Art Guide Australia — March/April 2024 by Art Guide Australia

Inside this issue A Note from the Editor

Interview: Tracey Moffatt

PR EV IEW

Studio: Serwah Attafuah

Tiarney Miekus

Annika Harding: Flux and Fog

Anita King

How we remember tomorrow

Barnaby Smith

Kathrin Longhurst: Women to the Front

Sally Gearon

Rosalind Lemoh: Told. Untold. Retold.

Briony Downes

Danish Quapoor: good grief

Louise Martin-Chew

Belinda Winkler & Kevin Perkins AM: Melaleuca

Briony Downes

Sue Lovegrove: Water Sky

Anita King

A rising in the east

Barnaby Smith

Parrtjima – A Festival in Light

Sally Gearon

Mai Nguyễn-Long: Kôgábịnô

Giselle Au-Nhien Nguyen

2 4T H BI EN N A LE OF S Y DN E Y

Interview: Cosmin Costinaș and Inti Guerrero

Giselle Au-Nhien Nguyen

Fondation Cartier: Sun Stories

Neha Kale

Around the World: The Practices of Nine Biennale Artists

Art Guide Editors

Tiarney Miekus

Mariam Ella Arcilla

Trevor Yeung: These Small Intimacies

Isabella Trimboli INTERV IEW

Pageantry With Scotty So

Amelia Wallin F E AT U R E

Judy Watson: A Powerful Charge

Andrew Stephens INTERV IEW

Yhonnie Scarce

Diego Ramirez F E AT U R E

James Barth: Closure and Disclosure

James Gatt

EX HIBITION LISTINGS

Victoria New South Wales Queensland Australian Capital Territory Tasmania South Australia Western Australia Northern Territory Maps

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8 Soudan Lane Paddington NSW 2021 Sydney, Australia

9 March – 6 April 2024

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MAGGIE BRINK EURO FANTASY SHOWER CURTAIN February ̶ April, 2024 ReadingRoom Naarm / Melbourne

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OIGÅLL PROJECTS OIGÅLL PROJECTS

1 2 2 G E R T R U D E S T, F I T S R O Y 1 2 2 G E R T R U D E S T, F I T S R O Y

R ORBO EB RE T RHTA H GAUG EU E SES PE TE PM T EEM BE B R E2R0 22 40 2 4

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Photo Ona Janzen

Gene A’Hern Solo exhibition 19 April - 18 May, 2024

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M C A Museum of Contemporary Art Australia

24th Biennale of Sydney: Ten Thousand Suns

9 March – 10 June 2024

Nicholas Mangan: A World Undone

5 April – 30 June 2024

MCA Collection: Artists in Focus

Until 28 April 2024 Free entry Tallawoladah, Sydney mca.com.au

Kirtika Kain, The Lunar Line IX (detail) 2021, fabric, gold leaf, rangoli, pigment, tar on reused silk screen, image courtesy the artist and Roslyn Oxley9 Gallery, Sydney © the artist, photograph: Luis Power. Nicholas Mangan, Matter Over Mined (For A World Undone), 2012, C-type print, image courtesy the artist, Sutton Gallery, Australia and LABOR, Mexico © the artist. Alick Tipoti, Mawa II (Dhanga Moelpal), Mawa IV (Gapu), Mawa V (Wakanthamay), 2010, installation view MCA Collection: Artists in Focus, Museum of Contemporary Art Australia, 2023, fibreglass, resin, fibre, beads, rope, feathers, Museum of Contemporary Art, donated through the Australian Government’s Cultural Gifts Program by the artist, 2021, image courtesy and © the artist, photograph: Jessica Maurer.

mca.com.au

Image — Dana AWARTANI, I Went Away and Forgot You. A While Ago I Remembered. I Remembered Iʼd Forgotten You. I Was Dreaming, 2017, mixed media installation with sand and natural pigments, single-channel video, no sound, 22 minutes. Detail from video courtesy the artist.

Awartani FRIDAY 1 MARCH —

unisa.edu.au/connect/samstag-museum

FRIDAY 10 MAY 2024

Samstag Museum of Art Parnati season exhibitions / Dana Awartani (Saudi Arabia/Palestine) / Bruce Nuske with Khai Liew (Australia) as part of the 2024 Adelaide Festival

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JAIME CONDUCTS

ENIGMA VARIATIONS

Thursday 2 May / 7.30pm Robert Blackwood Hall, Monash

Friday 3 May / 7.30pm Melbourne Town Hall

Saturday 4 May / 7.30pm Frankston Arts Centre

JAIME CONDUCTS

DEBUSSY & STRAUSS Thursday 9 May / 7.30pm Saturday 11 May / 2pm

Arts Centre Melbourne, Hamer Hall

RACHMANINOV & WEINBERG Thursday 16 May / 7.30pm Friday 17 May / 10.30am* Saturday 18 May / 7.30pm Arts Centre Melbourne, Hamer Hall *MSO Mornings

MOZART & TCHAIKOVSKY Thursday 23 May / 7.30pm Melbourne Town Hall

Friday 24 May / 7.30pm Costa Hall, Geelong

Saturday 25 May / 7.30pm Ulumbarra Theatre, Bendigo

B O O K N OW

M S O.C O M . AU mso.com.au

finDing huManity in histOry

Boots of Holocaust survivor Gerda Bauer, to which she attributes her survival during a ‘death march’.

mhm.org.au 13 Selwyn Street, Elsternwick. Tue–Thurs: 2pm-7pm Sun: 10am-6pm mhm.org.au

museumsvictoria.com.au/immigrationmuseum

A Note From the Editor

March/April 2024 There’s an undeniable presence to Hayv Kahraman’s images, one of which graces our March/April cover. For all the softness, there’s a quiet, political urgency to the Iraq-born, Los Angeles-based artist’s depiction of the human body, and the subjectivity that’s captured. Kahraman’s exquisite works feature in the 24th Biennale of Sydney, of which we’re a proud partner— and in this issue you’ll find an inside guide to the Biennale. Under the theme of Ten Thousand Suns, the tenor of this year’s Biennale is one of celebration rather than planetary or political fatalism, which creative directors, Inti Guerrero and Cosmin Costinaș, speak to in our interview. We also look at how Biennale artist Trevor Yeung articulates moments of intimacy, how the event brings together global artists and concerns, and how Fondation Cartier is commissioning 14 First Nations artists from around the world to create new Biennale work. And—something I’m particularly excited to share—is my long-form interview with Tracey Moffatt. Her humour, energy and drive to create what’s never been created before is truly inimitable. As she says in our discussion, “My ideas operate in the world of art.” Alongside the Biennale of Sydney, March also marks the Adelaide Biennial—and we have a poignant profile centering exhibiting artist James Barth on the limits of disclosure in our social media world. We also cover the practices of Scotty So, Judy Watson and Yhonnie Scarce—all of whom are having significant, deserved solo exhibitions. By their nature, Biennales often look at the coexistence of singularity and collectively, which artist and curator Tony Albert summarises in this issue, saying, “My sun story is different from your sun story—yet there is only one sun.” I hope you enjoy this special issue of Art Guide. Tiarney Miekus Editor-in-chief, Art Guide Australia

EDITOR–IN–CHIEF AND PODCAST PRODUCER

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EDITORIAL

CONTRIBUTORS ISSUE #148

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Mariam Ella Arcilla, Briony Downes, James Gatt, Sally Gearon, Neha Kale, Anita King, Louise Martin-Chew, Tiarney Miekus, Diego Ramirez, Barnaby Smith, Andrew Stephens, Hamish Ta-mé, Isabella Trimboli, Amelia Wallin.

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Cover artist: Hayv Kahraman.

cov er Hayv Kahraman, Untitled, 2023, acrylic and oil on linen, 127 x 243.8 cm. photogr aph: fredrik nilsen. courtesy of the artist and pilar corrias, london; jack shainman gallery, new york; vielmetter los angeles; and the third line, dubai.

Issue 148 Contributors

M A R I A M ELLA A RCILLA is a Filipina-Singaporean

TI A R NEY MIEKUS is the editor-in-chief of

BR ION Y DOW NES is an arts writer based in

GISELLE AU-NHIEN NGU Y EN is a Vietnamese-

writer, editor and community engagement worker based on Gadigal land. She is the cochair of Runway Journal and has managed galleries, artist-run initiatives, publications, and curatorial projects since 2006.

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.

JA MES GATT is a curator and writer born on

Gadigal land (Sydney) currently living in Tamaki Makaurau (Auckland) where he is the curator at Te Uru Waitakere Contemporary Gallery.

SA LLY GEA RON works across writing, publishing

and contemporary art. Based in Naarm/ Melbourne, she has a background in art history and book publishing. She is the assistant editor at Art Guide Australia.

NEH A K A LE 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.

A NITA K ING is an independent arts writer based in

Naarm/Melbourne. She has worked closely with artists, galleries and museums in the United States, Europe and Australia to create and articulate exhibitions for diverse audiences.

LOUISE M A RTIN- CHEW is a freelance writer.

Her most recent book is Margot McKinney: World of Wonder, published by Museum of Brisbane, 2022. Her first biography, Fiona Foley Provocateur: An Art Life (QUT Art Museum, 2021) won the 2022 Best Book Prize (joint), AWAPA, Art Association of Australia and New Zealand.

Art Guide Australia and a freelance writer whose work has appeared in The Age, The Saturday Paper, Sydney Review of Books, un Magazine, Meanjin, Disclaimer, Memo Review, Overland and The Lifted Brow. Australian writer and critic based in Naarm/Melbourne.

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.

ISA BELLA TR IMBOLI is a critic, essayist and

editor living in Melbourne. Her writing on film, literature and art has appeared in publications such as Metrograph Journal, The Sydney Review of Books, The Saturday Paper, The Monthly, and The Guardian.

A MELI A WA LLIN is a curator and writer, living

on Djaara in regional Australia.

Previews W R ITERS

Briony Downes, Sally Gearon, Anita King, Louise Martin-Chew, Giselle Au-Nhien Nguyen, Barnaby Smith.

Cairns/Gimuy Flux and Fog: Landscapes of the Atherton Tablelands Annika Harding NorthSite Contemporary Arts 13 April—1 June

The Atherton Tablelands in Far North Queensland drink up some of the highest rainfall in Australia, sustaining lively rainforest ecosystems and waterways. Annika Annika Harding, Exposure, 2023, acrylic on red Harding’s latest work explores the tension between the cedar, 6 x 13 x 5 cm. image courtesy of the artist. natural beauty of the area, relentless meteorological forces, and the built environment that supports local agricultural communities. “This tension alludes to and contains traces of many stories held by this place,” she explains of the Tablelands. “From its unjust and sometimes violent settlement and the ongoing relationship of the Ngadjon-Jii and other traditional owners with their Country, to the many industries and groups of settlers that have also shaped this place.” Having recently relocated to the area, Harding’s insightful and sensitive paintings are quiet meditations on place. She applies thin layers of acrylic on carefully selected timber offcuts, sourced locally and sustainably. “I match the size, shape, and grain of the piece of timber to the subject matter. The landscape and my experience of it emerges as I paint each layer.” In Disturbances 1-3, the wood’s concentric grain pulls you inward, complementing the focal point in each painting. With scrupulous detail, Harding paints intricate scenes on timber as small as a child’s hand. In Misty Farm 1, a petite six by seven centimeters, lichen overcomes a degrading fence post. This fascinates Harding, who says, “The humid rainforest environment encroaches upon and degrades everything from farm infrastructure to road signs.” But there is also something calming about the dampness. “Fog and mist shroud everything most nights,” she says. “It changes your perception of the landscape, and can make everything feel quiet and calm, melancholy or even exhilarating.” In these new works, Harding reveals silent tensions of the Atherton Tablelands in tiny, moody compositions that demand intimacy. —A NITA K ING

r ight Annika Harding, Mist with bunya pines and native raspberries, (detail), 2022, acrylic on timber board, 20 x 25.5 cm. image courtesy the artist.

Brisbane/Meanjin How we remember tomorrow UQ Art Museum On now—15 June

The group exhibition How we remember tomorrow centres the relationship between culture, tradition and the ocean: it illuminates how intergenerational storytelling, tied to oceanic themes, might counter and subvert settler-colonial narratives and legacies. Stephanie Comilang and Simon Speiser, Piña, Why As assistant curator Isabella Baker explains, is the Sky Blue?, 2021, video installation with open “The curatorial team engaged with artists whose practice sound, virtual reality headsets, pillows, 3-D printing connects with an understanding of the watery spaces on woven piña fabric. courtesy of the artists & of our planet as ancestral archives and sources of knowlchertlüdde, berlin, germany. edge, which carry stories and cultural practices.” Among the 13 artists and collaborations are Lisa Reihana, Brook Garru Andrew, Atong Atem, and Sonja Carmichael and Elisa Jane Carmichael. Mediums range from sculpture, installation and photography to video work, virtual reality (VR) and performance. The show’s title is taken from a 2023 sculptural piece by Shivanjani Lal that is, Baker says, “a monument to the cultural memory of indentured labourers throughout the Great Ocean [Pacific Ocean]”. Baker also highlights Stephanie Comilang and Simon Speiser’s multimedia installation Piña, Why Is the Sky Blue?, 2021, which features video, VR and 3D printing on woven piña fabrics. Also notable is the video work Neromanna, 2017, from the duo Latent Community, about a village in Greece that was displaced due to the construction of a dam in 1969. Yet the majority of exhibiting works focus on the Pacific, showing how “oceanic spaces are inextricable to the survival of all species”. Taken together, the artworks are a collective prompt to “consider the sea as memory, the sea as history, and that the sea bears and channels time and space in every direction”, says Baker. “We hope that visitors engage deeply with artists’ vital practices of storytelling, submerging the colonial archive, and giving rise to futures that are sustained by Indigenous technologies, knowledge, kinship, constellations and planet-centred governance structures.” — BA R NA BY SMITH

Melbourne/Naarm Women to the Front Kathrin Longhurst

Flinders Lane Gallery 5—27 March

Kathrin Longhurst, The Devotee, 2023, oil on linen, 91 x 91 cm.

The women in Kathrin Longhurst’s paintings tell a story of bold defiance. Among them you will find the adventurer, the trailblazer, and the fighter, but no wallflower. “All through art history we’ve had men painting women as decorative objects,” she says. “[I’m] reclaiming that domain of painting women, and painting them in a way that is empowering, where other women can relate and see themselves. Because what you can’t see you can’t be.” Just don’t call them portraits. Longhurst has a history with portraiture, as a finalist for numerous Archibald prizes and winner of the 2021 Archibald Packing Room Prize with a portrait of Kate Cebrano. But this new body of work is firmly rooted in figurative painting and storytelling, rather than straight depiction.

“The models are there to express narrative. I use their likeness to create a story.” With vintage military jackets and aviator goggles, you may think the story is one of warfare, and you wouldn’t be far off. “As a woman, you are on the frontlines. You’re on a battlefield. You’re fighting against inequality and not having access to certain things.” This use of symbolism stems from a deep affinity with propaganda art. “I grew up in East Germany, so my childhood was heavily influenced by socialist realism. Art in a socialist country is there to educate and explain the ideology. Now I use the symbolism and imagery to throw things on its head, and use the language of propaganda art to further my own cause.” Women to the Front coincides with International Women’s Day, and Longhurst hopes the audience will take away “a renewed interest in womens’ stories, recognising their resilience and their strength. And celebrating them for their incredible contributions to society”. —SA LLY GEA RON

Canberra/Ngambri Told. Untold. Retold. Rosalind Lemoh

Canberra Glassworks 7 March—28 April In October 2023, Gundaroo-based artist Rosalind Lemoh was a resident at Canberra Glassworks. With much of her practice focused on recasting everyday items in concrete and steel, Lemoh’s initial goal was to experiment with the glass medium by casting objects for a series of stacked forms. The more she worked with glass, Lemoh came to realise, “heat and gravity were as much the materials as the glass itself”. Lemoh’s new exhibition encompasses work produced at Glassworks, spanning sculpture, text-based pieces, and large floor works. The objects Lemoh chooses to create often connect to places and people, with much of her recent work referencing the industrial history of the Glassworks site. “There are snail Rosalind Lemoh, Control-Cascade, shells from a garden and railway spikes that echo rural Australian 2023. photogr aph: damien geary. aesthetics, labour, and the origins of the Glassworks building,” Lemoh says. Exploring how gravity affects her chosen materials, Cascade Control, 2023, captures the shape of glass as it melts over a curved form. “By creating props within the kiln environment, the glass falls and gathers between states of what it once was and what it is becoming,” she says. Leaning into the stories and symbolism imbued within an object, Lemoh used the interior of an Australian military ammunition box as a cast to give shape to hidden internal spaces. “The glass formed a kind of skin as it cooled against the metal mould and took on the quality of rippled water,” Lemoh explains. “Through the making process, I began to think about ideas of internal autonomy and exterior control, and the balance and tension between those two forces.” Also playing on elements of arte povera, concrete poetry and natural history collections, Lemoh’s objects function as physical embodiments of memory, lending form to the unseen, and shedding light on the unique history an object can retain. —BR ION Y DOW NES

Townsville/ Wulgurukaba Country good grief Danish Quapoor

Pinnacles Gallery 8 March—28 April

Danish Quapoor has titled the most significant exhibition of his career to date after the oxymoron ‘good grief’, expressing the contradictory emotions threaded throughout his new work. In good grief, Quapoor memorialises his father, who died suddenly in 2020 during Covid-19 pandemic restrictions, which created additional difficulties in terms of travel and funeral gatherings. This was closely followed by Quapoor’s own coming out to his family as a bisexual man. The artist Danish Quapoor, things left unsaid (sentinel ii), traces the emotional journey of this period, where 2023–2024, hand-coiled and stitched baling twine, shifting familial relationships and understandings of his mid-fire black clay, clear gloss glaze and lustre, own identity are explored. 15 x 10.5 x 9.5 cm. photogr aph: amanda galea. A shrine in Pinnacles Gallery’s centre is the exhibition feature, surrounded by sombre artworks in blackand-white, with more playful works in the larger gallery. These include sculpture, often featuring baling twine and ceramic, illustrative paintings, wall drawings and an animation—with word play and humour integral. Within works such as stubborn forces, 2022, an organic and smooth ceramic base is combined with a tightly coiled top section—the contrast of media in a single work describing the oppositional forces that may emerge in one family. As Quapoor says, “I’m thinking about the relationship with my father, using contrasting media and textures within this work.” Meanwhile in a mountain between us, 2021-23, baling twine is used over paint pen to create a sense of three dimensionality, radiating from a central organic shape, conveying distance within proximity. Residing in Gurambilbarra/Townsville, Quapoor (who also works as Daniel Qualischefski) has crafted an esteemed practice of illustrative paintings, ceramics and textiles that’s both interdisciplinary and collaborative. Having slowly transitioned from figurative works into the abstract, later in 2024 he will be in residence at Artspace Mackay where he will create a mural. — LOUISE M A RTIN- CHEW

Hobart/Nipaluna Melaleuca Belinda Winkler & Kevin Perkins AM Bett Gallery 15 March—6 April

Kevin Perkins and Belinda Winkler, porcelain work in progress image for the Melaleuca exhibition. photogr aph: peter whyte.

Tasmanian artists Belinda Winkler and Kevin Perkins AM share a visual language centred on the contrasting forms of curve and plane. Winkler works with porcelain, bronze, and steel, creating smooth circular objects that are immaculate in their graceful simplicity, while Perkins is a designer and maker of furniture embracing the unique qualities of timber. Most recently, Winkler and Perkins have combined their work to create a series of objects demonstrating

Kevin Perkins and Belinda Winkler, Melaleuca #1, 2023, 195 cm L x 37 cm W x 98 cm, (detail), solid torched Fiddleback Eucalypt side table with porcelain objects, unique artwork. photogr aph: peter whyte.

the harmony of these contrasting forms and how they appear in the southern Tasmanian landscape. “It all began when Kevin pulled out some fiddleback eucalyptus—a type of wood where the grain makes a pattern like rippling water—and we began talking about how if it was split down the middle, it would look like a valley with a river winding through it,” Winkler explains. “When we go kayaking, we come across things like swans’ nests, feathers and eggs, and these have really informed the porcelain objects I’ve been making.” Exuding an effortless balance, collaborative pieces like Melaleuca #1, 2023, combine the sharp edges of a blackened wood table with a series of white ovoid forms, each delicately nestled on the black surface. With colours reminiscent of the black tin and white quartz found in the far south-west of Tasmania, Melaleuca #1 pays homage to flowing waterways and the winding valleys they pass through. “We have also been to Japan and have a fondness for the reductive minimalism of Japanese design, so each work has its own space,” says Winkler. “Even though this is the first time we’ve worked in collaboration, we’ve had this shared language the whole way through. It introduces new things to our practices in areas we wouldn’t have been able to travel without the other.” —BR ION Y DOW NES

Melbourne/Naarm Water Sky Sue Lovegrove

Gallerysmith 7 March—13 April Few things compare to the humbling immensity of the natural environment. It’s a sensation that Sue Lovegrove knows well, spending many hours walking and climbing in remote and rugged landscapes, especially around her home in South West Tasmania. Her latest exhibition, Sue Lovegrove, No 595, 2023, mixed media on Water Sky, draws upon an intimate knowledge of the board, 90 x 120 cm. courtesy of gallerysmith. landscape, featuring 12 new paintings that explore “the photogr aph: peter whyte. abstract and indeterminate qualities of the elemental forces of the landscape, in particular water and air”. She is fascinated by the fleeting nature of the two elements. As she explains, “Both water and air are in a constant state of flux and transience that I find compelling.” Influenced by minimalism, abstraction and figuration, Lovegrove channels her inner responses to the Tasmanian landscape by portraying temporal moments. “These paintings are about a state of mind—a way of being in and within a landscape, of sitting still for long enough to perceive a place resonate within one’s own body.” Lovegrove observes what is around her, tapping into something intangible. “Sometimes I think of my paintings as a sound score to the pulse of the landscape,” she laughs. Her works are a call to observe and absorb, to switch off ever-present devices and to listen to what is around us. Lovegrove applies translucent layers of acrylic and ink on various surfaces such as board, aluminium and paper. With gentle, repetitive strokes, delicate lines are etched on the surface to complete each painting. These are her signature marks. As she reflects, “The accumulation of the lines creates a sequential field of marks reminiscent of the minute ripples of light and shadow on the surface of water that is both minuscule and expansive at the same time.” The lines have a meditative quality and form shapes like reflections on water. I am transfixed. — A NITA K ING

Perth/Boorloo A rising in the east

DADAA (as part of Perth Festival) On now—20 April

Whether in theory or practice, the relationship between artmaking, creativity, labour and economics is complex. How can artistic practice be best supported and sustainable as a vocation? A rising in the east asks this question with an important dimension: the show Koyama Michiko, from the A rising in the east considers how disability fits into the equation. exhibition. image courtesy dada a A rising in the east is a collaboration between Perth Festival, DADAA gallery and studio (Disability in the Arts, Disadvantage in the Arts, Australia), and four Japanese arts and disability organisations. Eleven Japanese artists feature, working across textiles, works on paper, books and illustration. The show emphasises, as DADAA executive director David Doyle says, “the incredible possibilities that can open up for artists and makers with lived experience of disability when the necessary time, support and resources are invested”. A common theme of the works is a forensic attention to detail—and the focus that demands. “What captured our attention when first viewing potential works . . . was the extent to which the investment of time was so evident,” says arts services director at DADAA, Chris Williams. “The seemingly painstaking repetition of marks in works such as Katsuyoshi Takenaka’s Wood Tower, 2024, are at once awe-inspiring and beautiful, showing a labour and an internal drive to create.” The exhibition’s mission goes beyond displaying artistic talent, showcasing Japanese approaches towards disability in the arts. “Japanese arts and disability is predicated on a significant investment in artistic labour,” says Doyle. “Artistic practice is work, work that is of value, and there are alternatives to Australia’s supported employment programs for people with disabilities like the sheltered workshop model, which is flawed compared to Japanese models.” Sheltered workshops provide employment for people with a disability, but are often segregated from the wider workforce. Doyle instead advocates for a studio model that is more “artist-driven and studio production-based”. —BA R NA BY SMITH

Alice Springs/Mparntwe Parrtjima – A Festival in Light Alice Springs Desert Park 12—21 April

As Parrtjima—the Northern Territory’s annual festival of lights—enters its ninth year, the focus is on interconnectedness. “From an Indigenous perspective, everything for us is interconnected,” says festival curator Rhoda Roberts AO. “The connection to Country, seasonal MacDonnell Ranges Light Show, Parrtjima – behaviours, the landscape, the waterways. The stories A Festival in Light. connect everything.” Broadly looking at Northern Territory artists, but with a focus on the Central Western Desert, the festival aims to highlight emerging Arrernte artists while paying tribute to the rich history of art and storytelling in the community. “The stories have stayed the same, it’s just the medium is different,” says Roberts. “We’re taking those stories that are steeped in ancient footprints, but we’re moving it to a more contemporary medium through lights and technology. It shows me how incredibly adaptive our culture is, and how relevant it is.”

The festival consists of two main components, along with a number of programmed events. The first is the MacDonnell Ranges Light Show, an immense installation that illuminates two kilometres of the ranges. The second is Grounded, an immersive installation in the Mparntwe (Alice Springs) Desert Park. As the first festival since the Voice to Parliament referendum, Parrtjima feels different this year. “For the local mob, we really want Australians not to be fearful, I don’t understand what the fear is,” says Roberts. “We’re trying to unpack why there is so much fear and we’re hoping that humour, a bit of fun, the actual joy of seeing these lights and art come alive, will be something that makes people go, ‘Hey, we’re very similar as human beings. We all want to give our children, and the next generation, a wonderful place in this country.’” —SA LLY GEA RON

Wollongong/ Dharawal Country Kôgábịnô Mai Nguyễn-Long

Wollongong Art Gallery On now—7 April

Mai Nguyễn-Long’s work is about reclamation. The artist, who was born to a Vietnamese father and Australian mother, studied Asian art history at university, and quickly realised that Vietnamese art was rarely discussed. Curious, she travelled there in her early twenties to find out more about it—and her cultural history—firsthand. There, art became not only a concept, but a physical act, as she took classes and learned how to make things herself. “I was blown away by the đình wood carvings in the Red River Delta,” she remembers. “It really fed my imagination—I felt it was an avenue to a visual language and a way of imagining the world.” A complicated relationship with the country and culture ensued when Nguyễn-Long returned to Australia and found herself feeling a separation from the Vietnamese community at home. But almost three decades later, she continues to create her own version of Vietnamese art, translating wood carving techniques to clay. Mai Nguy ễn-Long, Vigit Hefeco 2, 2023, coarse Kôgábị nô is her latest exhibition, harnessing the textured clay, 32 x 18 x 12 cm. aesthetic of mộc mạc—literally ‘earthy’—as a means of resistance. “I wanted to insert mộc mạc as an art concept into my doctorate because otherwise there is always this external Western lens of looking at Vietnamese art,” Nguyễn-Long says. In a series of clay and earthenware sculptures, the central figure, Vomit Girl, speaks to the shame and trauma experienced by the diaspora. Colour is also an important aspect—the bright orange hue often used alludes to the herbicide Agent Orange, known for its destructive impact on civilians during the Vietnam War. Decades later, its impacts are still felt. “Orange became the dominant pop of colour amongst the unglazed, natural terracotta look,” she explains. “To me, it is this ongoing trauma that keeps having ripples forever.” —GISELLE AU-NHIEN NGU Y EN

Mai Nguyễn-Long, Kôgáb ịnô installation. photogr aph: michael reid gallery.

24th Biennale of Sydney: Ten Thousand Suns

Titled Ten Thousand Suns, this year’s Biennale of Sydney centres celebration—whether of First Nations knowledges, queer resilience, or the hope of a common future. The event spans seven Sydney venues, including the Art Gallery of New South Wales, Artspace, Sydney Opera House and the Museum of Contemporary Art—and for the first time Chau Chak Wing Museum, UNSW Galleries and White Bay Power Station. From speaking with the Biennale directors to insights into exhibiting artists, we’re your guide to Ten Thousand Suns—the 24th Biennale of Sydney.

r ight Dylan Mooney, Still Thriving, from the Still Thriving, series, 2023, digital illustration hand-painted with Yuwi ochre, 118.9 x 84.1 cm. image courtesy of the artist and n. smith gallery (sydney).

Interview:

Biennale of Sydney Artistic Directors Cosmin Costinaș and Inti Guerrero W R ITER Giselle Au-Nhien Nguyen

Under the co-direction of long-time collaborators Cosmin Costinaș and Inti Guerrero, the 24th Biennale of Sydney focuses on the theme of Ten Thousand Suns, pulling in perspectives from around the world to decentre the Western experience and provide a new lens through which to see and deal with the ecological crisis. With new exhibiting venues, it will also, for the first time, expand its scope to include a music program.

GISELLE AU-NHIEN NGU Y EN

What is the significance of the theme Ten Thousand Suns? INTI GUER R ERO

It’s a call for the celebration of the multiplicity of perspectives, and the gathering of different viewpoints. We like to recall the Chinese mythology of Hou Yi, the great archer, who took down nine of the 10 suns that existed in antiquity and that’s how we ended up with one of them. We’re not waiting for a single hero to take down those nine suns, but there are solutions in things like community and learning from different contexts to shift the psyche around our apocalyptic time. It’s also learning from other moments and communities that have had apocalyptic moments in history, whether it’s during the AIDS epidemic—the queer community did indeed live through an apocalyptic time—and how First Nations across the world lived through different times. Their mere presence is resistance to different layers of historical violence. GA N

What is the importance of, as your Biennale statement says, “challenging Western fatalistic constructions of the apocalypse”? COSMIN COSTINAȘ

There is a direct continuity between the enactment of the conditions that led to the current climate crisis through colonialism, different forms of exploitation and repression of knowledges of dealing with the climate, and a particular modus of approaching the imagination of the future—one that continues to disregard Indigenous and non-Western knowledges and principles. It’s also about acknowledging the particular synchronicity between a moment when left Biennale of Sydney 2024 media launch, White Bay Power Station. photogr aph: daniel boud.

a certain degree of decolonisation, and a certain affirmation of multiplicities, has been achieved. There’s a presence of voices, ideas and individuals who have been colonised. In this discourse of the end of the world, different understandings of the world are brought back into the conversation, when a new vision of the world might indeed be possible. GA N

How do you balance wishing to acknowledge the worldwide ecological crisis and destruction with a refusal to concede to fatalism? CC

None of the propositions in the Biennale are meant to mitigate, delay or minimise any of the efforts to deal with the climate crisis—these are some of the most urgent political issues of our time. It’s about how they’re framed—apocalyptic thinking does not facilitate solutions for the climate crisis. It’s about creating the proper premises to deal with it. This is also part of the experience of Indigenous and colonised people around the world whose worlds have been fundamentally altered by the colonial experience. They will never be the same as they were prior to colonisation—nevertheless, so many of these worlds are resilient, present, alive. So, there is a model from which we’re learning about celebrating life and resilience in a changed mode, in an altered state. This is the collective experience of the 21st century. IG

Part of the exhibition is taking place at White Bay Power Station, which is a relic of the carbon era, Commonwealth history and colonial memory. Being inside a power station that was involved in the burning of coal creates the gesture that we are in the remains of the era that led us to our current crisis.

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Megan Cope, Whispers, 2023, site-specific installation, dimensions variable. photogr aph: daniel boud. courtesy of the artist, sydney oper a house and milani gallery, meanjin/brisbane.

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“It’s a call for the celebration of the multiplicity of perspectives, and the gathering of different viewpoints.” — I N T I GU E R R E RO

GA N

This is the first year the Biennale will include a music program. How will it work together with the visual arts exhibitions? CC

Expressions can be forms of resistance, and music is part of that. We really wanted to put forward the experience of music within the program. We’ve partnered with Phoenix Central Park, who have been leading an important community network of contemporary music. It will be presented by different performers that have, in their lyrics or in their diasporic biographies, a relationship to many of the discussions that we are having. Sometimes music is part of the artwork—for example, in the work of Satch Hoyt, a JamaicanBritish artist, who has a long-term project called AfroSonic Mapping. He has created an artwork of large canvases that are primarily scores of music, and their visual composition is meant to mirror the passage of Black people from West Africa to the Americas. GA N

This is not your first time working together as co-curators/directors. What approach have you brought to the Biennale? IG

We’ve been working together for more than a decade, both in terms of realising exhibitions together and publications, seminars and conferences, while also maintaining separate practices. We started working together quite organically from dialogues on specific topics that we’re both interested in. That has been a motif that remains at the core of how we work together in the Biennale.

