in giving voice to community concerns, expressed through the unique styles and typography from a pre-digital era of poster-making. An artist-led print studio will run throughout the exhibition giving open access for visitors to create their own screen-print.

Blue Mountains City Art Gallery www.bluemountainsculturalcentre.com.au Blue Mountains Cultural Centre, 30 Parke Street, Katoomba NSW 2780 [Map 11] 02 4780 5410 Mon to Fri 10am–5pm, Sat and Sun 10am–4pm. Admission fees apply.

Clara Hali, Mini Stupas, 2020–21, wood, metal and found materials, various dimensions. Courtesy of the artist. 26 March—22 May Clara Hali: The Circle & The Square A Blue Mountains City Art Gallery exhibition.

Chalk Horse www.chalkhorse.com.au 167 William Street, Darlinghurst, Sydney, 2010 NSW [Map 9] 02 9356 3317 Tues to Sat 11am–6pm.

Dean Brown, Day 4, 2022, oil on aluminium in powder coated steel, 60 x 75 cm. 24 March—16 April What’s left behind Dean Brown

Peoples’ Choice Winner 2021, Ben Pearse, Interconnection – portrait of Becky Chatfield. Courtesy of the artist. 22 January—20 March Blue Mountains Portraits 2022 A Blue Mountains City Art Gallery exhibition. Leeanne Donohoe, Talking Posters, 1982, screen-print on paper, 55 x 36 cm. © the artist. 160

Tracy Ponich: Business Not Usual

Maudie Jerrold, The Seagulls and Cormack Birds, acrylic on canvas, 152 x 76 cm.

Free exhibition. A Blue Mountains City Art Gallery Exposé Program exhibition.

24 March—16 April Yinjaa Barni Group Show

NEW S OUTH WALES are unique, vibrant and fearless in the tradition of political cartooning.

Chau Chak Wing Museum www.sydney.edu.au/museum The University of Sydney, University Place, Camperdown, NSW 2006 [Map 9] 02 9351 2812 Open 7 days, free entry. Mon to Fri 10am–5pm, Weekends 12–4pm. See our website for latest information. Lantern slide, Poinciana regis, unknown Pacific location, early-mid 20th century, Macleay Collections, HP2008.1.141. contemporary culture to the histories captured in these photographs. Until 26 June Sarah Goffman: Applied Arts An immersive deep dive into the interdisciplinary art practice of Sarah Goffman. Intricate and playful, Goffman transforms recycled material, mostly plastic, into artworks that reference larger histories such as the orientalist fascinations of Western collectors. Peter Sedgley, Chromosphere, 1967, polyvinyl acetate emulsion paint on linen canvas, dichroic lamps with timer and dimming units. Power Collection. PW1967.22.a-b. Until 27 November Light & Darkness This evocative theme unites 70 artworks from the Power Collection, exploring luminosity, colour, movement, race and politics across three decades of late modernism. Light & Darkness is a major exhibition drawing on the University of Sydney’s Power Collection. It spans the luminal, op and kinetic works of the 1960s by major artists such as Jean Tinguely and Bridget Riley; the political and conceptual art of the 1970s with Ed Kienholtz and On Kawara; and Australian and New Zealander artists in the 1980s, including Peter Tyndall, Jenny Watson and Colin McCahon. The exhibition and accompanying book are the first projects from the University’s extensive collection of international contemporary art in its new home at the Chau Chak Wing Museum. Entry is free and no bookings are required.

Cowra Regional Art Gallery www.cowraartgallery.com.au 77 Darling Street, Cowra, NSW 2794 [Map 12] 02 6340 2190 Tue to Sat 10am–4pm, Sun 2pm–4pm. Admission Free. See our website for latest information.

Until July Pacific Views

Glen Le Lievre, Free At Last, Patreon, 11 October 2021.

Stunning historical photographs of Papua New Guinea, Fiji, Tonga, Nauru and the Federated States of Micronesia are brought to life through the contemporary voices, songs and poetry of Pacific peoples. The images selected for this exhibition date back to the 1870s and reveal views of fragile, flourishing and diverse ecosystems nurtured by Pacific Islander peoples during a time of colonisation. Full of promise and purpose these views are joined with Pacific Islander voices of our own time. Through audio recordings, oration and poetry, the resonating voices and songs of Pacific peoples connect

The exhibition theme Prophecy & Chance acknowledges our discomfort with uncertainty and our quest to know what the future holds, rummaging in the fortune-teller’s chest for a crystal ball. On tour from the Museum of Australian Democracy at Old Parliament House Behind the Lines celebrates the role of political cartoonists in Australia and highlights the power that their drawings have in contributing to our daily political and social discourse. The works in this thought-provoking exhibition

Kathrin Longhurst, Kate, oil on linen, 125 x 125 x 4 cm (winner of the Packing Room Prize). 19 March—1 May Archibald Prize 2021 Anticipated by artists and audiences alike the annual Archibald Prize is Australia’s favourite portrait prize. First awarded in 1921, it is one of Australia’s oldest and most prestigious art awards. Judged by the trustees of the Art Gallery of NSW and awarded to the best portrait painting, the Archibald Prize exhibition is a who’s who of Australian culture – from politicians to celebrities, sporting heroes to artists. The touring exhibition is an opportunity to see the finalists in the Archibald Prize 2021. More information including the Young Archie finalist’s exhibition is available at the Gallery website.

Darren Knight Gallery www.darrenknightgallery.com 840 Elizabeth Street, Waterloo, NSW 2017 [Map 8] 02 9699 5353 Tue to Sat 10am–5pm. See our website for latest information.

6 February—6 March Behind the Lines: The Years Best Political Cartoons for 2021

Robyn Stacey, Where it begins (Green), 2021, photographic print on metallic paper, Ed.5 + 3AP, 90 x 90 cm. 12 March—9 April Just Light Robyn Stacey

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13 March—2 April The Scene and the Unseen Tom Arthur Opening Sunday 13 March.

Bill Brown, Fallen Angels, 2003-2021, mixed media on canvas, 168 x 230 cm. 13 March—2 April Drawing is the Bridge Bill Brown Opening Sunday 13 March. 10 April—30 April Still Life 2022 Opening Sunday 10 April. 10 April—30 April Harvey Shields Opening Sunday 10 April. Michelle Nikou, Studio detail, Adelaide, 2021. 23 April—21 May Recent work Michelle Nikou The Natural Years Matlok Griffiths

Defiance Gallery www.defiancegallery.com 12 Mary Place, Paddington, NSW 2021 [Map 10] 02 9557 8483 Director: Campbell RobertsonSwann. Wed to Sat 11am–5pm.

Fairfield City Museum & Gallery www.fairfieldcity.nsw.gov.au/fcmg

Niramsin Yakou, Untitled, 2021. Image courtesy of the artist. a performer, choreographer and community worker, capturing the true spirit of Fairfield.

Flinders Street Gallery www.flindersstreetgallery.com 61 Flinders Street, Surry Hills, NSW 2010 [Map 9] 02 9380 5663 Wed to Sat 11am–6pm, or by appointment. See our website for latest information.

364 The Horsley Drive, Smithfield, NSW 2164 02 9725 0290 Tue to Fri 10am–4pm, Sat 10am–2pm. See our website for latest information.

Mimi Jaksic-Berger, Nature is Dancing, oil on canvas, 122 x 244 cm. 5 March–26 March Art and Soul – 38th Solo Mimi Jaksic-Berger Opening 5 March, 4pm–6pm.

Re-right Collective ( Carmen GlynnBraun and Dennis Golding), For the Record, 2021, photograph by Document Photography. 23 October 2021—9 April Extra/ordinary Extra/Ordinary presents a creative response to Fairfield City Museum & Gallery’s museum collection through art installations and prose. Artists and writers reflect on the stories told and left untold by our objects, photographs and records. 12 March—25 June Niramsin Yakou: Fairiety Show Tom Arthur, Burke Without Wills, 2013, mixed media, polyester resin, glass, painted wood, 97 x 50 x 44 cm.

Fairfield City Museum & Gallery’s artist in residence, Niramsin Yakou, welcomes you into his world of music and dance. Fairiety Show brings together his work as

Luke Crouch, Dad in Tokyo, early nineties, acrylic on linen, 40 x 50 cm. 2 April–30 April Tokyo Bubble Luke Crouch

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Mimi Jaksic-Berger, Nature is Dancing, oil on canvas, 122x244cm

61 Flinders Street, Surry Hills, NSW 2010 Wed to Sat 11am – 6pm or by appointment. p: 02 9380 5663 flindersstgallery www.flindersstreetgallery.com info@flindersstreetgallery.com flindersstreetgallery.com

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Gaffa Gallery www.gaffa.com.au 281 Clarence Street, Sydney, NSW 2000 [Map 8] 02 9283 4273 Mon to Fri 10am–6pm, Sat 10am–5pm.

21 April—2 May Parallel Play Christine Myerscough Another Space Bronwyn Treacy MISPRINT More Than Reproduction The Winter Show Steve Starr

Gallery76 www.embroiderersguildnsw.org. au/Gallery76

Maria Constantinescu, Transient 10, 2019, Raku fired clay, 12 x 11 x 9 cm. 24 February—7 March Radiant Maria Constantinescu

76 Queen Street, Concord West, NSW 2138 02 9743 2501 instagram: @gallery76_queenst Mon to Fri 9am–4pm, Sat and Sun 10am–2pm. Closed public holidays. Fully wheelchair accessible. Street parking and easy public transport access.

matter how seemingly distant and unknown. Taking inspiration from the traditional Polish ‘wianek’ (flower crown), each wearable piece utilises vintage Polish linen Australiana textiles, Japanese linen/silk threads, and materials from the wild to sustain a matrilineal thread across generations and geographies. The exhibition will be opened on Saturday 2 April by the Polish Consular General, Ms Monika Konczyk.

Gallery Lane Cove www.gallerylanecove.com.au Upper Level, 164 Longueville Road, Lane Cove, NSW 2066 [Map 7] 02 9428 4898 Mon to Sat 10am–4.30pm.

Small Town Boy Liz Bradshaw Good Grief: Contemporary Mourning Rebecca Kilpatrick

Photo by Chris Bowman. 7 March—2 April The Turning – whisper to the silent earth tranSTURM

From The Corners Cailyn Forrest 10 March—21 March Graze Georgia Wilde Free And For Sale Lily platts What Comes Afterwards, When Everything has been Said Ali Tahayori Postcards from The Edges: From Sydney and Cork to Santander Josephine Duffy 24 March—4 April Pearlies Ian Thomas Entanglement Gloria McGrath Reoccurring Locations Amber Simon

Andrea McCallum, Large White Vessel. 4 March—31 March Wild Wool: Australian Felt Art Curated group exhibition Wild Wool brings together some of Australia’s most exciting artists working with felt as a medium. The exhibition gives a glimpse into the breadth and diversity felt as an artform has to offer. Felting is an ancient practice which uses various natural fibres (traditionally wool or furs) to create a low-impact, completely bio-degradable material which has incredibly diverse applications. Join us on the evening of Friday 4 March for the exhibition opening.

Chris Bowman, Anita Kelly, Rachel Walls and Rachael Priddel with original sound composition by Roger Mills. Lighting design by Mike Day, with animation by Holger Deuter and Jason Benedek and choreography by Dean Walsh. The Turning draws from the timeless Greek myth of Orpheus and the rich metaphors embodied in The Sonnets to Orpheus by Rainer Maria Rilke - a form of parable that explores wonder, fragility, love, conflict, and loss. Through sound, animation, light, sculpture, poetry and video, The Turning reimagines the Lane Cove River and celebrates the presence of rivers in our lives. This exhibition is supported by Create NSW’s annual organisation grant. 6 April—7 May Drawn by Stones Dean Cross. Ray Chan See Kwong with Chuen Lung community members Ruth Ju-shih Li, Wen-Hsi Harman with Lakaw, Dogin, Palos, Lisin and Byimu Jody Rallah.

Kate Smith, Carillon, 2021, oil on canvas, 36 x 46 cm. 24 March—4 April Glimpse Kate Smith 7 April—18 April 360 in 360 Scott Portelli

Drawn by stones is a travelling exhibition presented in partnership with 4A Centre for Contemporary Asian Art. Curated by Bridie Moran with Assistant Curator Annette An-Jen Liu. Supported by the Ministry of Culture Taiwan and the Taipei Economic and Cultural Office in Sydney, and The Gordon Darling Foundation. Grace Pundyk, Heirloom Wianek. 2 April—1 May Heirloom: A Celebration of Herstories Grace Pundyk Heirloom: A Celebration of Herstories is a celebration of inheritance, of grandmothers, of the ephemeral wild and those invisible threads that move and shape us no

6 April—7 May Longing for Home Pamela Leung With installation, video, sound, sculpture and painting, Leung explores the connection about the place where we come from or belong to,the idea of ‘home’ from an immigrant perspective. 165

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Gang Gang Gallery www.gggallery.com.au 206 Main Street, Lithgow, NSW 2790 [Map 12] 0408 514 440 Thurs to Sun 10.30am–4.30pm.

Glasshouse Port Macquarie www.glasshouse.org.au Corner Clarence and Hay streets, Port Macquarie, NSW 2444 [Map 12] 02 6581 8888 Tues to Fri 10am–4pm, Sat and Sun 10am–2pm.

Catriona Pollard, As the Rain Falls Over the Mountains.

Bringing together four exceptional Australian artists who use nature to influence their works of art - Fibre Artist Catriona Pollard, Ceramist Michelle Perrett, Painter/Printmaker, Gary Shinfield and Printmaker/Etch Tone Texture Cheryl McCoy. This exhibition will include natural sculptures, ceramics and prints that explore colour, texture and organic form of the inspirational wilderness of the Blue Mountains NSW. Opening event 5 March, 2pm.

Mating Dance by Anna-Wili Highfield is an installation of courtship formations. The sculptures are an homage to the Brolga - Australia’s principal dancing bird. Suspended like marionettes, the birds are sewn from waxed cotton and have stopped mid-ballet. They gesture call, response and mimicry. Composer and Musician, Bree Van Ryke has created an accompanying sound work. Bree’s piece will intermittently shock the dancing birds, with music inspired by the Brolga’s bold honking. This sacred bird has forever inspired stories and dance from Australia’s First Nations people, who in shared spirit see and feel it. Anna-Wili’s aim is to engineer a moment of contact with nature, in a way that emphasises similarity of form and consciousness shared by both humans and animals.

3 March—27 March Where Mountains Meet Infinity This exhibition explores our relationship with mountains as we traverse over them and how they impact our sense of space, time and perspective.

12 February—1 May Mating Dance Anna-Wili Highfield

You and Me, community made embroidery facilitated by Liam Benson. 5 February—24 April You Already Know Liam Benson You Already Know reflects the intuitive ways we collect and process our experiences, how they inform us, who we are culturally and the unspoken ways these memories are transferred and transmuted within relationships, amongst community, and between generations. Featuring new work created through community engagement during the artist’s digital residency, You Already Know reflects the complex perspectives we embrace and the unspoken ways we share our experiences with one another.

The Artist in Residency program supporting the development of new work and connects contemporary artists with our community.

Goulburn Regional Art Gallery www.goulburnregionalartgallery.com.au 184 Bourke Street, Goulburn, NSW 2580 [Map 12] 02 4823 4494 Mon to Fri 9am–5pm, Sat 12noon–4pm. See our website for latest information.

Liam’s digital residency with the Glasshouse was in collaboration with the Mid North Coast community via online submissions from people connected to the area, including images and stories that reflect local identities and experiences.

Penelope Oates, My Backyard. 7 April—24 April Ephemeral Penelope Oates, Kristine Ballard, Carol Gill and ceramicist Nicola Coady. Ephemeral = transitory, fleeting, temporary, brief, momentary. Most landscape artists work is inspired by the environment. The seasonal changing scape of the landscape, the spontaneous mass blooming of flora, the arrival of migratory birds, the sudden ravage of wildfire, the emergence of regrowth captures the journey in each artists chosen medium. Vistas become ideas, cameras capture moments that become sketches and transition into finished artworks that are all generated from brief glimpses of and momentary experiences in the landscape. Opening event 9 April, 2pm. 166

Ray Monde, Cradle of yellow buttons, (detail), 2021, over-painted paper and synthetic polymer paint on canvas. Image courtesy of the artist. 18 March–30 April What the Wayfarer Saw Ray Monde

Anna-Wili Highfield, Studio shot. Photograph: Peter Van Alphen.

What the Wayfarer Saw charts the artist, Ray Monde’s, 86 kilometre journey on foot from Goulburn to Braidwood over six days. Monde met a host of people on his

NEW S OUTH WALES journey, sleeping by the roadside, in pubs and country homes along the way. The slow pace of walking allowed the artist to deeply connect with people and place.

Hazelhurst Arts Centre

This ‘beautiful and brutal’ journey brought to the fore the artist’s personal experience of queerness within the framework of regional Australia and involved a process of vulnerability, exchange and openness.

782 Kingsway, Gymea, NSW 2227 [Map 11] 02 8536 5700 Open daily 10am–4pm. Free admission. See our website for latest information.

Monde’s practice involves hand-tearing and over-painting fragments of paper sourced from magazines. These elements are layered into detailed compositions that speak to the artist’s relationship with the physical and emotional landscapes that surround him. Monde lives and works between Braidwood, Australia, and Seattle, United States of America. This exhibition is the artist’s first major solo exhibition at a public gallery. Monde has exhibited widely and his works are held in collections in Australia and internationally.

www.hazelhurst.com.au

Figures - Greenpatch, 2020, Crayon on paper, 28 x 36 cm. Courtesy of Euan Macleod and Kings Street Gallery on William, Sydney. 30 March—14 April Euan Macleod Plein air Presented by 3:33 Art Projects Young Curators, with Abbotsleigh and Hornsby Girls High School. 3:33 Art Projects has created the Young Curators program to partner with secondary schools and arts education whilst supporting Australian artists.

Set amid landscaped gardens, Hazelhurst Arts Centre has been specifically designed to appeal to the whole community. The combination of a major public gallery with a comprehensive arts centre, cafe, theatrette and community gallery makes a unique creative resource for everyone.

Granville Centre Art Gallery www.cumberland.nsw.gov.au/arts

Rosalind Lemoh, Certified Empty, (detail), 2021, perspex, decommissioned ammunition boxes. Photograph: Damien Geary. 18 March–30 April Rosalind Lemoh Gundaroo-based artist, Rosalind Lemoh, embraces a variety of techniques in her work including casting, assemblage, light and text. Lemoh’s practice involves making detailed silicone rubber moulds to replicate found objects in concrete, bronze and aluminium. The cast objects mimic details like wear and decay. Lemoh’s work is informed by a range of influences including Arte de Povera, concrete poetry, natural history collections and memorials. Through her practice, the artist actively explores her identity as a female artist of colour working within an Australian context. The works in this exhibition seek to translate internal psychological spaces into sculptural forms.

Grace Cossington Smith Gallery www.gcsgallery.com.au Gate 7, 1666 Pacific Highway, Wahroonga, NSW 2076 [Map 7] 02 9473 7878 facebook.com/gcsgallery Free entry. Tues to Sat 10am–5pm. See our website for latest information. 5 March—26 March ART NORTH celebrating works created by HSC 2021 Visual Arts students from schools in the Ku-ring-gai and Hornsby area.

1 Memorial Drive, Granville, NSW 2142 [Map 7] 02 8757 9029

Martin King, strangerlands II, 2021, graphite, watercolour, gouache, gold foil on drafting film and paper. Winner of the Hazelhurst Art on Paper Award 2021.

Granville Centre Art Gallery is a cultural facility of Cumberland City Council and is supported by the NSW Government through Create NSW. The gallery presents a wide range of innovative and thought provoking exhibitions, events and educational programming throughout the year. Winner of the Hazelhurst Art on Paper Award 2019. Robert Ewing, Chaos and Consequence, 2017, coloured pencil on cotton paper. © the artist. 22 January–27 March Hazelhurst Art on Paper Award 2021

Shireen Taweel, Devices for Listening, 2020, engraved and pierced copper. 10 February—1 May Destiny Disrupted Curated by Nur Shkembi A group exhibition that brings together artists who each explore narratives that contain the criticality, fragility, beauty, and brutality of the inherent nature of humanity. The role of the artist can be as a witness, changemaker, agitator, disruptor and social agent and in the act of such disruption, we find the innate desire to grapple with our destiny, an action which breaks open the possibilities of the future. The artist as the interlocutor and provocateur in all its wonderous forms is alive and beckoning the future to be reimagined, for destiny to be disrupted, and that itself is indeed a commitment to our humanity and to our future history.

The biennial Hazelhurst Art on Paper Award is a significant national exhibition that aims to elevate the status of works on paper while supporting and promoting artists working with this medium. Exhibiting the works of 93 finalists from across Australia the awards include a total prize value of over $25,000. 9 April–13 June ZOOMERS | Excellence in HSC Visual Art Curated by Hazelhurst, this selection of HSC 2021 Bodies of Work from students across New South Wales, is the visual voice of Generation Z. Works exhibited showcase best practice in Visual Art Education and reflect the collaboration between teachers and students who in 2021 developed new ways of learning and artmaking in an online environment. Ambitious and exciting, Zoomers includes a broad range of approaches to art and expressive forms and is sure to inspire the next generation. 167

Environmental Art & Design Prize Northern Beaches 2022 Call out for entries Share your work and innovative ideas for a better and greener future. Entries open Australia-wide, across nine categories with a $40,000 prize pool. Judging panel Environmental artist Janet Laurence Designer and founder KITX Kit Willow Architect and USYD lecturer Dr Michael Mossman Entries now open Closing 11 May 2022, 5pm

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Hurstville Museum & Gallery www.georgesriver.nsw.gov.au/HMG 14 MacMahon Street, Hurstville, NSW 2220 [Map 11] 02 9330 6444 Tue to Fri 10am—4pm, Sat 10am—4pm, Sun 2pm—5pm. See our website for latest information Hurstville Museum & Gallery is home to approximately 6,000 objects and artworks from the local area.

23 February—13 March More Myself - A Journey of Self Love Tracy Stirzaker This solo exhibition explores themes of self-worth, self-love and self-care which resonate strongly with current times. Featuring textiles, painting, encaustics, works on paper and immersive installations, More Myself provides a commentary on society through an investigation of the body and human experience from a female perspective. Drawing on her lived experience, Tracy Stirzaker’s thought-provoking artworks take visitors on a journey of self-discovery and self-love.

Ample, Film still from Life Blood, 2021. 18 February—2 July continuum: Independent animation from Japan and Australia

Seong Cho, Australian Rhapsody V, 2020, woodblock print. 16 March—3 April Terrestrial Symphony Seong Cho

Ruth Downes, A very close shave, 2019, disposable razor blades. 29 January–24 April Barely Wearable: Body adornment for the age of overconsumption Ruth Downes This body of work is a continuation of Ruth Downes’ passion for reappropriating everyday materials and objects to celebrate their intrinsic beauty. Materials for these 30 ‘wearable’ artworks have been gleaned from a diverse range of sources – from aircraft headsets to coffee capsules. Detritus from nature has also been salvaged to be re-born as a fashion statement.

Incinerator Art Space www.willoughby.nsw.gov.au/arts 2 Small Street, Willoughby, NSW 2068 [Map 7] 0401 638 501 Wed to Sun 10am–4pm. See our website for latest information.

Terrestrial Symphony is an abstract exploration of the natural world and humanity’s complex relationship with it. Through her printmaking practice, Seong Cho presents the interconnection of the four worldly elements in a collection of visual allegorical narratives that juxtapose the meditative state of the natural world against the cacophony of human society. Cho captures the complexity of earthly phenomena and the human experience by inviting the viewer into a transcendental reflection on their inner selves and relationship with their fellow humans and the biosphere. 6 April—1 May Tethered Annelies Jahn and Jane Burton Taylor. Tethered investigates the natural world within a legacy of colonisation. The artists explore harbour front parks within the Willoughby precinct, making artworks in response to the layered history revealed within these near-pristine stretches of bush. They aim to sensitise themselves and others to the Indigenous landscape present within the urbanised city, celebrating the natural legacy we have inherited and our inevitable inter-dependence with it. The artists use contemporary mediums to create a sensorial installation, including sound work and projection.