We’re both quite involved in everything rather than dividing the decisions or aspects of the curatorial work and practice. We believe that both ethically and politically, we should really move away from the model of the single messianic individual, particularly of the curator who is a larger-than-life figure—the creator and author of imagining worlds. Working together with each other, but also applying this model to collaboration with other colleagues and the team that realises the Biennale, and the way we work with artists, is really at the core of what we stand for. CC

Something that we shared in different projects in the past, when working with geographies that are not necessarily our places of origin, is that we try to unpack history together with people that have done extensive research. For the Biennale, we’ve been excited about many moments as we go through the process of making the exhibition and doing the research. It becomes a very rewarding Pandora’s box of trying to connect different makers. Every time we have the chance to learn from a context, we try to navigate through these different histories, and we hope that people will connect with them.

24th Biennale of Sydney: Ten Thousand Suns Art Gallery of New South Wales, Artspace, Sydney Opera House, Museum of Contemporary Art, Chau Chak Wing Museum, UNSW Galleries and White Bay Power Station 9 March—10 June

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Cristina Flores Pescorán, Catarsis [Catharsis], 2014-16, textile work made with red threads of different sizes crocheted, 500 x 300 x 5 cm. photogr aph courtesy of the artist.

Sun Stories For the Biennale of Sydney, Paris-based Fondation Cartier is commissioning 14 new works by Indigenous artists across the globe, curated by renowned Kuku Yalanji artist, Tony Albert. W R ITER

Neha Kale

“My sun story is different from your sun story— yet there is only one sun.” — T ON Y A L BE R T

When Cristina Flores Pescorán weaves, she isn’t just suturing materials together. She is restoring connections with the women that came before her. She is recovering what her body already knows. The Peruvian artist started making textiles when, during a period of illness, she was subject to invasive medical procedures. The practice she rejected as a child growing up in Lima and Trujillo was now a source of ritual healing. “I had a kind of [skin cancer], a pigmentation and I started to understand what was happening on my skin as a way to repair fractures that exist in the story of my family,” she says. “I had several kinds of treatment, but nothing worked. I am not a number. I have emotions, textures and colours. One day it was clear that I needed to start weaving. I wanted to heal in different dimensions.” Pescorán is a thoughtful presence who voices her ideas with a quiet intensity. She has just arrived in Australia from her base in the Netherlands to install Abrazar el Sol, a textile installation that will be suspended at White Bay Power Station as part of Ten Thousand Suns. It’s part of a historic project featuring 14 new works by Indigenous artists from around the world, curated by the renowned Kuku Yalanji artist Tony Albert and commissioned by the Paris-based cultural institution Fondation Cartier pour l’art contemporain. “The magic happens when you hand opportunities to a community with autonomy and their own methodology,” says Albert, who was appointed the Fondation Cartier’s First Nations Fellow in 2023, part of the organisation’s long-term commitment to fostering Indigenous art and culture at the Biennale of Sydney. “If I can start something that continues to thrive and [enable] Indigenous curators and artists to be seen on a global platform, I would be so happy.”

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Dylan Mooney, Grevillea Venusta – Grevillea (from the Intertwined series), 2022, digital illustration handpainted with Yuwi ochre, 120 x 88 cm. image courtesy of the artist and n. smith gallery (sydney).

Albert’s previous collaboration with the Fondation Cartier and the Biennale of Sydney took the form of Badu Gili. The six-minute animation, projected on the Sydney Opera House, saw legendary Meriam artist Gail Mabo and Te Rarawa and Ngāpuhi artist Nikau Hindin interpret distinct stories of celestial navigation. This notion of finding commonality amid difference, Albert says, underpins his approach to Ten Thousand Suns. “My sun story is different from your sun story— yet there is only one sun,” he says. The Fondation Cartier’s presentation at the Biennale of Sydney will include new works by Mangala Bai Maravi, an artist from Madhya Pradesh whose bold, monochrome paintings revive traditional Baiga tattoo designs. Dylan Mooney, a Yuwi, Torres Strait and South Sea Islander man, will revisit the legacy of Malcolm Cole, a queer Indigenous activist who dressed up as Captain Cook during the 1988 Mardi Gras. Hindin—who is known for kites imprinted with delicate motifs that riff on Tāniko, a traditional Māori technique—will show new work, alongside Pescorán, at the White Bay Power Station. “[These] artists are reviving culture, something I was never able to do,” Albert says, pointing to Darrell Sibosado, a Bard man from the Dampier Peninsula who will present a light installation, based on Western Australian shell carvings.

Cristina Flores Pescorán, Diario [Diary], 2022, video, 6:28 min. photogr aph courtesy of the artist and ginsberg galería, lima.

“I think we are at a point where the younger generation don’t have to be as politically engaged. To know that artists are picking up weaving techniques, remaking shields and cultural objects! They might be using alternative methods or materials, but to me that’s incredible.” Collaborating with these artists, he says, has been less about imposing his own vision and more about accommodating cultural nuances and helping them realise their greatest dreams for their work. “I took Nikau Hindin out onto Country [for] ceremony and was able to feel a culturally safe way for her to be indoctrinated into this place,” he says. “[Non-verbal artist] Doreen Chapman is presented at every single location. She can’t communicate through English, so it’s an opportunity to engage with other Blackfellas that will make her feel at home.” Pescorán tells me about the homesickness she endured during the first period she spent outside Peru. “I wanted to prepare chicha, which is a maize beverage you can find in every market,” she says. “I started working with maize morado—or purple corn— dying fibres. It’s very intense and changes with parts of the day—it starts as red and [becomes] purple.” Over Zoom, the artist, who will perform and read poetry during the Biennale’s opening weekend, shows me an intricate skein of yarn, rippled with rich violet. “This Peruvian native cotton has a particular story,”

she says. “It is from the northern coast of Peru, where my family comes from, and it was forbidden because the government believed it would contaminate the industrial white cotton for many years.” For Pescorán, the material symbolises the ways in which certain bodies are disregarded. Abrazar el Sol, she says, will also reference the veils conceived by the pre-Incan Chancay culture, believed to possess powers of healing and protection. In referencing the warp and weft used in the construction of Chancay veils, Pescorán entwines the personal and organic with Chancay techniques, creating a dialogue with both the history and meaning of the veils. “I am working with threads to make knots that are inspired by the culture of the coast of Peru and these magical textiles,” she smiles. “The cotton is hand spun so you can perceive its irregularity. For me, it is an honour.”

Cartier pour l’art contemporain

Art Gallery of New South Wales, Artspace, Sydney Opera House, Museum of Contemporary Art, Chau Chak Wing Museum, UNSW Galleries and White Bay Power Station 24th Biennale of Sydney: Ten Thousand Suns 9 March—10 June

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AROUND Maru Yacco, The life of “Jikken-kun,” a brother sperm from a mother, and “Dokkin-chan,” a sister sperm, 2012, acrylic paint on canvas, 606 x 727 cm. photogr aph: hyodo.

THE WORLD

Anne Samat, Never Walk In Anyone's Shadow, 2023, rattan sticks, kitchen and garden utensils, beads, ceramic, metal and plastic ornaments, 365.75 x 731.5 x 25.5 cm. photogr apher: brian holcombe. courtesy of the artist and marc str aus, new york.

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From a Japanese queer icon to a Polish film director, and Māori barkcloth to Indian tattoos, we look at nine artists from around the world participating in the 24th Biennale of Sydney.

Nikau Hindin is reviving the ancient Māori practice of creating aute, or barkcloth, from paper mulberry plants.

Nikau Hindin (NZ) From across the Tasman Sea, Te Rarawa/Ngāpuhi artist Nikau Hindin is representing Aotearoa/New Zealand with her revitalisation of traditional Māori practices. Kindin makes aute (barkcloth or tapa cloth) from paper mulberry plants using ancient techniques that have been out of practice for over a century. It’s a labour-intensive process to transform the bark into a beautiful cloth that she then paints with patterns influenced by Māori weaving designs. Every step of Hindin’s process is intricate, and the resulting works are truly unique. A selection of them are being shown at White Bay Power Station alongside works by fellow barkcloth artists Ebonie Fifita-Laufilitoga-Maka, Hina Puamohala Kneubuhl, Hinatea Colombani, and Kesaia Biuvanua. nikau hindin is showing at white bay power station.

Nikau Hindin holding a manu aute, Māori kite, in her studio. photogr aph: holly burgess.

Diné/Navajo artist Eric-Paul Riege blends performance art with Indigenous weaving.

Eric-Paul Riege (DINÉ/NAVAJO, USA)

Eric-Paul Riege is a Diné/Navajo artist from New Mexico whose multidisciplinary practice involves an amalgamation of weaving and fibre art with installation and performance. Known for his sculptures— made from natural and synthetic materials that include wool, cotton, shells, faux fur, and even human hair—Riege uses techniques inherited through his Diné ancestry. A collection of his weavings and looms were featured in the 2022 Toronto Biennial of Art. For the Biennale of Sydney he has a large-scale sculptural installation inside the White Bay Power Station, as well as an exhibition at Artspace, where he will present a series of new works centred on the Navajo concept of hózhó, which celebrates balance and beauty. He will also be performing during the opening weekend celebrations. eric-paul riege is showing at artspace and white bay power station. Eric-Paul Riege, The Armory Show, 2023, woven fibres, dimensions variable. photogr aph: adam reich. courtesy of the artist, bockley gallery, minneapolis, and stars, los angeles. BoS Special

An icon of the Japanese queer community, Maru Yacco makes vibrant art through a variety of media.

Maru Yacco ( JA PA N) Tokyo-based Maru Yacco creates a vibrant and playful world with her art, using a variety of media—performance, drag, cosplay, video, murals—to produce characters that represent Japanese popular culture and subculture. An icon of the Japanese LGBTQIA+ community, Yacco continually shows just how multifaceted queer culture can be, and made waves at Myth Makers—Spectrosynthesis III last year—the first major survey exhibition on LGBTQIA+ perspectives in Hong Kong. For the Biennale, she has created a large-scale wallpaper installation situated in the Art Gallery of New South Wales. She will also be participating in ‘The Queer Art of Stealing Focus’ event, which explores the history and current use of wearable art. maru yacco is showing at the art gallery of new south wales.

left Maru Yacco, Form of Happiness, 1996, positive (photographic) image, 7.8 x 11.3 cm. photogr aph: zigen. below Maru Yacco, Maru Yacco’s Secret Base Nerd Room, 2023, 1920 x 1080 pixels. photogr aph: joshua gordon.

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Hayv Kahraman interrogates complex narratives of identity and belonging through paint.

Hayv Kahraman (IR AQ/SW EDEN/USA) Hayv Kahraman is an Iraqi-American-Swedish artist of Kurdish descent. Born in Baghdad and now living and working in Los Angeles, much of her work explores shifting identities through her depiction of bodies in a state of flux. Disembowelment; leaves that are, on closer inspection, lips; characters consuming eyes that are also petals but look like oysters—there is a macabre quality to Kahraman’s paintings, yet they are undeniably beautiful. She currently has her largest solo exhibition to date on display at the Institute of Contemporary Art San Francisco, and for the Biennale a selection of her works are on display. hayv kahraman is showing at the museum of contemporary art. top Hayv Kahraman, Untitled, 2023, acrylic and oil on linen, 127 x 243.8 cm. photogr aph: fredrik nilsen. courtesy of the artist and pilar corrias, london; jack shainman gallery, new york; vielmetter los angeles; and the third line, dubai. left Hayv Kahraman, Snakes, 2021, oil on linen, 254 x 172.7 x 4.4 cm. photogr aph: fredrik nilsen. courtesy of the artist and pilar corrias, london; jack shainman gallery, new york; vielmetter los angeles; and the third line, dubai. BoS Special

Candice Lin interrogates ecology and colonialism through living and organic materials and processes.

Candice Lin (USA) Candice Lin works across sculpture, installation, ceramics, drawing, and video, often incorporating living materials such as mould, mushrooms, bacteria and fermentation to create layered pieces that challenge assumptions around race, gender, and sexuality in a postcolonial setting. She was featured in the 2022 Venice Biennale with an installation that incorporated everything from paintings, living silkworms, mulberry plants, ceramic fragments, and a taxidermied iguana. With a focus on the historical, and an interest in how it informs the present, Lin is a chronic researcher and every detailed aspect of her work serves a purpose. Her Biennale of Sydney display will undoubtedly uncover some complex truths. candice lin is showing at unsw galleries.

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top Candice Lin, Seeping, Rotting, Resting, Weeping, hand-printed (katazome) and hand-drawn (tsutsugaki) indigo panels, steel bar, dyed rugs, glazed ceramics, epoxyresin, feathers, bloc-printed and digitally printed fabric (masks), bells, tassels, and miscellaneous small objects, dimensions adaptable. photogr aph: awa mally for the walker center. courtesy of the artist and fr ançois ghebaly. top r ight Anne Samat, No Place for Beginners or Sensitive Heart #1, 2021, rattan sticks, kitchen and garden utensils, beads, ceramic, metal and plastic ornaments, 274.32 x 162.56 x 15.24 cm. photogr aph: ellen boreum lee. courtesy of the artist and marc str aus, new york. bot tom r ight Nádia Taquary, EG03, 2021, from series Oriki, é o que não se vê [Oriki, it is what is not seen], wood, bronze, beads, laguidibá, copper, straw, seashell, 160 x 40 x 40 cm. photogr aph: marcio lima. courtesy of the artist and gallery.

Centering love and liberation, Anne Samat’s weavings challenge Euro-American ideas of art and craft.

Anne Samat (M A LAYSI A/US) Malaysian-born artist Anne Samat creates exquisite weavings that employ the Southeast Asian art of Pua Kumbu weaving—a technique developed over generations by the Indigenous Iban peoples of Borneo. Within this Samat adds items from discount stores into her totemic creations, alongside found objects from cutlery to cassette tapes. Yet Pua Kumba cloths cannot be planned—rather they come to the artist as sacred visions: in this case it’s messages of love. With each piece resonating as an avatar, there is also a liberatory aspect at play, with Samat seeing the weavings as embodying “what one feels to be from within—without fear or coercion”. Her specially commissioned weaving for the Biennale will no doubt effuse these ideas. anne samat is showing at the museum of contemporary art.

With object-sculptures that reflect Afro-Brazilian culture and female protagonists, Nádia Taquary honours her heritage.

Nádia Taquary (BR A ZIL) Nádia Taquary explores Brazil’s pre-colonial African heritage through an artistic practice that incorporates sculptures, objects, video and installation. Taquary works with a variety of materials— copper, silver, gold, bronze, crystal beads, cowrie shells, buriti straw, repurposed Ipe and Jacarandá woods—to create, or recreate, artefacts of Afro-Brazilian cultural significance, placing a particular focus on the ancestral heritage of Black women and the “Black female protagonist”. Born in Salvador and raised in Valença, Bahia, Taquary has exhibited across South America and represents Brazil at the Biennale with a selection of her works inspired by balangandãs jewellery. nádia taquary is showing at the art gallery of new south wales.

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Wearing his trademark cowboy hat, the late Martin Wong painted unparalleled scenes of intimacy and identity.

Martin Wong (CHINA/US) Martin Wong was visionary. The Chinese-American artist, who was largely self-taught, spent the 1980s painting New York scenes, before dying from a HIV/ AIDS-related illness in 1999. In works blending the real with the fantastical, Wong eschews any sense of the bourgeois: there’s graffiti-spectacled handball courts, dank stairwells, lost characters, skateboarders in flight, firefighters kissing. After a much-lauded 2015 retrospective at the Bronx Museum of the Arts, Wong’s witty visions of New York resurfaced, which, as the artist once said, “focus in close on some of the endless layers of conflict that has us all bound together”. Nine of Wong’s paintings are in the Biennale of Sydney, which explore having multiple racial identities alongside celebrating queer sexuality. martin wong is showing at chau chak wing museum.

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top r ight Martin Wong, Chop Suey Sundae, 1992, acrylic on canvas, 132.1 x 76.2 cm. copyright martin wong foundation, courtesy of the martin wong foundation and p·p·o·w, new york. photogr aph: jsp art photogr aphy. top lef t Martin Wong, Big Heat, 1986-88 acrylic on canvas, 152.7 x 122.2 cm. copyright martin wong foundation, courtesy of the martin wong foundation and p·p·o·w, new york.

Taking digital images into unchartered territory, Agnieszka Polska’s art reflects on history, love and time.

Agnieszka Polska (POLA ND/GER M A N Y) Those living in Melbourne may have recently seen Agnieszka Polska’s brilliant video, The New Sun, 2017, at Heide Museum of Modern Art, where an animated, personified sun addresses the audience with hackneyed jokes, planetary musings, and a clear affection for humans. Known for her work across video, sculpture and film, the Polish-born, Berlin-based artist has garnered significant attention in recent years, exhibiting at the Museum of Modern Art in New York and the Centre Pompidou in Paris, alongside an illuminating New York Times profile. Using digital processes of manipulation and collage, Polska often bases works on found images, looking at history, time, and collectivity—with equal pathos and humour. agnieszka polska is showing at unsw galleries.

Agnieszka Polska, New Sun, 2017, video and sound installation, 4 video channels with stereo sound. courtesy of the artist.

Interview Tracey Moffatt

W R ITER

Tiarney Miekus

For over three decades Tracey Moffatt has created videos, films and photographic series that prompt all kinds of emotive, political, surreal, and aesthetic reflections. She was the first solo Indigenous artist to represent Australia at the 2017 Venice Biennale; has shown at galleries like Tate Modern and the Museum of Modern Art; has her art in a staggering number of esteemed collections; and has screened her films at Cannes Film Festival. Not to mention how admired she is for her fearless attitude, which is never without humour. For the Biennale of Sydney, Moffatt is exhibiting DOOMED, 2007—a short film created with Gary Hillberg. It’s part of a cinematic montage series that cuts up iconic, repetitive tropes of film, spanning themes of revolution, love and matriarchy—for Ten Thousand Suns, it is scenes of blockbuster disaster. In conversation with editor-in-chief Tiarney Miekus, Moffatt talks about her penchant for the staged and surreal, growing up in Brisbane and moving to New York in her thirties (she currently works from Sydney), and the importance of imagination.

r ig h t Tracey Moffatt, Art Calls, 2014, video still. courtesy of the artist.

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a bov e Tracey Moffatt, Doomed, (still), 2007, from the series Montages, DVD, Screening Format: DVD (colour, sound), duration 10 minutes, continuous loop, edition of 499. courtesy of the artist and roslyn oxley9 gallery, sydney.

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TI A R NEY MIEKUS

I understand there’s a reluctance to go into personal background, but like yourself I’m from Brisbane and artists who come from Queensland often have this special process of thinking and experimentalism—something playful yet serious, and often anti-authoritative. Can location be linked to an artist’s work? TR ACEY MOFFATT

I agree about radical people being produced from the oppressive state of Queensland, with its violent history—extreme environments produce extreme people. In my era one could not do a thing without getting arrested. My first political protest was in 1977 when I was 16 years old—my last year of high school, while wearing my school uniform. It was the “right to march” marches. We paraded single file around Brisbane’s King George Square and along Elizabeth Street. Later, when one is a hipster cool art student living in a group share house in Red Hill, we had to close the front door for fear of marijuana smoke drifting onto the streets and that the police would catch on. But I did not really do drugs—mainly because by 20 years old I was seriously ambitious and knew that a prison term for drug possession would ruin my planned international art career. Then, of course, my extreme radical experiences came in the years to follow with Indigenous street battles for land rights and everything else. Your comment about playfulness rings true— we really knew how to party and play dress ups from an early age. It was about making one’s own fun on little money: op shop clothes and antique shops— we became knowledgeable about certain things. But your suggestion about location influencing my art is incorrect. Most of my art comes from my vivid imagination. I do not make art about a “place” or location. If I use a location or landscape, it is merely as a backdrop. I use it like a theatrical prop. My landscapes become fiction—a universal look of bleakness or lushness that can be read by audiences the world over. Making artworks about a place becomes documentary and you may as well turn on SBS television—though, I have always adored watching documentaries over the years. TM

That hesitancy about conflating biography with your art practice—is that a stance that you have just for yourself, or something you also separate when thinking about another artist’s work? T MOFFATT

Well, mostly I don’t think about the artist. I look purely at the artist’s work. But I am obsessed with artist biographies. I read all the time. Like the one on Agnes Martin is just fantastic. I’ve recently read a Virginia Woolf biography and one on Stanley Kubrick.

There’s Patti Smith and—just looking at my book stack here—I can see Diane Arbus, which I would have read in the 80s. I’m intrigued by artists’ lives, but I go from their artworks to them. It’s always the work creations first. TM

Perhaps it’s different for the artist and the viewer—the viewer conflates biography and art to give a narrative. But for some artists it doesn’t feel so linear. T MOFFATT

This is the thing about biography: I don’t want to make art about me and what I am, or what I know. I want to make art about what I don’t know, about what I want to see. I’m not interested in me. I’m interested in what I don’t see: I want to see it, create it. It is coming out of my subconscious imagination. TM

You’ve said that you’re not interested in realism. Did that preference for the staged and surreal come early in your practice? T MOFFATT

Absolutely, yes—but it didn’t mean that I didn’t work in documentary television and independent cinema. In Sydney there was the Sydney Filmmakers Co-op which I was involved in [during the early 1980s], and they were making political documentaries about land rights and anti-uranium mining. But deep down I knew that I had my own vision and that I wanted to say things in a non-realistic way. It was far more interesting to delve into my own brain and imaginings. I was always confident about it and didn’t care what the critics would think. TM

Did you feel there was a critical preference for realist works? T MOFFATT

Yes. And in fact, I made a short film called Night Cries in 1990. It’s quite famous now—a mother and daughter story set in a surreal outback landscape with the old mother in the wheelchair. I remember being interviewed by a Marxist critic on the ABC who criticised me, saying that there were more urgent things in the world and why wasn’t I addressing those political issues. Whereas I was off in my cinematic, avant-garde world, playing with imagery and haunting soundtracks. She didn’t realise that what I had created was completely radical. The leftist reading of my work was like they were wearing blinkers, thinking that I wasn’t political enough with my magic realism. They could not see past me. They couldn’t address what I was saying. TM

Do you mean that being an Aboriginal woman, you felt there was a pressure that by virtue of your identity you had to be making explicitly political art?

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“I want to make art about what I don’t know, about what I want to see.” — T R ACE Y MOF FAT T

Tracey Moffatt, Plantation (Diptych No. 7), 2009, digital print with archival pigments, InkAid, watercolour paint and archival glue on handmade Chautara Lokta paper, 46 x 50.5 cm (each), Edition of 12 + AP 2. courtesy of the artist and roslyn oxley9 gallery, sydney.

T MOFFATT

Yes, just pigeonholing me. It was the reason why I got out of the country. This is what you do if you don’t like it here is: you leave! You go to New York, and you reinvent yourself. That is what I did and continue to do. Even though I live in Australia now, again. But that’s what you do, you go away. TM

Did the move to New York in the 1990s have anything to do with the idea that to make it in Australia, you first needed to leave Australia? T MOFFATT

I know what you’re saying. Sometimes that is true, but I was very well established here. Things were going just dandy for me. I could have stayed, but where would that have led me? I went to New York and behaved like a teenager. I was 36 years old and got into mischief and spent 10 years going out to every art event and party and bar. I did make art, but I also immersed myself in the city. I think post 9/11 things did change, but when the Clintons were in power in the late 90s there was money. The galleries were fabulous. I was meeting all the ex-Warhol factory people. This was one of the things that dragged me to New York, but also the 1950s abstract expressionists. I love reading about it all, and the great women artists of that era like Helen Frankenthaler, Joan Mitchell. I still have that romantic idea about New York, although the city has changed a lot.

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To go back to those thoughts on realism, you’ve talked about how while the form might not be real, the emotions are—it’s such a beautifully succinct way of describing the impact of “unreal” imagery. How do you know you’ve hit that point between an image that’s unreal, but feels emotionally real? T MOFFATT

I have certain ideas that I go after when I’m creating work, but as you develop it, it sometimes becomes something different. You realise, “Oh, that’s what it was about. Is that why I did that?” In a recent series I made called Portals, 2019, one image is about a very close relative of mine. I don’t want to discuss my family because I don’t think it’s fair on them—family are not there as information for me to take from. But a relative did come to my exhibition opening and saw this work. She turned to me, and her eyes were filled with tears. I knew I touched a nerve because it was our shared history. But I don’t think there is any one way of creating—it’s that emotional response, it just manifests. It is not deliberate. Like in music, the famous quote I often use is from Björk. She talked about when she started producing music in the 90s people criticised her use of techno instead of acoustic, Icelandic instruments. She was a child music star, but later got into techno and someone criticised her, saying if an artist uses electronics there’s no soul.

But, as Björk said, it is the artist’s job to put the soul in it. It is the way the instrument is played. Or like Jimi Hendrix playing ‘The Star-Spangled Banner’. He was the last act of the Woodstock concert, early in the morning, and he made the guitar sound like Vietnam, like jets coming in and bombing. It is unbelievable as a piece of music. TM

They’re also examples of when a formal decision becomes political. T MOFFATT

Well yes, but I think there’s also something about the authentic, social document that it must look raw, real and untouched—whereas I go the opposite way. I put a dreamy softness on it: fade the image out so it looks like a memory or a feeling, or a memory of a feeling, not a photograph. But this comes from a lifetime of looking at cinema and the history of photography. It depends on what you want to say as an artist. TM

When you’re creating are you thinking, “What do I want to say?” T MOFFATT

Oh, yes. But I’ll say it in a roundabout way, and then the audience puts their own interpretation on it. To me that is the most fascinating thing. TM

Currently there are many great revisionist exhibitions and contemporary artists bringing their cultural histories and oppressions to light—often centered on overturning colonial settler narratives. I feel like your work fits into that. But then I also feel that you don’t want your work to be read solely as that either. T MOFFATT

No, not at all. I like to think my work goes beyond that—and that is why my work goes around the world. My work can be reduced to that reading that you’re talking about, that it sits as postcolonial and so on, but I like to think I’m more inventive than that. It isn’t just one line. My ideas operate in the world of art. For me it is about pushing the form. What I do when I’m making art is trying to create something that hasn’t been seen before. That’s the real challenge as an artist. And I like to think I do have some success. I reinvent form, especially the photographic form which has been around for 200 years. TM

You also play with the history of cinema, especially in the video montages with Gary Hillberg, where you take cinematic tropes and cut them together, repeating famous film moments that somehow feel both less and more significant with each successive clip. DOOMED, showing for the Biennale, centres moments of disaster—what feels significant about that repetition?

T MOFFATT

My concepts and the editing with my collaborator Gary Hillberg, in our Hollywood film cut-up series, is appealing to many. It is old school industry training in the language of film and the build-up to the terror of climactic catastrophe—disasters, earthquakes and tidal waves are so appealing to the human brain. We cannot look away. A lot of those clips are taken from old VHS formats, but that’s the appeal. The overthe-top repetition has an energy. TM

Another work I love is Art Calls, 2014, where you host a mock TV show asking other artists questions we all want to know; like does an artist realise how hot he is, or can we see another artist’s chest tattoo? I wish it was a real show. But I wondered if you were on that show, what would you ask yourself? T MOFFATT

I love that you have even seen Art Calls, which I made for an exhibition at GOMA in Brisbane. I interviewed artists and some really are “hot” aren’t they. I am not talking about looks, but rather talent and intensity— I think real talent and intensity is very sexy. What question would I ask myself? “Hey Tracey, when are you going to ease off with the art making and have a ‘real life’? Don’t you get bored?” My answer: “No, never bored. I wake up totally curious—one can never predict what the day will bring. As far as having a ‘real life’: this is real—you are staring at it.” TM

When I was telling people I was going to interview you, your sense of freedom and outright coolness was often commented upon. So, my question would be, “How can we all have some Tracey Moffatt energy in our lives?” T MOFFATT

[Laughs] That is very nice. I’ve always felt that I have every right to be the way I am. I grew up in a huge family and I was always told, “Shush up, big mouth!” Then you finally get out into the world and you have a voice. There is nothing better. I don’t think I was allowed to speak my mind and be vocal about the world until I was 18, but that was that generation. I still have a lot of bold energy—the secret is to be yourself and ignore any boring male critic “articles” written about you. Like the comic Tina Fey said, “But they are so easy to ignore.” TM

I suppose if you kept getting told to shut up, you weren’t totally shutting up then. T MOFFATT

Perhaps not. That must be why I became a visual artist. That it is a silent practice.

DOOMED Tracey Moffatt with Gary Hillberg

Museum of Contemporary Art 24th Biennale of Sydney: Ten Thousand Suns 9 March—10 June BoS Special

Studio PHOTOGR A PH Y BY

Serwah Attafuah

Hamish Ta-mé

AS TOLD TO

Mariam Ella Arcilla

“Experimentation is a really big part of my work, so I like to bounce around between painting, digital art, and playing heavy metal music.”

— SER WA H AT TA F UA H

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When Serwah Attafuah was 10 years old, she discovered a set of oil paints in her family’s garage on Dharug land/Western Sydney. As a child of multidisciplinary artists, Attafuah naturally began to paint, skipping school to hone her skill, with her parents’ blessing. When they converted the garage into a flat four years later, Attafuah taught herself computer-based art via YouTube tutorials, expanding her portfolio with 3D animation, digital painting, and motion capture. Today, the 25-year-old artist is known for her hyper-luminescent dreamscapes and cybernetic archetypes, infusing Afrofuturism, Renaissance, and Rococo styles. With notable participations at Sotheby’s, Powerhouse Museum Sydney, TEDx, and Soft Centre, she now has her sights set on ambitious works for the Museum of Contemporary Art as part of the 2024 Biennale of Sydney, and later at the Australian Centre for the Moving Image in 2025, as winner of the Mordant Family Moving Image Commission for Young Australian Artists prize. As Attafuah enters her second year at Parramatta Artists’ Studios (PAS) in Rydalmere, she discusses the scavenger methods, ancestral rituals, and socio-ecological concerns that scaffold her practice—and why The Matrix helped her understand her place in the world.

PLACE

SERWA H ATTA FUA H: I use Afrofuturism in my work to

explore common threads across the African continent—like scarification, material scavenging, and spirituality on the internet. For me, Afrofuturism is the ability to take the traditions, cultures and symbols from my Ghanaian heritage and morph them into a different space for new generations to interpret. I live with my parents, which is perfect as it’s a short drive to PAS. Here, I spend most days working across different computers and programs, painting, reading books, and re-watching The Matrix. I’m hugely influenced by this movie because everything about it— the cyberpunk beauty, multi-layered narratives, trans body politics, even the colour grading—resonates with me. There’s a nuanced and limitless relationship between the real world and the matrix world, and it’s particularly special because The Matrix was shot in Sydney. Whenever I walk around Martin Place, I feel like I’m in a cyberpunk film! Similarly, I have a strong affinity for Western Sydney’s liminal spaces, whether it’s industrial or in nature. There’re pockets of highly congested cities and quiet, little suburbs. And there’s a staunchness and a softness to Western Sydney, and because this area is family and community oriented, it brings out the passion in people. My work is definitely informed by my time spent here.

PROCESS

SERWA H ATTA FUA H: Experimentation is a really big

part of my work, so I like to bounce around between painting, digital art, and playing heavy metal music. Lately, I’ve been making sculptures using electronic waste. When I was 19, I worked at an e-waste facility, learning how to dismantle and repurpose objects that would otherwise end up in landfill or in nature. I remember spending a week throwing out fully functioning smartphones, and that really pushed me to look deeper into this subject. It’s alarming how heavily we rely on things that end up going to waste or are harmful for the environment. One of the world’s largest e-waste dumps happens to be in the Ghana region of Agbogbloshie, so I find scavenging to be an interesting phenomenon, particularly across the African diaspora. In fact, my Dad is a welder and drummer who makes metal sculptures out of recycled parts, so we often go dumpster-diving together to collect discarded junk. The past two years have been eye-opening for me since I was diagnosed with borderline personality disorder and agoraphobia. I realised my digital worlds—and the avatars and landscapes within them—was just my subconscious trying to navigate the different headspaces I was in. I made a larger-than-life 3D abstraction of myself leaning over a city and called it Agoraphobia to express how overwhelming it was to feel alone in cities sometimes.