Our humanity is a continuum of consciousness. Of Being-time. Of being. In space and time. It is the only perception that changes and it is this wondrous complexity of this perception that is at the heart of this curation of Australian and Japanese animation. continuum showcases the next generation of animators across Australia and Japan, curated by Deborah Szapiro and Honami Yano, advised by Koji Yamamura. Featuring over 10 animations and process works, the exhibition engages in the concept of continuum and the universal human experience.

The Ken Done Gallery www.kendone.com 1 Hickson Road, The Rocks, NSW 2000 [Map 8] 02 8274 4599 Open daily 10am–5pm. See our website for latest information.

The Japan Foundation Gallery www.jpf.org.au

Tracy Stirzaker, A Moment, Sitting Up There Like Jackie, 2021, acrylic on canvas with hand embroidery.

Level 4, Central Park, 28 Broadway, Chippendale, NSW 2008 [Map 9] 02 8239 0055 See our website for latest information.

Ken Done, Pink morning, 2021, oil and acrylic on linen, 152 x 122 cm. 18 February—13 April Recent Work Ken Done 169

Fellia Melas Gallery

Other works by: Boyd, Dickerson, Crooke, Gittoes, Whiteley, Woodward, Coleman, Coburn, Olsen, Canning, Campbell and many others…

John Firth-Smith, “Rising”, oil on canvas, 120 x 120 cm.

2 Moncur Street, Woollahra NSW, 2025. Open 7 Days, Tuesday to Saturday 10am – 5pm, Sunday – Monday by appointment only. (02) 9363 5616 www.fmelasgallery.com.au e: art@fmelasgallery.com.au

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The Lock-Up → Emma Fielden, Andromeda and the Milky Way, 2021, still image from 4K video with sound, 4 hours 33 minutes, performed by Emma Fielden and Lizzie Thomson, filmed by Dara Gill, edition of 3 + 2AP.

King Street Gallery on William www.kingstreetgallery.com.au 177–185 William Street, Darlinghurst, NSW 2010 [Map 9] 02 9360 9727 Tues to Sat 10am–6pm. 22 February—19 March Formations and Rhythms John Peart

19 April—14 May Cambalong Creek Lucy Culliton

The Lock-Up www.thelockup.org.au 90 Hunter Street, Newcastle, NSW 2300 [Map 12] facebook.com/TheLockUpArtSpace Instagram: thelockupartspace Wed to Sat 10am–4pm, Sun 11am–3pm. 26 March—15 July Radical Slowness Akil Ahamat, Tane Andrew, Dean Cross, Emma Fielden, Aude Parichot and Izabela Pluta. Curated by Anna May Kirk and Tai Mitsuji.

Macquarie University Art Gallery Tom Carment, Water’s Edge, Gravel Bay I , 2021, oil on linen, 23 x 30 cm. 22 March—16 April Two Years in South Australia Tom Carment

www.artgallery.mq.edu.au The Chancellery, 19 Eastern Road, Macquarie University [Map 5] 02 9850 7437 Wed to Fri 10am–4pm. Group bookings must be made in advance. See our website for latest information. 4 March—25 May Luminosity: Salvatore Zofrea Retrospective Macquarie University Art Gallery Curator: Rhonda Davis. 4 April—29 April Luminosity: Salvatore Zofrea Retrospective New South Wales Parliament Fountain Court Exhibition Space. Curator: Leonard Janiszewski.

Lucy Culliton, Windmill Hole, Front Paddock, 2021, oil on board, 183 x 183 cm.

Luminosity presents the work of leading Australian artist Salvatore Zofrea,

Salvatore Zofrea, The watertrap, 1979, oil on canvas, 152 x 334 cm. Donated through the Australian Government’s Cultural Gifts Program by Jenny Hillman, 2021, Macquarie University Art Collection. Photograph: Effy Alexakis, Photowrite. spanning a 60-year period. Zofrea has developed a unique visual language bridging the gap between the physical and spiritual worlds. He produces paintings that are alive with the tangibility of existence and in the intangibility of things felt. Luminosity presents a balanced and accumulative view of his life’s work. The continuity between his early figurative and landscape works through to the more recent paintings in their misty fusion of light and colour evidences Zofrea’s mainstay of vision. Luminosity attests to the strength and depth of Zofrea’s vision that invites viewers into worlds both familiar and strange. The exhibition celebrates Zofrea’s life’s work that is everlasting.

Maitland Regional Art Gallery www.mrag.org.au 230 High Street, Maitland, NSW 2320 [Map 12] Gallery & Shop Tue to Sun 10am–5pm. Café 8am–3pm. Free entry, donations always welcomed. 22 January—6 March Archibald Prize 2021 171

Feyona van Stom at La Perouse Museum International Women’s Day A conversation between sculpture and museum collections 8 to 16 March 2022

The exhibition comprising powerful and alluring sculptures, juxtaposed alongside The Museum’s permanent collections. The resulting conversations between Ms. van Stom’s stunning works and the collection throughout the Museum not only challenge the predominantly traditional patriarchal readings of history, but also create an unexpectedly and beautiful connection between the old and the new. La Perouse Museum, Randwick City Council 1542 Anzac Parade, La Perouse, NSW 2036 02 9093 6190 www.randwick.nsw.gov.au Visiting hours: Tuesday 8th March, 10am to 2pm, Wednesday 9th March 10am to 2pm, Friday 11th March 10am to 2pm, Saturday 12th March 10am to 4pm, Sunday 13th March 10am to 4pm, Wednesday 16th March 10am to 2pm.

Enquiries and Sales contact : feyonavanstom@gmail.com 0408 226 827 www.vanstom.com Visitors must be fully vaccinated, wear a mask, and use the Museum’s QR code check-in Feyona van Stom, Twilight, Blackfired handbuilt torso.

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Manly Art Gallery & Museum www.magam.com.au West Esplanade, Manly, NSW 2095 [Map 7] 02 9976 1421 Tue to Sun 10am–5pm. See our website for latest information.

Martin Browne Contemporary www.martinbrownecontemporary.com 15 Hampden Street, Paddington, NSW 2021 [Map 10] 02 9331 7997 Tue to Sun 10.30am–6pm. See our website for latest information.

15 December 2021—20 March Aleta Wassell: Burumerring Nura (Wedge-Tailed Eagle Country)

NoŊgirrŊa Marawili, Baratjala, (detail) 2020, earth pigments and recycled print toner on stringybark. 19 February—14 August Daughter of the Lightning Snake Noŋgirrŋa Marawili 26 February—5 June Of This Place Alysha Fewster 26 February—24 April Young Archie

Experience a contemporary expression of dance, sound and art inspired by the natural landscape by young Aboriginal woman Aleta Wassell. This immersive exhibition is at the crossroads of traditional and contemporary artistic expression using percussive rhythms and synthetic sounds which accompany film. 15 December 2021—20 March Sydney Harbour: Treasures from the Vault A focus exhibition featuring highlights from MAG&M’s collection of works depicting Sydney Harbour, including recent acquisitions by Geoff Harvey, Rodney Pople, Wendy Sharpe, Nick Hollo and Richard Ashton.

5 March—15 May Wonnarua Elders

Michael Muir, A Little Bit Closer, 2022, oil on linen, 122.5 x 107 cm 31 March—24 April Rising Tide Micheal Muir

19 March—15 May Maitland Cultural Resurgence: Speaking in Colour 5 March—29 May Oh, Canola! Dani Marti

Mosman Art Gallery www.mosmanartgallery.org.au Corner Art Gallery Way and Myahgah Road, Mosman, NSW 2088 [Map 7] 02 9978 4178 Open daily 10am–4pm, closed public holidays. See our website for latest information.

Fiona Lowry, A silence, 2018, acrylic on canvas, 188 x 137.5 cm. Photo © AGNSW, Felicity Jenkins. 4 January—20 March Destination Sydney: The natural world

Troy Emery, Park Creature, 2020 polyester, polyurethane, pins, adhesive. Maitland Regional Art Gallery Collection. 30 April—12 June Dog Days Sami Bayly, Nicola Bolton, Jen Denzin, Troy Emery, Jake Henzler and Jordan Lucky.

One exhibition, three venues, nine artists. The third exhibition across three Sydney public galleries, MAG&M, Mosman Art Gallery and the S. H. Ervin Gallery, showcases works responding to the theme of Sydney as a place of creative endeavours, with a strong focus on the work of major Australian women artists, all connected by their concern for landscape and the environment. Artists at MAG&M are Merran Esson, Fiona Lowry and Joan Ross.

Janet Laurence, Conversations with Plants, 2020, 7 duraclear photographs, each 120 x 80 cm. Courtesy the artist, Dominik Mersch Gallery, Sydney and Arc One Gallery, Melbourne. 4 January—20 March Destination Sydney: The natural world Artists at Mosman Art Gallery include Janet Laurence, Caroline Rothwell and Robyn Stacey.

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Murray Art Museum Albury (MAMA) www.mamalbury.com.au 546 Dean Street, Albury, NSW 2640 [Map 12] 02 6043 5800 Mon to Fri 10am–5pm, Sat and Sun 10am–4pm.

for the museum’s five Wonder Cupboards, small installation spaces curated especially for children. These new works speak to her experience as an Aboriginal woman, mother and activist. They invite young museum visitors to reflect on important ideas and issues from new perspectives, using playful techniques and images.

Hannah Gartside, installation view, ‘Primavera 2021: Young Australian Artists’, Museum of Contemporary Art Australia, Sydney, image courtesy the artist and Museum of Contemporary Art Australia © the artist, photograph: Anna Kučera. Alick Tipoti, Angela Tiatia, Angelica Mesiti, Bianca Hester, Bonita Ely, David Malangi (Estate), David Stephenson, Emily Floyd, Fiona Foley, Gunybi Ganambarr, Janet Fieldhouse, Justin Trendall, Khadim Ali, Louisa Bufardeci, Maria Fernanda Cardoso, Maria Josette Orsto, Martu Artists, Mason Kimber, Megan Cope, Minnie Manarrdjala, Nicholas Mangan, Peter Maloney, Raquel Ormella, Robert MacPherson, Rosemary Laing, Shirley Purdie, Simryn Gill, Tom Nicholson, Yasmin Smith, Yukultji Napangati.

Dean Cross, thinkingbeinglaughingcryinglivingdying, 2021, face mounted archival print. Image courtesy the artist. Finalist in the National Photography Prize 2022. 25 February—5 June National Photography Prize 2022 The National Photography Prize offers an opportunity to consider the vital role of photography in contemporary art, bringing together artists from across Australia who are developing and challenging photographic language and techniques. Including Amos Gebhardt, Caitlin E. Littlewood, Dean Cross, Dennis Golding, Guy Grabowski, Janet Laurence, Kate Mitchell, Kiron Robinson, Luke Parker, Robert Fielding, Sara Oscar, Tiyan Baker. 4 March—17 April RAW RAW 2022 is a new, annual open call for young people, showcasing the best original artworks being produced by young people of the Murray region. This year’s exhibition features 15 artists and highlights the unique perspectives and experiences of our local young people. The selected artworks range from painting, to drawing, photography & digital media, and sculpture and installation. 8 April—22 May The Last Jar of Rosehip Jam Otis Burian Hodge The Last Jar of Rosehip Jam is a new exhibition of photographs by Otis Burian Hodge. The exhibition is comprised by both 35mm and medium format images that explore family relationships and memories, represented through the documentation of places, objects and repetitive habits. These habits can change over time as relationships change and develop and the places and sites that are documented change and evolve. This is a project that has developed out of Hodge’s childhood journeys on the Hume Highway, between Sydney and his grandmother’s Albury home.

Talia Smith, Is my heart really green instead?, 2020. Image courtesy of the artist. 29 April—17 July Don’t be bashful, wear the flower behind your ear Talia Smith Don’t be bashful, wear the flower behind your ear is the first institutional solo exhibition by photo and moving image artist Talia Smith. Smith explores the ebb and flow of how one connects to their culture and the ties that bind by situating her lived experience of the Pacific or Moana diaspora within the Samoan concept of the va – the space between, a space in which separate times, relationships, things, and entities are held outside of Westernised constructs. Within this exhibition there is no final answer but rather many possibilities, future imaginings, and an acknowledgement that culture is never one defined thing.

Museum of Contemporary Art Australia www.mca.com.au 140 George Street, The Rocks, Sydney, NSW 2000 [Map 8] 02 9245 2400 Tues to Sun 10am–5pm, Fri until 9pm. Closed Mondays. See our website for latest information.

28 January—31 July Karla Dickens

26 November 2021—13 June Primavera 2021: Young Australian Artists Elisa Jane Carmichael, Dean Cross, Hannah Gartside, Sam Gold, Justine Youssef

New works by acclaimed Wiradjuri artist Karla Dickens have been commissioned

February 2021—13 March 2023 MCA Collection: Perspectives on place

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Opening 12 March—13 June 23rd Biennale of Sydney: rīvus A passage through deep time, vibrant matter, and dark psychological waters rīvus at the Museum of Contemporary Art Australia is imagined as a passage through deep time, vibrant matter, and dark psychological waters. Its 20 participants explore connections between human and non-human worlds, making links between earthbound and watery beings and cosmic and terrestrial waterways. Tensions between systems of nature and culture flow through the rīvus exhibition, as do themes of fluidity and interdependence, and the precarious relationship all life on earth has to water.

Museum of Sydney www.sydneylivingmuseums.com.au Corner Phillip and Bridge Streets, Sydney NSW 2000 [Map 8] 02 9251 5988 Thur to Sun 10am–5pm. Until 24 April How to Move a Zoo Join the parade of animals in the new interactive family exhibition, How to Move a Zoo on now at the Museum of Sydney! Discover the incredible story of Sydney’s favourite animals who, in 1916, left Moore Park Zoo and travelled through the city and across Sydney Harbour to their new home at Taronga Zoological Park. Specially commissioned illustrations, coupled with rarely seen historical photographs from the NSW State Archives Collection, re-create this story in a playful, thought-provoking exhibition. Until 24 April Iridescent Gerwyn Davies

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Museum of Sydney → Gerwyn Davies, Elizabeth Bay House, 2021. Sydney Living Museums. © Gerwyn Davies. Iridescent by queer photographic artist and costume maker Gerwyn Davies, playfully reimagines the museums, archives, historic houses and gardens under the care of Sydney Living Museums and NSW State Archives. Discover each flamboyant character in 12 large-scale photographic works and costumes inspired by the whispers and fragments of our lesser-known histories.

Muswellbrook Regional Arts Centre www.muswellbrookartscentre.com.au Corner Bridge and William Streets, Muswellbrook, NSW 2333 [Map 12] 02 6549 3800 Mon to Sat 10am–4pm.

exhibition captures the current themes and practices of contemporary Australian artists. The exhibition draws from three categories; ceramics, paintings and works on paper offering a diverse range artworks selected by a panel of artists and curators. Now totalling in $70,000, the Muswellbrook Art Prize has been supported by the Muswellbrook Shire Council since 1958 and Bengalla Mining Company who has generously sponsored the Prize for close to three decades. 14 March—2 July Art Tracks V: Recollection The Art Tracks exhibition series coincides with the Muswellbrook Art Prize, showcasing works acquired from previous winners and finalists. Art Tracks V: Recollection explores the past’s influence on the present, and the ways the present makes us reimagine the past. Sally Stokes’ work, Somewhere Deep Within, simplifies this notion. Painting entirely from memory; some parts forgotten, other parts remembered in full colour. 14 March—2 July Vestige Zoe Lonergan Vestige is a photographic journey through the abandoned farmhouses of Dorset Road, Kayuga. It traverses time and space through the decomposition of built structures set against a shifting landscape.

Sally Stokes, Somewhere Deep Within, 2020, oil on linen, 153 x 153 cm. Muswellbrook Shire Art Collection. Winner, Muswellbrook Art Prize 2021, painting. 14 March—7 May Muswellbrook Art Prize 2022 The Muswellbrook Art Prize finalist

shapes and the organic order of nature as seen in the constructed family home, and the landscape it occupies. The exhibition examines the destructive forces of mining and asks what will remain after it’s gone.

‘The surrounding land has been mined and the community has mostly moved on, though Kayuga remains. Abandoned gardens grow wild as spectres settle in dust smothered spaces. Kayuga still breathes, but it’s a different kind of breath; like the lungs of an old working dog, they rise and fall, only gentler than before.’ Zoe Lonergan. Lonergan’s work highlights an interplay between the hard lines of geometric

Max Watters, Tin Clad Building, Main Camp, Rouchel, oil on board, 44.5 x 65 cm. 14 March—7 May Paintings and Drawings Max Watters Max Watters was known not only for his artistic talent, but also his generous philanthropic nature. At the same time as beginning his own painting career, Watters began collecting art, amassing one of the largest collections of contemporary art in rural Australia. In March 2004, Watters signed over his collection to the Muswellbrook Shire Council so that residents and visitors alike could enjoy in perpetuity his vision; to provide art education for generations to come, to inspire visual awareness and curiosity, and promote culture as a tool for tourism in the region. In his continued generosity to the Arts and the gallery, Max gave 60 of his own paintings and drawings to the Muswellbrook Regional Arts Centre on the condition that all proceeds from the sales be directed to the acquisition of new work for the Collections. 175

Brendan Kelly, I Shot Him, acrylic, oil pastel and spray paint on plywood, 154 x 122 cm.

Brendan Kelly Saint Ned 10 – 24 March

78B Charles Street, Putney, NSW 2112 phone: 02 9808 2118 Opening hours: Mon-Sat 9am-4pm brendacolahanfineart.com brendacolahanfineart.com

Kath Egan and Kate Rohde We were made for these times 5 February – 27 March 2022 lismoregallery.org

Lismore Regional Gallery 11 Rural Street Lismore NSW

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Kate Rohde Send me an angel 2022

lismoregallery.org

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N.Smith Gallery www.nsmithgallery.com 6 Napier Street, Paddington, NSW 2021 [Map 10] 0431 252 265 Tue to Sat 10am–5pm, or by appointment. See our website for latest information. 2 March—19 March Sentimental Ornaments Casey Chan

Nanda\Hobbs www.nandahobbs.com 12–14 Meagher Street, Chippendale, Sydney, NSW 2008 [Map 8] 02 8599 8000 See our website for latest information. Nanda\Hobbs is passionate about art, supporting artists and building collections of the best contemporary art. Our represented artists are some of the most talented in Australia and abroad. We have a diverse exhibition program in our Sydney gallery and we also participate at international art fairs. 3 March—19 March Ascendancy—Love over Strife Ben Smith

Neva Hosking, The Last Garden on Loftus Crescent VIII, 2021, ink on vintage graph paper, signed with four-leaf clover, 43 cm x 30 cm / 50.5 cm x 41.5 cm (framed).

Adam Nudelman, Lost in our own remorse, 2021, acrylic and oil on linen, 99.5 x 97 cm.

2 March—19 March The Last Garden on Loftus Crescent Neva Hosking

23 March—9 April Where Some Find Peace Adam Nudelman 13 April—30 April TESORO MIO James Drinkwater

National Art School Gallery www.nas.edu.au Forbes Street, Darlinghurst, Sydney, 2010 [Map 9] 02 9339 8686 Mon to Sat 11am–5pm.

James Tylor, Turalayinthi Yarta (Mukurta), 2017, photograph with ochre, 50 cm x 50 cm, edition of 5 + 2 AP. 7 April—30 April Turalayinthi Yarta James Tylor

Located at the heart of the National Art School’s historic campus, NAS Gallery presents up to four major exhibitions per year as well as annual graduate and postgraduate student exhibitions. The Gallery enhances the National Art School’s role as a leading centre for visual arts education in the Asia-Pacific, with ambitious group and solo exhibitions by Australian and international artists that foster critical appreciation of art and innovative art practice. 25 February—13 March Queer Contemporary: I want a future that lives up to my past

Christine Dean, Attic Windows (2019), oil on canvas, 70 x 70 cm. Image courtesy of the artist. Rayner Hoff Project Space, National Art School . Karla Dickens, Bridie Lunney, Justine Youssef, Nadia Odlum, Christine Dean, Luke Thurgate, Steven Cavanagh, Kurt Banks, Curator Liz Bradshaw. This exhibition brings together a range of distinct LGBTQI voices from within the NAS community. It presents works in dialogue about the nature of contemporary art and politics, and possible personal, local and global futures through queer visual languages and points of view. I want a future that lives up to my past juxtaposes artists and works to make visible queer aesthetics that are not tied to obvious representations of identity and sexuality, but are materially grounded in the ways LGBTQI lived experience and creative practice demands a range of navigations and interventions in mainstream cultural forms and interpretations. 12 March—13 June rīvus 23rd Biennale of Sydney Jumana Emil Abboud (Palestine), Dineo Seshee Bopape (South Africa), Boral River (Bangladesh), Carolina Caycedo (Colombia / USA), Erin Coates (Australia), Cian Dayrit (Philippines), Joey Holder (England), Pushpa Kumari (India), Latent Community (Greece/Albania), Myall Creek Gathering Cloak, Wura-Natasha Ogunji (Nigeria / USA), Teho Ropeyarn (Angkamuthi and Yadhaykana, Australia). Rivers, wetlands and other salt and freshwater ecosystems feature in the 23rd Biennale of Sydney (2022), titled rīvus, as dynamic living systems with varying degrees of political agency. Indigenous knowledges have long understood non-human entities as living ancestral beings with a right to life that must be protected. But only recently have animals, plants, mountains and bodies of water been granted legal personhood. If we can recognise them as individual beings, what might they say? rīvus invites several aqueous beings into a dialogue with artists, architects, designers, scientists, and communities, entangling multiple voices and other modes of communication to ask unlikely questions. Considering the water ecology’s perspective entails a fundamental shift in understanding our relationship with the rest of the natural world as a porous chronicle of interwoven fates. 177

KEN DONE

Pink morning, 2021, oil and acrylic on linen, 152 x 122cm.

1 Hickson Road, The Rocks, Sydney, tel 8274 4599, www.kendone.com kendone.com

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New England Regional Art Museum www.neram.com.au 106–114 Kentucky Street, Armidale, NSW 2350 [Map 12] 02 6772 5255 Tue to Sun 10am–4pm. See our website for latest information. NERAM is a leading cultural and arts tourism destination in regional Australia, and home to one of the nation’s most significant art collections outside the capital cities, holding a collection of over 5000 works of historical, modern and contemporary art. NERAM presents a dynamic program of exhibitions, educational and public events.

OLSEN www.olsengallery.com 63 Jersey Road, Woollahra, NSW 2025 [Map 10] and OLSEN Annexe: 74 Queen Street, Woollahra, 02 9327 3922 Director: Tim Olsen Tue to Sat 10am–5pm. Closed Sun and Mon. See our website for latest information. Gallery founder and director Tim Olsen has cultivated a stable of artists that he feels presents a comprehensive and poignant view of the contemporary arts in Australia. With a continually changing exhibition calendar we showcase the work of both emerging and established artists. We have nurtured the careers of artists from their first exhibition out of art school and proudly see them now as leading lights in the Australian art scene. OLSEN Gallery: 2 March—19 March Eliza Gosse

OLSEN Annexe: 16 March—2 April Literally Split Group exhibition with works by Marisa Purcell, Alan Jones, Jonathan Delafield Cook, Teo Treloar, Matt Bromhead and Tango Conway, Allie Webb. 6 April—23 April Shirley Purdie

Penrith Regional Gallery www.penrithregionalgallery.com.au Home of The Lewers Bequest 86 River Road, Emu Plains, NSW 2750 [Map 11] 02 4735 1100 Mon to Sun 10am–3.30pm. Until 17 April Pattern and Print: Easton Pearson Archive An exhibition by Museum of Brisbane. Highlighting the creative relationship and collaborative approach between Pamela Easton and Lydia Pearson.