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Some people put a lot of emphasis on the dangers of social media and the metaverse. But for me, it’s so much more than that. It’s my sanctuary, because to be honest, I don’t feel fully safe or whole in the real world. I think it’s important for people to look towards digital spaces for similar types of relief. PROJECTS

SERWA H ATTA FUA H: My family are from the Ashanti

Akan tribe in Ghana, and we have a strong connection to nature and spirituality, so I like to translate imaginary futures into my own dialogue. In 2021, I was invited to envision a positive future for Fairfield in Here: After [at Fairfield City Museum & Gallery], so I made a solarpunk triptych about incorporating “green farms” into public spaces. Being a musician also feeds into my practice: I designed Triple One’s cover album art [for Panic Force] and made animated spaceships in a dystopian world for Genesis Owusu’s music video [Gold Chains, 2021], which I really enjoyed. For the Biennale of Sydney, I’m creating Between this World and the Next, my largest piece ever. I spent 10 months collecting and repurposing discarded items like laptops and video cameras, even e-vapes donated by friends. In the middle of this junk mass, I’m placing eight video screens of digital animations. I mainly use programs like Daz 3D, Cinema 4D, Adobe, Octane and ZBrush. For source material, I’m revisiting

pictures from my Ghana trip and Pieter Hugo’s photography books on Agbogbloshie e-waste landfills. Gold is a spiritual tool for Ghanaians; it has cultural significance. So I’ve gone through 150 cans of gold spray-paint to achieve this Baroque-style wooden frame around the sculpture, which will be about two-metres high and eight-metres wide. I’m treating this as a prototype for my Mordant Prize commission, which will be a multi-screen work with augmented reality, blockchain and sculptural elements. I’m calling it The Darkness Between the Stars, and it explores the slave castles along the coast of Ghana, which was the first African country to be colonised by the Portuguese in 1482. It’s such a heavy, intense history. I’ve also been deep diving into Sakawa, which is the Ghanaian practice of ‘Internet magic’. It combines online fraud with African spiritualism and rituals, and uses white-man technology to get back at the colonisers through scamming methods. This type of decentralised and decolonial knowledge continues to inspire my work.

Between this World and the Next Serwah Attafuah

Museum of Contemporary Art 24th Biennale of Sydney: Ten Thousand Suns 9 March—10 June

BoS Special

These Small Intimacies Trevor Yeung’s art draws on moments of quiet, dawning intimacy between people— interactions which are immensely felt yet so difficult to express. W R ITER

Isabella Trimboli

Trevor Yeung, Between Water, 2019, plastic cup, fishing thread, water, installation size variable. photogr aph: jussi tiainen. courtesy of the artist.

Trevor Yeung, Night Mushroom in Shade (table), 2022, night lamp, plug adaptors, 25.5 x 35 x 18 cm. Photograph: Blindspot Gallery. courtesy of the artist and blindspot gallery, hong kong.

Trevor Yeung and I are speaking about the impulses of art critics. Specifically, their tendency to make meaning legible and straightforward, drawing straight lines between an artist and their identity or influences. These are traps all writers fall into— a context that wraps a work into a neat little bow, a desire for synchronicity between aesthetic expression and emotion. But what to do when an artwork is made from feelings where language can’t keep up? I’ll do my best: Hong Kong-based artist Trevor Yeung is drawn toward the inexpressible and the unseen, those cloudy undercurrents and emotions that are felt, but are not easily explained. “My work is really focused on…the elephant in the room. It’s in the air, but you can’t talk about it,” says Yeung. “That is the good thing about making art, you are not using language to describe it, but [instead] you’re making a scenario to trigger the audience into certain feelings.” At first, Yeung’s art career was an extension of his adolescent obsession with plant and fish life. In 2011, his installation, I could be a good boyfriend, involved growing a Venus flytrap under a bell jar. Elsewhere, he placed aquariums onto plinths, and suspended money trees in the air. These works were often described as a comment on relationality, artificiality, and control. And while it’s true that his work orbits around systems and a desire to understand how they work, Yeung’s art also reflects how systems help

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people to grapple with the ineffable, how desire is enacted through subtle signals and small routines. When Yeung was first asked to contribute to the Biennale of Sydney, his mind turned toward his own experience of the city a few years ago. It had been Mardi Gras, and Yeung had felt like an outsider, a little alienated from its excesses and its monolithic display of queer culture. But what fascinated him was not the partying, but the elongated aftermath. Everyone wanted to stretch this transient euphoria. There was a refusal to submit to endings. So, revellers pulled at these pleasures, clutching onto feelings that had already begun to dissolve. “I was looking at the moment after the party…when people don’t want to go home so they try to prolong it, even though everything is falling apart,” says Yeung. At the same time, Yeung had begun to think about the gay saunas of Sydney, how it was an ecosystem governed by its own unspoken rules, rituals, languages, and small intimacies—almost in opposition to these celebrations. There were people interacting of “different ages and different races, some of the people that you will not see during Mardi Gras”. Spots of sexual contact have worked into his work before; in 2022, he made a soap replica of a horizontal oak tree in London’s Hampstead Heath, known as a cruising spot. But Yeung is adamant that while these experiences might be unique to gay culture, the emotions

“My work is really focused on… the elephant in the room. It’s in the air, but you can’t talk about it.” — T R E VOR Y E U NG

they conjure are not. For Yeung, these moments are “the bridge” to explore wider phenomena—the inability to reconcile with the loss of bliss, for instance, or the tiny symbols that make intimacy possible. These feelings and gestures are funnelled into his Biennale work. Yeung will make the event’s theme Ten Thousand Suns somewhat literal: cramming in a mass of light bulbs and chandeliers into the Walsh Bay Power Station (meanwhile, he will also install a series of fish tank works at Artspace). To explain this new work, Yeung sends me a folder with photographs. There’s one of his works from his Night Mushroom Colon series—a jumble of adapters sprouting synthetic ferns and glowing, ghostly mushrooms. There’s his 2020 installation two reliers in Cologne, where he turned a street lamp into an unearthly orb, emitting a shocking pink light. The rest were of different light bulbs he had used in various exhibitions—some hanging loose from the ceiling, others forming a tangled constellation. Each chandelier will run off a closed-circuit system, reflecting the dual forces of interconnectedness and isolation that characterise modern life. Yeung’s explorations remind me of a book about the social systems we often fail to acknowledge and appreciate: Samuel R. Delany’s Times Square Red, Times Square Blue. The beloved sci-fi writer turned his gaze to porn theatres of midtown Manhattan which he had frequented for decades, rapidly disappearing

as the new millennium creeped in. The first essay is something of a swan song, Delany chronicling his encounters below the cinema screen, the relationships and friendships forged from darkness. The second essay posits that these spaces are more than havens for gay sex and fleeting intimacies—they were places which encouraged contact between people of different classes and races, a growing anomaly as city zoning and gentrification siloed divergent socio-economic statuses. Decades on, our metropolitan cities are so much more stratified than what Delany imagined— something Yeung seems to have intuited in his quest for quiet intimacies. Delany’s proposal though still rings true: “For decades the governing cry of our cities has been ‘Never speak to strangers.’ I propose that in a democratic city it is imperative that we speak to strangers, live next to them, and learn how to relate to them on many levels, from the political to the sexual,” he writes. “City venues must be designed to allow these multiple interactions to occur easily, with a minimum of danger, comfortably, and conveniently. This is what politics—the way of living in the polis, in the city—is about.”

Trevor Yeung

White Bay Power Station and Artspace 24th Biennale of Sydney: Ten Thousand Suns 9 March—10 June

BoS Special

Pageantry with Scotty So Endlessly inventive, the work of Hong Kongborn, Melbourne-based artist Scotty So spans photography, painting, video work, and drag performance. From haunting street performances in the traditional costume of Chinese opera, to a cello concerto drag performance, his artwork threads queer sensibilities. W R ITER

Amelia Wallin

Scotty So, Guchi, 2021, digital photograph. courtesy of mars gallery and the artist.

My first encounter with this enigmatic practice was in So’s Honours year at the Victorian College of the Arts, where he lip-synced to his AirPods at the Ian Potter Gallery in traditional Chinese opera costume. More recently, as a curator I commissioned a roving drag performance between Bendigo Art Gallery and La Trobe Art Institute in regional Victoria. It’s gratifying to follow the practice of an artist such as So over five years, witnessing themes solidify and new directions emerge, tracing threads of history and futurity. There’s the performance of gender, the allure of advertising, a layering of cultures, and always the thrill of camp. We speak over Zoom about So’s two upcoming exhibitions Queen of Begonias & Hai Kot Tou at Art Gallery of Ballarat, as part of the Victoriawide photography festival, PHOTO2024.

Scotty So, Channei, 2021, digital photograph. courtesy of mars gallery and the artist.

A MELI A WA LLIN

To begin, could you please tell me about the photographic works you’ll be presenting at the Art Gallery of Ballarat? SCOTTY SO

The Art Gallery of Ballarat has these outdoor light boxes, and the director, Louise Tegart, wanted me to do something with those. Immediately, I thought of an older series of works that I’ve made that have never been shown altogether. Because the works reference fashion imagery, they would be perfect for the light box. Then it adds a layer to the functionality [of the lightboxes], playing with the language of advertising. AW

The series is called Hai Kot Tou, and it clearly references fashion photography—what are the origins of these photographs? SS

They were made with the inspiration of my grandmother, wearing her fake Burberry scarf, looking elegant, but with her shopping trolley for going to the market in Hong Kong. Around that time there was a trend of Chinese tourists wearing all monogram, from head-to-toe monogram. I was very inspired by the way that it almost looked like camouflage. I wanted to see how it would go together with the traditional garment, as well as [something nontraditional such as] the trolley.

I know that costuming plays a significant role in your work. What will the costuming be for this? Did you look to the archive for inspiration? SS

In the archival images, lots of the contestants were wearing white cocktail dress with a crown, so the costume will be similar to that. Ballgown attire, with gloves, like something you would see in the 50s and 60s. I’m interested in referencing that history in a way that it’s not about criticising, because we became who we are because of the past. But then, at the same time, using the past to look into that history. AW

It sounds like the video makes room for two histories, two Queens of the Begonias, to coexist. The figure of the ghost feels really apt. SS

A lot of people in Ballarat know about the history, the pageantry and the festival—but many wouldn’t have seen it. AW

You’re bringing back a communal memory. SS

Yes, but at the same time, it’s camp, it’s gay, it’s queer. Ballarat has a queer festival—the Frolic Festival—so the work is connecting to that as well. It’s combining all these aspects of the community together, the drag with the pageantry, the present with the past.

What do you hope audiences take away from these two different works?

Do you have mood boards and old issues of Vogue for inspiration? Three of these images are replicas or recreations of famous fashion photography. For the others I went to places with a high migrant population, like Preston Market, and in those cases it was letting the environment lead the shoot. AW

And what about the other work you will be exhibiting? SS

I was invited to respond to the Ballarat Begonia Festival, and its history. Immediately I was in love with the idea of the pageantry. As part of the Begonia Festival there was a pageant every year from the 50s to the 90s, where a woman would be crowned “Queen of the Begonias”. I think that Queen Elizabeth visited the festival, it was such a major event. Even though Ballarat was a major city in gold rush history, with high numbers of Chinese people in the population, of course all the Queens of the Begonias are white. So, I came up with the idea of creating a character who is a ghost of the past. A delusional woman who always wanted to win, so she comes back to haunt the town and to be a contestant. The video will be filmed like a trailer for a longer movie, and will combine archival footage with a voice-over.

For Hai Kot Tou I would be really happy if people mistook the lightboxes for real advertisements, that would be perfect. It’s beautiful, but at the same time it’s ridiculous. I also hope Queen of Begonias could encourage audiences to look into the history of Ballarat. I think that would be amazing if the work can encourage people to discover more of their past. AW

Not just from a place of nostalgia, but from a more complicated position? SS

Yes, from a position of understanding. A desire to understand where they fit in, whether they are migrants, First Nations or descendants of colonisers. We are each standing in a different point of view: how do we look into that past?

Queen of Begonias & Hai Kot Tou Scotty So Art Gallery of Ballarat (Ballarat/Wadawurrung Country) On now—4 April

A Powerful Charge Known for her beguiling, stained canvases, and her evocation of matrilineal Indigenous histories, Waanyi artist Judy Watson is now embarking on a 40-year survey at the Queensland Art Gallery. W R ITER

Andrew Stephens

Having worked across an array of art forms since the early 1980s, Judy Watson continues to reserve a special respect for drawing—putting pencil to paper, she says, involves an exchange where something vital travels between artist and artwork. A powerful charge is transmitted. One of the joys of looking back on her two-dimensional works is the recollections they evoke. “It is like a body memory,” says Watson. “I remember—not every time, but a lot of the time—where I was, what it smelt like, what was around me, what I was looking at. Whereas if I look at a photograph, I don’t have that same residue of memory and recognition.” In recent times, Watson has had much to recall as she and QAGOMA curator of Indigenous Australian art Katina Davidson have amassed more than 120 of Watson’s works for a new exhibition surveying her career so far. Davidson has traced Watson’s deep engagement with her Waanyi Country in North West Queensland, as well as her abiding interests in environmentalism and feminism, and her persistent exploration of truthtelling through activating archival collections. Amid all this, Watson has charted historical, emotional and psychological states with carefully layered artworks that evoke grief, hope and multiple histories. Watson’s powerful, research-based stories in many ways concern the effects of colonisation on Australia’s First Peoples. As QAGOMA director Chris Saines has noted, Watson’s work holds both historical and present-day injustices to account, and “is not only a persistent and haunting requiem for cultural loss, but also an unbowed declaration of cultural reclamation”.

“Haunting” is a state that intrigues Watson. Discussing a recent public artwork in which she was exploring ideas around cultural retrieval, acknowledging the objects and language that had been taken from that space in the past, Watson says the challenge has been to not only embed learning, curiosity and aesthetics within the work, but to strive to encourage viewers to feel something about it as well. “That is the sort of work I respond to best. Whether it is text, film or music, it is something that calls you in. If I can achieve a ‘haunting’ and it becomes subliminal, it is as if the viewer swallows the work: it goes inside their body before they understand what has happened, and then it is there. It is like osmosis.” Very early in her career, Watson worked in a signmaking factory while saving up to go to art school; she has also had much experience making print posters. “So I understand all that and how it works: you see a sign or poster, you ‘get’ it and then you keep going. Whereas something that draws you right in, for whatever reason: that is what I come back to.” Watson has had enduring success internationally and in Australia. She was in QAGOMA’s first Asia Pacific Triennial (1993) and represented Australia r ight Judy Watson, Waanyi people, Australia b.1959, memory bones, 2007, pigment and pastel on canvas, 211 x 127 cm. the james c. sourris am collection. gift of james c. sourris through the queensland art gallery foundation 2010. donated through the austr alian government’s cultur al gifts progr am, collection: queensland art gallery | gallery of modern art. © judy watson / copyright agency.

left Judy Watson, Waanyi people, Australia b.1959, grandmother’s song, 2007, pigment and pastel on canvas, 196 x 107 cm. purchased 2007 with funds from margaret greenidge through the queensland art gallery foundation and the queensland art gallery foundation gr ant, collection: queensland art gallery | gallery of modern art. © judy watson / copyright agency. r ight Judy Watson, Waanyi people, Australia b.1959, dead littoral, 2014, cast bronze with patina finish. © judy watson / copyright agency. courtesy the artist, milani gallery, and uap brisbane (meeanjin/magandjin).

“If I can achieve a ‘haunting’ and it becomes subliminal, it is as if the viewer swallows the work . . . It is like osmosis.” — J U DY WAT S ON

at the 1997 Venice Biennale alongside Emily Kame Kngwarreye and Yvonne Koolmatrie. Her work is in most collecting institutions’ holdings, and she has been commissioned for many public art works amid her daily practice producing paintings, prints, sculpture, installations, video and, of course, the drawings that underpin it all. Curator Davidson says she has been privileged to spend so much time with Watson in the artist’s Brisbane studio, conversing about her four decades of creativity. While Davidson says the survey has thematic strands, what is evident is how they are all entwined by Watson’s ability to continually see the world with fresh eyes and engage with socio-political and environmental concerns through a poetic lens. Davidson notes that the Waanyi are known as “running water people”, with water at the heart of so much of Watson’s work, as are family memories and a strong matrilineal current stretching into the distant past. Watson inhabits that heritage with vitality and speaks about the importance of passing things on: one of her great pleasures is during the making process when she has paid helpers around her (she has a long history of engaging a wide variety of family and colleagues as assistants).

This work may involve, for example, twining raffia strands together, or other manual production. There, together, they chat, eat good food, listen to podcasts and music, and have fun—but something else manifests, too. “It’s a very collegiate, communal atmosphere, and while you are doing things with your hands and your body, you might also be transmitting knowledge. A sort of mentoring is enacted.” That is implicit in the title of the exhibition, which references a line of poetry written by Watson’s son, Otis Carmichael, proclaiming that “tomorrow the tree grows stronger”. As Watson says, passing things on is a beautiful concept and practice, but the next generation will take it and do with it what they will—just as the running waters of her own history have nurtured and informed her own way of making art, with work that sensitively guides viewers into a poignant aquifer of emotive and spiritual power, to what lies beneath.

mudunama kundana wandaraba jarribirri Judy Watson Queensland Art Gallery (Brisbane/Meanjin) 23 March—11 August

Interview

Yhonnie Scarce

W R ITER

Diego Ramirez

Yhonnie Scarce, Fallout Babies, 2016, blown glass, found hospital cribs, dimensions variable. collection of the artist. image courtesy of the artist and this is no fantasy, melbourne © yhonnie scarce. photogr aph: janelle low.

Yhonnie Scarce is a Kokatha and Nukunu artist widely recognised for making blown glass in black. Often using the form of yams to represent the bodies of Aboriginal peoples, she has earned critical acclaim for her research in nuclear testing and its ongoing impact on First Nations communities. As a fan of her work, I was excited to hear that the Art Gallery of Western Australia (AGWA) is hosting a retrospective of her oeuvre, The Light of Day. It will witness the evolution of Scarce’s work, which often unpacks harrowing stories of nuclear colonialism with astonishing beauty.

DIEGO R A MIR EZ

The Light of Day gathers over 30 of your artworks, with nuclear colonisation being a prominent theme, among other research areas. Could you please tell me about the glass nuclear cloud works that AGWA sourced for your retrospective? Y HONNIE SCA RCE

At the moment there are six nuclear clouds, and AGWA will show three of them. Thunder Raining Poison, 2015, the first cloud I ever created for the Art Galley of South Australia will be there, as well as Death Zephyr, 2017, created for The National 1, and Cloud Chamber, 2000, made during the pandemic for TarraWarra Museum of Art. They’re all large clouds. The works deal with nuclear disaster, genocide, family history, and the colonisation of Aboriginal people, including their removal and incarceration, as well as the scientific testing that was inflicted upon them. There are over 30 works in the show that begin with family, to explore broader issues of nuclear colonisation, and how it has affected my family as well as my Country. DR

Your signature work is made with glassblowing, and I was thinking about the relationship between breath and voice, as means to give a voice to these stories. YS

I’ve often said that creating each glass piece is like recreating, or reviving, people who were lost. And because it’s such a physical activity too, there’s this intimacy that I build with each piece. It’s cathartic because it helps me create a sense of closeness with my ancestors and the people that I’m representing in the work. So, I always try to avoid having too much control over the creation of the work. Breath is obviously very important, as it is how we create blown glass. My work is part of me and because I use my breath to make it, every object becomes an extension of myself. So, every time I create something I experience the mutation of the glass, or notice how I begin to mutate with the work. DR

Mutual mutation... it’s always interesting to see these intact glass pieces that are unbroken in the context of an explosion, which creates a beautiful tension.

This is most relevant with the nuclear tests in Maralinga, South Australia, because there’s glass out there, in one of the bomb sites. So, my work looks at strength in Country while considering the effects of heat and poison. The bomb clouds that I create have this sense of destruction but also a sense of duty because Aboriginal people are in the clouds. DR

What is the research process like when looking at a nuclear site, like Maralinga in South Australia? YS

I do a lot of field work on Country to visit Woomera, my birthplace, and Maralinga, to be around extended family out there. When making large works in particular, I need to be in a quiet place, like the desert, which is silent. There’s something going on out there but it’s always hard to describe it. That’s where I’m able to have the space to work and feel what it may have been like to be out there, like my ancestors. There’s a lot of travel and a lot of talking to people, especially when I’m making work about South Australia and my family. DR

A lot of your work also takes the form of yams, can you talk through that? YS

Yams are very present in my work because I use them quite often to represent deceased Aboriginal people. So, when I’m making work about genocide or atomic clouds, they’re representing the spirits or the bodies of Aboriginal people. Bush bananas also seem to be reappearing quite a lot recently, as I use them in relation to the desecration of bodies. And the bush palms are getting bigger and bigger, increasing in size to represent the Aboriginal babies that were affected during nuclear testing. It depends on the work and the story behind it, but there are always multiple objects, never one on its own. DR

I’m looking at Cloud Chamber, one of the nuclear clouds, and my first reading is uprooting: yams leaving the earth. But then I notice they’re also drops, falling from the sky in the broader shape of a nuclear cloud. It is such a masterful command of sculptural objects, that is always evident in your work, as it seamlessly holds multiple connotations.

Yhonnie Scarce, Hollowing Earth, 2016-17, (detail), blown and hot formed uranium glass, dimensions variable. collection of the artist. image courtesy of the artist and this is no fantasy, melbourne. © yhonnie scarce. photogr aph: janelle low.

“I’ve often said that creating each glass piece is like recreating, or reviving, people who were lost.” — Y HON N I E S C A RCE YS

Despite the stories behind these particular works, I do enjoy the process of creating them. I always use photographic evidence to recreate the atomic clouds in a gallery space. And as you said, the yams are taken up into the sky, but they are returning as well. They’re quite mobile in a ritual sense. DR

The amount of labour is almost a material itself because it’s such a demanding practice. YS

I can’t speak for every glassblower but for me, I have to go through a process in order to prepare myself for four hours of glassblowing. I think about the works that I’m creating the whole time that I’m making them, the stories behind them. And then see what happens, see how many yams I can create in four hours. I don’t necessarily like bright colours because I don’t think it is appropriate for these kinds of stories. DR

You’ve travelled overseas to visit nuclear testing sites, could you please tell me how it has enriched your understanding of national sites? YS

I went to Chernobyl, Fukushima and Hiroshima. It is similar in a way, as these places share a nuclear trauma that has been covered up, to hide how detrimental the effects have been. I like finding out information about other sites like Marshall Islands, where the USA conducted nuclear tests. Visiting these places one realises how scary nuclear energy can be, and it’s not clean—they don’t know how to control it. Unfortunately, it is all over the world. DR

The act of blowing glass speaks to this idea, as it provides the means to control or shape material, but also carry the remnants of invisible energy. YS

A nuclear bomb, if you see footage of a cloud, is something else. It is brighter than the sun, but radiation poisoning is invisible, it doesn’t make itself known until it begins to affect your body. The cloud appears but disappears eventually, whereas the poison remains, even though it is unseen. DR

That is what heat does to glass too, in the sense that it inflicts a mutation upon a body, right?

In Chernobyl, animals were being born with multiple limbs and in Fukushima, they are talking about finding local life with several deformities. In Maralinga, both Aboriginal and non-Aboriginal people were affected by testing too. That’s why Woomera is also very important for me because the cemetery is full of children who were born with issues during that period. It’s an ongoing problem in the Aboriginal community because kids are still being born blind, with lung and spinal issues as well as developing cancer quite early. DR

That’s truly awful... What are the specific Australian sites that have influenced the works in the show? YS

Koonibba Mission, where my grandfather was born, is a place that I visit quite frequently because he is buried there and it is part of my history, unfortunately. So, I return quite a bit. I also return to Point Pearce Mission because that’s where the history of my grandmother unfolded. My birthplace Woomera is really prominent in my research, that’s where my interest in the militarisation of Country as another form of colonisation originates. There are also a number of massacre sites, that I return to quietly, I don’t talk about it much because it’s quite personal. I also return to Maralinga, of course. But you have to limit your time at an old nuclear test site, as you can’t hang around there for too long. DR

What does your retrospective mean to you? YS

It hasn’t fully kicked in yet. For me it’s really exciting to have so many works on display, all at once together. It is the first time that three clouds are shown together, so for me it’s a great honour to have this happen. Also, to look at the archive of my work and realise how much has been done because I’m so used to working on new projects, it’s great to revisit and remember older works.

The Light of Day Yhonnie Scarce

Art Gallery of Western Australia (Perth/ Boorloo) On now—19 May

Closure and Disclosure With the perceived necessity of ‘performing the self’ greater than ever, comes questions of what we share or obscure—as James Barth’s art at the 2024 Adelaide Biennial shows us. W R ITER

James Gatt

James Barth, Earthbound, 2022, HD video (still), black and white, stereo, 8 minutes, 57 seconds. courtesy of the artist and milani gallery, brisbane © james barth.

James Barth, Stone Milker (Study #1), 2023, oil paint screen-printed on marine ply and cedar; two panels: 178.0 × 114.0 cm. supported by the queensland government through arts queensland. courtesy of the artist and milani gallery, brisbane © james barth. photogr aph: carl warner.

How much of ourselves do we disclose? How much do we withhold? Who is monitoring and assessing the discretion we use during levels of interface? The answers to these questions are of growing consequence, especially since the burgeoning of social media where the pressure to disclose has developed a near-inescapable gravity. Greater social connectivity presents the daunting responsibility of transparency, or at least the performance of. For James Barth, a Meanjin-based artist who has been painting, printing and coding representations of herself for over a decade, these concerns go to the heart of a practice almost exclusively of self-portraiture. Some may claim that we decide the extent to which we reveal ourselves to the world, but do we truly have such agency ? For those especially who operate outside of Western, affluent or heteronormative frameworks—Barth included—the expectation to perform, exploit and mobilise personal identity continues to be conflictingly paramount and burdensome. Barth explains the trials of disclosure to me via phone. Her persona remains central to the enquiries and outputs of her practice, from early photographic ‘selfies’ to photo-like oil paintings of herself and others (at times images of “placeholder lovers” sourced online), to screen paintings depicting her in elaborate scenes (her now-characteristic combination of oil

painting and screen printing). Then there are digital self-representations through her avatar—affectionately known by friends as “Digi James”—who also appears in screen paintings. Though Barth’s disclosures as a trans woman carry important affirmations of queerness, she remains deeply aware of the compromises, which range from lack of privacy to being fetishised as queer spectacle or sexualised as pornographic figure. It is for this reason she stopped taking photographic self-portraits in 2018 and now, in 2024, is attempting to retire her avatar Digi James in a swan song video for the Adelaide Biennial, curated by José Da Silva. Titled Inner Sanctum, Da Silva’s exhibition focuses on practitioners like Barth who, as the curator explains, “reimagine the world, recreate private spaces to inhabit, and map psychic space within the architecture of domestic space”. In addition to what Da Silva calls Barth’s “seductive materiality”, what drew in the curator is the “melancholy or ennui giving her work tremendous emotional depth”. In Da Silva’s previous exhibitions there’s a commitment to exploring optimised realities for personal expression and relation, especially for queer folk. In Barth’s new video for the Biennial, Stone Milker, her avatar performs a final dance, bidding her own image farewell. The artist’s ruminations on disclosure within the bloated discourse of identity politics have led her

“A desire for a generative rather than purely deconstructive queerness.” — J A M E S B A R T H

to pursue the possibility of closure. But how? Barth shares that her work “is intended as an avenue for feelings, humiliation, escape”. “But somehow,” she continues, giggling, “I keep failing. Although the failure feels important, it would be nice to not fail sometimes.” Like the adage of her video’s namesake, “getting blood from a stone”, Barth expresses the enduring difficulties of satisfactorily “milking” anything useful from representations of self. At the heart of her discontent, she explains, is “a desire for a generative rather than purely deconstructive queerness”. Later in 2024, Barth will present major new work for her exhibition The Clumped Spirit at the Institute of Modern Art (IMA), Brisbane. The show will mark her conceptual departure from self-portraiture, drawing on various histories including 1960s and 70s cinema, modern architecture, and dance, to formally and finally dissolve Digi James. Sadness emerges as I contemplate what this means for Barth. Though Digi James was designed as a proxy and has ostensibly “failed”, she nonetheless represents an inner universe of desire, a queer imaginary built from “nothing”—what is technically the blank canvas or “default cube” of 3D computer graphics software programme Blender, which Barth uses to generate her modellings. Still, this “shedding” promises to open Barth’s practice to more autonomous occupations of visual culture. Born in 1993, Barth is a younger artist who has disclosed much of herself in a relatively short career. She’s undertaken a gradual transition from direct to indirect representation, from transparency to obfuscation, from realistic to virtual. Her more straightforward works in paint and photo media appear retrospectively like preliminary exercises in representation, which have led to more oblique portrayals. Compare Untitled (self portrait in a towel,) 2014,

to Pool portrait, 2018, for instance—the former a full-colour oil painting on ply done with a brush, the latter a black-and-white image on dibond produced by pressing oil paint through silkscreens and then dry-brushing the layers to achieve what Barth casually refers to as “Richter blurs”. Representation itself—the way media is manipulated to describe something—gains continual significance in Barth’s practice. Her incredible aptitude as a “portraitist”, be it via painting, photography, silk or digital screen alike, crucially embodies the degrees of Barth’s disclosure, of the way she codes her identity to various levels of exposure. This begs a question fundamental to Barth’s practice of the difference between live and mediated disclosures. What’s easy to forget in her representations (a testament to their compelling believability) is the simple fact of their ontological separation from reality: a painting is not the person it depicts. It’s here we find the relationship between self and self-representation, upon which autobiography pivots. By testing the limits of disclosure, Barth’s work relays as much about its contexts as it does her. When did we come to expect such utter visibility from figures like Barth, and why? What is gained and lost through performing identity, queer or otherwise? If we can glean anything from Barth’s evolving documentations of self, true agency lies not in the imposed metrics of representation, but rather in the selfdetermined balance of closure and disclosure.

18th Adelaide Biennial of Australian Art: Inner Sanctum Art Gallery of South Australia (Adelaide/Kaurna Country) 1 March—2 June

COMING SOON BOOKSTORE

23 MARCH – 14 JULY 2024 The Industrial Design of Clement Meadmore: The Harris/Atkins Collection is presented in conversation with SUPERsystems: Peter Atkins and Dana Harris and Systems and Structures: A Focus on the TarraWarra Museum of Art Collection. Curated by Anthony Fitzpatrick.

IMAGE: Clement Meadmore Pendant Light for the T House 1956, Three-legged Dining Table 1955, Three-legged Plywood Chair 1955. Harris/Atkins Collection

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Victor Gordon MAKE BELIEVE Once Upon a Time in WASPASIA 13 April - 9 June 2024 Victor Gordon, 2022 oil on canvas, 93.5 x 69 cm

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Alisha Kitto Arabella Walker Caroline Gasteen Clare Jaque Vasquez rightNOW 1 - 28 March 2024 onespace.com.au @onespace_au Clare Jaque Vasquez, Bag of tricks, 2024, Acrylic and impasto on canvas, 2 x 2m. Image: Amanda Galea. Courtesy of the artist and Onespacce.

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good grief, danish quapoor 8 March – 28 April 2024 Pinnacles Gallery

Danish Quapoor, murder(ed) bird [detail], 2020-21 Acrylic and paint pen on stretched paper, 51 x 41cm Photographer: Amanda Galea

Pinnacles Gallery 20 Village Boulevard Thuringowa Central QLD 4817 Monday - Friday: 9am - 5pm Saturday: 9am - 3pm Sunday: 9am - 1pm

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(07) 4773 8871 galleries@townsville.qld.gov.au whatson.townsville.qld.gov.au Townsville City Galleries TownsvilleCityGalleries

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Djambu Barra Barra, Devil Devils, 2002. More, More, More - Works from the Artbank Collection, Artbank Melbourne, December, 2023. Photograph by Christian Capurro for Artbank. Background artworks, Nick Selenitsch, Felt (2), (6), (7), 2011. Riley Payne, Sunny side, Repent dinner, Well done, 2010. Emily Floyd, Child and Adult Sculpture No.2, 2009. Les Dorahy, Some interest has been expressed in planning ways to avert future encounters between asteroids and earth, 1997.

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ENVIRONMENTAL FUTURES 01 March – 26 May Edward Burtynsky, Janet Laurence, Corben Mudjandi, Sonia Payes and Lingam.K

Janet LAURENCE still from Umwelt (detail) 2017 / 2024

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sheppartonartmuseum.com.au

Image: Justine Youssef, Somewhat Eternal, 2023, three-channel video, 12min.

Justine Youssef Somewhat Eternal

Exploring relationships to land, the impacts of occupation and displacement, and the endurance of rituals and beliefs. Until 7 April 2024.

Institute of Modern Art 420 Brunswick Street Fortitude Valley QLD 4006

Co-commissioned with

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Supported by

Hawkesbury Regional Gallery 16 March – 28 April 2024

ARCHIBALD PRIZE 2023

Archibald Prize 2023 finalist, Marie Mansfield Ronni Kahn AO (founder OzHarvest) (detail) © the artist

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Bendigo International Collections

Impressions of Life 1880 – 1925

16 March – 14 July 2024 Bendigo exclusive bendigoartgallery.com.au

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Exhibition organised by the Musée Carnavalet – Histoire de Paris, Paris Musées. Image credit: Jean Béraud, The Entrance to the 1889 Universal Exhibition (detail) 1889, oil on wood, Musée Carnavalet. © CCO Paris Musées / Musée Carnavalet – Histoire de Paris.