Joan Ross, Once upon a time in Great Parrotland (eagle), 2010, lambda fuji flex print. 4 February—8 May Beyond 2000: Contemporary art from the collection 4 February—27 March Cemented Gabrielle Collins, Michelle Hungerford, Sandra McMahon 4 February—27 March It’s all in the detail Australian Society of Miniature Art Kate Shaw, Dusk. 23 March—9 April Kate Shaw

Sairi Yoshizawa, Amidst, (2020), installation view, A Tangled Bank, Penrith Regional Gallery. Courtesy of the artist. Photograph: Garry Trinh. Until 17 April A Tangled Bank Lorraine Connelly-Northey, Léuli Eshrāghi, Mehwish Iqbal, Jumaadi, Shivanjani Lal, Sera Waters, Sairi Yoshizawa. The exhibition considers the inherent qualities of the materials utilised by the artists, as a conduit to access complex and often overlooked narratives. Until 17 April Six Thousand Hands: Tayf Fi Baytina Harold David, Margo Lewers

Ken Done, Violet coral head, 2011-16, oil and acrylic on linen.

Lebanese-Australian writer Maryanne Taouk has been invited to address the continued influence of the Lewers, both through their gifting of the garden and site to the local community.

1 April—8 May Paintings you probably haven’t seen Ken Done

Until 17 April Studio Notanda Liam Benson

1 April—8 May In Praise of Water: Watercolours from the collection

Jacqui Stockdale, Infanta Shamanta. 23 March—9 April Jacqui Stockdale 13 April—7 May John Young

Studio Notanda is a working textile studio, where a team of local makers, artists and curious beginners meet each week to transform waste clothing material into tactile, functional art. 179

Lucy Culliton

19 April – 14 May 2022

Cambalong Creek

Second Pool in Moores, Winter 2021 oil on board 183x183cm

kingstreetgallery.com.au kingstreetgallery.com.au

NEW S OUTH WALES 30 March—24 April Tony Tuckson

PIERMARQ* Gallery

Figurative works.

www.piermarq.com.au

Opening Saturday 2 April.

23 Foster Street Surry Hills, NSW 2010 02 9660 7799 Mon to Sat 10am–6pm.

27 April—15 May Malcolm Benham Paintings. Hotel Des Histoires Maya Barnstone Claire Tozer, Downpour, acrylic and ink on canvas, 103 x 153 cm.

Opening Saturday 30 April.

Roslyn Oxley9 Gallery www.roslynoxley9.com.au 8 Soudan Lane (off Hampden St), Paddington, NSW 2021 [Map 10] 02 9331 1919 Tue to Fri 10am–6pm, Sat 11am–6pm.

Thorbjørn Bechmann, UT2061, 2021, oil on canvas, 150 x 120 cm. 3 March—20 March Light and Matter Thorbjorn Bechmann and Maximilian Daniels.

Marika Varady, Bouganvillea, oil and pigment on canvas, 157 x 141 cm. Interlace combines the intricate linework of Claire Tozer and the soft cloud formations by Marika Varady. This exhibition alludes to the wild scenery of our sunburnt country and diarises the Australian earth, sky and sea through varying lines and shades. These mesmerising works are a woven story inspired by the beauty and alchemy of nature, forged through acrylic, ink, pigment and oil.

Rogue Pop-Up Gallery www.roguepopup.com.au

Craig Handley, Hot Chips, 2022, oil on danish board, 60 x 70 cm. 24 March—10 April Hot Chips Craig Handley

Gareth Sansom, Warrior, 2021, mixed media on plywood, 80 x 60 cm, 2 March—26 March Gareth Sansom

130 Regent Street, Redfern, NSW 2016 [Map 9] 0404 258 296 Wed to Sat 11am–5pm, Sun 11am–5pm..

14 April—1 May Pink Gabriele Herzog, Ces McCully, Maximilian Daniels, Andrew Salgado, Rob Tucker, Zhuang Hong Yi.

Rochfort Gallery www.rochfortgallery.com 317 Pacific Highway, North Sydney, NSW 2060 [Map 7] 0438 700 712 Wed to Fri 10am–5:30pm, Sat and Sun 10am–4pm, Closed Mon and Tues. 23 March—8 May Interlace Marika Varady and Claire Tozer

Malcolm Benham, Brouhaha - black water dam, 2004-5, acrylic on canvas, diptych, 183 x 244 cm. 2 March—27 March Growing Things 20-22 Ruth Waller Frank Littler Paintings and woodcarvings. Opening Saturday 5 March.

Bill Henson, Untitled, 1992-2021, archival inkjet pigment print, 180 x 127 cm. 1 April—30 April Bill Henson 181

MOUNT VICTORIA'S FESTIVAL OF THE MOVING IMAGE 22ND APRIL - 1ST MAY PEACHEY & MOSIG

ELOISE MAREE

2022

ENRICO SCOTECE

KENNETH LAMBERT / CINZIA CREMONA / SEAN O'KEEFFE NAOMI OLIVER

FIONA DAVIES

/ SARAH BREEN-LOVETT

YVETTE HAMILTON / JULIE PATERSON / JANET SAUNDERS BEATA GEYER / REBECCA WATERSTONE / TOM LOVEDAY ALAN SCHACHER MARTYN JOLLY

/ BASIA NOWACKI /

BRYDEN WILLIAMS

/ VIVIENNE DADOUR /

MARK SURTEES

PRESENTED BY MAPBM / CURATED BY REBECCA WATERSTONE

WWW.LUMIEREFESTIVAL.COM.AU WWW.MODERNARTPROJECTS.ORG

modernartprojects.org

@LUMIERE_FESTIVAL @MODERNARTPROJECTS

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Rusten House Art Centre www.qprc.nsw.gov.au/Community/ Culture-and-Arts/Rusten 87 Collett Street, Queanbeyan, NSW 2620 [Map 12] 02 6285 6356 Wed to Sat 10am–4pm. Exhibition schedule may be impacted on by any Covid lockdown restrictions. Please see our website for latest information.

change and identity through time invested making practices. 8 April—30 April Site Specific—artists respond to Rusten House Networks Australia This exhibition draws public attention to the history of Rusten House, its architecture, surrounding heritage garden, uses of the building and relationship to community. The artworks of this textiles-based group convey ideas about the early development of Queanbeyan, its health and social systems, its people, approaches to land use and landscape design. There are many stories to be told. Reading Room Gallery: 26 February—14 May The Art of the Tea Towel Featuring a diverse display of Tea Towels from the past six decades. This exhibition explores the personal connections to textile treasures from collectors, designers, and makers. Please join us for a visual celebration of domestic art – the humble tea towel.

Saint Cloche www.saintcloche.com

Alison Alder, Remember Me, 2020, screen print on paper, aluminium, plastic, steel, electric motor and pump, 120 x 80 x 50 cm. Fever Ward Gallery and Gallery 2 : 4 March—2 April Making:acts of resistance Alison Alder, Rachel Bowak, Mariana del Castillo and Sally Simpson

37 MacDonald Street, Paddington, NSW 2021 [Map 10] 0434 274 251 Wed to Sat 10am–5pm, Sun 11am–4pm. See our website for latest information.

Libby Haines, The Dinner Table, oil on canvas framed in Tasmania oak, 150 x 150 cm. Photo: Provided by the artist. 27 April—8 May The Chaos and Calm Libby Haines

S.H. Ervin Gallery www.shervingallery.com.au National Trust of Australia (NSW), Watson Road, (off Argyle Street), Observatory Hill, The Rocks, Sydney, NSW 2000 [Map 8] 02 9258 0173 Tue to Sun 11am–5pm. See our website for latest information.

2 March—13 March The Awakening Holly Terry

Celebrating artists of the QueanbeyanPalerang region this exhibition spotlights local professionals who explore ideas of social justice, climate

Juz Kitson, A lament for the wildfires, 2021, Scarva clay and stoneware, 78 x 55 x 44 cm. Courtesy of the artist. 4 January—20 March Destination Sydney: the natural world Jennifer Keeler-Milne, Juz Kitson and Bronwyn Oliver. Luca Lettieri, Settimo, Settimo Powder coated steel, Sandstone 2021, 110 x 45 x 48 cm. Photographer: Dean Toepfer. 16 March—27 March Dead Weight Luca Lettieri

Gail Nichols, An Abundance of Recovery (detail), new and recycled fabric hooked on primitive linen, 160 x 100 cm.

30 March—10 April Electric Dreams Group Show 13 April—24 April Carissa Karamarko

The natural world is the third in a series of exhibitions between Manly Art Gallery, Mosman Art Gallery and S.H. Ervin Gallery. The exhibition showcases artworks responding to the theme of Sydney as a place of creative endeavours, with a focus on the work of major Australian women artists, all connected by their concern for organic forms, nature and the environment. The S.H. Ervin Gallery features the work of Jennifer Keeler-Milne, Juz Kitson and Bronwyn Oliver. whose art practices are synonymous with the natural world. 183

muswellbrookartscentre.com.au

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Sturt Gallery & Studios

S.H. Ervin Gallery continued...

www.sturt.nsw.edu.au Cnr Range Road and Waverley Parade, Mittagong, NSW 2575 [Map 7] 02 4860 2083 Daily 10am–5pm. Sturt is a school of excellence in arts, design and fabrication. Situated 100km south of Sydney in the Southern Highlands, we offer a wide range of courses and workshops for both adults and school-age students at all skill levels.

Steve Lopes, Exposed wood, Mont St Quentin, oil on canvas, 140 x 160 cm. Collection: Gallipoli Club. 26 March—8 May Encountered Steve Lopes Encountered is survey exhibition of over eighty paintings, from 1997 to 2021, and including rarely seen drawings, prints and collages, together with the artist’s diaries and drawing books. Opening at the S.H. Ervin Gallery, the exhibition will also be presented at the Orange Regional Gallery from May. Steve Lopes is a Sydney based painter known for his figurative landscapes who often works en plein air, painting vignettes of places which are used as references for large-scale studio works. Curated by Kon Gouriotis, editor Artist Profile magazine, the exhibition considers how the artist, through thematic narratives of migration and place, of the body on the land and the land without body, reflects on our age of complexity, volatility, crisis. Closed Good Friday & ANZAC Day.

STATION

Laith McGregor, Untitled (Effect), 2022, archival pigment print mounted on dibond, 32 x 24 cm. Courtesy of the artist and STATION. 2 April—30 April Radix Laith McGregor

Stanley Street Gallery www.stanleystreetgallery.com.au 1/52–54 Stanley Street, Darlinghurst, NSW 2010 [Map 8] 02 9368 1142 Wed to Sat 11am–6pm, or by appointment.

Linda Fredheim, Drawer Bag. 13 February—3 April Beyond Ordinary: Contemporary Women makers 28 of the Australia’s most inspiring female fine furniture designer/makers smash gender stereotypes in the first show if this scale ever seen in this country.

www.stationgallery. com.au Suite 201, 20 Bayswater Road, Potts Point, NSW 2011 [Map 10] 02 9055 4688 Tue to Sat 10am–5pm.

Jackson Farley, Ink on Paper, 2022, Photo: Cota. 9 March—9 April My Very First Ever Painting Show Jackson Farley

Paul Davis, Tea Bowl. Photo by Greg Piper. 10 April—22 May Paul Davis: Under the Influence Nell, HOME BOY / HOME GIRL, 2021, earthenware, underglaze, metal and wooden stool, 2 parts; overall: 135.9 x 42 x 37 cm. Courtesy of the artist and STATION.

Agus Wijaya, Homecoming, 2021. Archival pigment printing on art canvas, 124.5 x 68.13 cm Photo: COTA.

26 February—26 March The WAY Home Nell

27 April—21 May Tata Reka Agus Wijaya

Acclaimed ceramicist Paul Davis celebrates his 50 year career and the artists who have influenced his practice. Featuring work by Paul Davis, Hiroe Swen, Saka Yuta, Makino Isamu, Yoshino Tetsuro, Maeda Kazu, Umeda Kentaro and Yasuo Terada. 185

ar t g ui d e .c o m . au

Sullivan+Strumpf www.sullivanstrumpf.com 799 Elizabeth Street, Zetland, NSW 2017 [Map 7] 02 9698 4696 Tue to Sat 10am–5pm, or by appointment.

Alex Seton, The Stream, or my Impeccable Search History, 2021, video still. Image courtesy the artist and Sullivan+Strumpf; Image of the original 1976 real estate ad for Seton’s parents’ home in Wombeyan Caves. 24 March—16 April Permanent Good Stream, Some Rocks Alex Seton 21 April—14 May Seth Birchall 28 April—14 May Dane Lovett

Tweed Regional Gallery www.artgallery.tweed.nsw.gov.au 2 Mistral Road, Murwillumbah South, NSW 2484 [Map 12] 02 6670 2790 Wed to Sun 10am–5pm. Until 17 April Habitat Megan Puls and Jo Norton Habitat is an exhibition by Gold Coastbased ceramicists Megan Puls, a studio potter from the edge of a forest, and Jo Norton, a studio potter raised by the sea. A Tweed Regional Gallery initiative. An outcome of the Community Access Exhibitions Program.

Until 17 April SOS Belle Raine Whilst drawing reference from historical political events, including Iran’s revolution and World War II, film and photography, this collection of oil paintings considers these ideas and the contemporary issues of violence, displacement and corruption. A Tweed Regional Gallery initiative. An outcome of the Community Access Exhibitions Program.

Until 5 June Making their mark: Australian artist prints from the collection

Twenty Twenty Six Gallery www.twentytwentysix.gallery 17 O’Brien Street, Bondi Beach, NSW 2026 [Map 7] 0415 152 026 Tues to Sat 11am–6pm, Sun 11am–5pm. See our website for latest information.

Alex Seton, Meet Me Under the Dome, Installation view, 26 November—23 December 2020 Sullivan+Strumpf, Sydney Image courtesy of the artist. Until 17 April A History of Forgetting Alex Seton A History of Forgetting continues Alex Seton’s interrogation of the unreliability of memory, both personal and collective. A Tweed Regional Gallery initiative. Alex Seton is represented by Sullivan+Strumpf, Sydney and Singapore. 25 February—28 August An artist’s view Margaret Olley and contemporaries An artist’s view brings together interiors and still life paintings by Margaret Olley and works by contemporary artists who have taken inspiration from Margaret Olley, her practice and her famous Duxford Street home studio. Including painting, photography and works on paper, the exhibition presents different artist’s views and responses to her still life and interior subjects. Artists exhibiting alongside Margaret Olley in this exhibition include Steven Alderton, Danelle Bergstrom, Cressida Campbell, Christine Druitt-Preston, Nicholas Harding, John Honeywill, Lewis Miller, Adam Pyett, Pam Tippett, Greg Weight and William Yang. This exhibition is drawn entirely from the Tweed Regional Gallery collection. 18 March—31 July This Our Machine Arash Chehelnabi

Serwah Attafua, Concensual Hallucinations. 10 March—3 April Satellite Sydney’s first major international art exhibition utilising NFT (non-fungible token) technology. Satellite is an immersive and educational experience, showcasing over 40 digital artworks by leading contemporary artists.

UNSW Galleries www.artdesign.unsw.edu.au/ unsw-galleries Corner Oxford Street and Greens Road, Paddington, NSW 2021 [Map 10] 02 8936 0888 Wed to Fri 10am–5pm, Sat–Sun 12–5pm. Closed public holidays. See our website for latest information.

In 2021 Sydney-based artist Arash Chehelnabi undertook a residency in the Gallery’s Nancy Fairfax Artist in Residence Studio to develop new work for his solo exhibition This Our Machine. This exhibition is an outcome of the Tweed Regional Gallery – National Art School Masters of Fine Art Residency Award. The partnership between the Gallery and NAS aims to showcase emerging artists in celebration of Margaret Olley’s legacy as a NAS alumna and a supporter of emerging artists. Belle Raine, Insurgent, 2020, oil on linen, 76 x 60.5 cm. Image courtesy of the artist. Photograph: Michelle Eabry. 186

Until 1 May The Supers Craig Tuffin

Elizabeth Pulie, Decorated Wall, 1995., acrylic paint on canvas. Museum of Contemporary Art, purchased with the assistance of Dr Edward Jackson AM and Mrs Cynthia Jackson AM, 1996. Image courtesy: the artist and Museum of Contemporary Art Australia.

NEW S OUTH WALES 15 January—10 April Elizabeth Pulie: #117 (Survey) A three-decade survey featuring works from Elizabeth Pulie’s conceptual projects: Decorative Paintings, Relational Art and End of Art, alongside ancillary Interim Works. Curated by James Gatt.

Face to Face: The New Normal is a major, new exhibition by Vic McEwan developed during three years of creative research exploring medical science and contemporary arts practice. While being in residence at the Sydney Facial Nerve Service, Vic has worked on the front lines of clinical treatment with patients experiencing facial nerve paralysis and examining what impact a contemporary artist might have within the clinical environment.

Johnny K, A Beautiful Story, 2021, oil and aerosol on board, 150 x 150 cm. Kate Scardifield, Canis Major, 2019. 34°53’29.4”S 150°29’60.0”E. Wind instruments and form tests. Studies in semaphore and signalling. Sailcloth, rip-stop nylon, repurposed parachute silk, thread. Image courtesy of the artist, Sydney. Photograph: Robin Hearfield 29 April—17 July Pliable Planes: Expanded Textiles and Fibre Practices Akira Akira, Sarah Contos, Lucia Dohrmann, Mikala Dwyer, Janet Fieldhouse, Teelah George, Paul Knight, Anne-Marie May, John Nixon, Kate Scardifield, Jacqueline Stojanović, and Katie West. A major exhibition drawing together twelve practitioners who reimagine practices in textiles and fibre art. Through expanded painting, assemblage, performative gesture, sound, and installation, Pliable Planes presents contemporary Australian textiles and fibre art in expansive and plural forms, altering perceptions of materials, form and function.

Wagga Wagga Art Gallery www.waggaartgallery.com.au Civic Centre, corner Baylis and Morrow streets, Wagga Wagga, NSW 2650 [Map 12] 02 6926 9660 Tue to Sat 10am–4pm, Sun 10am–2pm. Free admission.

1 Martin Place Sydney: 31 March—15 April Head in the Clouds Johnny K April Glaser-Hinder, The Wave, when Water touches Sky, 2019, steel and spraypainted. Gift of the artist 2019. 12 February—1 May One Does Nothing Alone April Glaser-Hinder One does nothing alone is at once a love letter to one of the region’s most innovative sculptors in this late phase of her career, and an ode to those that have championed April Glaser-Hinder’s artistic practice in Australia and Europe. It features a selection of the artist’ sculptures from the Sawyer Collection at Wagga Wagga Art Gallery alongside new acquisitions including photography, video and poetry. 26 March—19 June Towards the Finishing Line: works from the last decade Gerry King Towards the Finishing Line celebrates the extraordinary career of Australian glass artist Gerry King, showcasing a range of new works alongside pivotal formative works from the National Art Glass Collection. 4 March—27 March Silk Inroads Silk Inroads is a collaborative community project that explores the visual heritage of the ancient Silk Roads in contemporary needlepoint. More than 70 members of the local community have been working with needlepoint artist Natalie Fisher over recent months to create a body of stitched panels inspired by the beautiful tiles found in four countries along the Silk Roads: Uzbekistan, Afghanistan, Iran and India.

Mel Brigg, Through The Centre, 2022, acrylic on canvas, 122 x 122 cm. 31 March—15 April The Landscape Show Mel Brigg, Ken Knight, Emily Persson, Phil Stallard

Wallarobba Arts and Cultural Centre www.hornsby.nsw.gov.au/wallarobba 25 Edgeworth David Avenue, Hornsby, NSW 2077 [Map 11] Open daily 10am–4pm.

Wentworth Galleries www.wentworthgalleries.com.au

Vic McEwan, from the series The Face That Your face Feels, 2021. Image courtesy of the artist. 8 February—8 May Face to Face - The New Normal Vic McEwan

61–101 Phillip Street, Sydney, NSW 2000 [Map 8] 02 9222 1042 1 Martin Place, Sydney, NSW 2000 [Map 8] 02 9223 1700 Open daily 10am–6pm. See our website for latest information.

Kate Nielsen, Geita’s view. 187

ar t g ui d e .c o m . au Wallarobba Arts continued...

The exhibition offers rare insight into the unlikely collaboration between the daughters of rival media families. Studying together in Paris and later with avant-garde printmaker Claude Flight in London, Ethel Spowers and Eveline Syme returned to the conservative art world of Australia – where they became enthusiastic exponents of modern art in Melbourne during the 1930s and ‘40s.

1 March—6 March Memory and Place Kate Nielsen Join the 2019 Hornsby Shire Emerging Artist Award winner, Kate Nielsen in an intimate visual exploration of the places, objects and landscapes that have inspired her creative journey.

Spowers & Syme is a National Gallery of Australia Touring Exhibition supported by Visions of Australia, Major Patron David Thomas AM and the Gordon Darling Foundation. Spowers & Syme is a Know My Name project.

Geoff Thomas, Anagama Jar and Bowl, 2020, Anagama fired, fire box pot, clay, natural fly ash glaze, shell wads, four-day firing, cypress pine fuel and ash glaze, clay, 18-hour firing, bourry box kiln. Image © the artist. 12 February—29 May The Queen’s Album

Rona Sissions, 2D rat. 11 March—19 March Rats and other rubbish: A light-hearted look at elements of 21st century living Rona Sissons Join local ceramicist and winner of the 2019 Wallarobba Outstanding Local Artist Award, Rona Sissons for a lighthearted, yet acerbic exploration of 21st century living.

Western Plains Cultural Centre

Curated by senior curator, Dr Penny Stannard and curator, Bonnie Wildie, The Queen’s Album explores the unique story of an album of photographs gifted to Queen Victoria at Windsor Castle in 1882 on behalf of the people of NSW. The album contained 64 photographic images of sites and scenes in Sydney and regional NSW that were constructed to promote NSW as a progressive and desirable place, and to consolidate its position within the British Empire. At the time, the album was described as a ‘graceful tribute of loyalty’ to Queen Victoria. Today, its whereabouts are unknown. In 2018 NSW State Archives rediscovered most of the original photographic glass plate negatives in the State Archives Collection which were conserved, digitised and reproduced for the exhibition project.

www.westernplainsculturalcentre.org

12 February—1 May Geoff Thomas: All About the Material

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www.whiterabbitcollection.org 30 Balfour Street, Chippendale, NSW 2008 [Map 9] 02 8399 2867 Wed to Sun 10am–5pm. See our website for latest information.

Xu Zhen®, ““Hello””, 2018-19, robotic mechanisms, styrofoam, polyurethane foam, silicone, pain, sensors, electronic controls, 390 x 750 x 800 cm. 11 December 2021—22 May Big in China What does it mean to make it Big in China? It is no easy feat to captivate the attention of over a billion wandering eyes and minds. How do we draw the focus of so many unique individuals and make them move in unison? The 12 artists in the exhibition show us that it is not simply brute force that drives a nation and its people. Rather, it is the grand and overarching narratives, outstanding creativity and unique art practices that have the power to move this population en masse.

Dubbo Regional Gallery Dubbo Regional Museum and Community Arts Centre 76 Wingewarra Street, Dubbo, NSW 2830 [Map 12] 02 6801 4444 Open daily 10am–4pm.

All About the Material is an exhibition that showcases the prolific practice of Gilgandra-based potter, Geoff Thomas as he explores both the materiality and processes involved in creating wood-fired pottery. Drawing on East Asian pottery practices, Thomas reflects on his own identity and roles as farmer and potter, using clay as the medium to convey beauty within both worlds. All About the Material is a body of work that combines process, experimentation and chance as overarching elements that influence the outcome. Curated by Mariam Abboud. This is a HomeGround exhibition, produced by WPCC and supported by Orana Arts. HomeGround is sponsored by Wingewarra Dental.

White Rabbit Contemporary Chinese Art Collection

Eveline Syme, The Factory, 1933, Colour linocut, National Gallery of Australia, Canberra, purchased 1979, © Estate of Eveline Syme. 26 February—26 June Spowers & Syme Celebrating the artistic friendship of Melbourne artists Ethel Spowers and Eveline Syme, the National Gallery Touring Exhibition Spowers & Syme will present the changing face of Inter-war Australia through the perspective of two pioneering, modern women artists.

Wollongong Art Gallery www.wollongongartgallery.com Cnr Kembla and Burelli streets, Wollongong, NSW 2500 [Map 12] 02 4227 8500 Tue to Fri 10am–5pm, Sat and Sun 12pm–4pm. Until 24 April Suspended Moment The exhibition brings together new works by artists Frances Barrett, Giselle

NEW S OUTH WALES 19 March—5 June Postcodes From The Edge An art prize and exhibition featuring small-format contemporary artworks that reflect the Illawarra region through people, places, or events. A Wollongong Art Gallery Friends event. 19 March—5 June Transition Brook Andrew, Claire Healy and Sean Cordeiro, Tracey Moffatt, Selina Ou, and Patricia Piccinini.

Frances Barrett, A Song for Katthy, 2022, single channel HD video. (Detail). Image series by Samuel Hodge. Courtesy of the artists. Stanborough and Sally Rees—the three recipients of Suspended Moment: The Katthy Cavaliere Fellowship. Suspended Moment contextualises key works by Cavaliere alongside the fellowship artists who benefited from her enduring legacy. A Carriageworks and Museums & Galleries of NSW touring exhibition, curated by Daniel Mudie Cunningham, developed in partnership with the Australian Centre for Contemporary Art, Melbourne and the Museum of Old and New Art (Mona), Hobart. This project is assisted by the Australian Government’s Visions of Australia program. Until 29 May Illawarra Pavilion Gary Carsley & Renjie Teoh (the ArtHitects) The Illawarra Pavilion can be experienced as part stage set, part multi-perspectival illusion and part Hortus Conclusus,

The ARThitects (Gary Carsley & Renjie Teoh). Qing Dynasty China carved cabinet in red lacquer and gilded pine, Ming dynasty China pair of Longquan stoneware vases with celadon crackle glaze, Ming Dynasty China pair of lidded stoneware jars with celadon crackle glaze from Wollongong Art Gallery’s Mann-Tatlow Collection of Asian Art; pair of IKEA white ceramic plates with sublimation-printed irises, and wall mounted, tiled A4 Colour Photocopy print courtesy of KYOCERA. combining some of the natural and cultural treasures of the Illawarra most notably the distinctive and iconic Flame Tree and selected furniture elements from Wollongong Art Gallery’s Mann-Tatlow Collection into a spectacular, immersive visitor experience.

Recent gifts of contemporary prints and photographs from Ferrier Hodgson, 1976-2018 (now KPMG), acquired through Amanda Love, LoveArt. The works explore the precarious position artists occupy, the mysteries of human evolution, displacement and isolation, and reference popular culture, capitalism and corporations. Until 31 July Echoes In Time Contemporary collection works which reflect the technical and aesthetic qualities of Asian ceramics presented in response to the Mann–Tatlow Collection of Asian Art. Artists: Julie Bartholomew, Kirsten Coelho, Ivan Englund, Honor Freeman, Sarah Goffman, Juz Kitson, India Mark, Karl Preuhs, Shigeo Shiga, Sarah Smuts-Kennedy, Vipoo Srivilasa, and Gerry Wedd.

Image: m0wson&MOwson, feeler (2019-20). Experimenta Life Forms, The Lock-Up, (NSW), 2021. Photo credit: Ben Adams

Art Of The Future → experimenta.org

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A–Z Exhibitions

MARCH/APRIL 2022

Queensland

Brookes Street, Macalister Street, Brunswick Street, Doggett Street,

Hasking Street, Russell Street, Bundall Road, Fernberg Road,

Fortescue Street, Abbott Street,

Jacaranda Avenue, Maud Street,

Arthur Street, Pelican Street,

Village Boulevard, George Street,

Oxley Avenue, Bloomfield Street, Victoria Parade, Stanley Place,

Ruthven Street, Flinders Street, Wembley Road

QUEENSLAND

Art Lovers Gold Coast Gallery www.artloversaustralia.com.au Unit 14, Brickworks Annex, 19 Warehouse Road, Southport, QLD 4215 [Map 13] 1800 278 568 Tues to Sat 10am–4pm. See our website for latest information.

Artspace Mackay www.artspacemackay.com.au Civic Precinct, corner Gordon and Macalister Streets, Mackay, QLD 4740 [Map 14] 07 4961 9722 Tue to Fri 10am–5pm, Sat and Sun 10am–3pm. Free entry.

9 April—19 June 2022 Libris Awards: The Australian Artists’ Book Prize Various artists

Caloundra Regional Gallery www.gallery.sunshinecoast.qld.gov.au 22 Omrah Ave, Caloundra, Sunshine Coast, QLD 4551 [Map 13] 07 5420 8299 Tue to Fri 10am–4pm, Sat and Sun 10am–2pm. See our website for latest information.

Michael Cawdrey, Colours of the Industrial landscape. 12 March—31 March Art Lovers Australia Art Prize 2022 Art Lovers Australia are proud to announce the ALA Prize Finalists who will be showcased in their upcoming ALA book launch. From portraiture to photography and landscape to abstract expressionist compositions, this exhibition celebrates the very best of emerging artists from all across Australia.

Jasmine Togo-Brisby, Amidst in the middle passage II, from the series Adrift, 2019, collodion on glass, 30.5 x 25.8 cm. Courtesy of the artist. 28 January— 27 March Hom Swit Hom Jasmine Togo-Brisby

Clare Poppi, Bio-headpiece, 2021. Image courtesy of artisan. Photo by Michelle Bowden. 4 February—20 March Dystopia/Utopia: 2070 exhibition Are we heading for a dystopian or utopian world in 2070? In Dystopia/Utopia: 2070, artists and writers respond to speculative fiction and imagine possible future scenarios. This exhibition is designed to stimulate discussion about our future, to emphasise that the arts in conjunction with science are at the forefront of our survival, and to question what we take for granted.

Bodhi Del Mar, Africa II Ad Astra. 9 April—5 May Punk Luxe A bold and luxurious collection of works that will excite and inspire. Going where few exhibitions have gone before, this show is an imaginative collection of artworks that juxtapose rebellion with elegance, neon colours against moody pallets and unconformity with opulence. Punk Luxe draws on a number of cinemagraphic, music, artistic and literary influences. It denotes an edgy style, a rebelliousness to the status quo and an attitude.

Dylan Mooney, What you water is what you grow from the series Queer, Blak & Here, 2020, colour print on paper, 118.9 x 84.1 cm. Mackay Regional Council Art Collection, purchased 2021. 14 January—20 March Boundless Dylan Mooney 5 April—22 June The Wall #8 Tamika Grant-Iramu 1 April—19 June Focus on the Collection: Barbara Hanrahan 2 April—19 June The Art of Ida Rentoul Outhwaite

Susan Schmidt, True Blue, 2019, acrylic and oil on canvas, 122 x 102 cm. Winner, Local Artists – Local Content Art Prize 2021. Image courtesy of the artist. 25 March—8 May Local Artist – Local Content 2022 Celebrating the diversity of visual arts practice across the Sunshine Coast. An initiative of Friends Regional Gallery Caloundra.

ar t g ui d e .c o m . au

Fireworks Gallery www.fireworksgallery.com.au 9/31 Thompson Street, Bowen Hills, QLD 4006 [Map 15] 07 3216 1250 Tues to Fri 10am–6pm, Sat 10am–5pm. See our website for latest information. We are known for exhibiting and promoting artworks by some of Australia’s best contemporary artists.

Anne Lord, windy place, 2021-22, acrylic on canvas, 30 x 40 cm. 1 March—30 April Summer Vincent Bray, Anne Lord

Gallery Raye www.galleryraye.com Brisbane based. Presently online only. See our website for latest information. Rosella Namok, Mangrove, 2021, acrylic on linen, 84 x 115 cm.

Jordy Hewitt, Wellspring XXXI, 2021, oil, wax and oil stick on canvas, 94 x 78 cm. Reinterpreting iterations of ‘Balmy’, this group show celebrates a shared searching for a sense of calm.

Hervey Bay Regional Gallery www.hbrg.ourfrasercoast.com.au

11 February—19 March Rosella Namok: Growth

166 Old Maryborough Road, Hervey Bay, Queensland 4655 (07) 4197 4206 [Map 13] See our website for latest information and opening hours.

25 March—30 April HARDWIRED: Laurie Nilsen, Vincent Serico & Lin Onus

Gallery 48 www.gallery48thestrandtownsville.com 2/48 The Strand, Townsville, QLD 4810 [Map 14] Wed and Sat 12noon–5pm, and Fridays by appointment. See our website for latest information.

Chloe Caday, Mangosteen, 2022, oil on wood, 50.8 x 40.6 cm. 1 March—30 April Fruits of Memory Chloe Caday Practicing the continuation of traditions and sharing stories of knowledge and memories, Fruits of Memory is a visual homage to the artist’s late grandfather and his beloved garden. 25 March—27 May Balmy - A Group Show Giorgia Bel, Adele Bevacqua, Michele Burder, Casey Burrill, Chloe Caday, Caroline Cameron, Helle Cook, Emma Creasey, Imbi Davidson, Tamami Davidson, Liss Finney, Alizon Gray, Aaron John Gray, Jordy Hewitt, Nick Horan, Megan Hounslow, Loralee Jade, Skye Jamieson, Melissa Ladkin, Hannah Lange, Ben Liney, Darcy McCrae, Julia Mechielsen, Beth Moffat, Cieran Murphy, Francesca Owen, Rebeccah Power, Tim Reed, Tiel SeivlKeevers, Chanel Sohier, Fleur Stevenson, Phoebe Stone, Sam Thies, Tanya Wales, Tym Yee and Courtney Young.

Vincent Bray, Palm, 2021, ink on paper. 192

Marni Stuart, The Paths. The Women, 2021, pattern design. 16 April—29 May Wildflowering by Design Works by contemporary artists. Curated by Dr Susan Davis. Women’s connection to nature has long been explored through art and design, for practical and aesthetic purposes. Beginning with Traditional Custodians, then the artists who documented Australia’s native plants with colonial botanists, women often turned to wildflowers as materials, subject matter and inspiration. This exhibition seeks to explore contemporary responses to our botanical and wildflower heritage with women artists creating new work across the art and design spectrum. 16 April—29 May About being here Angela Valamanesh Inspired by the symbiosis between science and poetry Angela Valamanesh’s art works elicits intrigue and a strong sense of personal investigation, as she manipulates seemingly familiar botanical and parasitic forms in beguiling and

QUEENSLAND unusual ways. Primarily known for her biomorphic ceramic sculpture, this exhibition also celebrates the artist’s evocative drawings, watercolours, and mixed media works from her developing style of the late 1990s until present.

HOTA www.hota.com.au 135 Bundall Road, Surfers Paradise, QLD 4217 07 5588 4000 [Map 13] Sat to Thu 10am–5pm, Fri 10am–8pm. See our website for latest information.

Dumpling Dreams from YEAHYEAHCHLOE. 27 November 2021—18 April Dumpling Dreams from YEAHYEAHCHLOE A whimsically vibrant dumpling dreamscape full of fun, discovery, and adventure. Brought to life by the wonderfully imaginative YEAHYEAHCHLOE, Dumpling Dreams plops youngsters (and the youngat-heart) into a wildly colourful world complete with delicious new sidekicks. Featuring Augmented Reality experiences and interactive activities, you’re only limited by your imagination. Open Now Art Mixtape: Yours for Summer Retro-infused moments, enchanting other-worldly scenes, streaks of mythology and pop culture, and nods to the spirit of a Gold Coast summer – HOTA Gallery’s major exhibition Art Mixtape: Yours for Summer is bold, beautiful, a bit cheeky, and created with love.

Institute of Modern Art www.ima.org.au Judith Wright Centre of Contemporary Arts, 420 Brunswick Street (corner Berwick Street), Fortitude Valley,QLD 4006 [Map 15] 07 3252 5750 Free Entry. Tue to Sat 10am–5pm. See our website for latest information.

Open Now HOTA Collects: Highlights from HOTA’s Collection Showcasing over 100 works from HOTA’s Collection across three galleries HOTA Collects reflects key developments in Australian art over the past 50 years including abstraction, feminist art, Indigenous art, ceramics, and twentyfirst-century photography.

22 March—9 April I have this obsession with repetition Jason Fitzgerald 12 April—7 May The Delight of Future Eyes Juz Kitson 12 April—7 May No entry but through the sky Lottie Consalvo

Logan Art Gallery www.loganarts.com.au/artgallery

Daniel Boyd, Untitled (EOTAEIAOOTA), 2020, oil, acrylic, and archival glue on canvas. 58.5 x 82.5 cm. Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

Corner Wembley Road and Jacaranda Avenue, Logan Central, QLD 4114 [Map 13] 07 3412 5519 Tues to Sat 10am—5pm. See our website for latest information.

12 February–16 April This language that is every stone Curated by Hans Ulrich Obrist, Asad Raza, and Warraba Weatherall. Vernon Ah Kee, Robert Andrew, Daniel Boyd, Megan Cope, Manthia Diawara, Taloi Havini, Koo Jeong A, Sancintya Mohini Simpson, Phuong Ngo, The Otolith Group, Philippe Parreno, Raqs Media Collective, Khaled Sabsabi, Anri Sala, Yhonnie Scarce, Latai Taumoepeau, and Shireen Taweel. Curated by Hans Ulrich Obrist, Asad Raza, and Warraba Weatherall, This language that is every stone is the fourth iteration in a series of exhibitions conceived by Obrist and Raza that surveys the life and work of Martinique writer Édouard Glissant. The exhibition examines the concept of creolisation, an idea brought to prominence by Glissant, defined as a constant state of cultural transformation, whereby endless local difference emerges from recurrent contact between people—with one another—as well as the natural world. Developed specifically within an Australian context, This language that is every stone explores cultural synthesis and permeability through the works of Australian First Nations and diasporic artists, with contributions from international counterparts.

HOTA Collects: Highlights from HOTA’s Collection, installation view. Image courtesy of Fullframe Photographics & Film.

22 March—9 April Emotions abstracted Fred Fowler

Jan Murphy Gallery www.janmurphygallery.com.au 486 Brunswick Street, Fortitude Valley, QLD 4006 [Map 18] 07 3254 1855 Tues to Sat 10am–5pm, or by appointment. 1 March—19 March Strange magic Gerwyn Davies

Logan Art Gallery is closed for essential maintenance until 5 May 2022. Please contact Gallery staff on phone 3412 5519 with any enquiries.

Metro Arts www.metroarts.com.au Metro Arts @ West Village 97 Boundary Street, West End, QLD 4101 [Map 15] 07 3002 7100 Mon to Fri 9am–5pm, Sat 10am–10pm. See our website for latest information. 12 February—6 March Volume: Bodies of Knowledge Curated by Torika Bolatagici Featuring new commissioned work by nine multidisciplinary First Nations, Black, global Indigenous artists, this ambitious exhibition invites you to consider the body as an archive. Volume: Bodies of Knowledge, explores how embodied frequencies, cadences, and densities guide our movement through neo-colonial spaces. 193

ar t g ui d e .c o m . au Metro Arts continued...

8 April—30 April A-part-ment Petalia Humphreys An exhibition of non-objective hard-edge geometric abstract sculptural works responding to the architecture of Metro Art’s Window Gallery.

Montville Art Gallery www.montvilleartgallery.com.au 138 Main Street, Montville, QLD 4560 [Map 13] 07 5442 9211 Daily 10am–5pm. Over 40 artists on permanent display.

17 March—2 April CTRL+ALT+DEL Curated by Conscious Mic

Ian Mastin, For The Purist, acrylic. Featured artist for March Ian Mastin Ian recognises the influences of Dutch and Flemish Masters of the 17th century in his work, and embraces the fascination and challenge of the Still Life painting. He enjoys working with items of simple utilitarian use - old, much loved and worn books or bowls bring as much joy to paint as the most complex composition. Ian’s incredibly detailed and life-like artworks are on our website and on display in the gallery.

Anita Holtsclaw, Littoralis, 2021-22, 16mm black and white film still. 8 April—30 April Littoralis Anita Holtsclaw Littoralis is the Latin term for the seashore or coast and is also the second half of the scientific name of the endemic native Australian Sheoak tree: Allocasurina Littoralis. Journey through a coastal landscape into a grove of sheoaks in this installation, combining moving image, sculpture and audio components. This Light Joseph Burgess Presenting a single large-scale tufted carpet work that remediates an image of protest, this exhibition examines the use of cellphones as a luminescent form of protest that represents both connection and tension, and the ephemeral exchange of lightness and darkness. 194

Museum of Brisbane www.museumofbrisbane.com.au Level 3, City Hall, Brisbane QLD 07 3339 0800 [Map 18] Tues to Sun 10am–5pm. Free entry. January—May In Transit Rhanjell Villanueva and Naavikaran. In Transit will transform Museum of Brisbane’s (MoB) entry into a colourful celebration of cultural diversity and creativity. Presented in partnership with BrisAsia Festival, the exhibition and residency aim to provide a platform for conversation and reflection, using themes of intersectionality, language, displacement and reclaiming history as an opportunity for growth and healing.

Serge Ah Wong, Yuriyal. Photograph: Carl Warner.

Ctrl+Alt+Del is a multidisciplinary arts event formed to reboot and reclaim arts and cultural spaces in a white colonial landscape. This vibrant group exhibition features artists who identify as First Nations, Pasifika and/or culturally and linguistically diverse.

work is principally acrylic on canvas and a unique style described as “contemporary impressionism”. We have a wide range of David’s works to view both in the gallery and on our website.

Filipino-Australian artist Rhanjell Villanueva will create a captivating entrance to the Museum, combining queer-coded digital imagery and video in an immersive installation. Rhanjell’s exhibition will explore the intricacies of pre-colonial history in the Philippines, highlighting the importance of preserving language and deep transcultural knowledge. Accompanying Rhanjell’s exhibition, MoB will welcome Naavikaran as Artist in Residence. An all-round goddess, community facilitator, writer and creative from India, Naavikaran will develop events, workshops and performance-based responses to activate the space. Their community-focused projects are driven by a desire to create accessible and safe storytelling for identities of various intersections and communities. Museum of Brisbane presents In Transit in partnership with BrisAsia Stories part of BrisAsia Festival, Brisbane’s premier event for cultural placemaking, creative and artistic innovation. Presented by Brisbane City Council in partnership with Museum of Brisbane (MoB). MoB’s Artist in Residence program is supported by Tim Fairfax AC. SBS is a proud partner of BrisAsia Stories.

David Hinchliffe, The Umbrella Waltz, acrylic. Featured artist for April David Hinchliffe Since his first one-man exhibition in 1976 in Toowoomba Australia at the age of 21, David has had more than 60 solo exhibitions including paintings, sculpture and photographs in locations around the world. David has travelled and painted widely in the United States and Europe and is represented extensively in collections both in Australia and overseas. His

Stephen Nothling, Bellevue View, 2020, oil on canvas. Photo: Christopher Hagen. Museum of Brisbane Collection. Courtesy of the artist.

QUEENSLAND March—February 2023 Making Place: 100 Views of Brisbane Judy Watson, Richard Randall, Noel McKenna, William Bustard, Vida Lahey, Jane Grealy, Danie Mellor, Kenneth Jack, Sam Fulbrook, Charles Lancaster, Robert Brownhall, Margaret Olley, Stephen Nothling, Margaret Cilento, Lloyd Rees, Paul Davies, Mia Boe and more. Place, in Brisbane, is not a static thing. We are at a crucial point in Brisbane’s urban development, with extreme changes to the city predicted over the next decade. With the city we know shifting so rapidly, this is the ideal moment to ask—what makes a place? Which sites are significant for individuals and communities and why? Are the landmarks we recognise as characterising the city today the same landmarks we’ll see in the future? And can memories make a place?

NorthSite Contemporary Arts www.northsite.org.au Bulmba-ja, 96 Abbott Street, Cairns, QLD 4870 [Map 14] 07 4050 9494 Mon to Fri 10am–5pm, Sat 10am–1pm. 4 February—12 March Thinking of Place III Anatolian Printmakers, Big Ink Studio, Funen Printmakers Group, Goldfields Printmakers, InkMasters Cairns, Intermountain West, Kamloops Printmakers Society, Limerick Printmakers, Material Encounters, Melbourne Printmakers Group, North Island Printmakers, Pachamama, Perspectives, Printmakers East to West, Sympoiesis and Te Wai Pounamu.

With these questions front of mind, Making Place presents more than 100 historical and contemporary depictions of the Brisbane region from our collections. We invite you to explore our ever-changing city through new eyes: from the past, to the present and into the future.

Onespace Gallery www.onespacegallery.com.au 349 Montague Road, West End, QLD 4101 [Map 15] 07 3846 0642 Tues to Fri 10am–6pm, Sat 11am–5pm or by appointment. 4 February—5 March threshold/s Daniel Sherington Onespace Gallery is pleased to launch our 2022 program with a solo exhibition by Daniel Sherington, threshold/s. Utilising drawing as a traditional framework for his practice, Sherington often uses the medium as a means of facilitating an interdisciplinary approach to making. His work considers how historical conventions of production can be critically reframed by our digital capacities. Sherington’s work is often reiterated, reworked, and proliferated, leveraging the relationship with the imagery he reproduces and makes. In his most recent body of work, Sherington depicts computer-generated ‘spaces,’ which challenge the traditional mode of painting associated with colonial Australian landscapes. Reframing these historical modes of production is essential to countering the primacy that ‘landscape painting’ holds in the Australian art canon.

Become immersed in a newly commissioned sound artwork by Lawrence English, Site Listening : Brisbane, that captures the city’s many soundscapes and surround yourself in the textures and nuance of Jenna Lee’s installation, Growing Place, illustrating her insightful reflection on ‘place’.

Noosa Regional Gallery www.noosaregionalgallery.com.au Riverside, 9 Pelican Street, Tewantin, QLD 4565 [Map 13] 07 5329 6145 Tue to Fri 10am–4pm, Sat and Sun 10am–3pm. See our website for latest information.

Ovidiu Gordan, #16 from the series Familiar Place (2007-17), inkjet print, 30 x 45 cm, courtesy Ovidiu Gordan/Open Editions .Co. 12 February—14 April Never So Visible Aishah Kenton, Ovidiu Gordan, Sancintya Mohini Simpson, Spiro Miralis, Soham Gupta, Zhu Mo.

Elisa Jane Carmichael, Warambul (watercourse), 2021. Ungaire, sea ropes and fish scales, 65cm diameter x 10cm. Photo: Louis Lim. Courtesy of the artist and Onespace Gallery.

Prue Venables, Living Treasures, Group Of Forms, Black Ovals and Yellow Sieve, 2018. Photograph: Terence Bogue. 4 March—24 April Living Treasures: Masters Of Australian Craft \ Prue Venables This is an Australian Design Centre (ADC On Tour) national touring exhibition, presented with assistance from the Australian Government Visions of Australia program.

Matthew Stanton, 'Johnstone River #1' (Ngadjonji Country), 2013, chromogenic darkroom print (hand-printed by the artist) framed in hand-finished Victorian Ash, 126 x 160 cm.

Teho Ropeyarn, Ani, Ipi, Achah (land, water, sky), 2021. Vinyl-cut, ink on paper, 150 x 203cm, 2AP + Edition of 5. Photo: Louis Lim. Courtesy of the artist and Onespace Gallery.

18 February—23 April Deep North Matthew Stanton

11 March—23 April Parallel Currents Elisa Jane Carmichael and Teho Ropeyarn. 195

ar t g ui d e .c o m . au Onespace Gallery continued... First Nations artists, Elisa Jane Carmichael and Teho Ropeyarn, have both recently come to prominence through their inclusion in major survey exhibitions such as the Asia Pacific Triennial, Tarnanthi, Primavera and the Biennale of Sydney. Their work is now more frequently seen in a national and international context, often in exhibitions thematically linked to water, and this joint show offers an opportunity to engage with a selection of their recent works not previously seen before in Brisbane. Ropeyarn and Carmichael explore their personal connection to country, Injinoo and Quandamooka, respectively. A number of these innovative works have returned from interstate and international shows, and this exhibition coincides with Ropeyarn’s participation in the 23rd Biennale of Sydney, rīvus and Carmichael’s inclusion in Primavera 2021: Young Australian Artists at the Museum of Contemporary Art, Sydney.

Philip Bacon Galleries www.philipbacongalleries.com.au 2 Arthur Street, Fortitude Valley, QLD 4006 [Map 18] 07 3358 3555 Tues to Sat 10am–5pm. See our website for latest information.