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QUEEN VICTORIA MUSEUM AND ART GALLERY

F R E E E N T R Y | 1 0 A M – 4 P M D A I LY

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NEW EXUBERANCE: CONTEMPORARY AUSTRALIAN TEXTILE DESIGN JAMFACTORY TOURING EXHIBITION

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11AM—4PM

NEW WAVE 24 MPRG LOCAL FOCUS

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2 MAR—12 MAY

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CIVIC RESERVE, DUNNS RD, MORNINGTON

IMAGE: WAH-WAH x Ramesh Mario Nithiyendran, 2022 (detail), Australian merino wool as modelled by Ramesh, Kirthana Selvaraj, Remy Faint, Julie Faint. Stylist Kirsty Barros. Photo Lexi Laphor. Courtesy of WAH-WAH Australia.

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WILLIAM KENTRIDGE DAY W I L L B R E A K M O R E T H A N O N C E

10 APRIL - 25 MAY

ANNANDALE GALLERIES annandalegalleries.com.au info@annandalegalleries.com.au 110 Trafalgar Street Annandale NSW Australia +61 2 9552 1699 11am - 4pm Wed - Sat William Kentridge, Goat, 2023, bronze, 120 x 80 x 150cm, edition of 8, WK1077 annandalegalleries.com.au

Image credit: Jacob Raupach, Untitled, 2023, archival inkjet print. Courtesy the artist.

Jacob Raupach: Circumspice 16 March to 16 June 2024

Jacob Raupach is a photographer investigating the shifting history of industry across regional Australia. He uses photography to explore the struggle between trusting tradition and pursuing progress, presented in multiple formats. ArtHouse & Goldﬁelds Gallery, RACV Goldﬁelds Resort Open daily, 10am – 5pm 1500 Midland Hwy, Creswick VIC 3363 03 5345 9600

Find out more at racv.com.au/art

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Annemieke Mein A LIFE’S WORK 2 March–26 May 2024 Exclusive to Gippsland Art Gallery, A Life’s Work is a unique retrospective exhibition of astounding textiles by one of Australia’s most loved wildlife artists, Annemieke Mein OAM.

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15 MARCH - 28 APRIL 2024 408 Flinders St, Gurambilbarra (Townsville) QLD 4810 Image: Wren Moore, Wayfaring/40 Fluted Cape, 2024, Water-jet cut copper and brass, hand-hammered recycled copper, patina, 28 x 15 x 0.5cm. Photograph: Alan Marlowe. umbrella.org.au

ARTISTS: HANY ARMANIOUS, AMBER BOARDMAN, ANGELA BRENNAN, DIENA GEORGETTI, ALEX GAWRONSKI, NEWELL HARRY, MADELEINE KELLY, SPENCER LAI, ARCHIE MOORE, JAHNNE PASCO-WHITE, LISA RADFORD, TIM SCHULTZ, JELENA TELECKI & REX VEAL.

ARCHIE MOORE , ‘BANNERTREE FLOOR ’ (DETAIL ), 2021. ACRYLIC ON NOTHING, 204 X 99.5CM. COURTESY THE COMMERCIAL , SYDNEY. PHOTO: NICK DE LORENZO.

‘AT HOME WITH PAINTING’ CURATED BY MADELEINE KELLY 7 MARCH – 20 APRIL 2024

SYDNEY COLLEGE OF THE ARTS, THE UNIVERSITY OF SYDNEY, SYDNEY.EDU.AU/SCA

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DEE SMART SIREN 11 – 27 APR, 2023

Image: Dee Smart, The light shines through (detail), 2024, Watercolour on cotton rag paper, 70 x 38cm

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12 – 14 Meagher Street

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e- Th R e ap N ha ew el ite s

Sunil Gupta Featuring a series of 13 photographs which take their starting point from historical paintings by the PreRaphaelites, a collective of English artists and reformists founded in 1848. Wyndham Art Gallery Sunil Gupta, The New Pre-Raphaelites Untitled #07 (detail), 2008. Courtesy the artist and Autograph, UK.

Wyndham PHOTO2024 artists’ practices are extended at the Project Hub at Wyndham Art Gallery.

Queer Photo Launch: Fri 1 March, 6.30 – 8.30pm Exhibition: 22 January – 14 April

An official exhibition of PHOTO2024 International Festival of Photography @photofestivalau #PHOTO2024festival Sunil Gupta: The New Pre-Raphaelites is presented at Wyndham Art Gallery in partnership with Autograph, London 27 January – 14 April, 2024.

To N ot Se to e o Se r e

irm ff A Peter Waples-Crowe

Karla Dickens

Werribee Train Station, Station Place

Werribee Park Mansion

Peter Waples-Crowe, Ngaya (I Am) (detail), 2022. Single-channel video installation, 5 mins. Courtesy the artist and ACMI.

Karla Dickens, Looking at you VI (detail), 2017. Courtesy the artist and STATION, Australia.

Exhibition: 27 Jan – 30 March

177 Watton Street, Werribee 3030 Bunurong Country #deepwest wyndham.vic.gov.au/arts wyndham.vic.gov.au/arts

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2 March to 28 April

Lynne Boyd Holding the Silver Sea

This major exhibition is the first to survey Lynne Boyd’s four-decade engagement with Port Phillip Bay, bringing together a selection of works that demonstrate the artist’s fascination with the atmospheric and poetic dimensions of this familiar locale.

Bayside Gallery Brighton Town Hall Cnr Carpenter & Wilson Streets Brighton, Victoria T: 03 9261 7111

Opening hours: Wed–Fri, 11am–5pm Sat & Sun, 1pm–5pm bayside.vic.gov.au/gallery @baysidegallery

Image: Lynne Boyd, Pageant 2016 (detail), oil on linen, 121 x 137 cm. Private collection, Melbourne

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2 March - 16 June 2024 Jumaadi: ayang ayang, Arthur Boyd & Indra Deigan: Sangkuriang, Sancintya Mohini Simpson & Isha Ram Das: par-parā / phus-phusā

This exhibition season brings together three distinct projects exploring storytelling, mythological narratives, migration and the diasporic experience.

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Jumaadi, Mountain high (peziara peziara), 2021, synthetic polymer paint on cotton cloth primed with rice paste (detail). Collection of the Artist. bundanon.com.au

You are invited to participate in this fun and immersive exhibition featuring artist Moon Girle.

A Tra$hy Dreamland

19 March–8 June

Opening event

Tuesday 19 March, 6–8pm

Walker Street Gallery and Arts Centre Corner Walker and Robinson St, Dandenong greaterdandenong.vic.gov.au/events/ trashy-dreamland-exhibition

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Closing event

Saturday 8 June, 4–6pm

VISIONARY:

RECENT DONATIONS TO THE MCCLELLAND COLLECTION

Saturday 30 March — Sunday 30 June 2024

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Anne-Marie May, Drawing 373 (flexing and unfolding) 2020, Thermally formed acrylic, individually shaped from sheet size 180 x 120 cm, McClelland Collection. Donated through the Australian Government’s Cultural G ifts Program. Image credit: Christian Capurro

CHARMAINE DAVIS

Heading South Landscape III, 2024

C O U N T RY

10-27 APRIL CURATORIALANDCO.COM curatorialandco.com

Diana Watson Artemis Garden III 6 - 25 March Subiaco

Diana Watson, ‘Artemis Garden III’, Oil on linen, 122 x 122 cm x 2.

Women of the West Samantha Dennison, Bec Juniper, Kathryn Junor, Isabelle de Kleine, Hayley Welsh, Fi Wilkie, Joanna Willis, Justina Willis and Ingrid Windram 6 - 25 March Subiaco Gallery 2 Justina Willis, ‘Our Country (the Pilbara), Acrylic on canvas, 75 x 152 cm.

Kate Debbo I Canoe Can You 27 March - 15 April Subiaco

Kate Debbo, ‘I Canoe Can You’ 2024, Oil on canvas, 100 x 170 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 9388 3300 perth@lintonandkay.com.au

Cherubino Wines 3642 Caves Road Wilyabrup WA 6280 Telephone +61 8 9388 3300 info@lintonandkay.com.au

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2024 Finalist Exhibition

23 March – 1 September 2024

Alex Walker & Daniel O’Toole Ali McCann Ali Tahayori Ellen Dahl Ioulia Panoutsopoulos Izabela Pluta

Generously supported by Nathan Beard King Mongkut (1956), 2022 Dibond mounted Giclée print on Hahnemühle Fine Art Pearl, swarovski elements 120 × 100 cm Courtesy of the artist and sweet pea, Perth

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Kai Wasikowski Nathan Beard Olga Svyatova Rebecca McCauley & Aaron Claringbold Sammy Hawker Skye Wagner

Ngaylu Nyanganyi Ngura JamFactory Winki ICON (I Can See All Those Places)

Kunmanara Carroll

Araluen Arts Centre 16 February - 12 May

Araluen Arts Centre | 61 Larapinta Drice Alice Springs NT 0870 | t. 08 8951 1120 | e.araluen@nt.gov.au araluenartscentre.nt.gov.au

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ART GALLERY • REPRESENTATION SOURCING • PLACEMENT • INSTALLATION 4 Russell Street, Toowoomba QLD Gallery Open: 9 am – 5 pm Monday – Friday Phone (07) 4638 8209 www.featherandlawry.com.au/art gallery@featherandlawry.com.au

GALLERY EXHIBITIONS FEBE ZYLSTRA 5 February - 14 March 2024

MARISA AVANO 22 April - 30 May 2024

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Minutes from the city centre, THE LUME Melbourne’s latest experience explores the life of the greatest artist and creative genius the world has ever known.

O P EN S MA RCH 16 20 24

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2 March - 19 May 2023 Know My Name: Australian Women Artists is a National Gallery Touring Exhibition supported by the Australian Government through Visions of Australia and the National Collecting Institutions Touring Outreach Program. PRESENTED BY

NATIONAL TOUR SUPPORTERS

PRINCIPAL PATRON

TIM FAIRFAX AC

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Lineage

Heather + Kate Dorrough Exhibition runs April 13 - June 16, 2024 This dynamic contemporary exhibition encompasses fibre art, paintings, prints, ceramics, sculpture and video. The multi-disciplinary works of mother and daughter Heather and Kate Dorrough explore the nexus between the arts and crafts movements, female creative lineage, body and landscape, river and fertility, and environmental issues and activism. IMAGE: Heather Dorrough, Self Portrait No 6 (Buzzflies) 1982 textile, dye, photographic silk screen printing, machine embroidery, 212 x 54 cm. Photography: Jenni Carter. Proudly delivered by

466 Peel Street Tamworth 2340 P: 02 6767 5248 Free admission www.tamworthregionalgallery.com.au

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execute_photography – 1 March – 4 May

Memo Akten Dries Depoorter Amrita Hepi Rosa Menkman Sara Oscar Max Pinckers J. Rosenbaum Sebastian Schmieg Alan Warburton

Sara Oscar, A hyperrealistic photograph of a pregnant Thai woman, tall woman in suit,

OPEN TUESDAY – SATURDAY. FREE ENTRY. rmitgallery.com

falling luggage, chaos, airport parking lot, theatrical gestures, falling - - scale 1:1, quality 1, 2023, (detail) AI generated image. Image courtesy of the artist.

A–Z Exhibitions

Victoria

MARCH/APRIL 2024

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

ACAE Gallery www.acaearts.com.au Australasian Cultural Arts Exchange 82A Wellington Street, Collingwood, VIC 3066 [Map 3] 0406 711 378 Tue to Sun 10am–5pm. See our website for latest information. Image courtesy of the gallery. Until 28 March In House Oliver Beer, Angela de la Cruz, Emily Floyd, Jan Nelson, Rose Nolan, Chiharu Shiota, David Noonan, Taryn Simon.

Ararat Gallery TAMA www.araratgallerytama.com.au Suki Yijun Ma, Baby Tooth, 2023, acrylic on canvas, 158.5 x 128.5 cm. 16 March–13 April GOLD GOLD GOLD Yanru Pan, Suki Ma, Rachel Hongxun Zhou, Jiayi Huang, Enya Hu, Yoria Shi, Qiao Ruan, Larissa Hogg Curated by Enya Hu.

Alcaston Gallery www.alcastongallery.com.au 84 William Street, Melbourne, VIC 3000 [Map 2] 03 8849 9668 Thu 12pm–6pm or by appointment.

82 Vincent Street, Ararat, VIC 3377 [Map 1] 03 5355 0220 Open daily 10am—4pm. See our website for latest information. Established in 1968, Ararat Gallery TAMA (Textile Art Museum Australia) holds a unique place amongst Australia’s public galleries, through its longstanding commitment to textile and fibre art. 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 28 March Take Five Jenny Watson 124

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

1 March–6 April Future Past Present Tense Anne Zahalka

www.annaschwartzgallery.com

Jenny Watson, Winter, 2022, acrylic and japanese pigment on rabbit skin glue primed belgian linen, 165 cm x 214 cm. Photo: Christian Capurro.

Until 7 July Works from the TAMA Collection

Anne Zahalka, Cast Adrift, 2023, solvent print, 100 x 142 cm. Courtesy of the artist and ARC ONE Gallery.

Anna Schwartz Gallery 185 Flinders Lane, Melbourne, VIC 3000 [Map 2] Tue to Fri 12noon–5pm, Sat 1pm–5pm. See our website for latest information.

Mike Brown, Untitled (tapestry), tapestry; wool, cotton warp, viscose, embroidery cottons, aluminium support, 219 x 275 cm. © The artist's estate, Charles Nodrum Gallery, Ararat Gallery TAMA, and Ararat Rural City Council. Photograph: MDP Photography and Video.

Kasia Töns, Panoply. © The artist. Photograph: @samrophoto. Until 16 June Panoply Kasia Töns Panoply is an emergency shelter that aims to provide a place of retreat and safety in the first stage of displacement. Motivated by the uncertainty of life and a fascination for textiles and architecture, this project has been incubating for many years. This iteration of Panoply has been laboriously hand stitched over many months and utilises reclaimed fabrics and stuffing. The design elements of colour, shape, base, doors and ‘windows’ are personal to the needs of the artist with the idea that this modular approach can be adapted to the needs of different inhabitants. The main considerations are the ability to make and transport it by oneself, be able to look out but not to be looked in upon and to have multiple camouflaged points for entry/exit.

Peter Daverington, The Messenger, 2024, oil, spraypaint and gold leaf on canvas, 198 x 152 cm. Courtesy of the artist and ARC ONE Gallery.

VICTORIA 10 April–11 May PALIMPSEST Peter Daverington

the anniversary of the Russia-Ukraine war. Showing in the Backspace Gallery.

Artbank Melbourne

Recent jewellery works by 11 First Nations artists who have participated in the Blak Design Program at the Koorie Heritage Trust.

www.artbank.gov.au

Until 10 March Layers of Blak

18-24 Down Street, Collingwood, VIC 3066 [Map 3] 1800 251 651 Tue to Thu, 12pm–4pm or by appointment. Artbank is part of the Australian Government Office for the Arts, in the Department of Infrastructure, Transport, Regional Development, Communications and the Arts. For 40 years Artbank has supported Australia’s contemporary art sector.

Nan Goldin, Mark tattooing Mark, Boston, 1978, National Gallery of Australia, Kamberri/Canberra, purchased in celebration of the National Gallery of Australia’s 40th anniversary, 2022. © Nan Goldin.

Scotty So, Guchi, 2021, digital photograph. Courtesy MARS Gallery and the artist.

This exhibition is developed in partnership with the National Gallery of Australia through the Regional Initiatives Program, supported by Major Partner AWM Electrical and Data Suppliers.

Until 4 April Scotty So: Queen of Begonias and Hai Kot Tou

Art Lovers Australia – Melbourne

A newly commissioned video paying tribute to the Queens of the Ballarat Begonia Festival shown alongside lightbox display of photographs with a drag and Asian-Australian take on high end fashion. Showing on the Art Screen in Alfred Deakin Place.

www.artloversaustralia.com.au

7 March–14 April Susan Nethercote: The garden within

Upstairs, 300 Wellington Street, Collingwood, VIC 3066 [Map 3] 1800 278 568 Tue to Sat 10am–4pm or by appointment.

Works which look at both domestic and public gardens and the ways we create a sense of home, place, and spiritual connection. Showing in the Backspace Gallery. Until 21 April Angela Brennan: Tête-à-tête & Vis-à-vis

wani toaishara, do black boys go to heaven, 2021, digital print. Purchased 2023. Photograph by Nicholas Umek for Artbank. 4 March—26 April Double Take: Photographs from the Artbank Collection Double Take: Photographs from the Artbank Collection shows recent acquisitions alongside collection works. The exhibition examines the breadth of photographic practice in Australian art, from some of Australia’s most recognised artists, ranging from traditional photography to conceptual experiments in the dark room.

Large immersive abstract paintings by Ballarat-born Melbourne based artist Angela Brennan. Until 21 April Georgia MacGuire: Onemda ‘Onemda‘ is a Woiwurrung word meaning ‘love’ or ‘the regard that we have for each other. For First Nations artist Georgia Macguire, these paperbark and feather sculptures are a connection to Country. Until 21 April Next Gen: VCE Art & Design 2024 Discover the issues, ideas and causes that are inspiring our next generation of young artists in this showcase of work created by students from Government, Catholic and Independent schools from the Ballarat region in 2023.

Art Gallery of Ballarat

18 April–26 May Steph Wallace: Living on land

www.artgalleryofballarat.com.au

Ceramic works which combine traditional techniques and experimental approaches. Showing in the Backspace Gallery.

40 Lydiard Street North, Ballarat, VIC 3350 [Map 1] 03 5320 5858 Open daily 10am–5pm. See our website for latest information. Until 3 March Catherine Ratcliffe: Kazka Paintings of Ukrainian folk-tales to mark

2 March–2 June Nan Goldin: The Ballad of Sexual Dependency The Ballad of Sexual Dependency series is a key work from one of the most influential figures and activists of recent times. It is one of the defining artworks of the 1980’s.

Carita Farrer Spencer, BOHO Bird. Until 23 March Biophilic – Where Nature and the Body Meet As humans, we have a tendency to adapt and respond to environmental forces. Over hundreds of thousands of years, we have evolved the way we think, feel and act as a reaction to our cultivation and connection to nature. Biophilic: Where Nature and the Body Meet is a curated group exhibition exploring representations of nature and our bodies as a celebration of our connection. 5 April–11 May Breaking Boundaries - Pushing the Limits of Abstract Art Join us in honouring the fearless spirit of Australian abstract artists. This bold and diverse collection shatters expectations, showcasing the vision and innovation of artists who dared to push the boundaries 125

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drums that sing when interacted with. The drums are tuned to a chord, creating an evolving soundscape layered with field recordings of local birds. O’Toole creates a sonic bridge between the natural world and the architecture of ArtSpace, activating the gallery space as a playable instrument. 6 April—19 May Mullum Mullum Indigenous Gathering Place First Nations Arts Trail Project This exhibition celebrates the launch of a new project mapping First Nations artworks in Naarm / Melbourne’s Eastern regions and presents a newly commissioned mural and exhibition works by Aboriginal and Torres Strait Islander artists responding the themes of ‘Big Old Beautiful Indigenous Trees’ and ‘The Dreaming.’ Exhibition and project launch celebration: Thu 11 April, 6pm–8pm.

Julia Chuquis, A New Leaf (detail). of the abstract. Each piece is a testament to their courage, creativity, and relentless pursuit of artistic evolution. Discover a universe untethered by convention, where every stroke, texture, and colour is a celebration of unrestricted imagination.

Eden Menta, Untitled, 2023. In The little things we fight for, Eden Menta explores the intersections of queerness and neurodiversity through ideas around a sense of self and place in the contemporary landscape. Premiering as part of PHOTO24, Menta draws from deeply personal experiences to unpack the past and contemplate the present, teasing out what it means to belong—or not, as the case may be. By addressing these realities, Menta fights for a future that recognises the intersectionality of different identities and fosters safe, inclusive spaces to feel valued and supported. Opening event: Saturday 2 March, 4pm–6pm.

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

Theo Strasser, Memoriam, 2011, synthetic polymer paint and ink on paper. Maroondah Federation Estate Gallery: 2 April—4 May Tangent: The 29th Annual Mayoral Exhibition The 29th Annual Mayoral Art Exhibition is a fundraiser in support of the Bone Marrow Donor Institute, Croydon branch, generously sponsored by Maroondah City Council and the Ringwood East and Croydon Community Bendigo Bank. The theme for 2024 is Tangent. This year, artists are encouraged to think differently and experiment with their subjects, materials or techniques. From realism to abstraction or traditional to contemporary artists are invited to investigate new ideas and directions.

Arts Project Australia www.artsproject.org.au

Voices from the Void, installation view. Photograph: Marcus Corbyn. ArtSpace at Realm: Until 24 March Voices from the Void Daniel O’Toole Voices from Void is an installation of brass 126

Level 1, Collingwood Yards, 35 Johnston Street, Collingwood, VIC 3066 [Map 3] 03 9482 4484 Wed to Fri 11am–5pm, Sat 12noon–4pm. See our website for latest information. 10 February–23 March The Little Things We Fight For Eden Menta

Ruth Howard, Untitled, (detail), 2023. glaze, earthenware, 15 x 12 x 10 cm. 6 April—18 May Colour Is Enough Colour is Enough presents recent bodies of work by Arts Project Australia artists Wendy Dawson, Ruth Howard and Julian Martin within a broader context of Australian monochrome painting and sculpture. Unlike the process of reading words on a page, in monochrome work there is no direction for where to start or finish. Viewers engage with the totality of a single colour. Understanding and experience is based on ‘consuming’ the whole work of art at once. Colour is its own entity that is distinct and independent. Related to (but not beholden to) form, colour is enough. Includes work by guest artists A.D.S Donaldson, Eleanor Louise Butt, Nancy Constandelia, Renee Cosgrave, Rox De Luca, Mikala Dwyer, Louise Gresswell, Aaron Martin, Jackson McLaren, John Nixon, Ron Robertson-

VICTORIA Swann, David Serisier, Madeline Simm, Lachlan Stonehouse, David Thomas, Sam George & Lisa Radford and more. Curated by David Sequeira. Opening event Saturday 6 April, 3pm–5pm.

5 March–23 March Worthwhile Search Nick Dridan Christine Wrest-Smith

Australian Centre for Contemporary Art (ACCA)

15 February—6 April 2023 Artists in Residence Group Show Donna Blackall (Yorta Yorta), Jacky Cheng (WA), Kait James (Wadawurrung), Cara Johnson (VIC), Misako Nakahira (JPN), Joanne Nethercote (VIC), and Studio Brieditis & Evans (SWE)

Bayley Arts

www.acca.melbourne

www.bayleyarts.com.au

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.

1 Avoca Street, Highett, VIC 3190 03 9113 0610 Mon to Fri 11am–5pm, Sat by appointment, closed public holidays. Free admission. See our website for latest information.

Mary Tonkin, Tomorrow, Kalorama, 2023, oil on linen, 48 x 56 cm. Melbourne Stock Rooms Gallery: 5 March–23 March Mary Tonkin 9 April–27 April The Other and The Other Ones Titania Henderson 9 April–27 April Walking Light Holly Grace

Laure Prouvost, Above Front Tears Oui Float, 2022, Nasjonalmuseet, Oslo. Photograph: Annar Bjørgli, Nasjonalmuseet, Pressebilder. 23 March–10 June Laure Prouvost: Oui Move In You Curated by Max Delany and Annika Kristensen Oui Move In You is a major exhibition featuring the work of Turner-Prize winning artist Laure Prouvost (born Lille, 1978) who represented France at the Venice Biennale in 2019. Encompassing new commissions and a survey of work over the past decade, the exhibition will transform ACCA into a labyrinthine and other-worldly environment, immersing audiences in the imaginative, absorbing and frequently absurdist hallmarks of Prouvost’s diverse artistic practice. Oui Move In You explores the roles and legacies of grandmother and grandfather, the maternal spaces of mother and child, and contemporary social spaces in which humans commune with the natural world. Taking audiences on a journey from the subterranean realm of the underground and the subconscious, opening into the bodily and earthly realm exploring sensuality, desire and the fecundity of nature, the exhibition culminates with a release into the sky and celestial plains of weight and weightlessness, lightness and gravity.

9 April–27 April Julian Twigg Crooked tree David Frazer

Australian Tapestry Workshop (ATW) www.austapestry.com.au 262–266 Park Street, South Melbourne, VIC 3205 [Map 6] 03 9699 7885 Thu to Sat 10am–5pm. The Australian Tapestry Workshop (ATW) is an international leader in contemporary tapestry, collaborating with a diverse range of international and Australian artists to produce exceptional handwoven works of art. Internationally renowned for their vibrancy, technical accomplishment and inventive interpretation, our tapestries are hand woven using an adaptation of the traditional Gobelin technique; by which an image is formed by tightly packing layers of weft (horizontal threads) over warps (vertical threads).

Australian Galleries www.australiangalleries.com.au 28 and 35 Derby Street, Collingwood, VIC 3066 [Map 3] 03 9417 4303 Open 7 days, 10am–6pm.

6XT, 2023, Studio Brieditis & Evans. Courtesy of the artists.

Bayley Arts artists, Plastic Catchments, 2023, baling twine, acrylic, found plastic, native plants, steel mesh. Courtesy of Bayley Arts. 1 March–5 April Plastic Problems A collaborative exhibition that celebrates the meeting of Bayley Arts artists and artist Carolyn Cardinet exploring the environmental impact of plastic pollution on our Bay and vulnerable marine life. Through hanging formations, printmaking, film and installation, the exhibition seeks to empower artists of all abilities to showcase their unique perspectives on environmental issues intertwining themes of art, disability, and environmental sustainability.

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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. Free admission. See our website for latest information.

Lynne Boyd, Twixt, Port Phillip Bay, 200910, oil and pencil on linen, 152.5 x 183 cm. Private collection, Melbourne. 2 March–28 April Lynne Boyd: Holding the silver sea This major exhibition is the first to survey Lynne Boyd’s four-decade engagement with Port Phillip Bay, bringing together a selection of key works that demonstrate the artist’s fascination with the atmospheric dimensions of this familiar locale.

Bendigo Art Gallery

The busy banks of the Seine, bustling marketplaces, grand boulevards, idyllic public gardens, and the heady atmosphere of bohemian Montmartre are brought to life in more than 170 works of art and artisan objects. From the renowned collection of the Musée Carnavalet - History of Paris, the iconic museum of the history of Paris, this exhibition reflects on an effervescent period of great social change, urban development and artistic innovation which shaped modern Paris and continues to capture the global imagination.

The oldest municipal museum in Paris, the Musée Carnavalet was founded in 1866 to document the history, built environments, and unique character of Paris during a period of rapid modernisation. Located in the historic Marais district, the museum is home to over 620,000 works of art and artefacts from the Mesolithic period to the present day.

Bond Street Gallery www.bondstreeteventcentre.com 10 Bond Street, Sale, Gippsland, VIC 3850 03 51828770 Director: Allison Yanez. By appointment only.

www.bendigoartgallery.com.au

16 March–14 July Paris: Impressions of Life 1880 – 1925 Various artists Exclusive to Bendigo Art Gallery, Paris: Impressions of Life 1880–1925 takes visitors on a journey through the lively and picturesque streets of historic Paris. 128

Sunday 3 March, 11am–3pm.

Tour seven themed pathways and discover artisan street signs, historic couture, decorative arts, and everyday ephemera alongside paintings by artists including Jean Béraud, the pre-eminent painter of Parisian life in the Belle Époque, Maurice Utrillo and Paul Signac, pioneer of the artistic technique of pointillism, as well as vibrant graphic prints by ToulouseLautrec and his contemporaries.

Image courtesy of Bond Street Gallery. Ongoing Expression of interest to exhibit at Bond Street Gallery We are always looking for artists who support our mission. When you choose to exhibit at Bond Street Gallery you are supporting the provision of social activities and projects In the local community. We offer visitors a unique blend of heritage charm and modern technology. Support Bond Street Gallery.

Brunswick Street Gallery

42 View Street, Bendigo, VIC 3550 [Map 1] 03 5434 6088 Open daily 10am–5pm. See our website for latest information.

Jean Béraud, The Entrance to the 1889 Universal Exhibition, 1889, oil on wood. CCO Paris Musées / Musée Carnavalet – Histoire de Paris.

aims to help artists sell their work, bring art to the community and celebrate art.

www.brunswickstreetgallery.com.au 322 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 8596 0173 Tue to Sun 10am–5pm. Brunswick Street Gallery is a meeting place for artists and collectors worldwide, located on Wurundjeri land, in the heart of Fitzroy, Melbourne. Within walking distance from numerous cultural destinations, BSG offers a welcoming retreat from the bustling streets to immerse in our contemplative space, curated with a range of works from emerging and established artists, and from our partners in leading Indigenous art centres. Daniel Church, Dolphin and Fish Arch, 2021, mixed media, 228 x 160 cm.

7 March—24 March Domestic D.M. Ross

3 March Bond Street Gallery Art Market Acclaimed local, national and international artists

The adventures of Ovum and Spermatozoa as they travel through time and space. Mark Stapelfeldt

The Bond Street Gallery will be hosting an art market extravaganza! The Art Market

They are not planned, they are felt Ariana Luca

VICTORIA Always Here Tom Nicholas Lewis

Apricity P1XELS

Magic of Memory Jaclyn Poke

The tremendous activity of a boy sitting still Brennan O’Brien

Open Air Group Exhibition

Opening event: Friday 19 April, 6pm–8pm.

Opening event: Friday 8 March, 6pm–8pm.

Burrinja www.burrinja.org.au cnr Glenfern Road and Matson Drive, Upwey, VIC 3158 [Map 4] 03 9754 1509 Wed to Sun 10am–4pm.

inviting viewers into their fleeting moments of inspiration, insight, and beauty captured by these exceptional visionaries. Embark on a journey through the realm of artistic expression by exploring an array of works encompassing diverse mediums. Through the lens of paint, print, sculpture, textile, photography, and graphic design, these artists offer tantalizing glimpses into their inner worlds, challenging perceptions and inspiring contemplation. This exhibition is a great way to explore the studios and plan your Open Studios weekends adventures. 6 April—19 May babyteeth Nikola Manyi babyteeth is an eclectic collection of works which compile an emerging artist’s exploration and development of practice; it explores the contemporarily fast paced nature of consumerism and the need to stay relevant in order to survive.

Bundoora Homestead Art Centre www.arts.darebin.vic.gov.au/ bundoorahomestead 7 Prospect Hill Drive, Bundoora, VIC 3083 [Map 4] 03 9496 1060 Wed to Fri 11am–4pm, Sat 10am–5pm.

Natalie Papak, glazed Stoneware, 26 x 12 x 10 cm. 2 April—14 April Stories in the Landscape Eamon Wyss Luminescence Stef Harris Night Tide Natalie Papak Contrasting Connections Zory McGrath Razzle-Dazzle Rachel Simkover Opening event: Thursday 4 April, 6pm–8pm.

Aimee McCallum, 2023, mixed media. 17 February—28 March An Unconscious Voice Aimee McCallum Step into An Unconscious Voice, an unfolding narrative of the ever-changing seasons, life, decay, and the interconnected roots of our existence. Soft lines and the geometry of nature converge in a poetic artscape that beckons you to explore the depths of Mother Nature’s emotional spectrum.

Darebin Art Prize 2024. Artwork: Lauren Simmonds, Aster, 2021, wood, paint, bolts, screws, perspex, dichroic film, rope. Photography: James Henry. 10 January–23 March Darebin Art Prize 2024 The Darebin Art Prize is a national multi-medium acquisitive art prize celebrating excellence in contemporary visual art.

Kylie Watson, studio glimpse. Photograph: Cathy Ronalds. Andrew Gurman, After You, 2023, mixed-media. 18 April—5 May The Anticipation Project Michael Eather To Think of Beautiful Things Andrew Gurman A wild and fragile coast Sarah Low

15 March—28 Apr Glimpse | Dandenong Ranges Open Studios Group Exhibition Glimpse, Dandenong Ranges Open Studios Group Exhibition, is an immersive exhibition featuring works from each of the 44 participating studios. This collective display of local talent highlights their individual approaches to art-making whilst exploring a shared theme...Glimpse,

Logan Mucha, A Beat To Hold Back The Dawn (still,) 2023, audio-visual installation. Image courtesy of the artist. 10 January–23 March A Beat To Hold Back The Dawn Logan Mucha 129

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Bunjil Place Gallery www.bunjilplace.com.au 2 Patrick Northeast Drive, Narre Warren, VIC 3805 [Map 4] 03 9709 9700 Tue to Sun 10am–4pm. See our website for latest information.

The first major survey exhibition of Melbourne-based artist Nadine Christensen’s career brings together key works spanning two decades of her practice. Revealing Christensen’s long engagement with notions of the everyday, explored through the conventions of still life and found objects, this showcase reflects the enduring nature and complex legacy of painting.

Unique is an overused word. But it just might be appropriate for the City Gallery at Melbourne Town Hall. No other such space has offered a sustained program of free, regular exhibitions focused exclusively on central Melbourne, backed by an authentic collection and supported by loans and new commissions.

Centre for Contemporary Photography www.ccp.org.au

Ken Family Collaborative, Tjungkara Ken, Sandra Ken, Freda Brady, Maringka Tunkin, Yaritji Tingila Young and Paniny Mick, with their work Kangkura-KangkuraKu Tjukurpa - A Sister’s Story, 2017, image courtesy Ken Family Collaborative/ and Tjala Arts.

404 George Street, Fitzroy, VIC 3065 [Map 3] 03 9417 1549 Wed to Sun 11am—5pm.

Curated by Robyn Annear. Who remembers the McEwans celebrity pavement? Between 1972 and 1994, scores of celebrities had their hand- and footprints immortalised in cement at the entrance of McEwans hardware store in Bourke Street. Gotcha! presents 40 of the surviving prints from the McEwans pavement, together with stories of the celebrities who made them and newspaper images capturing the mood of the times.

30 March–21 July Kungka Kunpu (Strong Women) Drawn from the Art Gallery of South Australia’s collection, this touring exhibition showcasing major contemporary works by celebrated women artists from the Anangu Pitjantjatjara Yankunytjatjara Lands.

City of Melbourne Art and Heritage Collection Store

Key artists include Angkuna Baker, Kunmanara Wawiriya Burton, Nyunmiti Burton, Sylvia Ken, Kunmanara Militjari Pumani, Rhoda Tjitayi, Tjanpi Desert Weavers, Kaylene Whiskey and Yaritji Young – to name a few.

www.citycollection.melbourne.vic. gov.au

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.

11 April–16 August Gotcha! Concrete prints from the McEwans celebrity pavement

Omar Victor Diop, Omar Ibn Saïd, 2014. Courtesy of the artist and MAGNIN-A, Paris. 1 March—12 May Only the future revisits the past Artists featured: Marta Bogdańska (PL), Omar Victor Diop (SN), Nikki Lam (AU/ HK), Tace Stevens (Noongar/Spinifex, AU), Stephanie Syjuco (US)

Melbourne Town Hall (enter via Admin building), 90-130 Swanston Street, Melbourne, VIC 3000 Tue 11am–12pm & 1pm–2pm, Thu 2.30pm–3.30pm, Fri 2.30pm–3.30pm. Bookings essential.

This exhibition questions the formulation of accepted knowledge and histories, and asks: what role does memory play in forming our futures? Featuring five photographic artists whose work ranges from self-portraiture and archival studies, to images confronting Australia’s past.

Nadine Christensen, Up all night, 2023, acrylic on board, courtesy of the artist and Sarah Scout Presents, Melbourne. Photograph: Christian Capurro. 24 November 2023—7 April Around Nadine Christensen

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City Gallery

City of Melbourne Art and Heritage Collection Store, 2023, photo by Tobias Titz.

www.citycollection.melbourne. vic.gov.au/city-gallery/

Tuesdays 11am-12pm, 1pm–2pm Thursdays 2.30pm–3.30pm Fridays 2.30pm–3.30pm City of Melbourne – Art and Heritage Collection Store Tours

Melbourne Town Hall (enter via Customer Service) City Gallery, 110 Swanston Street, Melbourne, VIC 3000 [Map 2] Mon to Fri 9am–5pm. Free Admission.

In 2023, the City of Melbourne Art and Heritage Collection store officially opened in its relocated home of the historic and iconic Melbourne Town Hall. Displayed across 16 heritage rooms, the collection

VICTORIA is arranged according to thematically and theatrically organised ‘chapters’. This new open display storage method aligns with the more recent museological trend to promote public access to collections material. Free guided tours of the collection are now available to the public on Tuesdays, Thursdays and Fridays. Book online: whatson.melbourne.vic.gov. au/things-to-do/art-and-heritagecollection-tour

Charles Nodrum Gallery www.charlesnodrumgallery.com.au

correspondences

Craft Victoria

www.correspondences.work

www.craft.org.au

Wurundjeri Woi Wurrung Country 39 Sydney Road, Bulleke-bek (Brunswick), VIC 3056 [Map 5] Wed, Thu & Sat 10am–5pm, Fri 11am–8pm. Closed public holidays. See our website for latest information.

Watson Place, Melbourne, VIC 3000 [Map 2] 03 9650 7775 Tue to Fri 11am–5pm, Sat 11am–4pm.

We focus on creative projects which bring together socially engaged, situational and interdisciplinary practices to connect diverse audiences and artists in ways that stimulate, inspire and question.

267 Church Street, Richmond, VIC 3121 [Map 6] 03 9427 0140 Tue to Sat 11am–5pm.

Craft is dedicated to supporting the production and presentation of craft and design. We champion makers from around Victoria, Australia and beyond, via exhibitions that combine mastery of materials with innovative techniques and big ideas and our rich program of festivals, talks, and community events.

Cusack & Cusack www.cusackgallery.com 31 Piper Street, Kyneton, VIC 3444 [Map 1] 0408 118 167 Fri to Sun 10am–3pm. See our website for latest information.

D’Lan Contemporary www.dlancontemporary.com.au

Inbal Nissim, Ode (3), 2023, ink on paper, 53 x 43 cm. © Inbal Nissim. 9 March—1 June ‫ سخن دل‬Sokhaneh del – language/speech of the heart Aarti Jadu, Inbal Nissim and Javad Kashani

Wurundjeri Country 40 Exhibition Street, Melbourne, VIC 3000 [Map 2] 03 9008 7212 Tue to Fri 10am–5pm, Sat 11am–4pm.

‫ سخن دل‬Sokhaneh del – language/speech of

David Harley, Apropos Naples, 2021-22, archival pigment inkjet print on rag, paper on composite board. 2 March–23 March David Harley

Roger Kemp, Structure in Landscape, enamel on card, 86 x 112 cm. 2 April–20 April Australian Painting and Sculpture 27 April–18 May Noel Hutchison: Artist & Collector

the heart is a collaborative residency that examines the idea of ‘devotion’ or, more rightly, samimiyat ‫صمیمیت‬, its widened meaning in the Persian-speaking world and, as inspired by the poetry of beloved master poet Maulana Jalal al-Din /Rumi. It’s an idea that encompasses a deep commitment to authentic friendship, conversation, love, community and the search for the authentic self and the divine - qualities that lie at the heart of much classical Persian poetry. The project features multi-channel sound work, community singing and performance by Aarti Jadu, painting and community making by Inbal Nissim, and mixed-media works on paper by Javad Kashani. From March to June, the artists will collaborate/respond, make, and present a series of exhibits and activities while drawing in other collaborators from the fields of literature and dance. Alongside the exhibitions, community-making and a range of events are planned. The project aims to foster a space for deep and authentic self-reflection, community connection and friendship based on shared principles of humility, respect, generosity, kindness and care for others.

Garry Namponan, born 1960, WikAlken, Wik-Mungkan and Wik-Ngathan language groups, Ku’ Eeremangk, 2023, natural earth pigments on carved wood. 22 March–3 May AAK NGENCH THAYAN | STRONG COUNTRY Located in the remote community of Aurukun on the West coast of Queensland’s Cape York Peninsula, the Wik & Kugu Arts Centre services the community’s five Clans, supporting and celebrating contemporary cultural expression through the arts across the Wik and Kugu regions. 131

ar t g ui d e .c o m . au D’Lan Contemporary continued... In the first collaboration of its kind, this exhibition will showcase the innovative art practices of twelve artists from the Wik & Kugu Arts Centre. Twenty-five works from both emerging and established artists will form an immersive installation in the first-ever sculpture-only exhibition at D’Lan Contemporary. The gallery’s spaces will host many of the Clan’s or Arukun’s totemic figures, such as a large pack of camp dogs, several sculpted birds such as jabaru and brolga, a large cockatoo installation by recent NAATSIA Awardwinning artist Keith Wikmunea and a flying fox installation by Winchanam artist Alair Pambegan.

Djaa Djuwima – First Nations Gallery www.djaadjuwima.com.au Bendigo Visitor Centre 51–67 Pall Mall, Bendigo, VIC 3550 [Map 1] Open Daily, 9am–5pm, except Christmas Day. See our website for latest information.

direct responses about interpretation and value judgment and broader issues surrounding authenticity, reality, and purity as they pertain to art. Text also plays an important syntactical or formal part in the paintings aesthetic – one in which chance, process and facture all figure prominently.

Stella Clarke, Earthbound in the Fabric of Undoing, 2023, charcoal and pigment on paper.

Deakin University Art Gallery www.deakin.edu.au/art-collection Building FA, 221 Burwood Highway, Burwood, VIC 3125 03 9244 5344 [Map 4] Mon to Fri 10am–4pm during exhibitions. Closed public holidays. Free entry.

Ally Charles, Yorta Yorta, Dja Dja Wurrung On Country. 9 February–26 April Surviving and Thriving

Helen Maudsley, The Power of the Written Word; Without the Written Word, Art Doesn’t Exist, 2020, (detail), oil on canvas. © copyright and courtesy of the artist and Niagara Galleries Melbourne. 12 February—5 April Conversations in space Alex Hobba, Noriko Nakamura, Helen Maudsley and Laura Skerlj. Deakin University Art Gallery presents Conversations in space: a group exhibition in the form of an inter-generational dialogue between artists and objects in virtual and real spaces. Curated by Deakin’s James Lynch the exhibition presents new works by senior Australian artist Helen Maudsley alongside works by Alex Hobba, Noriko Nakamura and Laura Skerlj. Conversations in space is an interplay between painting, animation and sculptural practices focusing on object relations and their proxies and stand-ins, in a flat time world: where our world view appears constantly moving but much remains the same. 132

Djaa Djuwima meaning ‘to show, share Country’ in Dja Dja Wurrung language is a dedicated and permanent First Nations Gallery at the Bendigo Visitor Centre on Pall Mall. For First Nations artists, this is a safe place for creative and cultural expression, to explore identity, heritage and connection. Djaa Djuwima provides a prominent platform to see Aboriginal and Torres Strait Islander cultures, customs and stories not seen anywhere else, with each creative bringing their own unique style using traditional and contemporary methods. Our current exhibition, Surviving and Thriving features paintings, weaving, creative making, woodwork and digital works by 25 First Nations artists between the ages of 14 to 70.

Federation University Post Office Gallery

Stella Clarke, Primal: Forest Matters V, 2023, charcoal and kino on recycled tondo paper, 56 cm. 17 April–31 May Landscape to Earthscape Dr Stella Clarke This exhibition explores ways of making art about a Central Victorian landscape in the context of global environmental crisis. The artworks were created amidst goldfields bushland, which, though beautiful, is subject to climate threat. With sustainability in mind, working on paper, using charcoal and other organic materials, this fragile environment is evoked in ways that remind us it is a fragment of our intricate and vulnerable planet.

www.federation.edu.au/pogallery Federation University Australia Library, Camp Street campus, Cnr Sturt & Lydiard Street Nth, Ballarat, VIC 3350 [Map 1] 03 5327 8615 Wed to Fri 12noon–5pm, Tue by appointment. See our website for latest information. Until 22 March Made You Look! Geoff Wallis Informed by his intensive knowledge of art history and contemporary art issues and ideas, the subject of Wallis’ painting is art itself. Text is used as a kind of meta-commentary, to invite or provoke

Fiona and Sidney Myer Gallery www.finearts-music.unimelb.edu.au Victorian College of the Arts, 40 Dodds Street, Southbank, VIC 3006 [Map 2] 03 9035 9400 Tue to Sat 12pm–5pm. Free admission. 8 March–13 April Gladys Kalichini The video installations of Zambian artist Gladys Kalichini centre around notions of erasure, representations

VICTORIA

Fiona and Sidney Myer Gallery → Rivne Neuenschwander (in collaboration with Cao Guimarães), Quarta-Feira de Cinzas/Epilogue, (Ash Wednesday/Epilogue), 2006, video still. Courtesy of the artists. incubator, fortyfivedownstairs has a twenty-year history of supporting the development of independent artists across the visual and performing arts.

Image courtesy of Gladys Kalichini. and visibilities of women in colonial resistance histories. Focusing on the duality of memory and history, Kalichini’s work considers ideas about mourning, remembering and forgetting in relation to the commemoration of women. 19 April–18 May Signs of Life Rivane Neuenschwander and Cao Guimarães

23 April–4 May Grand Tour Gavin Brown

Located in Melbourne’s CBD, fortyfivedownstairs has two exhibition spaces, and a flexible theatre and event venue, which operate all year round. Venturing one floor below street level, the gallery exhibits a diverse range of art forms, from photography, to drawing, to sound art, and more. Until 9 March In Waking Hours Joe Whyte 12 March–23 March The Unknown Swimmer Jason Reekie

Signs of life brings together Quarta-Feira de Cinzas / Epilogue (2006) and The Tenant (2010) two video collaborations between Brazilian artists Rivane Neuenschwander and Cao Guimarães that explore ideas of the passing of time, transience and presence and absence.

Chris Orr, Served Bold, pigment ink on Canson Aquarelle rag, 90 x 112 cm. 23 April–4 May Motherboard Chris Orr

fortyfivedownstairs

Flinders Lane Gallery

www.fortyfivedownstairs.com

www.flg.com.au

45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9662 9966 Mon to Fri 12pm–7pm, Sat 12pm–4pm. Opening nights 5pm–7pm. See our website for latest information. A unique multi-arts venue and cultural

Louise Tyler, Oasis, 2023, oil on canvas, 101 x 101 cm. 26 March—6 April Secret Places Louise Tyler 9 April–20 April Finding Solace in Hidden Sands Kenny Phan

Level 1, Nicholas Building, corner Flinders Lane and 37 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9654 3332 Tue to Sat 11am–5pm. Closing 3pm on the final Saturday of exhibition. See our website for latest information. 133

ar t g ui d e .c o m . au Flinders Lne Gallery continued...

discover a luminous rendering of light, colour, and environment on a journey that unveils the heart and spirit of this captivating land. Until 13 April Colour And Flow Rebecca Abbey Salote Tawale, YOU, ME, ME, YOU still, 2022. Courtesy the artist, Ikon, Birmingham and the Museum of Contemporary Art Australia. 3 February—26 May Exquisite Corpse – PHOTO2024 & Queer PHOTO Salote Tawale (FJ/AUS)

Frankston based artist Rebecca Abbey creates a spiritual journey of therapeutic creative exchanges underpinned by Rebecca’s multidisciplinary studies in colour resulting in vibrant healing energy infused artworks. Colour And Flow is a cathartic and spirited love letter to her Frankston community and expression of renewal, expansion, and transformation.

Kathrin Longhurst, The Traveller, 2023, oil on linen, 91 x 91 cm. 5 March—27 March Women to the Front Kathrin Longhurst

Belinda Nye, Olivers Hill III, hand painted linocut. 7 March–20 April Walking Through Frankston Billy Nye and the Peninsula Printmakers

Julie Davidson, White Poppy, 2023, oil on linen, 76 x 76 cm. 2 April—20 April Portrait of Light Julie Davidson 23 April—11 May Weightless Melinda Schawel

Clifford Prince King, Untitled, (m _ q), 2017. Courtesy the artist, Gordon Robichaux, NY and STARS, LA. 3 February—26 May Orange Grove – Queer PHOTO Clifford Prince King (USA) Marungka Tjalatjunu (Dipped in Black) – Queer PHOTO Derik Lynch & Matthew Thorne (AUS)

Footscray Community Arts

Frankston Arts Centre

www.footscrayarts.com

27–37 Davey Street, Frankston, VIC 3199 [Map 4] 03 9784 1060 Tues to Fri 10am–5pm, Sat 10am–2pm. Please check website for current information on access and exhibition dates prior to your visit. Cube and FAC Galleries. Free entry.

45 Moreland Street, Footscray, VIC 3011 [Map 2] 03 9362 8888 Tue to Fri 9.30am–5pm, Sat and Sun 10am–4pm. See our website for latest information. 27 January—24 March Like A River – Queer PHOTO Daniel Jack Lyons (USA) Black and Blur – Queer PHOTO Lilah Benetti (AUS) The Zizi Show – Queer PHOTO Jake Elwes (UK) Alteration – Queer PHOTO FAFSWAG (NZ) 134

Join Billy Nye and the Peninsula Printmakers on a walk through the beauty and suburban landscapes of Frankston city. These linocut pieces, featuring various aspects that define Frankston, from Oliver’s Hill to Sweetwater Creek; will weave together a breathtaking and inspiring depiction of Frankston, igniting a newfound appreciation for the city’s unique character. Proudly supported by Frankston City Council’s Artist Project Grant program.

www.thefac.com.au

Until 27 April Transcending Australis: A photographic journey North to South Brad Henderson and Craig MacDonald From the North’s tropical abundance to the South’s serene embrace, Transcending Australis is a visual exploration that captures Australia’s contrasting realms. Through the lens,

Hard Thirteen, White Street Mall Mural, Frankston. Until 23 March Gallery Take Over The Big Picture Festival The Big Picture Festival returns Monday 18 March – Sunday 24 March with murals and projections illuminating the Frankston CBD and a Block Party full of live music and entertainment. Visit the BPF Gallery Take Over exhibition to vote in the People’s Choice Award and select an artist to feature at BPF 2025. Artist Welcome & Exhibition Opening Event: Tuesday 19 March, 6pm. Registration essential, online or by calling 03 9784 1060.

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Gallerysmith www.gallerysmith.com.au

2 March–24 March Sojourn in Umbria 1990-1923 Antonio Muratore

170-174 Abbotsford St, North Melbourne, VIC 3051 03 9329 1860 Tues to Sat 11am–5pm.

Sue Lovegrove, No 582, 2024, acrylic and ink on archival board, 61 x 91.4 cm. 7 March–13 April Water Sky: Intimate and Distant Landscapes from Tasmania and Iceland Sue Lovegrove 7 March–13 April Sanctuary Valerie Sparks

Elio Sanciolo, Concerto in C Minor, oil on canvas, 156 x 172 cm. 27 March–16 April Stockroom Exhibition Various Gallery Artists

Geelong Art Space www.geelongartspace.com 89 Ryrie Street, Geelong, VIC 3220 [Map 1] Thur, Fri & Sat 12pm–4pm or by appointment. Please check our website for current events and opening hours.

Brenda Livermore, Fire Brand, (detail). Photograph: Janet Tavener. Russell (Australia), Katherina Sommer (Germany), Samantha Tannous (Australia), Renee Trovarelli (France), Ruth Wagner (Australia), Rachael Wellisch (Australia), Louise Wells (Australia), Ji Seon Yoon (South Korea), Stefanie Zito (USA).

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 11 March genU studio artists—RISE

Rachel Coad, Season, 2023, oil on linen, 130 x 136 cm. 18 April–18 May Season Rachel Coad

Gallery Elysium www.galleryelysium.com.au 440-444 Burwood Road, Hawthorn, VIC 3122 [Map 4] 0417 052 621 Wed to Fri 10.30am–4.30pm, Sat and Sun 11am–5pm. Mon & Tue by appointment only.

Antonio Muratore, Perugia Day, oil on canvas, 91 x 183 cm.

Katherine Marmaras, Reminiscence, (detail). 24 February—23 March Pieced Together Katherine Marmaras 5 April—18 May International Art Textile Biennale 2023 Exhibiting artists include: Jacobo Alonso (Mexico), Laura Bishop (Australia), Eszter Bornemisza (Hungary), Kerstin Bruchhauser (Germany), Evangeline Cachinero (Australia), Sue Cunningham (Australia), Robyn Cuthbertson (Australia), Margaret Djarbalarbal Malibirr (Australia), Tina Fox (Australia), Ann Goddard (United Kingdom), Rachael Howard (United Kingdom), Josephine Jakobi (Australia), Amy Jones (Australia), Walter Jugadai (Australia), Gintare Joudele (Lithuania), Linda Knight (Australia), June Lee (South Korea), Brenda Livermore (Australia), Irene Manion (Australia), Claudia Mazzotta (Australia), Jem Olsen (Australia), Sayaka Ono (Japan), Rachel Pearcey (United Kingdom), Hilary Peterson (Australia), Catriona Pollard (Australia), Neha Puri Dhir (India), Tamara

RISE is a collaborative installation produced by the artists who attend genU’s James Street Gallery and Eastern Hub studios. Composed of modular boxes, the totemic structures represent the unique practice of each maker, while an audio component provides insights to the artists’ creative practices. The structural whole signifies a community that can rise through mutual support while celebrating and encouraging diversity. Until 11 March John Nixon—Four Decades, Five Hundred Prints Printmaking was a vital part of artist John Nixon’s celebrated oeuvre of abstract art. This first comprehensive print survey reveals Nixon’s inventive use of varied techniques, which ranged from simple woodcuts and potato prints, to more complex screenprints, stone lithographs and etchings. True to the experimental spirit of his art, Nixon freely bent printmaking convention, for example by using collage, or by printing his abstract motifs onto everyday objects such as paper bags or newspapers. 23 March—28 July Dianne Fogwell—Prescience 135

ar t g ui d e .c o m . au Geelong Gallery continued...

Dianne Fogwell, Prescience, 2021-22, linocut, woodcut, burn drawings, pigmented ink on Hanji paper; unique state (56 panels), soundtrack by Reuben Lewis. Geelong Gallery, Purchased with the generous support of the Colin Holden Charitable Trust and the Alan and Mary-Louise Archibald Foundation, 2023, © the artist, Photographer: Andrew Curtis. 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. Through fifty-six exquisitely detailed hand-printed panels, Fogwell creates an immersive experience of the bush. 23 March—21 July The O’Donohue & Kiss Gift This diverse selection of works is drawn from generous gifts made to Geelong Gallery by local collectors Conrad O’Donohue and Rosemarie Kiss in 2010 and 2019. The exhibition includes historical and contemporary prints, drawings and ceramics by Australian and international artists.

Gertrude

Gippsland Art Gallery

www.gertrude.org.au

www.gippslandartgallery.com

Gertrude Contemporary: 21–31 High Street, Preston South, VIC 3072 [Map 5] 03 9480 0068 Tue to Sun 11am–5pm. Gertrude Glasshouse: 44 Glasshouse Road, Collingwood, VIC 3066 Thu to Sat 12pm–5pm.

Port of Sale, 70 Foster Street, Sale, VIC 3850 [Map 1] 03 5142 3500 Mon to Fri 9am–5.30pm, Sat, Sun & pub hols 10am–4pm.

Sarah Ujmaia, And thank you to my baba for laying the timber floor (installation view). Marmoreum, presented at Gertrude Contemporary, 2024. Photograph: Christian Capurro. Until 7 April Marmoreum Sarah Ujmaia

Annemieke Mein (born The Netherlands 1944; Australia from 1951), Thornbills (detail), 1993, high-relief textile wall sculpture with relief leaves extending beyond the frame, 65 x 92 x 6 cm. Private collection. © The artist.

Until 7 April BLACK SMOKE, WHITE WALLS Dean Cross

2 March–26 May Annemieke Mein: A Life’s Work – A Retrospective

Gertrude Contemporary:

Glen Eira City Council Gallery www.gleneira.vic.gov.au/gallery

Jacobus Capone, Forewarning (Act 4): Demarcation, 2022, 2-channel synchronised HD video; edition 1 of 3, duration: 11:37 mins. Geelong Gallery, John Norman Mann Bequest, 2023,. © the artist. 23 March—28 July Forewarning (Act 4): Demarcation— Jacobus Capone The recently acquired dual-channel video work Demarcation (2022) is the fourth act in Jacobus Capone’s ongoing performative project Forewarning. Instigated in 2018, the project is staged within specific environments that have become inherently fragile through time and human intervention. (Act 4): Demarcation unfolds directly at the base of, and sometimes beneath, an unstable glacial face in Norway.

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Heinrich Hoerle, Cover for the journal Stupid, 1920. 20 April–2 June Stupid As Curated by Alex Gawronski Gertrude Glasshouse: 2 March–5 April The Flood Ruth Höflich 12 April–11 May You own the school, embrace your responsibility for its legacy Gian Manik

Corner Glen Eira and Hawthorn roads, Caulfield, VIC 3162 [Map 4] 03 9524 3402 Mon to Fri 10am–5pm, Sat and Sun 1pm–5pm. Closed public holidays. The gallery will be closed for maintenance from Monday 25 March and will re-open on Friday 3 May. 1 March–24 March Edge of Elsewhere Jacqueline Felstead, Ponch Hawkes, Jodie Hutchinson, Paula Mahoney, Kirsty Macafee, Hedy Ritterman, Julie Shiels, Virginia Stobart, Claudia Terstappen, Linda Wachtel, Dianna Wells Presented by The Contemporary Collective. Edge of Elsewhere is an official exhibition of PHOTO 2024 International Festival of Photography. 1 March–24 March Out of the Shadows – The Forgotten History of the War Widows Guild of Australia Zina Sofer

VICTORIA

Hamilton Gallery

25 November 2023–10 March The Ann Bennett Acquisition 2023

www.hamiltongallery.org

4 November–14 April Surrealist Lee Miller

107 Brown Street, Hamilton, VIC 3330 [Map 1] 03 5573 0460 Mon to Fri 10am–5pm, Sat and Sun 10am–2pm.

Horsham Regional Art Gallery www.horshamtownhall.com.au 80 Wilson Street, Horsham, VIC 3400 [Map 1] 03 5382 9575 Open daily 10am–4pm. See our website for latest information. Situated in the big sky country of the Wimmera, the Horsham Regional Art Gallery continues to surprise its first time (and repeat) visitors with the quality of its rotating displays from the permanent collection and its schedule of self-curated and touring exhibitions. The gallery was founded in 1967 and now rates as one of the largest regional galleries in rural Australia.

Artemisia Gentileschi, Lucretia, c.163035, oil on canvas. Private collection.

www.heide.com.au 7 Templestowe Road, Bulleen, VIC 3105 [Map 4] 03 9850 1500 Tue to Sun and public holidays 10am–5pm. 4 November–14 April Surrealist Lee Miller 16 September 2023–21 April Data for Future Paintings Steven Rendall and Albert Tucker

126 Hovell Street, Wodonga, VIC 3690 [Map 1] 02 6022 9330 Weekdays 10am–6pm, Weekends 10am—3pm. See our website for latest information. Our exciting new community venue is dedicated to the presentation of experiences that nurture creativity, connection and curiosity in an accessible and inspiring environment. It is a place where the community of Wodonga, as well as visitors to the city, can encounter, discover and connect with ideas, skills and knowledge.

9 February—5 May Juvenilia Aimee Chan

www.incineratorgallery.com.au 180 Holmes Road, Aberfeldie, VIC 3040 [Map 4] 03 9243 1750 Tue to Sun 11am–4pm.

This internationally significant exhibition features world-renowned baroque masters including Artemisia Gentileschi, Lavinia Fontana and Sofonisba Anguissola, and contemporary artists working in the Baroque style. Showcasing rare, historically important works, Emerging From Darkness is an unprecedented first for Hamilton Gallery and regional Australia.

Heide Museum of Modern Art

www.hyphenwodonga.com.au

Incinerator Gallery

Until 14 April Emerging From Darkness: Faith, Emotion and The Body in the Baroque

Drawn from partnerships with and loans from the National Gallery of Victoria, the National Gallery of Australia and private lenders across the country, the exhibition brings together powerful, emotive and unapologetic works that changed the course of art at the beginning of the 17th century. The exhibition is accompanied by engaging public programs, tourism packages and bespoke products.

Hyphen — Wodonga Library Gallery

Ponch Hawkes, Mrs Mimi Torsh and her daughter Dany, 1976, gelatin silver photograph, 17.8 h cm x 12.7 w cm. National Gallery of Australia, Kamberri. 2 March–19 May Know My Name: Australian Women Artists Tells a new story of Australian art, looking to moments in which women created new forms of art and cultural commentary. The exhibition suggests new histories by highlighting creative and intellectual relationships between artists through time. Know My Name: Australian Women Artists is a National Gallery Touring Exhibition supported by the Australian Government through Visions of Australia and the National Collecting Institutions Touring and Outreach Program. Curated by Elspeth Pitt, Senior Curator of Australian Art, and Deirdre Cannon, Assistant Curator of Australian Art with Dr Rebecca Edwards, Acting Senior Curator ofAustralian Art. Supported by HRAG Curator Lauren van Katwyk.

Jason Ebeyer, Touch the Sun, 2020, 3D animation. 3 February—7 April Angels in Exile Ayman Kaake, Felix Saturn, Hannah Brontë, Jason Ebeyer, Julian Leigh May, Norton Fredericks, and Tané Andrews This exhibition explores the concept of paradise and how queer communities create safe and joyful spaces. It references John Milton’s poem ‘Paradise Lost’ to question the impact of religious stories on ethics and politics, whilst drawing parallels to the historical persecution of queer people. 137

Mass, Drawing Intensive 20 April—12 May 2024

Felicity Gordon NYSS studio

Facilitated by artist Felicity Gordon Opening reception: Tuesday 23 April, 6:00-8:00pm Loft 275 gallery space, Ivanhoe

Mass, Drawing Intensive is a group exhibition resulting from a drawing intensive held within the Loft 275 gallery space. Based on the nude, the artworks are analogue, immediate, experimental, uncensored, and unable to be altered once the intensive program ends. This project is proudly supported by a Banyule Council Arts & Culture Project Grant. www.felicitygordon.com/mass

felicitygordon.com/mass

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vasgallery.org.au

VICTORIA Incinerator Gallery continued... It also looks at how queer resistance can challenge exclusion and discrimination, using celestial figures and rebel icons as sources of empowerment. This exhibition is presented through Midsumma’s keynote program A Brave (R) Space.

purpose, and movement. Performance with live projection and dance: Friday, 1 March, 6.30pm. Bookings required: www. trybooking.com/COJRA.

experiences. Data from our last survey revealed that 24.5% of our community were born overseas, with ancestry from 125 different countries; there are 79 languages other than English spoken in Banyule; and more than half of our community practice a religion.

Felicity Gordon, Live Drawing in Studio. 20 April–12 May Mass, Drawing Intensive Felicity Gordon

Incinerator Art Award winner, Xanthe Dobbie, 2023. Photograph: Kenneth Suico. 1 April—30 April Call for entries: Incinerator Art Award 2024 Incinerator Gallery is excited to announce the Call for Entries for the tenth annual Incinerator Art Award. A nationally recognised exhibition that celebrates the crucial role art plays for contemporary Australian audiences. The exhibition is dedicated to Art for Social Change and invites entries from both emerging and established artists from all over Australia. With a total prize pool of $12,000, the Incinerator Art Award offers three prestigious awards, including the $10,000 Incinerator Art Award, the $1,000 Moonee Valley Mayoral Award and the $1,000 People’s Choice Award. Shortlisted artists will have their artworks displayed in the gallery for the Incinerator Art Award 2024 exhibition.

Philip HOWe, Birrarung River Trail (detail), 2023. 6 April–19 May Two Conversations on The Birrarung By Phillip HOWe and Anthony Williams Two Conversations on The Birrarung (Yarra) river is an immersive exploration of the iconic river, seen through unique visual perspectives of contemporary artists Phillip HOWe and Anthony Williams. Drawing inspiration from historical depictions, the exhibition will incorporate traditional, contemporary and multi-disciplinary media elements, seeking to captivate and encourage the viewer to contemplate the beauty of the Birrarung, as well as the Birrarung’s environmental significance and cultural heritage. Opening event: Friday, 5 April, 6.30pm–8pm.

The opening night taking place on Friday, 20 September will see the announcement of the Incinerator Art Award and Moonee Valley Mayoral Award winners. Entries for the Incinerator Art Award 2024 are open from Monday, 1 April and close on Tuesday, 30 April. Don’t miss this incredible opportunity to showcase your artistic talent and contribute to Art for Social Change. To find out more, visit incineratorgallery.com.au.

Until 17 March Melbourne By Another Eye Daniel Grace

Ivanhoe Library & Cultural Hub

Daniel will also be in residence in the Mungga Artist Studios, sharing another part of his arts practice – making wooden jewellery boxes. Please drop in and have a chat with Daniel about the amazing things he makes. Artist in residence until 17 March.

www.banyule.vic.gov.au/ILCH 275 Upper Heidelberg Road, Ivanhoe, VIC 3079 [Map 4] 03 9490 4222 Until 17 March Arc Anthony Pryor and Jutta Pryor An exhibition by Jutta Pryor, exploring the interplay between her video projections and her late husband, Anthony Pryor’s sculptures. In defiance of the static nature of metal and stone, Anthony Pryor’s sculptures are imbued with energy,

Daniel’s art is a captivating exploration of urban landscapes, brought to life on frameless art panels. His city scenes are a mesmerizing blend of realism and abstraction, where the boundaries between the tangible and the ethereal blur seamlessly. Daniel’s masterful use of photography creates a dynamic interplay, drawing the viewer into a vibrant metropolis that pulses with energy.