Lee Paje, The Philippines b.1980, The stories that weren’t told, 2019 , oil on copper mounted on wood, 243.84 x 300 cm. Collection: Queensland Art Gallery, Purchased 2021 with funds from Terry and Mary Peabody and Mary-Jeanne Hutchinson through the Queensland Art Gallery | Gallery of Modern Art Foundation , Photography courtesy the artist and Tin-aw Arts Management Ltd. (APT10) will include 69 projects with new and recent work by more than 150 emerging and established artists, collectives and filmmakers from more than 30 countries. It includes works of art that are by turn highly personal, deeply political, and full of joy.

Outback Regional Gallery, Winton www.matildacentre.com.au Waltzing Matilda Centre, 50 Elderslie Street, Winton 4735 [Map 14] 07 4657 2625 Mon to Fri 9am–5pm, Sat and Sun 9am–3pm. See our website for latest information.

Long Jack Phillipus Tjakamarra (1932 – 2020), Untitled, 1973, synthetic polymer paint on cotton duck, 61 x 50.4 cm. 8 March—2 April Important Australian Indigenous Art 5 April—30 April The Hirst Collection of Australian and International Art

Pinnacles Gallery www.townsville.qld.gov.au Riverway Art Centre, 20 Village Boulevard, Thuringowa Central QLD 4817 [Map 17] 07 4773 8871 Tue to Fri 10am–5pm, Sat 10am–1pm. See our website for latest information. Lyn Laver-Ahmat, Midday in the Desert Gorge, 2020, Major Prize Winner of the 2021 John Villiers Outback Art Prize. 12 March—8 May 2022 John Villiers Outback Art Prize Finalist Exhibition This exhibition is Generously sponsored by The John Villiers Trust.

Perc Tucker Regional Gallery www.townsville.qld.gov.au Cnr Flinders and Denham streets, Townsville, QLD 4810 [Map 14] 07 4727 9011 Tue to Fri 10am–5pm, Sat and Sun 10am–1pm. See our website for latest information. 196

QUT Art Museum and William Robinson Gallery www.artmuseum.qut.edu.au wrgallery.qut.edu.au QUT Gardens Point Campus, 2 George Street, Brisbane, QLD 4000 [Map 15] 07 3138 5370 Tues to Fri 10am–4pm, Sun 10am–2pm. Closed Mondays, Saturdays and public holidays.

Queensland Art Gallery | Gallery of Modern Art www.qagoma.qld.gov.au Stanley Place, South Brisbane, QLD 4101 [Map 10] 07 3840 7303 Daily 10am–5pm. 4 December 2021—25 April The 10th Asia Pacific Triennial of Contemporary Art (APT10) For this landmark tenth edition, QAGOMA’s Asia Pacific Triennial looks to the future of art and the world we inhabit together. It’s rich with stories of how to navigate through time and space, reimagine histories and explore connections to culture and place. The 10th Asia Pacific Triennial of Contemporary Art

Judy Watson, standing stone, kangaroo grass, red and yellow ochre, 2020, acrylic and graphite on canvas, 250 x 181.5 cm. Courtesy of the artist and Milani Gallery, Brisbane. Photo: Carl Warner. 15 March—19 June Looking Glass: Judy Watson and Yhonnie Scarce

QUEENSLAND 13 March—17 May Reuse and Repeat: Works from the Redland Art Gallery Collection

Looking Glass is an important and timely exhibition which brings together two of Australia’s most acclaimed contemporary artists—Waanyi artist, Judy Watson and Kokatha and Nukunu artist, Yhonnie Scarce. At its heart, the exhibition is both a love song and a lament for Country; a fantastical alchemy of the elemental forces of earth, water, fire and air.

Rockhampton Museum of Art www.rmoa.com.au

Looking Glass is developed by TarraWarra Museum of Art and Ikon Gallery with Curator Hetti Perkins. Touring nationally with NETS Victoria.

220 Quay Street, Rockhampton, QLD 4700 [Map 14] 07 4936 8248 Mon to Sun 9am–4pm. Admission free. See our website for latest information. Megan Cope, Water is life (Circle – Dabilyil), 2020–21. Installation view at Canberra Glassworks. Photo by Brenton McGeachie. Courtesy of the artist and Milani Gallery, Brisbane.

Sitting on the threshold of the Fitzroy River (Tunuba), RMOA is regional Queensland’s largest and most exciting art space. With six exhibition spaces there will be something for all visitors.

20 March—8 May Megan Cope: Unbroken connections William Robinson, Out of the dawn, 1987, oil on linen. Collection of Martin and Jan Jorgensen, Brisbane. William Robinson Gallery: 17 September 2021—11 September William Robinson: Nocturne The passage of time is a major theme in William Robinson’s practice and many of his paintings from the mid-1980s onwards incorporate both day and night simultaneously. In several of these works, the night sky is depicted as a reflection: in rivers of stars or pools mirroring the moon. This exhibition of nocturnal works illuminates the artist’s fascination with the shimmering night sky and the sparkling landscape sprawling below, highlighting his signature multi-point perspective from the vantage point of the twilight hours.

Redland Art Gallery, Capalaba www.artgallery.redland.qld.gov.au Capalaba Place, Noeleen Street, Capalaba, QLD 4157 [Map 16] 07 3829 8899

Fred Williams, (1927–1982), Burning Tree at Upwey, Victoria 1968, oil on canvas, 134.5 x 119.5 cm. Gift of Fred and Lyn Williams 1977, © Estate of Fred Williams. 25 February—23 October Welcome Home – Highlights from the Collection

Redland Art Gallery, Cleveland

The first feature exhibition in the new Rockhampton Museum of Art, Welcome Home celebrates our rich and vibrant collection.

www.artgallery.redland.qld.gov.au Corner Middle and Bloomfield steets, Cleveland, QLD 4163 [Map 16] 07 3829 8899 Mon to Fri 9am–4pm, Sun 9am–2pm. Admission free.

Karen Stephens, The Magnificent,2020, synthetic polymer paint on reconstructed paper. Courtesy of the artist. 22 January—8 March Fishing for Landscape: Karen Stephens

Zanny Begg, Stories of Kannagi (still, detail) 2019. Single-channel digital video, 23 minutes. Courtesy of the artist. 30 January—13 March Radical Localism: Elizabeth Shaw Zanny Begg: These Stories Will Be Different

Pamela See, For tomorrow’s ancestors… cotton (detail), 2019, Arches paper. Redland Art Gallery Collection. Acquired in 2021 with Redland Art Gallery Acquisition Funds. Photography by Carl Warner.

Drawn from a diverse and nationally significant collection of artworks Welcome Home includes recent acquisitions featuring 79 artists, 92 artworks from the collection. 25 February—29 May Here We Meet Here We Meet illustrates and celebrates the region’s connectedness and long history of cooperation and collaboration, bringing together works by Karen Stephens, Belynda Waugh and Veronika Zeil. Each artist lives and works in regional Queensland with their work exploring concepts of place, the environment and celebrating what Central Queensland as a community represents. Here We Meet was made possible by the Australian Government’s Regional Arts Fund, provided through Regional Arts Australia, administered in Queensland by Flying Arts Alliance.

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Toowoomba Regional Art Gallery www.tr.qld.gov.au/trag 531 Ruthven Street, Toowoomba, QLD 4350 [Map 16] 07 4688 6652 See our website for latest information.

Umbrella Studio Contemporary Arts www.umbrella.org.au 408 Flinders Street, Townsville, QLD 4810 [Map 14] 07 4772 7109 Tues to Fri 9am–5pm, Sat and Sun 9am–1pm. See our website for latest information.

of visual expression. This exhibition links 3D mixed media works of repurposed metal, timber, plastic and textiles to 2D wall works abstracted from and inspired by the 3D material. Through their shared love of architecture and machines, Sheree Kinlyside and Alan Carpenter have developed an opportunistic and evolving practice which combines decades of diverse skill development with the tools and accumulated materials necessary to deliver surprising outcomes.

USC Art Gallery www.usc.edu.au/art-gallery USC Sunshine Coast, 90 Sippy Downs Drive, Sippy Downs QLD 4556 [Map 13] Mon to Fri 10am–4pm, Sat 10am–1pm. See our website for latest information.

Arryn Snowball, Steadily expanding editions of time, 2020, tempera on canvas, 190 x 190 cm. Courtesy of the artist and Jan Manton Gallery. bible’, Grant’s Guide to Fishes. Slack Water brings together new and recent paintings, gouache studies, and experimental performance-based drawings by Snowball inspired by the poems as well as a growing understanding of what scientists have dubbed the Anthropocene—an unofficial term used to describe the present epoch in which humans have significantly impacted the planet’s climate and ecosystems.

UQ Art Museum www.art-museum.uq.edu.au

Jonathan McBurnie, Maximum Grief, 2021, Ink, watercolour and gouache on paper, 38 x 57 cm.

Building 11, University Drive, The University of Queensland, St Lucia, QLD 4067 [Map 15] 07 3365 3046 Tue to Fri 10am–4pm, Sat 11am–3pm. Closed Monday, Sunday and public holidays. See our website for latest information.

22 April—5 June My Mother, Blessed and Cursed with Sons Jonathan McBurnie Jonathan McBurnie’s latest body of drawings and mixed-media work draws parallels between the constructed worlds of art and pro-wrestling. The two ostensibly disparate idioms share the willing mental or physical sacrifice of one’s own self as fuel for the artistic act and the presentation of constructed versions of the self, and both present a massive index of jargon and industry-specific terms. Over 200 amassed works will explore the paradoxes, nuances and humour of wrestling in McBurnie’s signature style.

Sandra Selig, Love letters 15 (detail), 2020, spider silk, enamel, and adhesive on paper, 49 x 59 cm. Courtesy of the artist, Milani Gallery, Brisbane and Sarah Cottier Gallery, Sydney. 18 February—7 May Sandra Selig: exploring giant molecules Exploring giant molecules is the largest solo exhibition of Australian artist Sandra Selig, bringing together key examples of her interdisciplinary projects from the past two decades.

Sheree Kinlyside and Alan Carpenter, Watermark, 2021. Recycled silky oak and machine spring, 26 x 16 x 15cm. Photographer: Pierce Eldridge. 22 April—5 June Rejigged Sheree Kinlyside and Alan Carpenter. Rejigged demonstrates the power of collaboration to discover unique forms 198

Selig works at the intersection of visual art and experimental music, using humble materials such as thread, paper, light and sound to articulate intangible notions of form, space and time. Rather than a chronological overview, the exhibition responds to Selig’s site-specific and iterative practice. Arryn Snowball: Slack Water Slack Water is a collaboration about the Pacific Ocean between artist, Arryn Snowball and poet, Nathan Shepherdson. At the end of 2017, Shepherdson made 77 poems in response to the ‘fisherman’s

Superflex, Dive—In, 2019. Dive–In was originally commissioned by Desert X in collaboration TBA21–Academy with music composed by Dark Morph (Jónsi and Carl Michael von Hausswolff). Photo: Lance Gerber, courtesy of Desert X. 19 February—25 June Oceanic Thinking SUPERFLEX, Sancintya Mohini Simpson, Isha Ram Das, Elise Rasmussen, Léuli Eshrāghi, Izabela Pluta, Monira Al Qadiri, Tabita Rezaire, Stephanie Comilang, Alicia Mersy , Birrmuyingathi Maali Netta Loogatha, Kuruwarriyingathi Bijarrb Paula Paul, Benjamin Armstrong, Charles Callins.

A–Z Exhibitions

MARCH/APRIL 2022

Australian Capital Territory

Federation Square, Kingsley Street,

Rosevear Place, Treloar Crescent, Ainsle Avenue, Wentworth Avenue,

London Circuit, Blaxland Crescent,

Wentworth Avenue, Kennedy Street,

Parkes Place, King Avenue,

King Edward Terrace, Anzac Parade,

Kendall Lane, Reed Street,

Manuka Circle, Aspinall Street

ar t g ui d e .c o m . au

Aarwun Gallery www.aarwungallery.com 11 Federation Square, Gold Creek, Nicholls, ACT 2913 [Map 16] 0499 107 887 Daily 10am–4.30pm and by appointment in the evening. See our website for latest information.

Beaver Galleries www.beavergalleries.com.au 81 Denison Street, Deakin, Canberra, ACT 2600 [Map 16] 02 6282 5294 Tue to Sat 10am–5pm. See our website for latest information.

Australian National Capital Artists (ANCA) Gallery www.anca.net.au 1 Rosevear Place (corner Antill street), Dickson, ACT 2602 [Map 16] 02 6247 8736 Wed to Sun 12noon–5pm. See our website for latest information.

Tom Campbell, fast track oceania, 2021, Single channel video still. 2 March— 27 March Rodomontade Tom Campbell

Peter Browne, Jumping ship, oil on canvas, 83 x 83 cm. We are glad to be part of the cultural fabric of Canberra for over 22 years. We describe our collection as rich and eclectic. We represent some of Australia’s finest classical landscape and portrait artists as well as carrying a wide portfolio of stunning contemporary works which sit alongside exquisite works from our indigenous artists. Paintings, printmaking, ceramics, glass, bronze and sculpture; we embrace the endless diversity of the best of which Australia has to offer in art.

David Frazer, A Kind of Prayer, linocut, 51 x 45 cm. 3 March—19 March David Frazer Prints. Brenden Scott French Studio glass.

Artists Shed www.artistshed.com.au

Henry Hu, lapis_00 (details), 2020, mixed media, custom-printed velvet, acrylic on custom-printed canvas, two panels 94 x 54 x 2 cm each. Image courtesy of the artist. 20 March—24 April selected01 Henry Hu

1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 Daily 9am–5pm, Sun 10am–4pm. See our website for latest information.

Canberra Glassworks www.canberraglassworks.com 11 Wentworth Avenue, Kingston ACT 2604 [Map 16] 02 6260 7005 See our website for latest information.

Crispin Akerman, Spring, oil on linen, 61 x 51 cm.

Margaret Hadfield, Bedankt. A large private gallery run by artist Margaret Hadfield. This a creative and resourceful enterprise which includes a art school, art supplies, gallery and now a space for events and wine bar. The gallery has a display of some of Margaret’s Gallipoli Series which have been exhibited in Europe for Anzac Commemorations. Also exhibiting local artists from the region. 200

24 March—9 April Crispin Akerman Paintings. Shannon Garson Ceramics. Judy Horacek Watercolours and monotypes.

Built and supported by the ACT Government, Canberra Glassworks is a dynamic, professional artists facility, dedicated to contemporary glass art, craft and design. 3 February—22 March the tender Jacqueline Bradley Jacqueline Bradley is an artist concerned with bodily relationships to the outdoors. Through objects, performances and installations, she explores the role textiles and clothing play in constructing and mediating experiences of the landscape. Returning to Canberra this summer, she has been working as an Artist in Residence at the Canberra Glassworks to

AUSTRALIAN CAPITAL TERRITORY 4 March—20 March Nature Lovers Helen Gory

Jacqueline Bradley, Gift, 2022, cast glass, peaches, peach stones. Photograph by Brenton McGeachie. develop this new body of work, the tender, using glass as a medium. The Artist in Residence Program is supported by the Australia Council for the Arts.

Cobi Cockburn, Murmuration, charcoal, 2019, glass. Photo courtesy of the artist. 14 April—5 June Upending Expectations (Group exhibition) Gabriella Bisetto, Cobi Cockburn, Nadege Desgenetez, Mel Douglas, Rose-Mary Faulkner, Nicholas Folland, Jonathan Jones, Kirstie Rea, Harriet Schwartzrock, Brendan Van Hek, Annie Cattrel Curated by Frances Lyndsay AM. As the title Upending Expectations implies, the focus of this exhibition is on artists whose experimental, innovative and at times cross-disciplinary practice, utilises glass and its properties of light, transparency and reflection, through a diverse range of approaches. The exhibition is scheduled to tour from 2022 to 2024 supported by the Australian Council for the Arts through the Contemporary Touring Initiative.

M16 Artspace www.m16artspace.com.au Blaxland Centre, 21 Blaxland Crescent, Griffith, ACT 2603 [Map 16] 02 6295 9438 Wed to Sun 12noon–5pm. See our website for latest information. 4 March—20 March Incandescence Lime Flamingo Collective

Brenton McGeachie, Untitled, 2021, pigment print on Hahnemuhle paper, 51 x 35 cm. Courtesy of the artist. 4 March—20 March No. 52 Brenton McGeachie

Anne Wallace, She is, 2001, National Gallery of Australia, Canberra. purchased 2002. Until 26 June Know My Name: Australian Women Artists 1900 to Now: Part Two Drawn from the National Gallery’s collection and with loans from across Australia, Know My Name: Australian Women Artists 1900 to Now is one of the most comprehensive presentations of art by women assembled in this country. Know My Name: Australian Women Artists 1900 to Now is part of the National Gallery’s vision to increase representation of all women in our artistic program, in our permanent collection and within the organisation itself. Curated by Deborah Hart, Henry Dalrymple Head of Australian Art and Elspeth Pitt, Curator of Australian Art.

Al Munro, Colour Fold 7, 2021, acrylic paint on constructed wooden surface, 41 x 41 cm. Photo courtesy of the artist. 25 March—10 April Colour Fold Al Munro 25 March—10 April I burnt a hole in my pocket to fix myself Jack Caddy, Grace Connors, Jesse Bowling, Brooke Hyrons, Anita Cummins curated by Matt Siddall 25 March—10 April Being There Sivaan Walker 15 April—1 May Canberra Art Workshop 15 April—1 May Mosses + Marshes Kim V Goldsmith and Andrew Howe 15 April—1 May Fade Away Elizabeth Ficken

National Gallery of Australia www.nga.gov.au Parkes Place, Canberra, ACT 2600 [Map 16] 02 6240 6411 Daily 10am–5pm. See our website for latest information.

Sarah Lucas, Eating a Banana, 1990, image courtesy Sadie Coles HQ, London © the artist. Until 18 April Sarah Lucas Sarah Lucas brings together recent work by one of England’s most influential and unapologetic artists. Over the past 30 years, Sarah Lucas has transformed everyday materials, such as vegetables, cigarettes and stockings through sculpture, photography and performance. The human body recurs in her practice as a site of potential desire and failure, as the artist explores the ways in which gender and sexuality are performed. Sarah Lucas is the first of the National Gallery’s Project Series and a Know My Name project. Curated b y Peter Johnson, Curator, Projects. 11 December 2021—15 May Jeffrey Smart 201

ar t g ui d e .c o m . au National Gallery of Australia continued... The year 2021 marked one hundred years since the birth of acclaimed Australian artist Jeffrey Smart. To celebrate and commemorate this significant centenary, the Gallery is holding a major exhibition of his work. Curated by Deborah Hart, Henry Dalrymple Head of Australian Art and Rebecca Edwards, Sid & Fiona Myer Curator, Australian Art. 19 February—5 June Balnaves Contemporary Series Judy Watson & Helen Johnson: the red thread of history, loose ends Presenting new work by two of Australia’s leading artists – Judy Watson and Helen Johnson. Watson, a Waanyi woman, based on Jagera/Yuggera and Turrbal Country of Meanjin/Brisbane and Johnson, a second-generation immigrant of Anglo descent based in Wurundjeri Woiwurrung Country in Naarm/Melbourne.

12 March—17 July Shakespeare to Winehouse: Icons from the National Portrait Gallery, London. portrait.gov.au/icons

PhotoAccess Huw Davies Gallery www.photoaccess.org.au Manuka Arts Centre, 30 Manuka Circle, Griffith ACT 2603 [Map 16] 02 6295 7810 Tue to Sat 10am–4pm. See our website for latest information. PhotoAccess, the ACT and region’s centre for photography, film and media arts, presents a dynamic program of exhibitions showcasing local, Australian and international artists.

4 March—14 March Balnaves Contemporary Series Daniel Crooks Naarm/Melbourne based artist Daniel Crooks has been commissioned to illuminate the National Gallery’s façade for the 2022 Enlighten Festival. Presented in partnership with Events ACT. Daniel Crooks is part of The Balnaves Contemporary Series.

Gabrielle Hall-Lomax, Bushfires,2020. the human in the environment, the artist integrates paint and digital manipulation techniques into her works to reflect on the interconnectedness of the natural and human spheres.

Tuggeranong Arts Centre www.tuggeranongarts.com 137 Reed Street, Greenway, ACT 2901 [Map 16] 02 6293 1443 Mon to Fri 10am–6pm, Sat 10am–4pm. See our website for latest information.

26 March—31 July 4th National Indigenous Art Triennial: Ceremony Ceremony is the fourth iteration of the National Indigenous Art Triennial.

National Portrait Gallery www.portrait.gov.au King Edward Terrace, Parkes, ACT 2600 [Map 16] 02 6102 7000 Daily 10am–5pm. Disabled access.

Will Broadhurst, Untitled #12 (Porch Moonrise, 2021. 10 March—9 April Meanwhile in the Suburbs Will Broadhurst Shot in south-west Sydney, Broadhurst’s images move the familiar motifs of Australian suburban life to the peripheries of the frame. Transitional light shifts planes of focus and masks details, giving the sense of a much larger scene perceived in a brief moment and pointing to how time and movement play upon memory. 10 March—9 April Reverberation Time Jamie Hladky Reverberation Time explores places that have been reclaimed by nature after human occupation. Hladky uses flash to illuminate the power of natural forces and our attempts to corral them.

Shirin Neshat, Malala Yousafzai 2018, National Portrait Gallery, London. Commissioned with support from Scott Collins and Lotta Ashdown, in partnership with Outset Contemporary Art Fund, 2018 © National Portrait Gallery, London. 202

Fantasy Collision Gabrielle Hall-Lomax Hall-Lomax’s layered works draw attention to how human activity has transformed Australian ecologies. Expanding on photographic traditions of conveying

Natalie Quan Yau Tso, 上頭 /A Knotted Wedding, 2021, Me and my partners hair, hair gel, dimensions in photo 21 x 17 cm. 9 April—21 May I have arrived at Yellow Natalie Quan Yau Tso

Image provided by the artist. 9 April—21 May VENTRE LUCA’s Daughters More Than Meets the Eye Karri McPherson

A–Z Exhibitions

MARCH/APRIL 2022

Tasmania

Albert Road, Hunter Street,

Wilmot Street, Elizabeth Street,

Tasma Street, Salamanca Place, Harrington Street, Davey Street,

Main Road, Maquarie Street,

Castray Esplanade, Stewart Street,

Liverpool Street, George Street, Dunn Place, Murray Street

LINDA RISELEY SO LO EXHI B I TI O N 20 TH MARCH 2022

ALTERNATE

UNIVERSE

AQUILA ART LOUNGE 7 Vicary Street, Triabunna Tas. 7190 Grand Opening on Sunday 20th March 2022 Opening hours: 10:00am - 3:00pm Gallery owner: Sommai Coomber www.LindaRiseley.com.au lindariseley.com.au

TASMANIA

Bett Gallery www.bettgallery.com.au Level 1, 65 Murray Street, Hobart, TAS 7000. 03 6231 6511 Mon to Fri 10am–5.30pm, Sat 10am–4pm See our website for latest information. 18 March—9 April To see the bones and tombstone at once Raymond Arnold

Colville Gallery www.colvillegallery.com.au 15 Castray Esplanade, Battery Point, TAS 7004 [Map 17] 03 6224 4088 Daily 10am–5pm. Presenting works by contemporary Tasmanian and Australian artists featuring paintings, works on paper, photography and sculpture in an annual program of curated exhibitions.

Diana Baker Smith, The Lost Hour, 2021, single channel HD Video, 15’50’’. Video still courtesy of the artist. 19 March—17 April The Lost Hour Diana Baker Smith

Devonport Regional Gallery www.paranapleartscentre.com.au paranaple arts centre, 145 Rooke Street, Devonport, TAS 7310 03 6420 2900 Mon to Fri 9am–5pm, Sat and pub hols 9am–2pm, Sun closed. See our website for latest information.

Sophy Reynolds. These small things. II, oil on board, 33 x 24cm. 18 March—9 April Amor Fati Alexander Okenyo

15 March—4 April Palermo 2019–2021 Sophy Reynolds Lindy Lee with Secret World of a Starlight Ember, 2020, Installation view, Lindy Lee: Moon in a Dew Drop, Museum of Contemporary Art Australia, Sydney, 2020, stainless steel, Image courtesy the artist and Museum of Contemporary Art Australia, Sydney, © the artist, photograph: Ken Leanfore.

15 April—7 May TBC Hermannsburg Potters

12 February—19 April Moon in a Dew Drop Lindy Lee

Isabelle Chouinard, Still life with mandarines, 35 x 46 cm. 5 April—25 April New Works Isabelle Chouinard

Two Houses, 2022, acrylic on hardboard 40 x 40cm. 15 April—7 May New Paintings Neridah Stockley

Contemporary Art Tasmania www.contemporaryarttasmania.org 27 Tasma Street, North Hobart TAS 7000 [Map 17] 03 6231 0445 Wed to Sun, noon–5pm. See our website for latest information. Contemporary Art Tasmania is Tasmania’s professional level, public presentation platform dedicated to contemporary and experimental art.

Lose yourself in the work of influential Australian-Chinese artist, Lindy Lee. Slow down and take in shimmering, meditative and thought-provoking works in her major survey exhibition which draws on her experience of living between two cultures. Using a spectacular array of processes which include flinging molten bronze, burning paper and allowing the rain to transform surfaces, Lee draws on her Australian and Chinese heritage to develop works that engage with the history of art, cultural authenticity, personal identity and the cosmos. Key influences are the philosophies of Daoism and Ch’an (Zen) Buddhism, which explore the connections between humanity and nature. Curated by MCA Director Elizabeth Ann Macgregor OBE and supported by Associate Curator Megan Robson, this exhibition will introduce audiences to key works from across the artist’s extensive career, from early photocopy artworks to recent installations and sculptures. 205

ar t g ui d e .c o m . au Devonport Regional Gallery continued...

Penny Contemporary www.pennycontemporary.com.au

Melissa Smith, Listen deeply - Lake Sorell, intaglio collagraph, 76 x 120 cm(triptych).

187 Liverpool Street, Hobart, TAS 7000 [Map 17] 0438 292 673 Wed to Sat 11am–4pm, or by appointment. See our website for latest information.

10 March—28 March Print Show: Celebrating Tasmanian printmakers

Gabby O’Toole, ‘A Promise to Me’– Don College, acrylic and oil on wooden board, dimensions varied, 2021. Part of This is Us, 2022 – Devonport Highschool and College exhibition. 30 April—28 May This Is Us 2022 Devonport’s local young people respond to the theme of Emotion in the 2022 exhibition – This Is Us. The exhibition gives these talented emerging artists an opportunity to investigate moods, feelings, and relationships within their private, public, and environmental circumstances, through multidisciplinary approaches. The exhibition reveals the depth, and sentiments held by youth in ever changing times.

Boundless, oil on linen, 185 x 216 cm. 1 April—18 April Clifford How Takayna: Original Earth

Jane Giblin, The Whitie wharf boy, 2021, ink and pigment on unicartridge, 86.5 x 76.5 cm. 4 March—26 March The Carapace Jane Giblin

30 April—14 January 2023 Little Gallery Emerging Artist Program The Little Gallery Emerging Artist Program supports emerging and early career Tasmanian artists who demonstrate a strong vision in their practice. The Program is named in honour of Jean Thomas, who set up the first public gallery on the north-west coast in 1966 and named it The Little Gallery. Jean Thomas’ vision was to create as a centre for community arts and activities that promoted the work of emerging and established Tasmanian artists alongside national and international artists. 2022 Selected Artists: 30 April—28 May: George Kennedy; 16 July—20 August: Luke Viney; 27 August—24 September: Jane Menzies; 1 October—29 October: Stephanie Reynolds; 5 November— 3 December: Elizabeth Braid; 10 December —14 January: Armie Sungvaribud.

Handmark www.handmark.com.au 77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6223 7895 Mon to Fri 10am—5pm, Sat 10am—4pm, Sun 12noon–4pm. See our website for latest information.

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Banksia Robur with Moon Rising, oil on canvas, 120 x 130 cm 22 April—9 May New works Anna Fitzpatrick

Museum of Old and New Art (Mona)

Julia Drouhin and Camille Antoine, Chichi Fraiche. 1 April—21 April Chichi Fraiche Julia Drouhin and Camille Antoine.

www.mona.net.au 655 Main Road, Berridale, Hobart, TAS 7000 03 6277 9900 Fri to Mon 10am—5pm. 17 December 2021—9 May Jean-Luc Moulène and teams Prototypes of Speculative Engineering James Capper Deep underground: a red landscape transforms the gallery. There you will find a pair of insect-like ‘mobile sculptures’ going about their mechanical choreography, digging and marking the earth. Inspired by the movement of insects and evolution of vertebrae in walking species, Capper uses his ability as a steel fabricator and mobile hydraulics engineer to make sculptures that walk across landscapes.

Queen Victoria Museum & Art Gallery www.qvmag.tas.gov.au Museum: 2 Invermay Road, Launceston, TAS 7248 Art Gallery: 2 Wellington Street, Launceston, TAS 7250 03 6323 3777 Daily 10am–4pm. The Queen Victoria Museum and Art Gallery (QVMAG) is the cultural hub of Launceston and the leading destination for art, history and natural sciences in Northern Tasmania. Our collection has been in the making since 1842, and includes significant acquisitions and donations from across

TASMANIA the world. History, Natural Sciences and Visual Arts and Design are our key collection areas, cared for and exhibited for the community of Northern Tasmania.

top works from young Tasmanian artists in year 11 & 12 studying Art Production or Art Studio Practice as part of their Tasmanian Certificate of Education.

Queen Victoria Art Gallery, Royal Park: 5 December 2021—29 May Skin Garry Greenwood

These artworks have been selected by QVMAG from works shortlisted by the art teachers of the various colleges. The works exhibited reflect the originality of the individual students and the creativity that is encouraged by these schools.

Wander through the curious and magnificent creations from the imagination of iconic Tasmanian leather craft artist, Garry Greenwood at QVMAG Royal Park.

and eraser shavings will accumulate. Extinction Studies is commissioned by Detached Cultural Organisation and presented by TMAG.

Tasmanian Museum and Art Gallery www.tmag.tas.gov.au

Herself. Image by Melanie Kate. Queen Victoria Art Gallery, Royal Park: 5 December 2021—17 September 2023 Herself Women have been consistently underrepresented in collections and exhibitions since museums and art galleries were established in the 19th century. Global collective movements championing female equality, such as the #knowmyname movement, have played a defining role throughout 2020, so it’s only fitting that we’re turning the spotlight to female artists featured within our collection who have paved a path of their own, and contributed to both the Tasmanian, and Australian, creative industries.

Dunn Place, Hobart, TAS 7000 [Map 17] 03 6165 7000 Daily 10am–4pm (until 31 March), Tue to Sun 10am–4pm (from 1 April). Free entry. See our website for latest information. Tasmanian Museum and Art Gallery (TMAG) is Tasmania’s leading natural and cultural heritage organisation. It is a combined museum, art gallery and herbarium which safeguards the physical evidence of Tasmania’s natural and cultural heritage, and the cultural identity of Tasmanians. TMAG is Australia’s second-oldest museum and has its origins in the collections of Australia’s oldest scientific society, the Royal Society of Tasmania, established in 1843. The first permanent home of the museum opened on the corner of Argyle and Macquarie streets in 1863 and the museum has gradually expanded from this corner to occupy the entire city block.

Gay Hawkes, The singing cupboard, 2014-15, recycled pallets and plywood. Photograph: Peter Whyte. 18 March—15 May Gay Hawkes: The House of Longing Hawkes is a nationally respected furniture maker, sculptor and artist who lives in Tasmania. She is particularly well known for pioneering the use of found materials such as horizontal scrub and driftwood in her furniture. In January 2013, her house and boat-shed studio were destroyed in the Dunalley bush fire, along with an irreplaceable collection of her life’s work. The House of Longing recognises Hawkes’s commitment to her practice as an artist and teacher over forty years, as well as her resilience and passion. 18 March—15 May Made/Worn: Australian Contemporary Jewellery

Tasmanian artist Tony Smibert in his studio. Image: Carmencita Palermo. Queen Victoria Art Gallery, Royal Park: 4 December 2021—6 November Tao Sublime The latest temporary exhibition to feature at the Art Gallery at Royal Park, bringing together the vast knowledge of painting practice from internationally renowned Tasmanian artist Tony Smibert. Built from refined skill and dedication to landscape painting spanning a career of 40-years, Tao Sublime showcases a collection of emotive and striking works by Smibert; many of which will be revealed to the public for the first time. Queen Victoria Museum, Inveresk: 19 December 2021—19 April ArtRage An annual initiative of the Queen Victoria Museum and Art Gallery that exhibits the

Lucienne Rickard, Extinction Studies, 2019, graphite on paper. From 18 February Extinction Studies Tasmanian artist Lucienne Rickard returns to the Tasmanian Museum and Art Gallery (TMAG) to continue her longterm durational performance Extinction Studies. First on show at TMAG from September 2019 until January 2021, Extinction Studies seeks to bring attention to the critical issue of species extinction through the act of drawing and erasure.

TMAG presents the Australian Design Centre touring exhibition Made/Worn: Australian Contemporary Jewellery, which features the work of 22 outstanding contemporary jewellers working in Australia now. From intimate pieces to large scale works, the contemporary jewellery in the exhibition explores the act of making and how jewellery is worn on the body, telling stories that start with the artist and continue through the life of the object worn or experienced, creating new resonances with owners into the future.

Lucienne will spend several days per week in TMAG’s Link Foyer drawing a recentlyextinct plant or animal species. She will then erase the drawing and begin to draw a different extinct species on the same sheet of paper. She will then erase it again. This process of drawing and erasure, or evolution and extinction, is repeated in full knowledge that the paper will deteriorate 207

A–Z Exhibitions

MARCH/APRIL 2022

South Australia

Mulberry Road, North Terrace, South Road, Porter Street,

Diagonal Road, Melbourne Street, Rundle Street, Pirie Street,

Portrush Road, Morphett Street, Sixth Street, Gibson Street,

Thomas Street, Kintore Avenue,

King William Road, Grenfell Street

S OUTH AUSTRALIA

ACE Open www.aceopen.art

braces notions of freedom in expression, creation and collaboration. Curated by Sebastian Goldspink, Free/State features the work of 25 artists throughout AGSA.

Lion Arts Centre, North Terrace (West End) Kaurna Yarta, Adelaide, SA 5000 [Map 18] 08 8211 7505 Tue to Sat 11am–4pm. See our website for latest information.

Sovereign Sisters: domestic work A Flinders University Museum of Art exhibition. Curated by Ali Gumillya Baker with Madeline Reece. Presented in association with Tarnanthi Festival and APRON-SORROW / SOVEREIGN-TEA curated by Dr Natalie Harkin at Vitalstatistix. Featuring Paola Balla, Destiny Deacon, Julie Dowling, D Harding, Natalie Harkin, Leah King-Smith, Tracey Moffatt, Clinton Naina, r e a, Yhonnie Scarce, Ellen Trevorrow and Unbound Collective.

GAGPROJECTS Installation view: Yayoi Kusama, THE SPIRITS OF THE PUMPKINS DESCENDED INTO THE HEAVENS, 2017, National Gallery of Australia, Canberra; © Yayoi Kusama, courtesy of Ota Fine Arts, Tokyo/Singapore/Shanghai.

Giselle Stanborough, Cinopticon. 9 April—14 May Metaverse A group exhibition that considers what it means on a human-level to be shaped and governed through the advent of the Internet. This group exhibition curated by Patrice Sharkey brings together a select number of works by Giselle Stanborough, Roy Ananda and others, that foretell dystopian visions in response to our increasingly inescapable relationship to technology.

Art Gallery of South Australia www.agsa.sa.gov.au Kaurna Country North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7000 Daily 10am–5pm. Free entry. See our website for latest information.

From 1 April THE SPIRITS OF THE PUMPKINS DESCENDED INTO THE HEAVENS Yayoi Kusama Described as ‘the world’s most popular artist’, Yayoi Kusama is best known for her immersive polka-dot and mirror installations. Experience THE SPIRITS OF THE PUMPKINS DESCENDED INTO THE HEAVENS comprising a vibrant yellow room overrun with black polka dots of various sizes in AGSA’s Melrose Wing.

Flinders University Museum of Art www.flinders.edu.au/museum-of-art Flinders University, Sturt Road, Bedford Park, SA 5042 [Map 18] 08 8201 2695 Mon to Fri 10am–5pm or by appt. Thurs until 7pm. Closed weekends and public holidays. Free entry. FUMA is wheelchair accessible, please contact us for further information. Located ground floor Social Sciences North building Humanities Road adjacent carpark 5. See our website for latest information.

Dennis Golding, Kamilaroi/Gamilaraay, New South Wales, born 1989, Sydney, Untitled Botany Bay, 2018, photograph, 155 x 87 cm. Courtesy of the artist; photo: Jack Cook.

www.gagprojects.com 39 Rundle Street, Kent Town SA 5067 [Map 18] 08 8362 6354 Director: Paul Greenaway GAGPROJECTS is currently presenting virtual exhibitions online. Gallery open by appointment only. See our website for latest information.

Hugo Michell Gallery www.hugomichellgallery.com 260 Portrush Road, Beulah Park, SA 5067 [Map 18] 08 8331 8000 Tue to Fri 10am–5pm, Sat 11am–4pm. See our website for latest information.

JamFactory www.jamfactory.com.au 19 Morphett Street, Adelaide, SA 5000 [Map 18] 08 8410 0727 Open Daily 10am—5pm. Seppeltsfield Road, Seppeltsfield, SA, 5355 [Map 18] 08 8562 8149 Open Daily 10am—5pm. JamFactory is a unique not-for-profit organisation that champions the social, cultural and economic value of craft and design in daily life. Through our programs we inspire audiences, build careers, and extend contemporary craft and design into new markets.

4 March—5 June FREE/STATE 2022 Adelaide Biennial of Australian Art Don’t miss the country’s longest-standing survey of contemporary Australian art. The 2022 Adelaide Biennial of Australian Art: Free/State explores ideas of transcending states, from the spiritual and artistic to the psychological, and em-

r e a, Gamilaraay, Wailwan and Biripi people, Iron from the series Look Who’s Calling the Kettle Black, 1992, digital dye sublimation print, 19 x 25 cm, On loan from the artist, © r e a, 2022. 11 October 2021—8 April

Blanche Tilden and Makiko Mitsunari, Tradition, 2003. Photograph: Andrew Curtis. 209

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S OUTH AUSTRALIA Jamfactory continued... 3 March—1 May Blanche Tilden - Ripple effect: A 25 Year Survey

Under here my dreams are made of water, 2021, papier-mâché, etching, giclee print, collage, wire, glass beads, sand, studio floor debris, pigment, polymer paint, wire, tape pu foam, spray paint, silk cord, rope, dimensions variable, approx. 300 x 300 x 300 cm. Photo: Rosina Possingham. Amanda Bromfield, Before and After, 2020. Photograph: John Stewart. 19 February—15 May JamFactory at Seppeltsfield: Australiana

Murray Bridge Regional Gallery www.murraybridgegallery.com.au 27 Sixth Street, Murray Bridge, SA 5253 08 8539 1420 Tue to Sat 10am–4pm, Sun 11am–4pm. Closed Mon and public holidays. See our website for latest information.

Chris De Rosa (Port Elliot), Lara Tilbrook (Kangaroo Island), Ellen Trevorrow (Meningie/Coorong), Clancy Warner (Sellicks Beach), Laura Wills (Adelaide). 23 April—15 May Rotary Art Show

Newmarch Gallery www.newmarchgallery.com.au ‘Payinthi’ City of Prospect, 128 Prospect Road, Prospect, SA 5082 08 8269 5355 facebook.com/NewmarchGallery Mon to Wed & Fri 9am–5pm, Thu 9am–7pm, Sat 9am–4pm, Sun Closed. Newmarch Gallery is a high quality, nationally recognized exhibition space. As a gallery run by City of Prospect, it is a unique facility. The diversity of its exhibition program reflects its role as a contemporary public exhibition space with a longstanding community focus. Exhibitions include solo and group shows across a range of media, supporting both emerging and established artists.

Cecilia Gunnarsson, Belair, (detail), oil on canvas, 91 x 76 cm. 8 April—7 May Observed x 2 Cecilia Gunnarsson and Anne Taylor. Two Friends, an architect and a painter, their observations of landscapes large and small, of nature and suburbia, of light and pattern.

Nexus Arts www.nexusartsgallery.com Cnr Morphett Street and North Terrace, Adelaide, SA 5000 [Map 18] 08 8212 4276 Tue to Fri 10am–4pm.

praxis ARTSPACE www.praxisartspace.com.au 68–72 Gibson Street, Bowden, SA 5007 [Map 18] 0872 311 974 or 0411 649 231 Wed to Sat 11am–4pm. 10 February—5 March Marco Polo Daniel Breda An interactive installation of paintings with virtual reality.

Valerie Sparrow, Strelitzia (detail), 2021, watercolour, 45 x 35cm. 12 February—10 April Rural Strength: Bridge Arts Anita Millsteed, Audrey Van Den Heuvel, Jan Colwell, Jane Mason, Jane Shaw, Kerry Wilson, Mary Rawlings, Sharon Secker, Steve Oatway, Sue Foster, Sue Piggott, Valerie Sparrow, Cecelia Kluge, Louise Bauer, Pamela Gillen, Shirley Jarvis. 12 February—10 April Harbingers: Care or Catastrophe

Fake Record Shop. 3 March—2 April Fake Record Shop Explore vinyl, merch design, interviews and performances by bands that don’t actually exist! An interactive exhibition that celebrates collaboration between the worlds of visual art and music.

Monika Morgenstern, Fear Not (diptych), 2021, Aluminum, etched Glass, ink on glass, dimensions variable. 211

ar t g ui d e .c o m . au Praxis Artspace continued... 10 February—5 March FEAR NOT Monika Morgenstern

From the Riddoch Collection. Celebrated for their curious minds and unique talent, see the work created by renowned women artists of the region.

9 March—1 April The Apparent Divide Alice Blanch, Amber Cronin, Kirsty Martinsen, Lucy Turnbull.

Georgia Button, Petrichor, 2021, single channel digital video installation, duration 5 minutes (loop). 5 February—3 April PETRICHOR Georgia Button

Sandra Starkey Simon (SA, Aust) + Fanny Retsek, (California, USA), Lulu’s Evening Walk 4 (detail), lino print, chine collé on mulberry paper. 7 April—29 April Sister City II_Change curated by Andrea Przygonski A Group exhibition with International and Australian artist collaborations.

Riddoch Arts & Cultural Centre www.theriddoch.com.au 1 Bay Road, Mount Gambier, SA 5290 08 8721 2563 Mon to Fri 10am–5pm, Sat and Sun 10am–2pm. 15 January—18 April Space to Dream An initiative of the Commissioner for Children and Young People, Space to Dream is a design challenge that encourages anyone under 18 to design a toy or gadget for someone their age who is moving to Mars. This touring exhibition showcases the top-rated entries from the challenge.

Site Interrupted is the result of a 5-week studio residency by multi-media artist, Inneke Taal. In conceiving architectural structures and language as fluid and embodied, Taal promotes constant change or flux as inherent in the experience of site and self. Infusing Sauerbier House with localised and introduced remnants, the artist interrupts the narrative and offers up a poetic renewal of site as a reflection upon impermanence, further considering the very basis of ‘heritage’ as a way of navigating these concepts materially. Adelaide Fringe Festival 2022.

Button is a South Australian based multidisciplinary artist, working primarily with video, sound and installation. In Georgia’s work Petrichor, we are staring at the ground with her, moving through her family’s farm on Nukunu land, in the Mid-North region of South Australia. 2 April—8 May South East Art Society – Open Art Awards 2022

Therese Williams, Caspian Tern, 2021, charcoal on paper, 57 x 57 cm. Image courtesy of the artist.

South East Art Society Inc. encourages the practice of Visual Arts and their promotion throughout the Limestone Coast and surrounding regions. Showcasing local talent across all mediums, the Open Art Awards offer a top prize of $1,500, making this exhibition a hotly anticipated event on the Mount Gambier art calendar.

26 March—30 April Artist in Residence Exhibitions

9 April—8 May Faithful Gifts – Needham Art Prize Retrospective The Needham Religious Art Prize was established in 1998 through the Anglican Parish of Mount Gambier, to encourage artists to interpret or portray an event, character, story or truth from the Bible. This retrospective highlights the challenging and thought-provoking work of past winning artists.

Sauerbier House culture exchange www.onkaparingacity.com/sauerbierhouse 21 Wearing Street, Port Noarlunga, SA 5167 [Map 18] 08 8186 1393 Wed to Fri 10pm–4pm, Sat 1pm–4pm.

WETLANDERS Therese and Christopher Williams. Drawn to the colonies of local aquatic birds - the divers and waders that swim, fly, hunt and gather above and below the water’s surface, collaborative duo Christopher and Therese Williams seek to collectively capture the water borne experiences and movements of the river birds. Working with sound, video and traditional field sketching as creative tools, the artists present an exhibition filled with soundscape composition, stop-motion animation and drawings. 26 March—30 April Always Already Victoria Paterson Always Already examines the relationships formed between natural pattern and textile structures, digital and analogue processes and personal and collective memories. In abstracting and reinterpreting found imagery and photographs sourced from the Onkaparinga region, Paterson presents a collection of new print works that seamlessly shift between incoherence and renewed meaning.

Samstag Museum of Art www.unisa.edu.au/samstagmuseum

Iris Frame, True Australian Nature Glorious Kookaburra Laughing in Flowering Red Gum Tree, 2000, synthetic polymer paint on masonite. 5 February—27 March Curious Minds: Women from the South East 212

Inneke Taal, In Situ, (still), 2021, moving image, 11:02 min. Image courtesy of the artist. 5 February—19 March Site Interrupted Inneke Taal

University of South Australia, 55 North Terrace, Adelaide SA 5000 [Map 18] 08 8302 0870 Tue to Sat 10am–5pm. 4 March 2021–27 May Isaac Julien

S OUTH AUSTRALIA

Samstag Museum of Art → Isaac Julien, Green Screen Goddess (Ten Thousand Waves), 2010, Endura Ultra photograph. Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney. An exhibition of works by Isaac Julien, an internationally acclaimed UK artist and filmmaker with career links to Australia, presented concurrently for the 2022 Adelaide and Perth Festivals. Julien is world-renowned for arresting works that bring together baroque pageantry and metaphor. Based in London and California, Isaac Julien (CBE RA) is recognised for his screen film installations and photographs incorporating different artistic disciplines, including dance, photography, drawing and sculpture. Informed by his film background, Julien’s art installations form fractured narratives that critically reflect on themes such as identity, history, globalisation and social representation.

tensive career, Fuller has established an accomplished multidisciplinary practice encompassing painting, sculpture, installation and in recent years, ceramics. Materially driven, she approaches ceramics in a manner she likens to painting, centred about characteristics of form rather than the function of the vessel. Developed for the Adelaide Festival, Fuller’s new body of work will see a series of hand-built terracotta objects exploring connections to geological and social time, and the object as a cultural and anthropological artefact.

South Australian Museum www.samuseum.sa.gov.au North Terrace, Adelaide SA 5000 [Map 18] 08 8207 7500 Open daily 10am–5pm. 5 March—8 May Illustrating the Antipodes: George French Angas in Australia and New Zealand 18441845, South Australian Museum

Helen Fuller, pots, 2021. Photo by Grant Hancock courtesy Samstag Museum of Art, Adelaide. 4 March 2021–27 May Helen Fuller

An exhibition showcasing nearly 200 artworks, sketches and books by artist George French Angas, as well as items relating to his life and the places he travelled to.