21 March–14 April Together: Celebrating our Diverse Cultures Harmony Week is celebrated annually in March, and is centred on Harmony Day on 21 March. It coincides with the United Nations Day for Elimination of Racial Discrimination and Harmony, and is celebrated around Australia. Here in Banyule, we are home to people from many diverse backgrounds and

An ambitious exhibition of artwork based on the nude human figure, featuring artworks created by eight Banyule Artists during a three-day drawing intensive held inside the Loft 275 gallery space. The drawing intensive is inspired by a similar immersive program offered by the New York Studio School (NYSS) in the USA. Proudly supported by a Banyule Council Arts & Culture Project Grant. Opening Night: Tuesday, 23 April, 6pm–8pm.

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

Andrew Sibley, Picture Hat, 1973, oil and enamel on paper on board, 65 x 85 cm. Until 30 March BERLIN Andrew Sibley The final exhibition for Jacob Hoerner Galleries at Sutton Place, Carlton before the lease lapses in April and a new space is established in France in 2024/2025. Finissage: Saturday, 30 March, 4pm–6pm. All welcome.

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International Festival of Photography

Founding Partners

The Future Is Shaped by Those Who Can See It

Melbourne & Victoria

O1–24 March photo.org.au

Major Government Partners

Image: Darren Sylvester, Body be a soul, 2023. Courtesy the artist and Neon Parc.

photo.org.au

Horse on a Hill, 2010 140

13 March - 6 April 2024

Adam Cullen How Things Work

322 - 324 Lennox St. Richmond VIC 3121 +613 9429 2452 lennoxst.gallery

lennoxst.gallery

VICTORIA

Jewish Museum of Australia www.jewishmuseum.com.au 26 Alma Road, St Kilda, VIC 3182 [Map 6] 03 8534 3600 Tue to Fri 10am—5pm, Sun 10am—5pm. Closed on Jewish holidays.

an emotive interpretation of a single black-and-white photograph, while also referencing and subverting iconography of the Madonna and child. Known for her large-scale installations using replicas and original artefacts, Sanadze draws on the political, the familial – including her own family history in Georgia (former USSR) – and the poetic to examine peace, conflict and humanity.

Latrobe Regional Gallery

Lauraine Diggins Fine Art

Until 26 May No More Flags MacDonaldStrand

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.

Harry Nankin, The Veils 6 (THE FLIGHT OF FAUST), 2023. Archival inkjet print reiterating a gelatin silver shadowgram film. Print 90 x 100 cm.

Specialists in Australian Colonial, Impressionist, Modern, Contemporary and Indigenous Painting, Sculpture, Works on Paper and Decorative Arts.

29 February—2 June Instructions for Mending the World Harry Nankin

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

No More Flags is an ongoing project by MacDonaldStrand, the partnership of Clare Strand and Gordon MacDonald. The installation is made up of photographs of extreme right-wing marches in the UK and USA. The flags in these images have been crudely removed to withdraw the asserted legitimacy of these marches as being for the benefit of national identity. By taking the flags away from these nationalists, they hope to disempower them of the symbols that they rely on to spread their message. The resulting images show remarkably similar protagonists marching with blank flags, exposing the blank, monocultural, selfish and diminished society that they try to promote and celebrate. No More Flags is an official exhibition of PHOTO 2024 International Festival of Photography.

Harry Nankin’s Instructions for Mending the World at the Jewish Museum of Australia explores metamorphosis, repair and redemption, as depicted in a series of photographic films created using images of deep space. Nankin is a photographer, environmental artist and educator, who has spent more than forty years exploring the contested ethical, emotional and aesthetic meanings of the nonhuman world. His artistic style and the photographic techniques used in his work are reminiscent of the global ecological crisis, history and memory. Angelina Ngal, c.1947–, (Anmatyerr), Aharlper Country, 2006, (detail), synthetic polymer on linen, 200 x 137 cm.

Ying Ang, Untitled, from the series The Quickening, 2019. Courtesy the artist. Until 26 May The Quickening Ying Ang

Nina Sanadze, Hana and Child, 2023. Photograph: Christian Capurro. 29 February—9 June Hana and Child Nina Sanadze Nina Sanadze’s Hana and Child is an installation of clay sculptures throughout the Museum’s spaces depicting mothers with their children. Sanadze’s works offer

Emily Kam Kngwarray, c. 1910–1996, (Anmatyerr), Bush Potato Dreaming, 1991, synthetic polymer on canvas, 130 x 90 cm. March/April A selection of Aboriginal masterworks including Angelina Ngal, Richard Bell, Emily Kngwarray, Genevieve Kemarr Loy, Ningura Napurrurla, Pantjiya Nungurrayi, Gloria Petyarr, Kathleen Petyerre, Nancy Petyarr, Cowboy Loy Pwerl, Ronnie Tjampitjinpa, Terry Yumbulul & others.

The Quickening explores the transformation and lived experience of a woman in her motherhood/matrescence and postpartum depression/anxiety. The work interrogates the under-represented transition of biological, psychological, and social identity during a complex and yet ubiquitous phase of life. This is a Centre for Contemporary Photography touring exhibition. The Quickening is an official exhibition of PHOTO 2024 International Festival of Photography. 1 March–23 June The Valley James Bugg, Andy Johnson, Clare Steele, Anne Moffat 141

mes.net.au

VICTORIA Latrobe Regional Gallery continued...

Andy Johnson, LV Field Nats, 2023. Courtesy the artist. The Valley presents a body of work captured by four artists who have developed their photographic practices closely with local Melbourne gallery and photo lab, Hillvale—James Bugg, Anne Moffat, Clare Steele and Hillvale Photo cofounder, Andy Johnson. At the invitation of Latrobe Regional Gallery, they visited the Latrobe Valley in Gunai/Kurnai Country, Gippsland, Victoria over a six-month period. They were introduced to the community and the people and places that inhabit this rugged landscape made up of heavy industry and pastoralism. This image-making project is also an ongoing collaboration, as the photographers lead a series of workshops using Hillvale Photo’s recycled disposables, starting with local young people from Kurnai College’s Flexible Learning Option, and continuing over the autumn season, with participants’ work displayed alongside the artists. The Valley is an official exhibition of PHOTO 2024 International Festival of Photography.

THE LUME Melbourne www.thelumemelbourne.com Melbourne Convention and Exhibition Centre, 5 Convention Centre Place, South Wharf, Melbourne VIC [Map 2] Mon to Thur 10am–5.30pm (last entry 3.3pm), Fri 10am–8.30pm (last entry 6.30pm), Sat 10am–9.30pm (last entry 7.30pm), Sun 10am– 5.30pm, (last entry 3.30pm). See our website for latest information.

Adam Cullen, Horse on Hill, 2010. Image courtesy the Estate of the Artist and Lennox St. Gallery.

Image courtesy of THE LUME Melbourne. of Leonardo’s artistry. Artist, inventor, scientist, philosopher and musician, Leonardo da Vinci transcends his era. Not only did he create masterpieces never surpassed for their beauty, technique and anatomical accuracy; his pioneering contributions in architecture, engineering and even flight (to name but a few), laid the foundations for many modern innovations, making his influence more profound and far-reaching than anyone who has followed. Engaging all the senses with sights, sounds, scents, touch and taste, the intricate chronological narrative – woven through the streets of Florence, the canals of Venice and the grandeur of Milan – recreate the ambiance of the Renaissance and is meticulously curated to unveil the life and human side of Leonardo.

13 March—6 April How Things Work Adam Cullen

Linden New Art www.lindenarts.org 26 Acland Street, St Kilda, VIC 3182 [Map 6] 03 9534 0099 Tue to Sun 11am–4pm. See our website for latest information. Linden New Art supports brave new art by mid-career artists and engages visitors through inspiring, thought-provoking exhibitions of new work.

Lennox St. Gallery www.lennoxst.gallery 322-324 Lennox Street, Richmond, VIC 3121 [Map 6] 03 9429 2452 Tue to Fri 11am–6pm, Sat 11am–5pm. See our website for latest information.

Jill Orr, The Promised Land (Becoming), 2012, 160 x 120cm. Photograph: Christina Simons for Jill Orr. Image courtesy of the artist and THIS IS NO FANTASY. 24 February—19 May The Promised Land Refigured Jill Orr

From 16 March Leonardo da Vinci – 500 Years of Genius Dedicated to exploring the life of the greatest creative genius the world has ever known, Leonardo da Vinci – 500 Years of Genius presented by Webuild promises to be THE LUME’s most ambitious, immersive and breathtaking experience yet. Prepare to step inside the world’s most famous works of art as Mona Lisa and The Last Supper come to life on THE LUME’s colossal canvas. This ground-breaking showcase allows visitors to be immersed in the grandeur and intricacies of these masterpieces, providing an intimate encounter with the brilliance

Jorna Newberry, Ngintaka - Perentie #26, 2023. Image courtsey the artist and Lennox St. Gallery.

Aaron Christopher Rees, Firmament, Installation view, NAP Contemporary Art Gallery, Mildura, 2022. Image courtesy the artist.

21 February—9 March Ngayuku Ngura [My Country] Jorna Newberry

24 February—19 May Mirage Aaron Christopher Rees 143

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

McClelland Gallery + Sculpture Park www.mcclelland.org.au 390 McClelland Drive, Langwarrin, VIC 3910 03 9789 1671 Wed to Sun 10am–5pm. See our website for latest information.

30 March–30 June Visionary: Recent Donations to the McClelland Collection

Until 6 April Everlasting Happiness Deborah White

Continuing in the spirit in which McClelland Sculpture Park and Gallery. was gifted to the community in 1971, McClelland’s renowned collection of Australian and international sculpture has been shaped in large part by the vision of a large circle of generous donors. Visionary: Recent Donations to the McClelland Collection showcases a range of extraordinary works which have come into the collection over recent years. Artists include John Nixon, Rick Amor, Anne-Marie May, Sanne Mestrom, Scott Redford, Peter Corlett, Julius Kane, Vincas Jomantas and Erwin Fabian.

MAGMA Galleries www.magmagalleries.com 5 Bedford Street, Collingwood, VIC 3066 [Map 3] Wed to Fri 10am–4pm, Sat and Sun 11am–4pm. See our website for latest information.

Image courtesy of the artist. Until 6 April Childhood Cheeks, Grown-Up Madness Nani Puspasari

Melbourne Holocaust Museum www.mhm.org.au

Lauren Berkowitz, born Melbourne 1965, lives and works Melbourne, White residue, 2010, cricket ball offcuts, thread, 350 x 200 cm (approx). McClelland Collection. Donated through the Australian Government’s Cultural Gifts Program by Igor Zambelli. Image credit: Mark Ashkanasy.

13 Selwyn Street, Elsternwick, VIC 3185 (03) 9528 1985 Tue to Thu 2pm–7pm, Sun 10am–6pm. See our website for latest information.

Christophe Stibio, West Macdonnell Ranges, 2022, acrylic, shredded classified documents and rice paper on cotton duck, 155 x 185 cm. 21 March–21 April Days Will Be Days, Nights Will Be Nights, Until… Christophe Stibio Opening Thursday, 21 March, from 6pm.

Manningham Art Gallery www.manningham.vic.gov.au/gallery Manningham City Square (MC²), 687 Doncaster Road, Doncaster, VIC 3108 [Map 4] 03 9840 9367 Wed to Sat 11am–4pm. Anne-Marie May, born Melbourne 1965, lives and works Melbourne, Drawing 373 (flexing and unfolding), 2020, thermally formed acrylic, individually shaped from sheet side, 180 x 120 cm. McClelland Collection. Donated through the Australian Government’s Cultural Gifts Program. Image credit: Christian Capurro. 144

Image courtesy of the artist.

Fragments of memories: A reimagining of the Czestochowa Old Synagogue ceiling, 2022. Ongoing Everybody Had a Name Everybody had a name – nobody has a grave: This is what Holocaust survivor Tuvia Lipson would tell visitors when sharing his story of survival. The experiences shared in our Everybody Had a Name exhibition form a collective history of the Holocaust, from a uniquely Melbourne perspective. It honours the survivors who migrated here. Those who built a strong community from the ashes of the Holocaust – determined to inspire and educate future generations.

VICTORIA

Midnight in Paris

charcoal burning industry of the Riverland region in the late 1800’s to early 1900’s.

www.midnightinparis.com.au

9 March–28 April Collective Movements: First Nations Collectives, Collaborations and Creative Practices from across Victoria

71 High Street, Prahran, VIC 3181 [Map 6] 03 9510 9312 Tue and Wed 11am–5pm, Thu to Sat 11am–11pm .

A wide-ranging project focusing on the work of historic and contemporary First Nations creative practitioners and community groups from across Victoria that recognises collectivity as integral to Indigenous knowledges and ways of being. An exhibition, publishing project, conversation and workshop platform, the project begins with the desire to make more visible a language and terminology beyond Western art concepts of ‘collaboration’ and ‘collectivism’—one that better describes and acknowledges the way Indigenous creatives work within a broader community and its inheritances.

Tommy Salmon, Misty Mountain Swamp, photograph. 1 March—30 March In house artists exhibition Jennifer Taranto, Tommy Salmon, Rory Garland, Van Xavier

Katrina Wheaton, Love Colour Hound, 2022, acrylic and oil pastel. highlight the welfare and care of rescue pets. Every style, every medium, every ‘ism’, every hound.

Collective Movements is a MUMA / NETS Victoria touring exhibition, curated by Kate ten Buuren, Maya Hodge and N’Arweet Professor Carolyn Briggs AM PhD with advice from Professor Brian Martin. This project has been supported by the Victorian Government through Creative Victoria and the Australian Government through Creative Australia, its principal arts investment and advisory body.

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.

Anthony Breslin, True Blue Kangaroo. 6 April—27 April Frogtopia Anthony Breslin

Mildura Arts Centre www.milduraartscentre.com.au 199 Cureton Avenue, Mildura, VIC 3500 [Map 1] 03 5018 8330 Open Daily 10am–4pm. Until 10 March Love Art. Love Hound. Katrina Wheaton Artist and teacher Katrina Wheaton’s adopted greyhound Amy is her art muse. Katrina has incorporated Amy into her visual art lessons with students throughout her teaching career. Amy has been recreated into nearly every art form, every ‘ism’, every medium. Through hound art, students are educated about all types of artists, different art forms and how to work with many mediums as well as

Rhian McLeod, Fossey’s after work today?, 2023, pen and ink. Until 14 April Abloom Rhian McLeod Inspired by the beauty and the calm of the familiar, Abloom explores personal connections to the Mallee through objects that elicit memories that are precious in each piece. Rhian captures and celebrates the gifts Sunraysia has on offer and is resoundingly known for, from locally produced gin and wine to citrus and pottery by artisans. Until 14 April The object of labour, the place of redemption Emiko Artemis A contemporary multimedia exhibition by regionally based South Australian artist, Emiko Artemis. Emiko has been interested in the exploration of history, time, and the place of women in the recollection of history. Emiko’s work has also explored how we use our bodies to move through space and navigate the world around us. For this exhibition, Emiko investigated the

WAH-WAH x Ramesh Mario Nithiyendran, 2022, Australian merino wool as modelled by Ramesh, Kirthana Selvaraj, Remy Faint, Julie Faint. Stylist Kirsty Barros. Photo Lexi Laphor. Courtesy of WAH-WAH Australia. 2 March–11 May New Exuberance: Contemporary Australian Textile Design 145

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VICTORIA Mornington Peninsula Regional Gallery continued... A JamFactory Touring Exhibition curated by Meryl Ryan. Contemporary art, design and fashion come together in the JamFactory travelling exhibition that celebrates creative collaboration, sustainability and the versatility of textile craft through storytelling and conceptual ideas, highlighting a renewed confidence in community-driven products. More than 30 creatives and 10 commissioned works including from Ikuntji Artists, Iordanes Spyridon Gogos, Grace Lillian Lee and Romance Was Born.

Monash University MADA Gallery www.artdes.monash.edu/gallery Monash University, Caulfield Campus, Building D, Ground Floor, 900 Dandenong Road, Caulfield East, VIC 3145. Mon to Fri 10am–5pm, Sat 12pm— 5pm during exhibitions. Free entry. See our website for latest information.

Edward Burtynsky, Ravensworth Coal Tailing #1, Ravensworth Mine, Hunter Valley, New South Wales, Australia, 2022. © Edward Burtynsky, courtesy Flowers Gallery, Hong Kong / Sundaram Tagore Galleries, Singapore. A series of projects exhibiting at MAPh as part of PHOTO 2024 international festival of photography. Edward Burtynsky | Extraction (pictured); Janet Laurence | Tears of dust; Sonia Payes | Renaissance: A journey of transformation; Corben Mudjandi | 009; Lingam.K | Melting icescapes/black landscapes. In partnership with PHOTO 2024. Extraction, 009 and Renaissance are supported by the Albert and Barbara Tucker Foundation; Tears of dust is supported by the Albert and Barbara Tucker Foundation, the Luminaries and MAPh Foundation; 009 is co-curated by Agency.

Michael Najjar, arctic elegy, 2022, courtesy of the artist. 1 March—24 March MAPh X PHOTO 2024 |A constant state of transformation

Trent Walter, Untitled. 3 February—23 March Trent Walter’s PhD exhibition Trent Walter Trent Walter’s practical component of PhD research as an Exhibition at MADA Gallery.

Museum of Australian Photography (MAPh) www.maph.org.au 860 Ferntree Gully Road, Wheelers Hill, VIC 3150 [Map 4] 03 8544 0500 Tue to Fri 10am–5pm, Sat and Sun 10am–4pm. See our website for latest information. 1 March—26 May MAPh X PHOTO 2024 | Environmental futures

A series of projects exhibiting at Arts @ Collins as part of PHOTO 2024 international festival of photography. Michael Najjar | cool earth (pictured); Xiao Wei Huang | My visual diary and AI; Leela Schauble | Portals. In partnership with PHOTO 2024. A constant state of transformation is supported by the Australia China Art Foundation (ACAF), Arts @ Collins and the MAPh X ACAF Circle. Museum of Australian Photography/Arts @ Collins, Level 2 417 Collins St, Melbourne; maph.org.au.

Aman Chotani. Tribal women, Brokpa, The Aryans, 2023, Leh, Ladakh, Edition No: 1/10. 24 February–24 March Ladakh: Race Against Time – Photography Exhibition Aman Chotani Aman Chotani, one of the most acclaimed Indian travel and lifestyle photographers, best known for his tremendous The Last Avatar Project, has released a series of works devoted to the northernmost region of India, Ladakh, exploring the culture of the region formed by the unique nature and rich history in the context of modern times and the continuity of traditions. The project invites viewers to contemplate the coexistence of humanity and nature frozen in the frame. This is an opportunity to see, through the lens of Aman Chotani, the colourful and varied mosaic of life of the fascinating Ladakh and the inner beauty of people who have been living and thriving in harsh nature at an altitude of 3-5 thousand meters above sea level for centuries, like “flowers growing on rocks,” facing new challenges of time without losing faith.

National Gallery of Victoria— NGV International 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.

Mystik River Gallery www.mystikriver.com.au Shop M8, Level 1, Southgate Restaurant & Shopping Centre, 3 Southgate Avenue, Southbank, Melbourne VIC 3006 0458 854 898 Mon to Thurs 10am–6pm, Fri to Sun 11am–7pm. See our website for latest information.

Installation view of Shelia Hicks’ work Nowhere to go on display as part of NGV Triennial from 3 December 2023–7 April, 2024 at NGV International, Melbourne. Photograph: Sean Fennessy. Until 7 April NGV Triennial 2023 147

CHRISTOPHE STIBIO DAYS WILL BE DAYS, NIGHTS WILL BE NIGHTS, UNTIL...

21MAR - 21APR

WWW.MAGMAGALLERIES.COM magmagalleries.com

VICTORIA

National Gallery of Victoria → Jonathon World Peace Bush painting. Courtesy of the artist, Jilamara Arts and Crafts Association. Photograph: Leicolhn McKellar. National Gallery of Victoria continued...

Open Daily 10am–5pm.

Neon Parc www.neonparc.com.au Neon Parc Brunswick 15 Tinning Street Brunswick 3056 [Map 5] Wed to Sat 12–5pm, or by appt. 03 9663 0911

Young visitors enjoying RIFIFI: Jean Jullien for Kids on display as part of NGV Triennial from 3 December 2023–7 April, 2024 at NGV International, Melbourne. Photograph: Kate Shanasy. Until 7 April RIFIFI: Jean Jullien for Kids Until 7 April MECCA x NGV Women in Design Commission: Bethan Laura Wood Until 16 June 2023 NGV Architecture Commission: (This is) Air Nic Brunsdon

National Gallery of Victoria—The Ian Potter Centre NGV Australia www.ngv.vic.gov.au Federation Square, corner Russell and Flinders streets, Melbourne, VIC 3000 [Map 2] 03 8620 2222

Installation view of Wurrdha Marra on display at The Ian Potter Centre: NGV Australia from 12 October 2023. Photograph: Tom Ross.

Neon Parc South Yarra 1 Hazeldon Place, South Yarra, VIC 3141 Thu to Sat 12–5pm, or by appt. +61 401 024 329 See our website for latest information.

Now showing Wurrdha Marra Wurrdha Marra is a dynamic exhibition space in which familiar works from the NGV’s collection of First Nations Australian art and design are displayed alongside new acquisitions. From 14 March Top Arts 22 March—4 August My Country: Country Road First Nations Commissions Until 14 April Watercolour Country: 100 Works from Hermannsburg This exhibition brings together one hundred watercolours made by Aranda, Western Aranda, Eastern Aranda and Kemarre/Loritja artists working at Ntaria/ Hermannsburg, across generations.

Fergus Binns, Jellybeans, 2013, synthetic polymer paint on canvas, 152 x 152 cm. 23 March—27 April Notes to Citizen Fergus Binns 149

COLOUR IS ENOUGH Curated by David Sequeira

Wendy Dawson Ruth Howard Julian Martin A.D.S Donaldson Eleanor Louise Butt Nancy Constandelia Renee Cosgrave Rox De Luca Mikala Dwyer Louise Gresswell

Aaron Martin Jackson McLaren John Nixon Ron Robertson-Swann David Serisier Madeline Simm Lachlan Stonehouse David Thomas Sam George & Lisa Radford and more...

6 April – 18 May ARTWORK: Ruth Howard. Untitled (detail), 2023. Ceramic 15x12x10cm © Copyright the artist, represented by Arts Project Australia

artsproject.org.au

VICTORIA Neon Parc continued...

7 March–24 March THREE Josh Searle, Gemma Leslie, Stephanie Jook, Dan Bean, Aileen Corbett, Allister Paterson.

of dolls heads in glass domes are juxtaposed with large photographic portraits of bodies sprouting flowers, provoking ideas of death and rebirth whilst conveying a message of resilience and transformation. The exhibition highlights the passing of time and the throwaway nature of our society. Once precious, now discarded items collected from op shops such as antique cake stands and porcelain dolls are repurposed and assembled into precious symbols of strength and wisdom. By reflecting on the artist’s personal experience of loss, through the death of a friend and watching family members suffer from dementia, Lost in Time intertwines the concept of living ghosts with the idea of ghosts from times past.

Platform Arts Darren Sylvester, Snow Angel. 2024, archival injet print, 160 x 120 cm. 1 March—24 March The Doom Buggies Darren Sylvester

Niagara Galleries www.niagaragalleries.com.au 245 Punt Road, Richmond, VIC 3121 [Map 6] 03 9429 3666 Wed to Sat 12pm–5pm, or by appointment. See our website for latest information.

North Gallery www.northgallery.com.au Level 1 55/57, Gertrude Street, Fitzroy, VIC 3065 [Map 3] 0438 055 253 Tue to Sat 10am–5pm. See our website for latest information.

www.platformarts.org.au Billie Justice Thomson. Photograph: Sia Duff. 12 April–27 April Don’t Bring Anything Billie Justice Thomson

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. See our website for latest information. PG Gallery supports a large number of the most important printmaking artists practicing today. Visit our Brunswick Street gallery space and stock room or shop online.

60 Little Malop Street, Cnr Gheringhap and Little Malop Streets, Geelong, VIC 3220 [Map 1] 03 5224 2815 Mon to Fri 9am–5pm. See our website for latest information. Until 15 March CURRENTS Angela Tiatia, Bonita Ely, Elena Betros Lopez, Georgia Nowak, James Geurts, Jazz Money, Kelping (Lichen Kelp and Dylan Martorell), OCEANS Lab (Fiona Hillary, Prue Francis, and Vicki Hallett), and Baai film artists (Atil Angeth, Kotnyin Thon, Martha Kudum and Nyang Mayen) CURRENTS is an exhibition that examines our relationship to water. Featuring the works of 15 contemporary artists, it looks at water as protagonist, collaborator, and material, inviting viewers to reflect on the dynamic forces that shape our interactions with this essential element. The works in CURRENTS contemplate tides, migration, ecosystems, climate change, saturation, sustenance, and hydration, and sit at the intersection of the

Pesky, Swirling, photographic giclee print, limited edition of 15, 100 x 88 cm. 16 April–27 April Lost in Time Pesky

Allister Paterson, Untitled (detail), 2023.

Lost in Time explores themes of femininity, objectification and ageing whilst subverting the idea of women as edible objects and display pieces. Assemblages

Mel Deerson and Briony Galligan. 151

Incinerator Art Award 2024 Call for applications 1–30 April The Incinerator Art Award is a nationally recognised exhibition dedicated to the theme of Art for Social Change. Incinerator Gallery is excited to invite entries from both emerging and established artists from all over Australia. Shortlisted artists receive prestigious recognition and a chance for a share of the $12,000 prize pool. Visit our website for details and to apply.

180 Holmes Road Aberfeldie 3040 11am to 4pm, Tuesday to Sunday except public holidays 03 9243 1750 incineratorgallery.com.au /incineratorgallery @incinerator_gallery incineratorgallery.com.au

VICTORIA

Platform Arts → Angela Tiatia (New Zealand/Samoa/Australia), Holding On, 2015. Courtesy the artist and Sullivan+Strumpf, Sydney | Singapore. © Angela Tiatia. Platform Arts continued... arts and sciences, amplify First Nations voices, and advocate for collective conservation. For more information on the events and exhibiting artists, please visit our website. Opening Saturday, 3 February, 4pm–6pm. 6 April—17 May fairy Manisha Anjali, Martin Boyd, Mel Deerson and Briony Galligan, Jeremy Eaton, Mathew Jones, Luca Lana, Danni McGrath, Spiros Panigirakis, Ari Tampubolon and Peter Waples-Crowe

Showcasing the best in contemporary printmaking the PCA Gallery operates a changing exhibition program that presents new works made by emerging and established practitioners, in both group or solo exhibitions. Print Council of Australia Inc. (PCA) is the peak body representing and connecting our national communities in printmaking and works on paper.

Curated by Mel Deerson & Spiros Panigirakis, fairy is an exhibition that envisages queerness as a slippery spirit that is hard to pin down. How does queerness and desire become visible? What are the possibilities and limitations of this? fairy plays out material and intangible ways queers circulate, contest and collect together. Opening Saturday, 6 April, 4pm–6pm.

Print Council of Australia Gallery www.printcouncil.org.au Studio 2 Guild, 152 Sturt Street, Southbank, VIC 3006 [Map 2] 03 9416 0150 Tue to Fri 10am–4pm. Open Sat & Sun, 11am–3pm during Biophilia. Open 11am–3pm, 26 April & 3 March. See our website for latest information.

Jonas Ropponen, We are Worms with Great Articulation, 2020, charcoal and pencil on paper, 77 x 57 cm. 20 February–8 March Smoron The Stone-departer Jonas Ropponen 19 March—12 April Biophillia Alexis Beckett, Nicholas Chilvers, Kate Gorringe-Smith, Andrej Kocis, Helen Kocis Edwards, Athena Lim Malamas, Helen Timbury, Jessi Wong, Rebecca Young.

Anthea Boesenberg, Remembered Sky 3, 2023, hand printed relief collagraph, 120 x 79 cm. 19 April—10 May The Poetics of Abstraction Anthea Bosenberg and Terese Kenyon Works on Paper – exploring the interplay between atmospherics, connectivity and the sensory.

153

galleryelysium.com.au

VICTORIA

Project8 Gallery www.project8.gallery Wurundjeri Country Level 2, 417 Collins Street, Melbourne, VIC 3000 [Map 2] 03 9380 8888 Wed to Sat 11am–6pm. See our website for latest information. 1 March—24 March PHOTO24 World premiere of A Constant State of Transformation curated by Anouska Phizacklea. Supported by MAPh x ACAF Circle, Arts @ Collins and the Australia China Art Foundation.

inquiry into the disparate and entangled natures of reductive, expanded and non-objective artforms in the twenty-first century. The exhibition includes painting on a range of materials together with sculptural explorations. Featuring Sadie Chandler, Richard Dunn, Craig Easton, Deven Marriner, Carol Cheng Mastroianni, Yuna Chun, Anne Scott Wilson, Rohan Schwarz, Mimi Zheng.

QDOS Fine Arts www.qdosarts.com

RACV Goldfields Resort www.racv.com.au/art 1500 Midland Hwy, Creswick, VIC 3363 [Map 1] 03 5345 9600 Daily 10am–5pm. See our website for latest information. RACV has art and art experiences designed for members and the public across all our clubs and resorts. Explore our art collection, events and exhibitions.

35 Allenvale Road, Lorne, VIC 3232 [Map 1] 03 5289 1989 Thu to Sun 9am–5pm..

Future Print Creswick, ArtHouse, 2024. Courtesy of Negative Press and Terry Hope photography. ArtHouse & Goldfields Gallery: Until 11 March Future Print Creswick

Sadie Chandler, Crystals, 2024, ink and acrylic on paper and cardboard, each approx 190 x 90 x 90 cm. Courtesy Charles Nodrum Gallery.

Peter Gardiner, The Table Series, 2023, oil on board, 120 x 100 cm.

Setting up a temporary print workshop at RACV Goldfields Resort’s ArtHouse, Negative Press founder, Trent Walter, has conducted a series of workshops that will reflect on the material, natural and representational aspects of Creswick. Visit ArtHouse to explore the outcome.

17 February—8 March Table Peter Gardiner 9 March—30 March Rohan Robinson

Steve Sedgwick, Sawmills, Kennett River, 2023, 122 x 152 cm.

Richard Dunn, Food + Poison, Stardust No. 7, 2019, acrylic and screen ink on canvas, 190 x 160 cm. Courtesy Charles Nodrum Gallery. 27 April–8 June OSCILLOFORMS

24 February—16 March Salt Country Steve Sedgwick 17 March—5 April Brigit Heller 6 April—26 April Des Smith

Jacob Raupach, Untitled, 2023, archival inkjet print. Courtesy the artist. 16 March–16 June Jacob Raupach: Circumspice Jacob Raupach is a photographer investigating the shifting history of industry across regional Australia. He uses photography to explore the struggle between trusting tradition and pursuing progress, presented in multiple formats.

Curated by Cura8 OSCILLOFORMS is a neologism encapsulating an experientially grounded 155

Release date 30 March 2024

“Gariwerd Grampians From the Mountains to the Plains” is a great achievement of all who have contributed to its realisation. It will be a fine addition to many homes and libraries and a treasured gift for many. Allan Myers AC., KC. 2024. (From the Foreword.)

O THE PL AINS LAUNCH

JENNI MITCHELL & GARIWERD GRAMPIANS MERVYN HANNAN

AMPIANS

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wonderland that is Gariwerd/ The Grampians. Their work is complemented by two disciplined yet accessible essays giving insights to the unique geology and the flora of the area. These are written respectively by Roland Maas (PhD) and Andrew Prior (University of Melbourne), and Rod Bird (PhD) and Diane Luhrs (PhD) from the Hamilton Field Naturalists’ Club. This is an exciting production from an emerging Melbourne publisher.

In Melbourne: Contact Cathy Oliver Streamline Publishing Shop 4 Midway Arcade, ELTHAM 3095 Ph: 0409 088 772 Or by ecommerce at www.streamlinepublishing.com.au

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Additional text by: Rod Bird and Diane Luhrs Roland Maas and Andrew Prior (Hamilton Field Naturalists Club) (University of Melbourne) Botanical insights Geological insights

GARIWERD GRAMPIANS F R O M T H E M O U N TA I N S T O T H E P L A I N S

ART AND PHOTOGRAPHY JENNI MITCHELL AND MERVYN HANNAN

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In Hamilton: Contact Jenni Mitchell and Mervyn Hannan Petschel House 107 Petschel’s Lane HAMILTON 3300 Ph: 0417 585 102

streamlinepublishing.com.au

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JENNI MITCHELL & GARIWERD GRAMPIANS MERVYN HANNAN

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VICTORIA

RMIT Gallery www.rmitgallery.com 344 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9925 1717 rmit.gallery@rmit.edu.au Facebook: RMITGalleries Instagram: @rmitgalleries Tue to Fri 11am–5pm, Sat 12.30pm–5pm. Free Admission.