Samstag is proud to present new work by Helen Fuller with the ambitious exhibition design of Khai Liew. Over a long and ex-

Angas journeyed to Australia and New Zealand in the 1840s, where he excelled at capturing the minute detail of plants

George French Angas, Paora Muriwenua. Aotea, 1844, South Australian Museum Archives AA 8/6/42/1. and people, objects and landscapes. Illustrating the Antipodes traces his ‘journeys into the bush’, from pencil sketches to fine watercolours and finally into lithographs. This exhibition showcases Angas’ remarkable series of expeditions and publications; the result is a set of accurate, insightful images and descriptions of the new lands and peoples encountered by Westerners during the early 19th century. 213

A–Z Exhibitions

MARCH/APRIL 2022

Western Australia

Elder Place, Perth Cultural Centre,

Wittenoom Street, High Street,

Finnerty Street, Aberdeen Street,

Glyde Street, Bussell Highway, Kent Street , Stirling Highway,

St Georges Terrace, Railway Road, Henry Street, Colin Street,

Captains Lane, James Street

WESTERN AUSTRALIA

Art Collective WA www.artcollectivewa.com.au 2/565 Hay Street, Cathedral Square, Perth, WA 6000 [Map 19] 08 9325 7237 Wed to Fri 11am–4pm, Sat 12noon–4pm, or by appointment.

Art Gallery of Western Australia www.artgallery.wa.gov.au Perth Cultural Centre, Perth, WA 6000 [Map 19] 08 9492 6600 Infoline: 08 9492 6622 Wed to Mon 10am–5pm. See our website for latest information. Situated in the heart of Perth’s Cultural Centre, the Gallery houses the State Art Collection with works by renowned local and international artists from the 1800s to today. Immerse yourself in the Balancing Act gallery space displaying Aboriginal and Torres Strait Islander art. Take a free guided tour or find something unique in the Gallery Shop to take home.

Trevor Vickers, Untitled, 2021, oil on canvas, 98 x 101cm. 12 March—9 April Recent Untitled Paintings Trevor Vickers New paintings by renowned Australian painter Trevor Vickers continue the artist’s life-long investigation into minimal geometric abstraction, masterfully depicted through a clearly defined set of parameters.

Adam Derums, Untitled, 2014-21, oil on canvas, 285 x 183cm. 16 April—14 May Giotto’s Joy Adam Derums Adam Derums upholds the primacy of subjective experience in new paintings that are purposefully developed and revealed through slow and meditative studio processes. The works help to explore nuances of personal experience in a time where our knowledge of the world is mediated through a digital prism of rapid-fire information. 16 April—14 May Eclipsing Chris Hopewell A new painting series by Chris Hopewell provokes an imagined presence through absence, alluding to notations of recorded time and history. Highly reflective resin surfaces obscure and engulf, providing focal points that combine with layers of paint to constantly reinvent the composition; echoing the randomness that is ever-present around us.

The Gallery was founded in 1895 and occupies a precinct of three heritage buildings on the south-eastern corner of the Perth Cultural Centre including the former Perth Police Courts. The main Gallery opened in 1979 and is a unique modernist building inspired by the pavilions and courtyards of the Museum of Anthropology in Mexico City. In 2019, the Gallery celebrated its 40th anniversary and in 2020 the Gallery celebrated 125 years.

Michael Torres, Wirriya (happy) from the series Native, 2019. Photographic print, 59.4 x 84.1 cm. Image courtesy the artist. 11 March—18 April BlakLight Aboriginal and Torres Strait Islander art is not only centre stage but the entire stage, during this six-week program celebrating the diversity of First Nations culture in Australia, sparking conversation about cultural identities and exploring the notion of community through visual art, music, talks and more. Exhibitions featuring as part of BlakLight. 11 March—29 August Tracks We Share: Contemporary Art of the Pilbara Celebrating the Aboriginal artists and artwork of Western Australia’s Pilbara region. Tracks We Share: Contemporary Art of the Pilbara brings together more than 70 artists and over 190 artworks. This extraordinary body of work features the most exciting contemporary art and practice coming out of the region while paying homage to the legacy that has informed it, offering a rare and broad-reaching insight into the region’s artistic output over the years.

Bugai Whyoulter at Martumili Artists, 2021. Photography by Duncan Wright. This exhibition is a collaboration between FORM, The Art Gallery of Western Australia, Aboriginal art centres and independent artists of the Pilbara. Until 18 April Ever Present: First Peoples Art of Australia Ever Present: First Peoples Art of Australia surveys historical and contemporary works by over 80 Aboriginal and Torres Strait Islander artists from across Australia. Drawn from the collections of the National Gallery of Australia and Wesfarmers Arts, the powerful works in this touring exhibition reveal the contemporary views and lived experiences of Aboriginal and Torres Strait Islander people, bridging time and place, and connecting through the perspectives of identity, resilience and cultural legacy. Ever Present: First Peoples Art of Australia is a National Gallery Touring Exhibition in partnership with Wesfarmers Arts and supported by the Australian Government through the Office for the Arts. Until 6 June Michael Jalaru Torres | Jurru Djugun and Yawaru photographic artist Michael Jalaru Torres explores social history and the political and cultural identities of community members from the Kimberley region of Western Australia, with his innovative portraiture and abstracted landscape photography. The artists own story is woven throughout the works in the gallery space, interlinked by Torres’ imperative to map and understand not only himself but others through the lens of his camera. Balancing Act Our story is not one story but many stories to share This exhibition draws upon works by Aboriginal and Torres Strait Islander artists from the State Art Collection. The unique works of art in this space reflect the nuanced and diverse lived experiences of First Nations artists living and working across the continent, weaving stories about Country, identity, family and community, and what it means to live across and within multiple contexts. 215

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WESTERN AUSTRALIA

Artitja Fine Art Gallery www.artitja.com.au

Tues to Sat 10am–4pm. See our website for latest information.

0418 900 954 See our website for latest information.

5 February—25 April Undertow Undertow charts the social and cultural histories of our oceans, exploring their role as places of arrival and departure, pathways to freedom, economic highways, sites of colonial terror and vessels of deep ancestral knowledge. Presented in association with Perth Festival, this group exhibition brings together artists working in a range of modes and materials, including large format cyanotype, glass neon, installation, photography and film, plumbing the depths of our relationship to the expansive waters that surround us and bringing to the surface tales of hope, betrayal, and transformation.

Gallery Central www.gallerycentral.com.au Roxanne Newberry, Yirriya, 91 x 91 cm. Courtesy Martumili Artists and Artitja Fine Art Gallery.

Fayen d’Evie with Anna Seymour, Vincent Chan, and Trent Walter, Care is a cognate to grief, 2021, screenprint and tactile UV prints, (detail).

Earlywork, 330 South Terrace, South Fremantle:

5 February—9 April Our Language

12 March—3 April RISING! Roxanne Newberry In her first solo exhibition Roxanne Newberry from Punmu in WA represents with energy and enthusiasm aerial depictions of her father’s country.

Bunbury Regional Art Gallery www.brag.org.au 64 Wittenoom Street, Bunbury, WA 6230 08 9792 7323 Daily 10am–4pm. Follow us on Facebook to keep upto-date with our latest information.

Presented by Perth Festival in association with DADAA. What languages do you speak? Do you speak the language of your parents? Your grandparents? Language encompasses words, symbols, non-verbal sounds, and actions. Where language expresses cultural hierarchies and values, translation becomes a process of transferring these cultural meanings from one language to another, mediating between cultures and negotiating difference. Featuring video, soft sculpture, zines, and print works, artists Alter Boy, Fayen d’Evie, Nastaran Ghadiri, Zou Mat Je, and Josh Ophel navigate between languages with empathy and creativity, exploring what language can tell us about the world and our place in it.

Fremantle Arts Centre www.fac.org.au 1 Finnerty Street, Fremantle, WA 6160 [Map 20] 08 9432 9555 Daily 10am–5pm. Free admission..

North Metropolitan TAFE, 12 Aberdeen Street, Perth, WA 6000 [Map 19] 08 9427 1318 Mon to Fri 11am–4.30pm, Sat varies. closed Public holidays and Easter Saturday and last Friday See our website for latest information.

Annette Peterson, Through the Trees, oil on board 2021, 30 x 40 cm. 26 February—19 March Through the Streets and Other Adventures by Annette Peterson An exploration of the suburban driving experience, centred on a series of stop-motion films that emulate the “Live” option on an Apple iOS smartphone. Each film still is rendered as a painting and each painting is then photographed to create a stop motion film – individual moments stringed together seamlessly into a constant moving image that is all too familiar.

Rachel Coad, The everything you don’t see, self portrait, (detail), 2022. 26 March—15 May South West Art Now 2022 Group show – selected artists from the south west corner of Western Australia.

DADAA Gallery www.dadaa.org.au 92 Adelaide Street, Fremantle WA 6160 [Map 20] 08 9430 6616

Dave Carson, Bliss Sonja Carmichael and Elisa Jane Carmichael, Balgagu gara (come celebrate) (detail), 2020, cyanotype on cotton, 278 x 274cm. Photography by Grant Hancock. Courtesy of the artists, Onespace Gallery and the Art Gallery of South Australia.

25 March—22 April About Time by Vicki Ames and David Carson Ames and Carson share more than a life, they share a passion for developing ideas based on specific places or events, or observed reality. 217

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tion of the universal concerns for social justice, equity and freedom. His multiscreen film installations and photographs create a poetic and unique visual language. Featured in this exhibition at the John Curtin Gallery will be two seminal works: Ten Thousand Waves and Lessons of the Hour being shown for the first time in Australia.

Ames applies Japanese shibori dyeing and hand embroidery to the visual language of architectural features, particularly incidental, ephemeral surface qualities and what they reveal about history of place. Carson shows experimental video and large-scale panoramic prints filmed in Perth and Fremantle.

Ten Thousand Waves is a majestic, multiscreen installation shot on location in China that weaves together stories linking China’s ancient past and present.

Holmes à Court Gallery www.holmesacourtg allery.com.au At Vasse Felix: Corner Tom Cullity Drive and Caves Road, Cowaramup, WA 6284 At No. 10, Douglas Street, West Perth, WA 6005 Open daily 10am–5pm.

JahRoc Galleries www.jahroc.com.au 83 Bussell Highway, Margaret River, WA 6285 08 9758 7200 Open daily 10am–5pm.

Alice Linford-Forte, Summer Waltz, oil on canvas, 125 x 110 cm. 1 April—17 April Emotive Reflection Alice Linford-Forte Through my art I try to express myself as authentically as possible. My work is an extension of my mood, executed through colours, shapes, lines and empty spaces.

Lessons of the Hour is a meditation on the life and times of Frederick Douglass, the visionary African- American writer, abolitionist and a freed slave, who is cited as the most photographed American of the 19th century. The ten-screen film installation takes a contemplative journey into Douglass’ life and the issues of social justice that shaped his work, issues that remain relevant today.

As haphazard as my approach to painting is, i love that it embodies so many characteristics of my lifestyle; the motions of shifting, changing, moving & experimenting, experiencing new cultures and environments and adopting a very ‘trial and error’ attitude toward any task I pursue. Every now and again I dabble in more figurative painting, but abstract is what enables me to really let the imagination and emotion run their course.

John Curtin Gallery Curtin University www.jcg.curtin.edu.au Kent Street, Bentley WA 6102 [Map 19] 08 9266 4155 Mon to Fri 11am–5pm, Sat & Sun 12pm—4pm (February only), Sun 12pm—4pm (March—May). Closed Public holidays. Free admission. Felicia Aroney, Light Over The Vineyards, mixed media, 143 x 143 cm. 1 March—30 March Cubic Landscapes Felicia Aroney Aroney is Western Australian born now living and working as a leading contemporary artist in Sydney. Felicia draws inspiration from her European heritage, channeling the distressed and peeled paint facades of classical architecture. Working with oils and acrylics her distinctive floral and abstract works utilise a highly sculptural mark-making process, using a palette knife to layer and shape the paint until it stands in relief from the canvas. Felicias’ love for her Australian organic environment is her choice of exploration. Her cherished memories of European holidays and weekends spent along the coast of Western Australia reflect in her work. Felicia’s paintings evoke a sense of history and antiquity mixed with all things Australian. A wonderful synergy of her European heritage and Australian background. 218

Julie Dowling, Tuppence (my grandmother), 2005, acrylic, red ochre and plastic on canvas, 80 x 49.8 cm. Image courtesy of the artist. 11 February—28 March Bidya Gurlbarl (Open Secret) Julie Dowling

Isaac Julien, Green Screen Goddess (Ten Thousand Waves), 2010, Endura Ultra photograph. Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney. 11 February—8 May Isaac Julien The John Curtin Gallery presents Isaac Julien as part of the 2022 Perth Festival. An acclaimed British film maker and installation artist, Julien is widely recognised for exquisitely crafted film work and photography of arresting beauty, underpinned by a penetrating interroga-

The JCG will present a series of artworks by internationally-acclaimed Badimia (Yamatji) First Nation artist and activist Julie Dowling, who creates iconic pictorial critiques of contemporary and historical Australian narratives. Through the stories of her own First Nation family, Dowling re-presents the violence and power imbalance in settler-colonial and contemporary Western Australia. Her portraits of family members reference archival photographs of Aboriginal people in which the abuse of power is a stark example but in which speak to the strength of Aboriginal spirituality and connection to Country and kin. Dowling’s own ancestors and those of other Aboriginal people gaze directly at the viewer, challenging them to acknowledge Australia’s colonial history and protest

WESTERN AUSTRALIA the ongoing injustices experienced by Aboriginal people. 11 February—28 March Carrolup Coolingah Wirn – The Spirit of Carrolup Children Carrolup Coolingah Wirn will reopen to visitors to the John Curtin Gallery on 11 February 2022. Curated by Curtin University’s Curator of Australian First Nations Art, Michelle Broun, the exhibition, which first opened in November 2021, features works from the Herbert Mayer Collection of Carrolup Artworks created by children of the stolen generations during the 1940’s and now part of the Curtin University Art Collection.

18 February—19 March Above Martine Perret

Lawrence Wilson Art Gallery & Berndt Museum www.uwa.edu.au/lwag The University of Western Australia 35 Stirling Highway (corner Fairway), Crawley, Perth, WA 6009 [Map 19] 08 6488 3707 Tues to Sat, 12noon–5pm.

hibition about shipwrecked feelings, rich and strange transformations and magical thinking. It charts a passage that starts with a famous verse from Shakespeare’s The Tempest, takes a detour via a 1994 survey of Western Australian landscape painter Audrey Greenhalgh and arrives in the present moment, showcasing works by three contemporary artists whose approaches to painting are variously representational, emotional and sculptural. A Perth Festival exhibition supported by Visual Arts Program Partner Wesfarmers Arts.

KAMILĖ GALLERY www.kamilegallery.com Cathedral Square, 3 Pier Street, Perth, WA 6000 [Map 19] 0414 210 209

Laurel Nannup, We never got to open our mail, 2001, etching, ink on paper, Berndt Museum Collection, [2002/0016]. Courtesy of the artist. 12 February—23 April Inhabiting the Trace Presented by Berndt Museum.

Racquel Cavallaro, They said they were looking for the light that fell into the sea, oil on canvas, 2021, 64 x 64 cm. 3 March—17 March Seams Racquel Cavallaro

Sonia Kurarra, Martuwarra, 2021, synthetic polymer paint on canvas. Courtesy the artist and Mangkaja Arts Resource Agency. 12 February—23 April Portals of Love and Loss Sonia Kurarra Portals of Love and Loss is a landmark solo exhibition from Senior Walmajarri artist, Sonia Kurarra, one of the most successful living artists residing in WA. Painting the sandy billabong country along stretches of the Martuwarra Fitzroy River, Sonia’s work reflects an intimate relationship with the river and its surrounding environment. Newly commissioned work will feature alongside key pieces that demonstrate the major themes of her practice, as well as recent experiments with leather, paper scrolls and Perspex. A Perth Festival exhibition supported by Visual Arts Program Partner Wesfarmers Arts.

Martine Perret, La feuille imaginaire, archivable Giclée Fine Art photographic print (Ltd Edition of 7), 108 x 147 cm.

12 February—23 April Ariel’s Song: Luisa Hansal, Jess Tan and Wade Taylor with works from the UWA Art Collection. Ariel’s Song celebrates how artists can open a door between worlds. It is an ex-

Inhabiting the Trace explores the iterative and responsive nature of printmaking, bringing together a diverse display of printed works by Indigenous artists represented within the Berndt Museum collection. Printmaking is explored as a process of re-visiting, re-working, and re-telling, carrying the traces of other forms – artwork, archive, story, memory. Embedded within layers of ink, marks and impressions, emerge dialogues between artists, across generations, and with the past as an on-going material presence.

Gemma Ben-Ary, The Abyss, 2021, oyster shell, glass eye, polymer clay, dimensions variable. Cruthers Collection of Women’s Art, The University of Western Australia, Purchased through the Sheila Foundation Champions Donor Circle, 2021. Copyright and courtesy of the artist. 12 February—10 December From the Cruthers Collection of Women’s Art Cristina Asquith Baker, Gemma Ben-Ary, Portia Bennett, Dorothy Braund, Lina Bryans, Mary Edwards, Linda Fardoe, 219

Featuring 54 selected artists, showing at the Bunbury Regional Art Gallery between 26 March and 15 May.

Rachel Coad, The everything you don’t see, self portrait 2022.

brag.org.au

Professional Printmaking Classes

A wide range of printmaking classes Award winning artist

Explore traditional printmaking techniques The newest advancement in the field

Classes offered in person (WA) and online www.monikalukowska.net I 0477859505 I @monika.lukowska 220

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WESTERN AUSTRALIA Lawrence Wilson Art Gallery continued... Margaret Francis, Adrienne Gaha, Bessie Gibson, Melissa Mcdougall, Clare Mcfarlane, Gina Moore, Margaret Morgan, Maisie Newbold, Susan Norrie, Kathleen O’connor, Jean Sutherland, Eveline Syme, Yvette Watt, Julie WilsonFoster, Sue Wyatt. This exhibition draws upon two of the strengths of the Cruthers Collection of Women’s Art – portraiture and the work of respected Australian artist, Susan Norrie. Norrie’s dark and weighty paintings are placed directly opposite a chronological run of portraits from the collection.

Linton & Kay Galleries www.lintonandkay.com.au Subiaco Gallery: 299 Railway Road (corner Nicholson Road), Subiaco, WA 6008 [Map 16] 08 9388 3300 Mon to Sun 10am–4pm. West Perth Gallery: 11 Old Aberdeen Place, West Perth, WA 6005 08 9388 3300 Mon to Sat 10am–4pm. Mandoon Estate Gallery: 10 Harris Road, Caversham, WA 6055 08 9388 3300 Fri to Sun & public holidays, 10am–4pm. Cherubino Wines: 3642 Caves Road Willyabrup WA 6280 08 9388 3300 Thu to Sun 10am–4pm. See our website for latest information.

favourite compliment about my work that another sculptor sent me some time back: “I make stuff out of wood…but you make shit breathe.” ‘ James Corbett 2022 5 March—27 March Mandoon Gallery: Cool Water Adrian Lockhart 1 March—30 April Cherubino Wines, Margaret River: Editions Dean Home, Yvonne Zago and Annie Davidson 1 April—25 April Subiaco Gallery: River Aerial and Terrestrial - Paintings & Drawings of Derbarl Yerrigan Swan River Alan Muller Alan Muller’s expansive exhibition River Aerial and Terrestrial is a personal response to twelve years of comprehensive research and expresses his imagined ‘spirit of place’ of the Swan River. ‘As a spiritual place and physical resource, the riverscape is ancient, powerful and underestimated. Perth is ready to better understand its past and present environment, its people, its diverse ecologies and challenges and what it means to live here, by the River’. Gina Pickering 2019

www.mundaringartscentre.com.au 7190 Great Eastern Highway, Mundaring, WA 6073 08 9295 3991 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm.

Anne Williams, On the Track Series- Misty Morning (detail), 2021. Linen, nylon net, cotton and Louise Wells, Marking Time Series 1 #4 (detail), 2020, recycled shirts. Photographs by Josh Wells. 5 February—3 April It’s a Matter of How You Look at Things Anne Williams and Louise Wells

Alan Muller, Crossing The River at Matagarup, acrylic on canvas, 180 x 90 cm.

4 April—25 April West Perth Gallery: New stockroom works Selected artists

4 March—27 March Subiaco Gallery: Making it Breathe James Corbett

Midland Junction Arts Centre

The title comes from what is my all time

Mundaring Arts Centre

2 April—24 April Mandoon Gallery: Play Selected artists

Kate Debbo, Boogie Woogie, 2021, oil on canvas, 100 x 100 cm.

There is as usual no theme to this exhibition. My works are as varied as the recycled, mostly automotive components that I use to create them. Some subjects are things that I like, some are things that I imagine. Some are things that I imagine I would like, and others are things that the parts tell me they must become. The one thing that is common to all of the pieces, is my desire to challenge the perception of what can appear to be moving and what can appear to be alive. “

vessel, it is not the shape that the maker focuses on but rather the space it contains. Space can be interpreted in both a literal and abstract sense and each artist has chosen to explore it through their own lens.

www.midlandjunctionartscentre.com.au 276 Great Eastern Highway, Midland, WA 6056 08 9250 8062 Wed to Fri 10am–5pm, Sat 11am–3pm. 26 February—23 April Shaping Space | Holding Space A group exhibition that explores one of the fundamental principles of ceramics- the manipulation of space. When creating a

The rhythm of walking, the quiet time alone, and the reflective space this provides are central to this collaborative body of work by Anne Williams and Louise Wells. It’s a Matter of How You Look at Things arose from expanding their observations and taking inspiration from the small, often-overlooked elements of their respective communities. 5 February—3 April Tales from the Bush John Eden For many years, John Eden has explored the Perth Hills on his bike. Wherever John goes, he finds evidence of the movements and activities of others who have gone before him. These ‘landmarks’, punctuating the landscape, fascinate him with their unknowable, but partly guessable, histories. The places he brings you to through his work include Mahogany Creek’s car graveyard, Sir Paul Hasluck’s abandoned swimming pool, and the former Barton’s Mill Prison. 9 April—5 June Country Connections Shire of Mundaring Open Art Acquisition Exhibition Curated by Sharyn Egan and André Lipscombe The 2022 Shire of Mundaring Open Art 221

ar t g ui d e .c o m . au Mundaring Arts Centre continued...

York-based artist Katie West’s vibrant and immersive installations invite us to reconsider our relationship with the natural environment and each other. We Hold You Close is a song for material intimacy that invites us to interact and engage in a sensory experience. Book now : (pica.org.au/whats-on/we-hold-youclosekatie-west/).

A powerful retrospective of Surrealist paintings by acclaimed artist Fineart G. Lorenz. This exhibition is a cumulation of the artist’s work from over the last several years, showcasing intricate surrealist-symbolic dreamscapes in a brilliant array of colour. Each painting reveals fantastical subjects and constant contradictions, with interactions between polarities. See this dynamic and compelling exhibition at the official opening of Friday 4 March from 6.30pm. 2 April—18 April Conversation 5 Anna Poplawska, Magda Morawiec, Zbigniew (Ziggy) Morawiec, Zofia Paluszak and Karol Paluszak.

Norma MacDonald, Colliding Cultures (detail), 2015. Mixed media on plywood, mirror. Acquired by Shire of Mundaring 2016. Acquisition Exhibition invites artists with a continuing connection to Mundaring to reflect on their relationship with the natural world. Mundaring is recognised for its forest reserves and waterways, which provide sanctuary to a diversity of native flora and fauna. Those who maintain a connection with the region have an enduring enthusiasm for its conservation and cultivation.

Perth Institute of Contemporary Arts (PICA) www.pica.org.au Perth Cultural Centre, 51 James Street, Northbridge, WA 6000 [Map 19] 08 9228 6300 Tue to Sun 10am–5pm.

Amrita Hepi, Monumental, 2020. HD video, 16:9, colour, sound, 4 minutes. © Amrita Hepi. Courtesy the artist and Anna Schwartz Gallery. 20 February—24 April Monumental Amrita Hepi and Perth Festival. Created by Bunjalung/Ngapuhi artist and choreographer Amrita Hepi, Monumental is a video installation that offers a charged meditation on the tradition of building monuments, questioning who and what gets memorialised. Book now (pica.org.au/ whats-on/monumentalamrita-hepi/).

“We arrived on our islands by different paths, with different personalities and different stories to tell, but we all speak the language of light, colour and shapes.” - Conversation 5 Artists. Join us for the official opening on Saturday 2 April from 6pm.

Zig Zag Gallery www.zzcc.com.au 50 Railway Road, Kalamunda, WA 6076 08 9257 9998 See our website for latest information. The Zig Zag Cultural Centre is situated in the ‘Kalamunda Cultural Precinct’ between the Kalamunda History Village and the Kalamunda Library, and welcomes visitors to the region to experience the history, culture and attractions that the City of Kalamunda offers. The Perth Hills offer a glorious mix of natural bush, wildflowers, waterfalls and creeks, towering trees, sensational views, art galleries, vineyards, restaurants and cafes. At around a 35 minute drive, it’s all so close to Perth.

Image Credits, Ryan Sandilands.

Fineart G. Lorenz, Aquarius meeting, 2021, oil on canvas, 101 x 76 cm.

20 February—24 April We hold you close Katie West and Perth Festival

4 March—27 March 100% Semi SuR ReaL Fineart G. Lorenz

222

A group exhibition by five friends showcasing works in Abstract Photography, Ceramics, Photography, Mixed Media and Paintings. In a speeding world full of demands and pressures, this exhibition brings together islands of peace and moments of connection found through the practice of art.

John Baldock, The White House, 2021, mixed media on paper, 57 x 76 cm (unframed). 23 Aprill—1 May Where the Rivers Run John Baldock This exhibition by John Baldock presents a collection of thought-provoking dreamscapes, using imagination, intuition, and reflection to showcase the unconscious reality of the mind. At 82 years old, John Baldock has been an artist all his life. He follows the Jungian Tradition in that he doesn’t paint a picture but allows the picture to paint him. In this exhibition the Dream is REALITY. “The Mighty River flowing to the sea has disappeared and in its place are only little streams that crisscross each other and disappear into the desert sands unable to sustain life. This exhibition hopes that all the little steams will combine and become again the Mighty River that flows to the Ocean, the source of all life.” – John Baldock. Take part in the official opening on Saturday 23 April from 6pm.

A–Z Exhibitions

MARCH/APRIL 2022

Northern Territory

Lapinta Drive, McMinn Street,

Casuarina Campus, Melville Island, Darwin Convention Centre,

Mitchell Street, Cavanagh Street, Garden Point, Conacher Street,

Vimy Lane, George Crescent

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Araluen Arts Centre, Mparntwe www.araluenartscentre.nt.gov.au 61 Larapinta Drive, Alice Springs, NT 0870 08 8951 1122 Daily 10am–4pm, Sun 10am–2pm. Closed Mon. 5 November 2021—20 March Old stories Our stories Now stories.

Collection Lab installation view. Courtesy of the Museum and Art Gallery of the Northern Territory. Photo: Mark Sherwood.

A collection of works drawn from the Araluen Art Collection and on loan from Bindi Mwerre Anthurre Artists and the Pamela Lofts Estate.

and artworks from the Museum’s Aboriginal, Southeast Asian and Australian art collections.

September 2021—June Desert Mob Retrospective

Ongoing Cyclone Tracy

Multiple artists from the 30 years of Desert Mob.

Cyclone Tracy was a defining moment in Darwin’s history. Hear the devastating roar of the Category 4 Cyclone as it hits the town and learn about the day that changed the urban landscape and the lives of Darwin’s residents forever. Ongoing Cyclone Tracy

Darwin-based artist, Nigel Sense will transform the NCCA into his interpretation of a visitor’s centre with contemporary art replacing the faded wall prints, dioramas and tacky souvenirs usually found in tourist information offices. In addition to newly-commissioned large-scale canvases, the exhibition sees Sense experimenting with new materials as he paints Territory icons on eskies, t-shirts, plates and a family-sized camping tent. Showcasing a collection of must-see places from the viewpoint of someone who has recently moved here, this is Nigel Sense’s very own ‘Welcome to the NT’ Visitor Centre.

RAFT artspace www.raftartspace.com.au 2/8 Hele Crescent, Alice Springs, NT 0870 0428 410 811 Open during exhibitions. See our website for latest information.

Cyclone Tracy was a defining moment in Darwin’s history. Hear the devastating roar of the Category 4 12 March—26 June Exit Art Contemporary art from 2021 NT Year 12 Students Peter Adsett, Brushwork No. 5, 2021, acrylic on linen. 26 November 2021—20 March Foul Play Peter Adsett Foul Play presents the most recent work of Peter Adsett – none of which has been previously exhibited. It continues Adsett’s investigation of abstraction, something he has been engrossed in for almost twenty-five years. He sees his art as a critique of modernist painting, a task that became further challenging when he confronted the art of Indigenous Australians – what many believe is the most powerful painting produced in this country today.

Museum and Art Gallery of the Northern Territory www.magnt.net.au 19 Conacher Street, The Gardens, Darwin, NT 0820 08 8999 8264 Open daily 10am–4pm. See our website for latest information.

A celebration of the talents and creativity of the next generation of NT artists and designers.

NCCA – Northern Centre for Contemporary Art www.nccart.com.au 3 Vimy Lane, Parap, NT 0820 08 8981 5368 Wed to Fri 10am–4pm, Sat 9am–2pm. NCCA is the leading centre for contemporary visual art in the Northern Territory—bringing together diverse communities of artists and audiences to engage with contemporary ideas and practices. NCCA brokers opportunities for artists locally, nationally and internationally and connects communitie through its dynamic program.

Nola Campbel, untitled, acrylic on linen, 101 x 76 cm. 25 March—17 April Yunangurnu Nola Campbel

On Now Collection Lab Presenting a behind the scenes insight into how museums store works of art, Collection Lab provides an experience of an art storeroom where rarely seen works hang alongside popular favourites. Arranged in a seemingly random manner, the exhibition reveals surprising connections between different artists 224

Nigel Sense, Nightcliff Foreshore, 2021, acrylic on canvas, 140 x 240 cm. 12 March—16 April Nigel Sense: Visitor Centre

raftartspace.com.au raftartspace.com.au

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H E RV EY B AY

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19

19 Karen Contemporary Artspace Art Lovers Australia Gallery Caboolture Regional Gallery Caloundra Regional Gallery Cooroy Butter Factory Arts Centre Dust Temple Gallery at HOTA Hervey Bay Regional Gallery Honey Ant Gallery Ipswich Regional Gallery Logan Art Gallery Montville Art Gallery Noosa Regional Gallery Pine Rivers Regional Gallery University of the Sunshine Coast Redcliffe Regional Gallery Redland Art Gallery Stanthorpe Regional Art Gallery Toowoomba Regional Gallery

5 SUNSHINE C OA ST

13 9

12 15 4

Brisbane 19

3 14 9

TO OWO O M B A

16 17 11 2

GOLD C OA ST

7 1 10 6

18 STA N T H O R P E

6 CAIRNS

TOW N SV I L L E

1 2 3 4 5 6 7 8 9 10 11

Artspace Mackay Cairns Regional Gallery Gala Gallery Gallery 48 Gladstone Regional Gallery Northsite Contemporary Arts Outback Regional Gallery Perc Tucker Regional Gallery Pinnacles Gallery Rockhampton Art Gallery Umbrella Studio

8 11 4

M AC K AY

Queensland R O C K H A M P TO N

G L A D STO N E

235

M A P 15 BRISBANE

2 12

RE ST

EE EN

B EE

Fortitude Valley O

ST R E E

DA R Y

BOUN

17 10

8 9

ED W A

R D

ST R EE T

22 19

16 13 M

South Bank

Brisbane CBD

AL IV

1 2 3 4 5 6 7 8 9 10 11

236

Andrew Baker Art Dealer Artisan Gallery Art from the Margins Brisbane Powerhouse Edwina Corlette Gallery Fireworks Gallery Griffith University Art Gallery Institute of Modern Art Jan Manton Art Jan Murphy Gallery Lethbridge Gallery

12 13 14 15 16 17 18

Maud Street Photo Gallery Metro Arts Mitchell Fine Art Gallery Museum of Brisbane Onespace Gallery Philip Bacon Galleries Queensland Art Gallery/ Gallery of Modern Art 19 Queensland Museum 20 QUT Art Museum 21 Side Gallery

22 23 24 25

State Library of Queensland Suzanne O’Connell Gallery TW Fine Art UQ Art Museum

M A P 16 CANBERRA

YD RIV

12 24

Acton

10 9

21 PA R K E

S WAY

AV E

Russell

18 20

16 KIN

ID E

E AV

Barton

AV E

8 14

LA ADE

EN E AV

Deakin G

CAN W

BER

RA A VE

1 2 3 4 5 6 7 8 9 10

Aarwun Gallery ANU Drill Hall Gallery ANU School of Art Gallery Australian National Capital Artists (ANCA) Gallery Australian War Memorial Beaver Galleries Belconnen Arts Centre Canberra Glassworks Canberra Museum and Gallery Craft ACT

11 12 13 14 15 16 17 18 19 20 21

Hadfield Gallery Kyeema Gallery at Capital Wines M16 Artspace Megalo Print Studio Nancy Sever Gallery National Archives of Australia National Gallery of Australia National Library of Australia National Museum of Australia National Portrait Gallery Nishi Gallery

22 PhotoAccess 23 Tuggeranong Arts Centre 24 Watson Arts Centre

237

M A P 17 & 18 H O B A RT & A D E L A I D E

1 3

Bett Gallery Colville Gallery Contemporary Art Tasmania Despard Gallery Handmark Gallery Penny Contemporary Plimsoll Gallery Salamanca Arts Centre Tasmanian Museum and Art Gallery

D AV

A G Y E

T EY S

L S T

1 2 3 4 5 6 7 8 9

Hobart EL

RA Y

SAL AM ANC A PL

FRO

NORTH TCE

8 20 7

23 22

EAST TCE

Y RD

HA CK NE

18 1 14

Adelaide

238

PULTENEY ST

ACE Open Adelaide Central Gallery Art Gallery of South Australia Bearded Dragon Gallery BMGArt Collective Haunt Flinders University Art Museum Gallery M Greenaway Art Gallery Hahndorf Academy Hill Smith Gallery Hugo Michell Gallery JamFactory Nexus Arts Newmarch Gallery Praxis Artspace Royal SA Society of Arts Samstag Museum of Art SA School of Art Gallery Sauerbier House Cultural Exchange South Australia Museum Tandanya National Aboriginal Cultural Institute 23 Urban Cow

KING WILLIAM RD

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22

10 2

12 6

M A P 19 & 2 0 P E RT H & F R E M A N T L E

15 NE

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Art Collective WA Art Gallery of Western Australia FORM Gallery Gallery 152 Gallery Central John Curtin Gallery KAMILĖ Gallery Lawrence Wilson Art Gallery Linton & Kay Gallery @ Fridays Studio Linton & Kay Subiaco Moore Contemporary Perth Centre for Photography Perth Institute of Contemporary Arts STALA Contemporary Turner Galleries

ES T

ING

NS T

Perth

13 2

10 TH

EE SPL A

11 EL

A I D7 ET E

6 RR

3 4 OR

T DS

Artitja Fine Art David Giles Gallery / Studio Eleven Fremantle Arts Centre Gallows Gallery Japingka Gallery Moores Building Contemporary Art PS Art Space

Fremantle

MA ST

7 5

1 2 3 4 5 6 7

HIG

T HS

1 239

@14 (VIC)

112

16albermarle (NSW)

155

C Caloundra Regional Gallery (QLD)

2022 Lorne Sculpture Biennale (VIC) 29, 140

Canberra Glassworks (ACT)

4A Centre (NSW)

Casula Powerhouse

155

25, 198

Arts Centre (NSW)

A Araluen Arts Centre, Mparntwe (NT) 222

CAVES (VIC)

Art Van Go

Centre for Contemporary

170

Aarwun Gallery (ACT)

198

ACE Open (SA)

207

ACMI (VIC)

12, 111

Alcaston Gallery (VIC)

111

Anna Schwartz Gallery (VIC)

1, 111

189

19 121

Gallery Central (WA)

215

Gallery Elysium (VIC)

126, 130

Gallery Lane Cove (NSW)

163, 166

Gallery Raye (NSW)

190

Gallerysmith (VIC)

127

Geelong Art Space (VIC)

127

Geelong Gallery (VIC)

Photography (VIC)

121

Chalk Horse (NSW)

38, 158

Chau Chak Wing Museum (NSW) Charles Nodrum Gallery (VIC) CLIMARTE Gallery (VIC)

159 32, 121

9, 127

Gertrude Contemporary (VIC) Gippsland Art Gallery (VIC)

129 33, 129

Glasshouse Port Macquarie (NSW)

164

122

Glen Eira City Council Gallery (VIC)

129

203

Goulburn Regional Gallery (NSW)

164 165

113

Colville Gallery (TAS)

ARC ONE Gallery (VIC)

111

Contemporary Art Tasmania (TAS) 203

Grace Cossington Smith (NSW)

Arthouse

112

Counihan Gallery (VIC)

122

Griffith University Art Museum (QLD) 41

Ararat Gallery TAMA (VIC)

Artists Shed (ACT)

198

Cowra Regional Art Gallery (NSW)

159

Granville Centre Art Gallery (NSW)

Articulate Project Space (NSW)

156

Craft Victoria (VIC)

122

GAGPROJECTS /

Artitja (WA)

215

Artspace Mackay (QLD)

189

DADAA Gallery (WA)

215

Art Collective WA (WA)

213

Darren Knight Gallery (NSW)

159

113, 189

Deakin University Art Gallery

Art Lovers Gallery (VIC, QLD)

Greenaway Art Gallery (SA)

Art Space on The Concourse (NSW)

156

at Burwood (VIC)

123

ArtSpace REALM/Maroondah (VIC)

114

Defiance Gallery (NSW)

161

Art Gallery of Ballarat (VIC)

113

Divisions Gallery (VIC)

123

D’Lan Contemporary (VIC)

123

Art Gallery of New South Wales (NSW)

155

Devonport Regional Gallery (TAS)

Art Gallery of South Australia (SA)

207

The Dax Centre (VIC)

Art Gallery of Western Australia (WA)

213

Arts Project Australia (VIC)

31, 114

Australian Design Centre (NSW)

156

Australian Centre for Contemporary Art (ACCA) (VIC) Australian Galleries (NSW)

13, 114 115, 157

Australian National Capital Artists (ANCA) Gallery (ACT)

198

Australian Tapestry Workshop (VIC)

115

203 122

E Everywhen Artspace (VIC)

110, 123

e+Hive Art Gallery (VIC)

134

Experimenta

187

F Fairfield City Museum & Gallery (NSW) 161 Federation University (VIC)

124

Fellia Melas (NSW)

168

Finkelstein Gallery (VIC)

124

Fiona and Sidney Myer Gallery (VIC) 124

Bank Art Museum Moree

FireWorks Gallery (QLD)

(BAMM) (NSW)

190

157

Flinders Lane Gallery (VIC)

39, 124

157

Flinders Street Gallery (NSW)

161, 162

Bayside Gallery (VIC)

117

Flinders University Museum

Beaver Gallery (ACT)

198

Bathurst Regional Art Gallery (NSW)

Bendigo Art Gallery (VIC) Bett Gallery (TAS)

6, 7, 117 203

of Art (SA) fortyfivedownstairs (VIC)

2, 3

Fox Galleries (VIC)

Blacktown Arts (NSW)

158 117

BLINDSIDE (VIC) Blue Mountains City Art Gallery (NSW) Brenda Colahan Fine Art (NSW)

23, 158 174

207

Footscray Community Arts (VIC)

Biennale of Sydney (NSW)

125

118, 125, 144

Hamley Studio (NSW)

Hearth Galleries (VIC)

165 131

Hervey Bay Regional Gallery (QLD)

190

Heide Museum of Modern Art (VIC)

131

Holmes à Court Gallery at Vasse Felix (WA) Horsham Regional Gallery (VIC) Home of the Arts (HOTA) (QLD)

216 131 24, 191

Hugo Michell Gallery (SA)

207

Hurstville Museum (NSW)

167

Hyphen – Wodonga Library Gallery (VIC)

131

I Incinerator Art Space (NSW)

167

Incinerator Gallery (VIC)

133

Institute of Modern Art (QLD)

191

Islamic Museum of Australia (VIC)

133

Ivanhoe Library and Cultural Hub (VIC)

133

J JamFactory (SA)

207

Jacob Hoerner Galleries (VIC)

135

The Japan Foundation Gallery (NSW)

17, 167

126

JahRoc Galleries (WA)

Frankston Arts Centre (VIC)

125

John Curtin Gallery

Fremantle Arts Centre (WA)

215

FUTURES (VIC)

126

Jan Murphy Gallery (QLD)

191

fYRE Gallery (NSW)

166

Jewish Museum of Australia (VIC)

135

Johnston Collection (VIC)

135

Curtin University (WA)

Bunbury Regional Art Gallery (WA) 215, 218

Gang Gang Gallery (NSW)

164

KAMILĖ GALLERY (WA)

Galerie pompom (NSW)

163

Ken Done Gallery (NSW)

214, 216 216

Bus Projects (VIC)

119

Gallery 48 (QLD)

190

Kingston Arts (VIC)

Buxton Contemporary (VIC)

119

Gallery 76 (NSW)

163

King Street Gallery (NSW)

240

204

Hazelhurst Regional Gallery (NSW)

Bunjil Place (VIC)

18, 119

166

Handmark Gallery (TAS)

163

116, 119

207

Gaffa Gallery (NSW)

Brunswick Street Gallery (VIC)

165

217 167, 176 28, 135 169, 178

INDEX

Koorie Heritage Trust (VIC)

135

NGV International (VIC)

IBC, 141 16, 200

Latrobe Regional Art Gallery (VIC)

137

National Portrait Gallery (ACT)

Lamington Drive (VIC)

134

Neil Wallace

La Perouse Muesum (NSW)

170

Samstag Museum of Art (SA)

National Gallery of Victoria -

10, 210

Sauerbier House Culture Exchange (SA)

210

Shepparton Art Museum (VIC)

Printmaking Supplies (VIC)

36, 145

132

Silver Leaf Art Box (VIC)

145

177

S.H. Ervin Gallery (NSW)

181

Lauraine Diggins Fine Art (VIC)

120, 137

Lawrence Wilson Gallery (WA)

217

Newmarch Gallery (SA)

209

Sofitel Melbourne on Collins (VIC) 128, 143

Leonard Joel (VIC)

New England Art Museum (NSW)

Nexus Arts Gallery (SA)

209

South Australian Museum (SA)

211

Linden New Art (VIC)

128, 137

Niagara Galleries (VIC)

141

Stanley Street Gallery (NSW)

183

Linton & Kay Galleries (WA)

46, 219

Noosa Regional Gallery (QLD)

Lismore Gallery (NSW)

174

The Lock-Up (NSW)

169

193

Art (NCCA) (NT)

20, 222

Logan Art Gallery (QLD)

191

NorthSite Contemporary Arts (QLD)

LON Gallery (VIC)

138

N.Smith (NSW)

199

OLSEN (NSW)

M Macquarie University Art Gallery (NSW)

169

Maitland Regional Art Gallery (NSW)

169

Mandorla Art Award

Manly Art Gallery (NSW)

171

Martin Browne Contemporary (NSW) 171 McClelland Sculpture Park + Gallery (VIC) Metro Arts (QLD)

30, 138 34, 191

Metro Gallery (VIC)

138

Midland Junction Arts Centre (WA)

219

Mildura Arts Centre (VIC)

138

Monash Gallery of Art (VIC)

139

Monash University MADA Gallery (VIC)

139

Monash University Museum of Art (VIC)

139

Montville Art Gallery (QLD)

192

Mornington Peninsula Regional Gallery (VIC)

43, 141

Mosman Art Gallery (NSW)

171

Mundaring Arts Centre (WA)

219

Murray Art Museum Albury (MAMA) (NSW)

172

Murray Bridge Regional Gallery (SA)

209

Museum & Art Gallery of Northern Territory (NT)

193 35, 175

M16 (ACT)

45, 222

177

Onespace (QLD)

21, 193

145, 183

Stockroom Gallery (VIC)

147

37, 147

Sturt Gallery (NSW)

183

Sullivan & Strumpf (NSW)

184

Sutton Gallery (VIC)

147

Swan Hill Regional Gallery (VIC)

147

The Sydney Art Store (NSW)

168

Outback Regional Gallery, Winton (QLD)

194

Orange Regional Gallery (NSW)

TarraWarra Museum of Art (VIC)

8, 148

Tasmanian Museum (TAS)

205

Tin Sheds Gallery (NSW)

P Penny Contemporary (TAS)

204

Penrith Regional (NSW)

177

Tolarno Galleries (VIC)

148

Toowoomba Regional Gallery (QLD) 196 Town Hall Gallery (VIC)

Perc Tucker Regional Gallery (QLD)

194

Arts (PICA) (WA)

15, 220

PG Gallery (VIC)

143

Philip Bacon Galleries (QLD)

194

Photo 2022 (VIC)

PhotoAccess Huw Davies Gallery (ACT)

200

Piermarq* Gallery (NSW)

179

Pinnacles Gallery (QLD)

194 208, 209 143

Queensland Art Gallery/Gallery of Modern Art (GOMA) (QLD)

200

twenty twenty six (NSW)

184 160, 184

U Umbrella Studio (QLD)

196

University of Sunshine Coast (QLD)

196

UNSW Galleries (NSW)

184

UQ Art Museum (QLD)

196

V Victorian Artists’ Supplies (VIC) Vivien Anderson Gallery (VIC)

149 14, 151

Q QDOS Fine Arts (VIC)

146, 148

Tuggeranong Arts Centre (ACT) Tweed Regional Gallery (NSW)

Perth Instiutute of Contemporary

praxis ARTSPACE (SA)

STATION (VIC, NSW)

Stephen McLaughlan Gallery (VIC)

Northern Centre of Contemporary

194

Wagga Wagga Art Gallery (NSW)

185

Walker Street Gallery (VIC)

151

Wallarobba Arts and Cultural Centre(NSW)

Queen Victoria Museum and Art Gallery (TAS)

204

QUT Art Museum (QLD)

194

185

Wangaratta Art Gallery (VIC)

151

West End Art Space (VIC)

152, 153

Western Plains

R RAFT artspace (NT)

222

Cultural Centre (NSW)

186

Museum of Contemporary Art (NSW) 172

Redland Art Gallery (QLD)

195

Wentworth Galleries (NSW)

185

Museum of Old and New Art

Riddoch Art Gallery (SA)

210

Museum of Brisbane (QLD)

(MONA) (TAS) Museum of Sydney (NSW) Muswellbrook Regional (NSW)

192

204 172 173, 182

N Nanda\Hobbs (NSW)

22, 175

National Art School Gallery (NSW) 5, 175 National Gallery of Australia (ACT)

199

Rochfort Gallery (NSW)

Whitehorse Artspace (VIC)

153

27, 145

White Rabbit Collection (NSW)

186

179

Wollongong Art Gallery (NSW)

186

Rockhampton Museum of Art (QLD) 47, 195 Rogue Pop-Up Gallery (NSW)

179

Roslyn Oxley9 Gallery (NSW)

IFC, 179

Rusten House Art Centre (NSW)

181

Wyndham Art Gallery (VIC)

136, 150, 153

Y Yering Station Art Gallery (VIC)

153

Z ZigZag (WA)

S Saint Cloche (NSW)

National Gallery of Victoria The Ian Potter Centre (VIC)

RMIT Gallery (VIC)

220

181

141

241

“Each venue is a wetland or many wetlands, with different themes, relations between skies and the earth, assembled ecosystems, rewilding and caring for Country, saltwater ecologies . . . ” — J O S É R O C A , C U R AT O R I U M , 2 3 R D B I E N N A L E O F S Y D N E Y: R Ī V U S , P. 8 6

“A river or waterway is constantly changing and flowing, and connected to other things,” — A N N A DAV I S , C U R AT O R I U M , 2 3 R D B I E N N A L E O F S Y D N E Y: R Ī V U S , P. 8 6

“A lot of the First Nations artists [draw on] ancestral knowledge of water, water as a site of conflict.” — H A N N A H D O N N E L LY, C U R AT O R I U M , 2 3 R D B I E N N A L E O F S Y D N E Y: R Ī V U S , P. 8 6

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