Carlton, VIC 3053 Entry to Design Hub Gallery via the Victoria Street forecourt. Gallery located below street level. Instagram: @rmitgalleries Tue to Fri 11am–5pm, Sat 12.30pm–5pm. Free Admission.

1 March–27 April Works by CAMP

RMIT First Site Gallery

1 March–4 May Execute_Photography Alan Warbuton, Amrita Hepi, Dries Depoorter & Max Pinckers J. Rosenbaum, Memo Atken, Rosa Menkman, Sara Oscar, Sebastian Schmieg.

Ross Creek Gallery www.rubypilven.com/ross-creekgallery 183 Post Office Road, Smythes Creek, 3351 VIC [Map 4] 0430 886 428 Fri, Sat and Sun 11am–4pm during exhibitions, & Sat & Sun 11am–4pm outside of exhibitions.

CAMP, Bombay Tilts Down, 2022, 13 min, 14 sec, looped, seven-channel environment with music. Filmed by CCTV camera from a single-point location in South-Central Mumbai.

Sara Oscar, A hyperrealistic photograph of a pregnant Thai woman, tall woman in suit, falling luggage, chaos, airport parking lot, theatrical gestures, falling - scale 1:1, quality 1, 2023, AI generated image. Image courtesy of the artist.

caused her to be infertile. In an ongoing investigation of her own identity, she explores what it means to be a woman without the choice of giving birth.

www.rmit.edu.au/about/culture/ first-site-gallery

Nestled in the serene bushland just a short 10-minute drive from Ballarat, Wadawurrung Country. The contemporary gallery is seamlessly integrated with their mudbrick studio, creating a peaceful and inspiring environment. 2 March–17 March Of Land and Sky Damon Kowarsky Opening event: Saturday, 2 March, 3.30pm–6pm.

Basement/344 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9925 1717 rmit.gallery@rmit.edu.au Facebook: RMITGalleries Instagram: @rmitgalleries Tue to Fri 11am–5pm. Free Admission. See our website for latest information Petra Rodgers, Blankets. 23 March–7 April Recent paintings and drawings on plywood Petra Rodgers Closing event: Sunday, 7 April, 1pm–4pm.

Ulrich Wüst, Berlin, 1982. from the series Stadtbilder, 1979–1985, 16 x 24 cm .© Ulrich Wüst; ifa. 1 March–20 April Wanderings About History – The Photography of Ulrich Wüst Ulrich Wüst’s photographic work captures his wanderings through German history, portraying the social and urban transformations from the GDR and its disintegration, through the German reunification to the present day.

RMIT Design Hub Gallery www.designhub.rmit.edu.au Level 2, Building 100, RMIT University, Corner Victoria & Swanston Streets,

Cecilia Sordi Campos, benedictus fructus ventris, 2023. Image courtesy of the artist.

Amanda Western, Osprey.

Until 22 March Macumba On-Site with Cecilia Sordi Campos.

13 April–28 April Fragile Fight Amanda Western

Campos suffers from severe endometriosis, a condition that has

Opening event: Saturday, 13 April 1pm–4pm. 157

All that you’ve loved

David Frazer

Professor Sir Joseph Burke Gallery 19 March - 30 May The Gateway Building, Trinity College 100 Royal Parade, Parkville, VIC 3052

Exhibition Opening: Thursday 14 March 2024, 6.30-8.30pm RSVP: trybooking.com/CKWLS Enquiries: Briony O’Halloran 03 8341 0216 events@trinity.unimelb.edu.au Love Letter (panels I & II), 2020, linocut [detail] © the artist

trybooking.com/CKWLS

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hueandcry.com.au

VICTORIA

Rubicon ARI

Sullivan+Strumpf Melbourne

www.rubiconari.com.au

www.sullivanstrumpf.com

1/309 Queensberry Street, North Melbourne, VIC 3061 [Map 5] 0435 152 322 Weds to Sat 12noon–5pm. See our website for latest information.

107–109 Rupert Street, Collingwood, VIC 3066 03 7046 6489 Tue to Sat 10am–5pm, or by appointment.

21 February–9 March The Kothalo Project Manasee Jog

Until 9 March Djärritjarri - The Woven Cloth Dhopiya Yunupiŋu

Sad Sad Tears of a STAR Piper Tierney The Murmuring Kate Stewart 13 March–30 March Otherworld Kat Vonic Shingyo sketchbook 2000-2024: studies, bootlegs and remixes towards a complete s11 Heart Sutra Ben Uno

Ryan McGinley, YEARBOOK (detail — Honor T.), 2012. Courtesy the artist.

Dyslextionary Dan Withey

1 March—14 July Ryan McGinley: YEARBOOK

3 April–20 April 15 Steps above the Silver Phoenix Odessa Mahony-de Vries Pack Mentality Tallulah Ainsworth and Sophie Johnson Oh, what grievous sin it is Alex Slattery 24 April–11 May Landscape / Escape Caitlin Rigby Fruit/berry/herb: an irregular plural Aaron Perkins

Stockroom Kyneton www.stockroom.space 98 Piper Street, Kyneton, VIC 3444 [Map 4] 03 5422 3215 Thu to Sat 10.30am–5pm, Sun 11am–4pm.

Perennial series Dani Andree

3 February–10 March Nature Nurture Greg Wood

Shepparton Art Museum

3 February–10 March Healers Yuria Okamura

www.sheppartonartmuseum.com.au 530 Wyndham Street, Shepparton, VIC 3630 [Map 15] 03 4804 5000 Open 6 days. Closed Tuedays.

3 February–10 March Beauty Spot Laura Veleff

Julia Gutman. 21 March– 27 April Everyone you are looking at is also you Julia Gutman

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. See our website for latest information.

Located on Yorta Yorta Country and is one of Australia’s outstanding regional art museums, showcasing exhibitions and collections in new and exciting ways and creating a welcoming, inclusive and engaging space for all audiences. 11 November 2023—10 March The ARNDT Collection: From One World to Another 16 September 2023—15 April Beci Orpin: MUSH/ROOM - A Field Guide to Exploration 3 February—5 May Jen Valender: Field 19 August 2023—6 May Emma Coulter: spatial deconstruction #30 (social fabric). 16 December 2023—26 May (human) in nature

Laura Woodward, Remnant Act One, 2024, archival giclee print, limited edition of 5 + 2 AP. 16 March—21 April This Fearsome Drop Laura Woodward 16 March—21 April A foreign body Joshua Cocking 16 March—21 April Slab Angela Hayes

Clement Meadmore, Pendant Light for the T House, 1956, Three-legged Dining Table, 1955, Three-legged Plywood Chair, 1955. Harris/Atkins Collection. 159

ar t g ui d e .c o m . au TarraWarra Museum continued... Until 11 March Brent Harris: Surrender & Catch Curated by Maria Zagala and copresented with the Art Gallery of South Australia. 23 March–14 July SUPERsystems: Peter Atkins and Dana Harris Curated by Anthony Fitzpatrick. 23 March–14 July The Industrial Design of Clement Meadmore: The Harris/Atkins Collection

Coinciding with Scarce’s mammoth survey exhibition at the Art Gallery of Western Australia, and following the extraordinary response to her work at the 2023 Armory Show in New York, Scarce’s exhibition at THIS IS NO FANTASY showcases her photographic, textile and glass works. Scarce reflects on her personal and family history in South Australia, as well as touching on Australia’s foray into nuclear testing, and the impacts of colonisation on First Nations people – illuminating her desire to bring the darkest shadows of Australia’s past into the direct light of day. Addressing the theme The Future Is Shaped by Those Who Can See It, PHOTO 2024’s expansive program invites audiences to discover the possible and parallel futures that lie ahead, and how current actions are shaping future realities – from AI-generated images and surveillance evasion to climate futures and animal espionage.

Hilarie Mais, Bay, 2001, TarraWarra Museum of Art collection. Gift of Eva Besen AO and Marc Besen AO. Donated through the Australian Government’s Cultural Gifts Program 2012. © Hilarie Mais. 23 March–14 July Systems and Structures: A Focus on the TarraWarra Museum of Art Collection

THIS IS NO FANTASY

3 April–30 April Amos Gebhardt

Town Hall Gallery www.boroondara.vic.gov.au/arts 360 Burwood Road, Hawthorn, VIC 3122 [Map 4] 03 9278 4770 Mon to Fri 10am–5pm, Saturday 12pm–4pm, Closed Sundays and public holidays. See our website for latest information.

17 April–11 May Plots and Grounds Joel Arthur Joel Arthur’s first solo show with THIS IS NO FANTASY, Plots and Grounds explores the human impression on urban and social landscapes. Arthur’s vibrant oil paintings reflect on modernism, urban development, and the division of land, and questions the notion of ownership in contemporary society. Exhibition opening: Saturday, 20 April, 2pm–4pm.

Mechelle Bounpraseuth, Bánh mì, 2022, glazed earthenware, 12 x 19 x 14 cm. Image courtesy of the artist and Chalk Horse. 7 February–27 April DISH

Tolarno Galleries

Mechelle Bounpraseuth, ChiliPhilly, Zena Cumpston, Laetitia Olivier-Gargano, Callum Preston, Rasha Tayeh and Elizabeth Willing.

www.thisisnofantasy.com 108-110 Gertrude Street, Fitzroy, VIC 3065 [Map 3] 03 9417 7172 Tue to Fri 11am–5pm, Sat 12noon–5pm.

1 March–20 April swansongs Rosemary Laing

www.tolarnogalleries.com Level 5, 104 Exhibition Street, Melbourne, VIC 3000 03 9654 6000 Tue to Fri 10am–5pm, Sat 1pm–4pm. See our website for latest information.

DISH is a major exhibition indulging in the beauty and complexity of food, featuring contemporary crafts, sculpture, printmaking and stories.

Piper Wright, Maycee, 2023, acrylic on canvas, 30 x 40 cm. Image courtesy of the artist. 13 March—27 April The Future is Interest-spective Autism Spectrum Australia The Future is Interest-spective by Autism Spectrum Australia is a community exhibition celebrating the diverse perspectives, experiences, and voices within the Autistic community.

Yhonnie Scarce, Koonibba, 2023, screen print on calico with iron-ore pigment, 200 x 300 cm. Image courtesy of Yhonnie Scarce and THIS IS NO FANTASY.

Ben Quilty, Sonny 9, 2023, oil on linen, 61 x 51 cm. Courtesy the artist and Tolarno Galleries.

Until 28 March Photo 2024: Shroud of Secrecy Yhonnie Scarce

Until 23 March “SONNY” Ben Quilty

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20 March—4 May Old Hawthorn, Fresh Eyes Hawthorn Historical Society Old Hawthorn, Fresh Eyes is a community exhibition by the Hawthorn Historical Society, unpacking complex narratives and hidden stories that enrich our society.

VICTORIA

Vivien Anderson Gallery www.vivienandersongallery.com 284–290 St Kilda Road, St Kilda, VIC 3182 03 8598 9657 Tue to Fri 11am–5pm, Sat 12pm–4pm.

You are invited to participate in this fun and immersive installation. Engage with the community through self-reflection, mass production and ethical ways of reusing broken and unwanted objects. Explore this reflective space and foster important conversations about the environment and cultural diversity. Through play, collaboration and interaction let your creativity shine. The artwork encourages you to connect and reflect on the community’s nostalgic dreams through a unique sensory experience.

Watercolour Society of Victoria www.watercoloursocietyofvictoria.com.au Victorian Artists Society, 430 Albert Street, East Melbourne, VIC 3002 Mon to Fri 10am–4pm, Sat & Sun 11am–4pm. Free admission.

Wangaratta Art Gallery www.wangarattaartgallery.com.au 56 Ovens Street, Wangaratta, VIC 3677 [Map 1] 03 5722 0865 Tue to Sun 10am–4pm.

Lynn Ward Napangardi, Tali, 2022, synthetic polymer paint on canvas, 183 x 122 cm. Provenance: Papunya Tjupi Arts, NT, cat 288-22. 20 March–27 April The Women’s Show Our annual exhibition by contemporary Indigenous Australian women artists in recognition of their expanding contribution to Australian and International visual arts and culture.

Maissa Alameddine, Inherit: Transfer: a conversation, 2021, pigment print on archival cotton rag paper, 50 x 37.5 cm. 2 March—20 April In Grief Maissa Alameddine and Emily McIntosh 27 April—23 June Petite Miniature Textiles 2024

Walker Street Gallery and Arts Centre

Alison Fincher, Low Tide.

www.greaterdandenong.vic.gov.au/arts Corner of Walker and Robinson Streets, Dandenong, VIC 3175 03 9706 8441 Tue to Fri 12pm–4pm.

Colin Peel, Water Lilies.

Liz Williamson, Weaving Eucalypts Project, 2020-22, (detail, installation view UNSW Galleries), Silk dyed by artists in Australia, Bangladesh, India, Indonesia, Malaysia, New Zealand, Pakistan, Sri Lanka and South Africa with locally sourced eucalyptus leaves, bark or twigs; dyed silk handwoven as weft into a linen and cotton warp. Photograph: Jacquie Manning. 24 February—14 April Weaving Eucalypts Project Liz Williamson A UNSW Galleries touring exhibition.

A Tra$hy Rhapsody, First Site Gallery opening, July 2022. Photograph: Keelan O’Hehir.

20 April—9 June Shadow Murmurs Julie Monroe-Allison

19 March—8 June A Tra$hy Dreamland Moon Girle

1 March—29 May Hints of the Valley Joan Mullarvey

17 May–27 May Luminous – A Festival of Watercolour: Watercolour Society of Victoria Celebrates 50 Years Robert Wade (OAM), Kenneth Jack (AM), Joseph Zbukvic, Amanda Hyatt, Tony Smibert, John Borrack, Marc Folly, Eudes Correia, Chien Chung-Wei, Alvaro Castagnet, Thomas Schaller and more. This exhibition will showcase a stellar collection of watercolour artists. Over 100 quality watercolours from past masters, current International stars and local artists. It is rare that Melbourne sees an exhibition dedicated to the watercolour medium through works by a cross-section of renowned artists, past and present. The Watercolour Society of Victoria is hosting a 50th Anniversary Exhibition and on display are artists that excel with this challenging and spontaneous medium. Supported by the City of Melbourne Arts Grants.

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Circling the plane

Lorna Quinn & Eleanor Amor O3- 26 April, 2024 Curated by Isabella Hone-Saunders Seventh Gallery, 215 Church Street Quo-Yung / Richmond VIC 3121 Wednesday to Saturday 12-6pm

seventhgallery.org

HUE & CRY GALLERY ANALOGUE ACADEMY

06.04 27.04.20 24

GEELONG PHOTOGRAPHIC PORTRAIT PRIZE

Opening Celebration 7-9pm 06.04 @thehueandcrycollective @analogueacademy www.analogueacademy.com.au 64-66 Ryrie St, Geelong, VIC, 3220 162

analogueacademy.com.au

VICTORIA

West Space

Wyndham Art Gallery

www.westspace.org.au

www.wyndham.vic.gov.au/arts

Collingwood Yards, 102/30 Perry Street, Collingwood, VIC 3066 [Map 3] Wed to Fri 11am–6pm, Sat 12–4pm.

177 Watton Street, Werribee, VIC 3030 [Map 1] 03 8734 6021 Mon to Fri 9am–4pm, Sat and Sun 11am–4pm. Closed on public holidays.

Carolyn Lewens, Mona Lisa, 1993. Whitehorse Art Collection. Copyright the artist.

Portrait of wani toaishara, 2023.

8 March–4 May Mona Lisa & Friends: Portraits from the Whitehorse Art Collection and Community Artists

1 March—11 May wani toaishara: a most beautiful experiment West Space is thrilled to premiere new work by Congolese artist wani toaishara in partnership with Multicultural Arts Victoria for PHOTO 2024. With a most beautiful experiment, wani responds to artist Jean Depara’s documentation of Kinshasa’s nightlife through film installation, blending past and present in a form of temporal collapse. This work is an attempt at materialising Black life, love, and resilience as art forms in and of themselves, democratising access to the tools of freedom-making, and claiming necessary space in which to unpack liberation as both an independent and a collective act.

Sunil Gupta, Thee New Pre-Raphaelites. Image courtesy the artist and Hales Gallery, Materià Gallery, Stephen Bulger Gallery and Vadehra Art Gallery. © Sunil Gupta. All Rights Reserved, DACS 2024. Until 17 April The New Pre-Raphaelites Sunil Gupta

Experience the variety of portraits held within the Whitehorse Art Collection plus those created by local artists in Mona Lisa & Friends. A Carolyn Lewens cyanotype print Mona Lisa of 1993 provides a point of inspiration for this exhibition, which draws together both contemporary and historical approaches to portraiture.

Yarra Ranges Regional Museum www.yarraranges.vic.gov.au/ Experience/Yarra-Ranges-Regional-Museum 35-37 Castella Street, Lilydale, VIC 3140 [Map 1] 03 9294 6511 Wed to Sun 12pm–4pm. See our website for latest information.

Melissa Nguyen, Water Street by Night, 2023. 1 March—6 April Melissa Nguyen: Water Street by Night West Space presents new work by Melissa Nguyen (Vic) in our micro-project space, the West Space Window. Water Street by Night is a print-based painting exploring Vietnam’s relationship with replication and mechanical reproduction through methods of appropriation. With source imagery from the Vietnamese Cabaret Show, Paris by Night, the work uses bootleg aesthetics as a filter to consider notions of Orientalism and Western perceptions, diasporic cultural experiences, and personal nostalgia. In 2023, Melissa was the inaugural West Space artist-in-residence, awarded a fully subsidised studio directly above our gallery and office, as part of our partnership with Melbourne University’s Victorian College of the Arts.

Queer PHOTO Project Hub (installation view), Wyndham Art Gallery. Until 17 April Queer PHOTO Project Hub Karla Dickens, Asafe Ghalib, Sunil Gupta, Peter Waples-Crowe

Whitehorse Artspace www.creativewhitehorse.vic.gov. au/venues/artspace Box Hill Town Hall, 1022 Whitehorse Road, Box Hill, VIC 3128 [Map 4] 03 9262 6250 Tue to Fri 10am–4pm, Sat 12pm–4pm.

Sally M Nangala and Marlene Rubuntja, Arrkutja Tharra, Kungka Kutjara, Two Girls (still), 2023. Until 28 March Two Girls from Amoonguna Sally M Nangala Mulda and Marlene Rubuntja An ACMI touring exhibition. 6 April–26 May Transformations: Art of the Scott Sisters A touring exhibition produced by the Australian Museum.

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New South Wales

MARCH/APRIL 2024

NEW S OUTH WALES

314 Abercrombie Gallery

Art Gallery of New South Wales - South building

www.314abercrombie.gallery 314 Abercrombie Street, Darlington, NSW 2008 [Map 14] 0404 146 738 See our website for latest information. This small, inviting, bright gallery nestled snugly in Darlington beside the Redfern area is the up-and-coming art precinct of Sydney. We have Carrigeworks, the White Rabbit and many smaller galleries nearby.

www.artgallery.nsw.gov.au

Tjanpi Desert Weavers Cynthia Charra, Noreen Heffernan, Maringka Tunkin, Tjanpi (desert grass), hand-dyed raffia, acrylic wool, wire, repurposed metal and plastic from discarded prams, trolleys, toys and abandoned cars. Artbank Collection, Purchased 2023. Photo by Fiona Morrison 29 February—29 March Artbank Window Gallery – Are we there yet? Curated by Artbank Inspired by the Australian road trip, Are we there yet? Brings together artworks from Artbank’s national collection that capture both the awe and mundanity that can be inspired by the act of looking out the car window and the importance of car travel to bring people and families together.

Stefan Kater. 4 May–13 May Landscapes Stefan Kater This collection is both breathtaking and relaxing; landscapes of changing light, colour, movement, and texture. Get a sneak preview of Stefan’s unique style - come along and tell us how you would describe this work. Personal viewings are available upon request. Exhibition opening: Saturday, 4 May, 4pm–8pm.

Annandale Galleries www.annandalegalleries.com.au 110 Trafalgar Street, Annandale, Sydney, NSW 2038 [Map 7] 02 9552 1699 Wed to Sat 11am–4pm.

Art Gallery of New South Wales - North Building www.artgallery.nsw.gov.au Art Gallery Road, The Domain, Sydney, NSW 2000 [Map 8] 02 9225 1700 Daily 10am–5pm, Wed until late. See our website for latest information Until 10 March Kandinsky Showcasing the life and work of one of the most influential and best-loved European modernists. This comprehensive exhibition, curated with the Solomon R. Guggenheim Museum in New York, draws from the Guggenheim’s rich holdings to reveal Kandinsky’s work in depth.

Experience the strange beauty and emotional power of Louise Bourgeois’s art, in the largest exhibition of her work ever seen in Australia.

Maru Yacco, Form of Happiness, 1996, Photo by ZIGEN. 9 March–10 June 24th Biennale of Sydney: Ten Thousand Suns Titled Ten Thousand Suns and curated by co-artistic directors Cosmin Costinaş and Inti Guerrero, the 24th Biennale of Sydney seeks to convey a ‘solar joy’ of cultural multiplicities – the constellation of factors that contribute to our different identities. Ongoing Yiribana Gallery The Yiribana Gallery features a selection of new acquisitions is displayed alongside collection highlights from the Aboriginal and Torres Strait Islander art collection, showcasing the diversity of practice across the country, and across time, media and art styles.

www.artspace.org.au

www.artbank.gov.au

Artbank is part of the Australian Government Office for the Arts, in the Department of Infrastructure, Transport, Regional Development, Communications and the Arts. For 40 years Artbank has supported Australia’s contemporary art sector.

Until 28 April Louise Bourgeois: Has the Day Invaded the Night or Has the Night Invaded the Day?

Artspace

Artbank Sydney 222 Young Street, Waterloo, NSW 2017 [Map 9] 02 9697 6000 Tue to Thu 12pm–4pm or by appointment.

Art Gallery Road, The Domain, Sydney, NSW 2000 [Map 8] 02 9225 1700 Daily 10am–5pm, Wed until late. See our website for latest information.

Georgiana Houghton, Glory be to God, 1864, courtesy the Victorian Spiritualists’ Union Inc, Melbourne, Australia.

43–51 Cowper Wharf Roadway, Woolloomooloo, NSW 2011 [Map 8] 02 9356 0555 See our website for latest information.

Until 10 March Invisible Friends Georgiana Houghton

9 March–10 June 24th Biennale of Sydney: Ten Thousand Suns

In conjunction with the major exhibition Kandinsky at the Art Gallery of New South Wales, Invisible Friends is a rare Sydney showing of ‘spirit drawings’ created in the 1860s and ‘70s by Georgiana Houghton (1814–84).

Exhibiting artists at Artspace include: Doreen Chapman, Adebunmi Gbadabo, Li Jiun-Yang, r e a, Eric-Paul Riege, Sana Shahmuradova Tanska, and Trevor Yeung. Artistic Directors: Cosmin Costinaș and Inti Guerrero. 165

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Art Space on The Concourse www.willoughby.nsw.gov.au/arts 409 Victoria Avenue, Chatswood, NSW 2067 [Map 7] 0401 638 501 Wed to Sun 11am–5pm. See our website for latest information Until 24 March Smart Expressions 2024

Marta Madison, Oakhurst, Cremorne, 2023, watercolour on Arches hot press paper.

Willoughby City Council presents an exhibition of student artworks selected from the 2023 NSW HSC practical examination in Visual Arts.

with the current homeowners offering in-depth knowledge of the history of these houses and how they have been lovingly restored to their former glory.

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.

www.australiangalleries.com.au 15 Roylston Street, Paddington, NSW 2021 [Map 10] 02 9360 5177 Open daily 10am–6pm. See our website for latest information.

Simon Fieldhouse, Sydney Ferry Ride, 2023, ink on paper, 56 x 76 cm.

28 March–21 April HOME GROWN; A Critical Past

20 February–9 March Simon Fieldhouse

A group exhibition exploring how artists respond to the past to inform the future.

20 February–9 March It is at eye level where I aspire to be Deborah Williams

HOME GROWN; A Critical Past seeks to synthesise what matters to artists and the role it plays in giving voice to community concerns, with a special perspective of looking at the past to find solutions for the future. 24 April–5 May A Place to Call Home Marta Madison Celebrating NSW Heritage Month, this exhibition of hand-painted watercolours by Marta Madison showcases Victorian, Georgian, Edwardian, Arts and Craft, Federation and post-war houses throughout NSW and Victoria. Pencil sketches and artefacts accompany the exhibition, as well as recorded interviews 166

Asante’s work is featured alongside artworks made by students from Liverpool Boys and Liverpool Girls High Schools, through a series of workshops facilitated by the artist and supported by CuriousWorks and Western Sydney University.

Australian Galleries

Kathie Najar, A Whisper of Hope, 2024, watercolour and pencil on paper.

We know the future poses many challenges, but what can we take from the past into the future? Similarly, what should we leave behind to better inform future decision making? Reality collapse, global tensions, climate change, increased loneliness, social unrest and events that will necessitate migration are but a few current and impending affairs that make our sense of the future seem uncertain.

Photograph: Samantha Barahona. Courtesy of CuriousWorks.

19 March–13 April Michael Le Grand 19 March–13 April Sue Anderson 23 April–11 May Dianne Fogwell 23 April–11 May Nick Howson

Bankstown Arts Centre www.cbcity.nsw.gov.au/arts-centre 5 Olympic Parade, Bankstown, NSW 22 [Map 11] 02 9707 5400 Tue to Sat 10am–4pm. 9 March–27 April Utopia: Painting for peace and cultural wellbeing Explores ideas around peace and wellbeing through the eyes of young people. Western Sydney artist Emmanuel

Caroline Garcia, 3D-printed polylactic acid filament, 86 x 7.6 x 6.3 cm, 2022 ongoing. Courtesy of the artist. 9 March–27 April Flux + Flow Caroline Garcia (NYC/Sydney), Kristina Mah (Sydney), Michellie Jade Charvat (Bendigo) A ground-breaking transdisciplinary exhibition, Flux + Flow uncovers the expansive creative potential when two distinct disciplines of martial arts and contemporary art converge. The works of all three featured artists are deeply informed by their martial arts practice. New York based Caroline Garcia employs symbols and systems of Kali and Jeet Kune Do to recuperate violence as a means of engaging with themes of identity, immigration and safety. Western Sydney resident Kristina Mah channels her karate practices into somatic explorations of aesthetics through the lens of media technologies. Palawan artist (Bendigo based) Michellie Jade Charvat reflects on her relationship with her First Nations heritage, spiritual practices and beliefs through the context of Muay Thai with creative processes rooted in digital drawing, print media and photography. The conjunction of the martial and contemporary arts lies in the state of flow, where discursive thought and judgement dissolves, giving way to instinct driven, heightened awareness.

NEW S OUTH WALES

Bathurst Regional Art Gallery www.bathurstart.com.au Wiradjuri Country 70–78 Keppel Street, Bathurst, NSW 2795 [Map 12] 02 6333 6555 Tue to Fri 10am–5pm, Weekends and public holidays 10am–2pm, closed Mon. See our website for more information.

Blacktown Arts 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.

Bathurst Regional Art Gallery (BRAG) is one of the oldest regional galleries in NSW. It is a professionally staffed facility owned and operated by Bathurst Regional Council.

Michelle Catanzaro, There is NO PLANet B, Climate justice for the next generation, 2023, digital photograph, 95 x 70 cm. Courtesy of the gallery. 16 January–5 April Blacktown City Art Prize

Deborah Kelly, For CREATION (detail), 2021, digital animation from paper collage, 5:32 minutes. Courtesy of the artist. Until 21 April Deborah Kelly: CREATION Bathurst Regional Art Gallery presents Deborah Kelly: CREATION — a queer insurrectionary science fiction climate change religion, unfurling through years of collaborations across generations, identities, artforms and sites. The work manifests in human encounters; through exhibitions, performances and public workshops. Defying fires, floods, fevers and emboldened discriminatory exclusion dressed up as ‘religious freedom’, CREATION works with marginalised communities to develop a vivid new belief system. Ways to gather, to commune; a framework for imagining a place in a more than human world. An elaborate queer lattice to support the viridian and the speculative. CREATION confronts climate crisis and truth decay with a crowdsourced faith drawn from practical politics, mysticism and collectivity. Through cross-disciplinary projects, public brainstorms and participatory performances, this religion evolves before our very eyes.

The Blacktown City Art Prize exhibition returns to kick off 2024 at The Leo Kelly Blacktown Arts Centre with vibrancy, excitement, and the community of Blacktown at its heart! For the first time Blacktown City is embedded from the outset, with special consideration given to artworks that celebrate, express and reflect upon the diverse history, environment and First Nations stories of the area. The exhibition showcases the work of 82 finalists chosen from across Australia, with prizes available in the categories of Blacktown City Art Prize Main Prize, First Nations Artist Prize, Local Artist Prize, People’s Choice Prize and EarlyCareer Artist Prize (new in 2024!) Alongside the Art Prize, we will also be showcasing artworks from the Young Artist Prize. Kids and young people aged 3 to 14 years from Blacktown City are encouraged to create an artwork in response to the theme of Creating Cooler Cities. All artworks in the 2024 Blacktown City Art Prize exhibition will be available for purchase at The Leo Kelly Blacktown Arts Centre. Entry is free and all are welcome.

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. See our website for latest information. 3 February–17 March Blue Mountains Portraits 2024 Blue Mountains Portraits is the Cultural

Centre’s annual celebration of the local community and its diverse members. A Blue Mountains City Art Gallery exhibition. 10 February–3 March Collectors’ Edition #10 The Blue Mountains Cultural Centre annual fundraising exhibition. Visit BMCC website for more details.

Bill Hope, Katoomba on the Move, 2023, watercolour and coloured pencil, 100 x 64 cm. 9 March–28 April Living Room Bill Hope In Living Room, Hope explores the township of Katoomba and the relationships we all have with our built environment and intimate spaces. A Blue Mountains Cultural Centre Altitude exhibition. 23 March–19 May Three Echoes – Western Desert Art Curated by celebrated curator, writer, artist and activist, Djon Mundine OAM FAHA, Three Echoes – Western Desert Art showcases works by 57 acclaimed artists heralding from Ikuntji (Haasts Bluff), Papunya and Utopia Aboriginal communities in the western desert regions of the Northern Territory, Australia. 167

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Brenda Colahan Fine Art

Broken Hill City Art Gallery

www.brendacolahanfineart.com

www.bhartgallery.com.au

78B Charles Street, Putney, NSW 2112 [Map 7] 02 9808 2118 Tue to Sat 9.30am–4pm, Tue and Wed valuation days by appointment, closed Sun and Mon. See our website for latest information.

404–408 Argent Sreet, Broken Hill, NSW 2880 [Map 12] 08 8080 3444 Tue to Sun 10am–4pm.

Brenda Colahan Fine Art exhibits works of art by leading modern, contemporary and indigenous artists, with an emphasis on Australian female artists.

9 February—28 April CXX: Celebrating 120 years Broken Hill City Art Gallery Collection CXX is an interdisciplinary exhibition presenting selected works from the gallery’s permanent collection. The display spotlights significant artists to celebrate the 120th anniversary of Broken Hill City Art Gallery. Each artwork has been carefully chosen to link local and global connections: creating a historical picture of what home and country is to individuals, groups, across nations, boarders and here in Broken Hill, while acknowledging the First Nations’ Peoples centrality to their ongoing connection to Country. These works form the City’s Art Collection, feature the often unseen, earliest and recent art acquisitions, reflecting past and present. As a part of the Broken Hill City Art Gallery’s 120th celebrations, CXX hopes to spark conversations, facilitate cultural exchange, while creating a safe space to engage.

Laura Matthews, Adam and Eve, oil and poured resin on canvas, 122 x 122 cm.

Erin Brown, OnCountry Gathering, 2022. South Australia. This extensive project has engaged community members from the New England region, the Northwest and Northcoast NSW and the Flinders Ranges in South Australia. The project began as a series of OnCountry Gatherings with multi-media workshops in 2017-2018, funded by the Australian Government through the Indigenous Language and Arts (ILA) program. It is also funded by Create NSW and is a significant outcome for two major Australian Research Indigenous Discovery projects. Yarning a cultural methodology developed by Dr Barker creates a safe, creative and cultural space for sharing and passing on knowledge at Elders and OnCountry Gatherings. Fostering a practice where Aboriginal people manage their own stories, images, voices, and artworks by taking control of how their stories are recorded and represented.

Bundanon www.bundanon.com.au Wodi Wodi & Yuin Country 170 Riversdale Road, Illaroo, NSW 2540 [Map 12] 02 4422 2100 Wed to Sun, 10am–5pm. Trevor Purvis, Around the Bend Darling River, 2022, acrylic and oils on canvas.

Laura Matthews, Adam at the Fall, oil and poured resin on canvas, 122 x 122 cm.

9 February—28 April Australian Sienna - Interpreting the Outback Trevor Purvis

“In this impressive survey of works, Laura Matthews has ultimately generated a stunning metanarrative about embracing change and overcoming that with which we hold ourselves back. Flux is not simply a set of paintings, but a manifesto of intrepid optimism.” Greg Uzelac, University of Sydney.

Inspired by camping expeditions into the centre of Australia, Purvis surrounds himself with the sounds, smells and sensations of the country and produce numerous studies using acrylic on paper or board. The exhibition name Australian Sienna celebrates the colour that embodies everything unique about the outback landscape. It’s a sensory experience and much more than just a colour. The painting locations include, Darling River (Baaka), Mt Gipps Station, MacDonnell ranges NT, Flinders Ranges and Cooper Creek.

A joint exhibition presented by Brenda Colahan Fine Art and Gallery Lane Cove +Creative Studios. On view at Gallery Lane Cove + Creative Studios.

16 February—28 April Looking Through Windows: tablelands, the coast to outback NSW Curated by Dr Lorina Barker.

24 April—18 May Flux Laura Matthews

Looking Through Windows is an oral history, artistic and multimedia project exploring the removal, dispossession, and “protection” of Aboriginal people in New South Wales and parts of Queensland and 168

Jumaadi, In the garden, 2021, synthetic polymer paint on cotton cloth primed with rice paste. Collection of the Artist. 2 March—16 June Tales of Land and Sea Jumaadi, Sancintya Mohini Simpson and Isha Ram Das, Arthur Boyd and Indra Deigan Tales of Land and Sea brings together

NEW S OUTH WALES three distinct projects exploring storytelling, mythological narratives, migration and the diasporic experience. ayang, ayang or shadow, shadow, is a survey of new and past works by leading Indonesian-born artist Jumaadi, whose practice draws from the tradition of wayang kulit (shadow puppetry). Jumaadi’s intricate paintings on buffalo hide and cloth are accompanied by a new shadow-play installation. par-parā / phus-phusā (to speak incessantly / to whisper) is a collaboration between sibling artists Sancintya Mohini Simpson and Isha Ram Das. Descendants of indentured labourers from India, sent to work on colonial sugar plantations in South Africa, this project forms part of an ongoing practice addressing the legacies of intergenerational trauma through installation, performance and a new series of Simpson’s Kōlaṁ drawings.

based artist Telly Tuita. For Tuita, Tonga is always present, anchoring his present to his childhood. Repurposing collected materials from second-hand and bargain stores (especially objects, materials and images that relate to Oceania), Tuita creates a Tongpop universe in which memories from his life are galvanised and recast as relics of the modern age. The exhibition presents new and recent works by Tuita together with early works created by Tuita when he was growing up in Campbelltown. Tuita broaches the great expectations of oneself in conflict with the great expectations of society through his own life story. The exhibition is accompanied by an intergenerational public program reflecting the different stages of life, in Tuita’s words, ‘dawn, day and dusk’.

Sangkuriang features rarely seen works from the Bundanon Collection by Arthur Boyd and West Javanese printmaker Indra Deigan. The presentation includes collagraphs, woodcuts and editions of a handmade artist’s book inspired by the titular West Javanese legend first documented in the 15th century.

Campbelltown Arts Centre (C-A-C) www.c-a-c.com.au 1 Art Gallery Rd, Campbelltown, NSW 2560 [Map 11] 02 4645 4100 Daily 10am–4pm. See our website for latest information.

Until 28 April Eddie Abd: The Unbearable Right To See And Be Seen Until 28 April Katy B Plummer: Margaret And The Grey Mare

Leanne Tobin. Until 28 April Leanne Tobin: Memories of Water (Badu) 16 March–29 September Te Rūma Moenga / The Mattress Room (Memory Foam) Tyrone Te Waa

Chau Chak Wing Museum Installation view of Friends Annual and Focus Exhibition as part of Macarthur & Beyond, Campbelltown Arts Centre, 2022. Courtesy the artist. Photo: Silversalt Photography. 13 April–22 June From Here & Beyond Imogen Jade and Jenny Kee AO; Yirran Miigaydhu and Aboriginal Ceramics Group; Yana Taylor; George Williams; and the Friends of Campbelltown Arts Centre Annual with Focus artist.

www.sydney.edu.au/museum The University of Sydney, University Place, Camperdown, NSW 2006 [Map 9] 02 9351 2812 Open 7 days, free entry. Weekdays 10am–5pm, Thu evenings until 9pm, Weekends 12noon–4pm. See our website for latest information.

From Here & Beyond is a suite of five exhibitions celebrating the best in artistic talent from our local community and beyond.

Casula Powerhouse Arts Centre www.casulapowerhouse.com 1 Powerhouse Road, Casula, NSW 2170 [Map 11] 02 8711 7123 Tue to Fri 10am–5pm, Sat 10am–9pm, Sun 10am–4pm. 9 March–21 April Mood Ring 360° Sereima Adimate, Chiara GarrettSaladrau, and Garden Reflexxx

Telly Tuita, Tevolo Diva (Norma), 2023, digital print on cotton rag paper, courtesy of the artist. 3 January–28 March Telly Tuita: Tongpop’s Great Expectations Tongpop’s Great Expectations is the first Australian solo exhibition of Aotearoa-

Barbara McGrady, Redfern Aboriginal Tent Embassy, The Block, Redfern, 2014, digital print, 54 x 74 cm. Image courtesy of the artist. © Barbara McGrady. Until 10 June Barbara McGrady: Australia Has a Black History A selection of photographs by Award winning photojournalist, Barbara McGrady. The works on display have been selected from McGrady’s extensive photographic archive. They reveal an insider’s perspective into historical events, such as the death of TJ Hickey, and the Black Lives Matter protests. Also included are photographs of Indigenous performances, high-profile individuals, and community events. 9 March–10 June 24th Biennale of Sydney: Ten Thousand Suns

Eddie Abd.

For the first time, the Chau Chak Wing Museum will be an exhibition partner as part of the 24th Biennale of Sydney. 169

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supports 150 artist members from Ramingining and surrounding outstations. This compelling material culture produces works of deep spiritual significance, authentic in it’s connection to Yolngu (people), depicting complex and meaningful social structures, (ceremonies, songs, language, creation beings, family and the Yolngu identity within), and relationships between all things. This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body. Bula’bula Arts is generously supported by the Australian Government’s Indigenous Visual Arts Industry Support program.

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 10am–2pm. Admission Free. Wheelchair access. The Cowra Regional Art Gallery is a cultural facility of the Cowra Shire Council. Cowra Library: Until 2 March Operation Art Operation Art is an annual exhibition celebrating its 29th Anniversary this year. The exhibition consists of 50 artworks created by students from Kindergarten to Year 10 across New South Wales. Operation Art is an in initiative of The Children’s Hospital at Westmead in partnership with The NSW Department of Education.

Citra Sasmita, Timur Merah Project II: Harbour of Restless Spirits, 2019, acrylic paint on cowhide, 180 x 200 cm. The 24th Biennale of Sydney works across time periods, beyond the borders separating cultural practices rooted in different genealogies, and from all continents. The exhibition owes a profound debt to the rich heritage of what is known today as Australia, especially to the struggles and practices in which First Nations communities and migrants have faced and played key roles.

The Corner Store Gallery www.cornerstoregallery.com 382 Summer Street, Orange, NSW 2800 [Map 12] 0448 246 209 Wed to Sat 10am–4pm.

Until 17 March Behind the Lines

Andrea Hopgood. Image courtesy of the gallery. 13 March–23 March Blur Andrea Hopgood Presenting a collection of work that invites us to emerge from the blur of the last few years and find clarity in the future. Referencing the landscape, Blur envelopes the viewer in a haze evoking comfort and hope.

Each year the Behind the Lines exhibition features a broad selection of political cartoons from around Australia, providing an insight into the year in Australian politics and current affairs. This year’s Behind the Lines is swinging at the pinata, passing the parcel, and waiting for the music to stop because the theme is All Fun and Games. Cartoonists are popping on their party hats and breaking out the bunting while they take us on a journey through the year that was 2023. Behind the Lines is a travelling exhibition developed by Museum of Australian Democracy at Old Parliament House, proudly supported by the National Collection Institutions Touring and Outreach program, an Australian Government program aiming to improve access to the national collections for all Australians.

Andrea creates work that observes the ordinary and celebrates the beauty within, and is represented in various global galleries and collections. 10 April–20 April Beyond 4 Walls Amanda Holman Moving back to the country became a catalyst for Amanda Holman to pursue her dream of being a full-time artist.

Image courtesy of the gallery. Until 9 March Diltjipuy, Retjapuy Ga Rangipuy (It Comes From the Bush) Group Exhibition by Bula’bula Arts, Ramingining, NT From fibre art to paintings depicting traditional stories, Bula’bula Arts

Capturing the beauty of the countryside evolved from a childhood in the township of Mudgee NSW, a country town surrounded by hills of everchanging colours, rivers framed by ancient rivergums, and seasonal windswept pastures. Orange based, Amanda finds her surrounding scenery as fuel for the senses, and pursues landscapes that capture the essence of Australian light, evoking a sense of connection, tranquillity and restfulness.

Jane Grealy, Marias Garden Scheme C, 2022. 28 March—12 May Dobell Drawing Prize The exhibition showcases the finalists’ artworks across a broad range of media that acknowledges the foundational principals of drawing, while also encouraging challenging and expansive approaches to drawing. Toured by the National Art School, Sydney

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Darren Knight Gallery

a curatorial team, Level 2 has jewellery workshops and studio spaces and Level 3 houses more studio spaces and a rooftop that has beautiful views of the Sydney CBD.

www.darrenknightgallery.com 840 Elizabeth Street, Waterloo, NSW 2017 [Map 9] Gadigal Land, Sydney, Australia 02 9699 5353 See our website for latest information.

Deanna Hitti, M is for Madraseh (detail), 2023, artist book. Photograph: Cat Black. James Nguyen, Rachel Schenberg. Curated by Amy Prcevich, Language Exchange foregrounds the experience of being connected to non-English languages while living in Australia. Artists from a range of cultural backgrounds and experiences share the layers of joy, sorrow, community, recognition, and revival that stem from the loss and reclamation of heritage languages.

Fellia Melas Gallery

Mike Reed, Piano Man, 2023, 42 x 59.4 cm.

www.fmelasgallery.com.au Alan Constable, Untitled, 2022, glaze, earthenware, 21 x 16.5 x 16 cm. 9 March–13 April New & Recent Works Alan Constable

2 Moncur Street, Woollahra, NSW 2025 [Map 10] 02 9363 5616 Tue to Sat 10am–5pm.

Empyrean – Concetta Antico Gallery

Lynn Smith, Yellow Dancer, 2024, digital print on Hahnemuhle Photo Rag Metallic paper 340 gsm, 42 x 42 cm.

www.concettaantico.com/ empyrean-gallery 136 Queen Street, Woollahra, NSW 2025 [Map 10] 0476 134 901 Wed to Sat 11am–5pm and by appointment. 27 April–18 May All The Pretty, Pretty Peacocks! Concetta Antico

Fairfield City Museum & Gallery

29 February—28 March Urban Enigmas Group Show

Sophie Dunlop, Still Life in Pink, watercolour on paper, 60 x 90 cm. Works by: M. Ellis Rowan, B. Whiteley, M. Woodward, McLean Edwards, E. McLeod, J. Gleeson, S. Dunlop, D. Boyd, R. Dickerson, R. Crooke, G. Gittoes, W. Coleman, J. Coburn, S. Nolan, J. Olsen, C. Canning, C. Campbell, V. Rubin, P. Griffith, T. Irving, S. Paxton, S. West, M. Winch, M. Perceval, J. Bezzina, J Kelly, D Friend, J Brack and many others. (See ad page 166).

www.fcmg.nsw.gov.au 634 The Horsley Drive, Smithfield, NSW 2164 [Map 12] 02 9725 0190 Tue to Fri 10am–4pm, Sat 10am–3pm. Closed Mondays, Sundays, and Public Holidays. 24 February–8 June Language Exchange Marian Abboud with Think+DO Tank, Rainbow Chan, Anne-Louise Dadak, Kuba Dorabialski, Deanna Hitti, Jannawi Dance Clan, L-FRESH The Lion, Jazz Money, Audrey Newton,

Gaffa Gallery www.gaffa.com.au 281 Clarence Street, Sydney, NSW 2000 [Map 8] 02 9283 4273 Mon to Fri 10am–6pm, Sat 11am– 5pm, closed Sun & pub hols. See our website for latest information. Gaffa is a multi leveled creative precinct located in the heart of Sydney’s CBD next to Town Hall Station. The ground floor houses long term tenants, Level 1 is a dedicated gallery level of four gallery spaces run by

Gallery Lane Cove + Creative Studios www.gallerylanecove.com.au Upper Level, 164 Longueville Road, Lane Cove, NSW 2066 [Map 7] 02 9428 4898 Mon to Fri 10am–4.30pm, Sat 10am–2.30pm. See our website for latest information. 6 March—30 March Re-illuminated: female archetypes’ strength and endurance Lucienne Fontannaz What is shared by the mythological, historic, and contemporary women: Medusa, Eve, Joan of Arc and Kurdish Women Fighters? They were all powerful females, dispossessed of their powers by men. The list is long of women who endured mistrust and betrayal, leading to violence against them, even murder. And their fall from grace, their diminished status, has shaped our consciousness and expectations of womanhood ever since. Lucienne Fontannaz’s ambitious painting project explores via the illuminations of 173

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Gallery76 www.embroiderersguildnsw.org. au/Gallery76

Showcasing Aboriginal artists living within the Saltwater Freshwater Arts Alliance footprint on the Mid North Coast of NSW. A Saltwater Freshwater arts Alliance touring exhibition.

76 Queen Street, Concord West, NSW 2138 02 9743 2501 Mon to Fri 9am–4pm Sat to Sun 10am–2pm. Free admission. See our website for latest information.

Zanny Begg, The Beehive, UNSW Galleries. Photograph: Steven Siewert, 2019. 2 March—5 May Zanny Begg: These Stories Will be Different A UNSW Galleries and Museums & Galleries of NSW touring exhibition. Lucienne Fontannaz, Medusa and the Ultimate of Betrayals, 2020, mixed media on wood, 123 x 93 cm. Image courtesy of the artist. art, the life and times of 13 archetype women. Through the alluring use of gold, an affirmative reinterpretation is brought to light, restoring the dignity and authority of such exemplary women, enabling them to be symbolically and practically inspirational today.

TEXStyle 2023 student exhibition. Photograph: Grey Photography Phong Lam and Annie Nguyen. 3 March–26 April TEXStyle 2024 Presented by the Technology Educators Association of NSW TEXStyle is the annual showcase of excellence in HSC Textiles and Design. Gallery76 is delighted to host this exhibition for a third year. It features over 30 exemplary Major Textiles Projects submitted by HSC students across NSW, including furnishings, apparel, textile art and costume.

Gallery Lowe and Lee www.kerrielowe.com 49 - 51 King Street, Newtown NSW 2042 [Map 7] 02 9550 4433 Mon to Sat 10am–5.30pm.

Free entry during regular gallery hours. Additionally, a comprehensive offering of excursions is offered to high schools; see our website for more details.

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

Diana Hallowes, Scribbly Gums, watercolours. Image courtesy of the artist.

3 February—31 March House and Home Exhibition Sue Bell

Hand painted vessels by Niharika Hukku, Porcelain, dimensions variable. Photo by Jin Lee. 8 March–13 April Eco Echo: Ceramic Conversations with the Wild A group exhibition featuring Ceramicists responding with the natural world and emphasizing a connection between art and the environment.

9 April—20 April ArtXtra! ArtXtra! is an exhibition open to all financial members of the Lane Cove Art Society. The exhibition is an insight into the diversity of the Society. Painting, Printmaking & Drawing are included in the exhibition. All works are eligible for the prestigious Lloyd Rees Prize and the Guy Warren Prize for the two Best in Show. The names of the winning artists of both the Lloyd Rees Prize and the Guy Warren Prize are inscribed on an Honour Board displayed in the Lane Cove Library. 174

Lilly Clegg, “Naalgan-da” (at the beach) Moon Wreath, 2020. Photograph: And the trees photography. 3 February—5 May Saltwater Freshwater Arts 2023

Tableware by Cathy McMichael, Stoneware, dimensions variable. Photo by Jin Lee.

NEW S OUTH WALES 28 April–18 May Still Life with Ceramics

is a diverse array of artworks that together tell us a little about the changing character of our region over the past 50 years. Acquired through the Australian Cultural Gifts Program, donations, acquisitive prizes and bequests, the Art Collection is designed to make a statement about the visual arts culture of the Central Coast and its place within a national cultural context.

This group exhibition celebrates the artistry of still life in painting and introduces an intriguing dimension by incorporating the theme of ceramic tableware; an intersection of art and utility.

Goulburn Regional Art Gallery

The collection holds over 700 works, a selection of which are displayed throughout Central Coast Council buildings and at the Gosford Hospital.

www.goulburnregionalartgallery. com.au

A Glint of Koi explores the artistic and cultural identity of the Central Coast and the intricacies of civic collections. Guest curator Michael McIntyre was given access to the collection to seek out the stories behind the artwork. Opening event: 26 of April, 6pm.

184 Bourke Street, Goulburn, NSW 2580 [Map 12] 02 4823 4494 Mon to Fri 9am–5pm, Sat 12pm–4pm. See our website for latest information.

2 March–7 April A CENTRAL VISION 2024 Lily Cummins, Living with ghosts, 2023, acrylic on timber. Image courtesy the artist.

James Tylor, (Deleted scenes) From an untouched landscape 14, 2013. Courtesy the artist, Vivien Anderson Gallery, Naarm/Melbourne, GAGPROJECTS | Greenaway Art Gallery, Tarntanya/ Adelaide and N.Smith.Gallery, Eora/ Sydney. Copyright the artist. 15 March–4 May Turrangka…in the shadows James Tylor Curated by Leigh Robb. Multi-disciplinary artist James Tylor combines historical and contemporary photographic processes to explore his Nunga (Kaurna Miyurna), Māori (Te Arawa) and European (English, Scottish, Irish, Dutch and Norwegian) ancestry. Turrangka…in the shadows surveys a decade of Tylor’s practice and, for the first time, brings together the most comprehensive selection of his unique daguerreotypes, expansive digital photographic series, hand-made Kaurna cultural objects. 15 March–4 May The curtain breathes and the room glows lilac Lily Cummins Lily Cummins is a tactile artist living and working on Gundungurra land Mittagong, NSW. Cummins’ work is process driven, creating conversations between repeated forms and structures. Through investigative mark making, the artist explores the disintegration of memory and the inevitable passage of time, exclusively mining her personal experience of remembrance, absence, and loss.

Cummins predominantly works with acrylic, coloured pencils, and waterbased drawing materials. Hiding under the saturated colour is a pervasive melancholia, indirectly speaking to themes of grief and sorrow. The works are rich in symbols and recurring motifs; houses, silhouettes and archways or portals flood the surfaces. Small meticulous marks mutate and coalesce, acting as both a physical way of marking time and as a way of showing the dissolution of memory.

Partnering with the Department of Education, A Central Vision brings together the best artworks from students studying at local public high schools and secondary colleges. This annual exhibition presents the opportunity for selected students to display their artwork in a professional gallery setting, with prizes awarded to a selection of artworks. Spanning across the Community Gallery and the Foyer Gallery spaces, the exhibition features artists from Years 7-12. Opening event: 1 March, 6pm.

Gosford Regional Gallery www.gosfordregionalgallery.com 36 Webb Street, East Gosford, NSW 2250 [Map 12] 02 4304 7550 Open daily 9.30am–4pm. Free Admission.

Zac Craig, Painting 2. 13 April–21 May Soft Conversations Zac Craig

Ursula Old, Koi Carp at the Japanese Gardens, 1996. 27 April–9 June A Glint of Koi: Significant Artwork From The Permanent Collection Judy Cassab, Elizabeth Cummings, Helen Geier, Elaine Haxton, Elwyn Lynn, Ursula Old, Ken Reinhard, David Rose, Shigeo Shiga, Imants Tillers, Gwyneth Tilley and more. The Central Coast Council Art Collection

Produced in Zac Craig’s studio in regional NSW, Soft Conversations is an exploration of co-existing planes and points of reference. His works are nonrepresentational and yet filled with forms that are clearly linked to the natural world. Throughout his participation in many international residencies, Craig has explored the nature of painting. “I continue the long process of learning to paint and learning what paint is. I endeavour through the act of painting to further my comprehension of my materials and how 175

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Works by: M. Ellis Rowan, B. Whiteley, M. Woodward, McLean Edwards, E. McLeod, J. Gleeson, S. Dunlop, D. Boyd, R. Dickerson, R. Crooke, G. Gittoes, W. Coleman, J. Coburn, S. Nolan, J. Olsen, C. Canning, C. Campbell, V. Rubin, P. Griffith, T. Irving, S. Paxton, S. West, M. Winch, M. Perceval, J. Bezzina, J Kelly, D Friend, J Brack and many others.

2 Moncur Street, Woollahra NSW, 2025. Tuesday to Saturday 10am – 5pm, Sunday – Monday by appointment only. (02) 9363 5616 www.fmelasgallery.com.au e: art@fmelasgallery.com.au Sophie Dunlop, Still Life in Pink, watercolour on paper, 60 x 90 cm.

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NEW S OUTH WALES Gosford Regional Gallery continued... to handle them effectively – to pull forth each pigment’s intrinsic characteristics when requested by the painting.” Opening event: 26 April, 6pm.

Grace Cossington Smith Gallery www.gcsgallery.com.au

Granville Centre Art Gallery www.cumberland.nsw.gov.au/arts 1 Memorial Drive, Granville, NSW 2142 [Map 7] 02 8757 9029 Wed to Fri 11am–3pm, Sat 11am–3pm. See our website for latest information.

Gate 7, 1666 Pacific Highway, Wahroonga, NSW 2076 [Map 7] 02 9473 7878 Tue to Sat 10am–5pm. Free admission.

Kim Leutwyler, Zoe (detail), Archibald Prize 2023 finalist. © the artist.

Photograph: Jacquie Manning. 7 March–15 June The Microdot Dacchi Dang Lily Allison (St Leo’s Catholic College), The Tipping Point, mixed media sculpture. 2 March–23 March ART NORTH Celebrating works created by HSC 2023 Visual Arts students from schools in the Ku-ring-gai and Hornsby area.

Granville Centre Art Gallery presents its inaugural solo exhibition with Dacchi Dang’s The Microdot. Dacchi’s photography-based art practice spans more than three decades. He explores the possibilities of visual language, our memories, and the complex emotional realities of our life experiences. His work creates and reinvents new perspectives through layered physical and psychological landscapes via the full breadth of photographic practice. For more information on this exhibition visit our website.

It is a great opportunity for Hawkesbury residents to see the exhibition and for anyone who missed it in Sydney. The accompanying education program for schools is a vital learning opportunity for students to collaborate and explore their creativity. Attendance is especially important for students considering Visual Arts electives. Visit the Hawkesbury Regional Gallery and vote for your favourite portrait plus the chance to win the $500 People’s Choice Award prize. The Archibald Prize 2023 is an Art Gallery of New South Wales touring exhibition. 16 March–22 September Young Archie Hawkesbury Enjoy the ever-popular exhibition by young creatives who have painted a special person in their lives.

Hazelhurst Arts Centre www.hazelhurst.com.au

Hawkesbury Regional Gallery www.hawkesbury.nsw.gov.au/gallery Deerubbin Centre (top floor), 300 George Street, Windsor, NSW 2756 [Map 11] 02 4560 4441 Mon to Fri 10am–4pm, Sat & Sun 10am–3pm. Closed public holidays.

Julien Playoust, Yield another meal, the space between ambivalence and sustenance, 2021, oil on cardboard, 60 x 42 cm. 4 April–27 April Landscape, Existence Julien Playoust An inaugural exhibition of works.

782 Kingsway, Gymea, NSW 2227 [Map 11] 02 8536 5700 Open daily 10am–4pm. Free admission.

16 March–28 April Archibald Prize 2023 regional tour For 5 weeks only the Archibald Prize 2023 rolls into the Hawkesbury! Don’t miss out on seeing this extraordinary display of 57 portraits in Windsor, featuring public figures and cultural identities from all walks of life, reflecting the stories of our times. Australia’s foremost prize for portraiture is awarded annually to the best portrait painted by any artist resident in Australasia.

Kaylee Kaczmarczyk (Henry Kendall High School), Unveiling the Minds Maze, 2023, photomedia. 10 February–7 April ARTEXPRESS 2024 The annual ARTEXPRESS exhibition returns to Hazelhurst, showcasing outstanding HSC artworks from 177

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NEW S OUTH WALES Hazelhurst Arts Centre continued... 50 students from across the state. Experimenting across a range of expressive forms, students push aesthetic, thematic and formal boundaries. As part of the HSC Showcase season, this exhibition includes artwork by some of NSW’s most talented young artists. ARTEXPRESS 2024 is a collaboration between the NSW Department of Education and NSW Education Standards Authority, curated and presented by Hazelhurst Arts Centre.

Incinerator Art Space www.willoughby.nsw.gov.au/arts 2 Small Street, Willoughby, NSW 2068 0401 638 501 Wed to Sun, 10am–4pm.

21 March–14 April Convergences Marta Ferracin

Sohn Dae-Hyun, Kim Dongwan, Park Sung-Youl, Kim Hyunju, Chun Insoo, Jeong Zik-Seong

Convergences combines art, science, and technology to observe how humans and ‘other-than-humans’ form, cohabit, and respond within symbiotic relationships with their surroundings and primordial environments. The art space becomes a platform for dialogue about sharing with other species, including lichens. These conversations remind us to look beyond the dominant lens of the Anthropocene.

Korean Cultural Centre Australia in partnership with Coreana Cosmetics Museum presents Ottchil: Light from Nature celebrating the diversity and excellence of ottchil (lacquer) arts, highlighting the contributions of master artisans dedicated to preserving traditional techniques, as well as contemporary artists who skillfully reinterpret these methods in modern genres such as painting, glassware, and metal craft.

17 April–5 May A Touch of Gold Australian Textile Arts & Surface Design Association (ATASDA) Celebrating the 50th anniversary of the Australian Textile Arts & Surface Design Association, A Touch of Gold explores artist’s interpretations of the theme. Intriguing use of fibre and mixed media define this contemporary display of expressive textile wall hangings, 3D objects and wearable art which all reveal a physical ‘touch of gold’. Working with diverse art practices, techniques and materials, sixty ATASDA members have created a rich tapestry of textile artworks employing fibre, weaving, felting, dyeing, printing, traditional and contemporary embroidery, and stitch techniques.

This exhibition was supported by the Traveling Korean Arts project of the KOFICE (Korean Foundation for International Cultural Exchange).

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 Level 4, Central Park, 28 Broadway, Chippendale, NSW 2008 [Map 9] 02 8239 0055 See our website for latest information. Stefania Riccardi, Present, 2023, mokulito. Until 17 March Ecology of Identity Stefania Riccardi Inspired by Roger Robinson’s poem, Portable Paradise, Stefania Riccardi explores the theme of displacement. Her work captures the layered nostalgia for familiar landscapes, and the realisation that the small paradises we carry with us can also be found resonating in the landscape in which we live in the present.

Korean Cultural Centre Australia www.koreanculture.org.au Ground floor, 255 Elizabeth Street, Sydney, NSW 2000 [Map 8] 02 8267 3400 Mon to Fri 10am–6pm. Free Admission. See our website for latest information.

Ken Done, Playing the beach, 2023, oil and acrylic on linen, 100 x 80 cm. Until 17 April Ken Done: Recent Work

Lavendar Bay Society www.royalart.com.au 25-27 Walker Street, North Sydney, NSW 2060 [Map 7] 02 9955 5752 Mon to Fri 10am–4pm, Sat and Sun 11am–4pm. Closed public holidays. See our website for latest information.

Marta Ferracin, Seen and Unseen (detail), 2024, electron microscopy image captured at SMM at the University of Sydney, printed on Hahnemühle photo rag.

Ottchil collection, 19c, Image courtesy of Coreana Cosmetics Museum. 22 March–21 June Ottchil: Light from Nature

1 March–14 April Annual Autumn Exhibition Featuring the Thora Ungar Memorial Award. Opening night Friday 1 March, 6pm–8pm. Guest judge/opener Mal Damkar (beagle Press) 179

KEN DONE 1-5 Hickson Road, The Rocks, Sydney, www.kendone.com Playing the beach, 2023, oil and acrylic on linen, 100 x 80cm

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The Lock-Up www.thelockup.org.au 90 Hunter Street, Newcastle, NSW 2300 [Map 12] 02 4925 2265 Wed to Sat 10am–4pm, Sun 10am–2pm. See our website for latest information. Committed to presenting multidisciplinary practices of local, national and international artists, The Lock-Up is a space that is dedicated to stimulating and challenging audiences. With an emphasis on producing artist-led projects that explore contemporary social issues, The Lock-Up believes firmly in artists taking risks.

Charlotte Haywood, The Knowledge Holders (detail), 2020, blackbutt, banana fibre processed with Helle Jorgensen, collected buckie rush with Kylie Caldwell, banana silk, raffia, sasawashi bamboo, agave, jute, raffia, cotton warp. Courtesy of the artist. Until 7 April Mnemonic Vegetables Charlotte Haywood Mnemonic Vegetables helps us remember our connection to the plant world, Mother Earth and each other. Hailing from Bundjalung country, Haywood presents a new iteration of this ongoing work at The Lock-Up, in collaboration with makers Kylie Caldwell, Helle Jorgensen and Immortal Soil.

Macquarie University Art Gallery

Maitland Regional Art Gallery

www.artgallery.mq.edu.au

www.mrag.org.au

The Chancellery, 19 Eastern Road, Macquarie University [Map 5] 02 9850 7437 Mon to Fri 10am–5pm. Group bookings must be made in advance. See our website for latest information.

230 High Street, Maitland, NSW 2320 [Map 12] Gallery & Shop, Tue to Sun 9am–4pm. Café, 8am–2pm. Free entry, donations always welcomed.

MQ Art Gallery and Collection integrates art, culture and creativity into the Macquarie University experience. Explore the works of emerging and leading artists though our exhibitions, events and educational programs.

Gunggandji artist & musician Wanjun Carpenter presents a new body of work installed in The Lock-Up’s project spaces. Based in Muloobinba/Newcastle, Carpenter’s practice moves across video, projection-mapping, photomedia and installation. 12 April–19 May A Meal to Die For Julian Schnabel, Wayne Magrin, Lottie Consalvo Curated by James Drinkwater.

Celebrate the change in season with Prudence De Marchi as she explores the simple beauty of Autumn. Underpinned by nature and driven by the desire to create work that sparks joy, this exhibition presents a suite of paintings that are all about floral silhouettes and golden hues.

Suzanne Archer, Kathy’s Flowers and Water Towers, 1979, acrylic and collage on canvas. Photograph: Effy Alexakis, Photowrite. © Suzanne Archer/ Copyright Agency, 2024. Until 29 April Femme-Maison: Imagined Boundaries Women artists from the collection and beyond Effy Alexakis, Davida Allen, Suzanne Archer, Bronwyn Bancroft, Joanna Braithwaite, Christine Dean, Tamara Dean, Elisabeth Frink, Rosalie Gascoigne, Juno Gemes, Marea Gazzard, Celia Gullett, Anna-Karina Hermkens, Margel Hinder, Linde Ivimey, Carol Jerrems, Rosemary Laing, Janet Laurence, Lindy Lee, Kathrin Longhurst, Kerrie Lester, Teena McCarthy, Susan Norrie, Susan O’Doherty, Bronwyn Oliver, Vivienne Penguilly, Sally Ross, Anne Thomson, Jenny Watson and more. Curated byRhonda Davis and Leonard Janiszewski.

Wanjun Carpenter, It’s not all roses, 2023. Courtesy of the artist. Until 7 April Look around (it’s not all roses) Wanjun Carpenter

2 March—9 June Find Me in the Flowers Prudence De Marchi

Celebrating the 50th anniversary of the Women’s Art Movement in Australia, in Macquarie University’s 60th anniversary year in partnership with Gallery Lane Cove’s exhibition Uneven Terrain: Surveying the landscape. A collection can reveal multiple viewpoints and conceptions, nuanced by its history of continuity and gaps. In recognition of the 50th anniversary of the Women’s Art Movement in Australia we have tapped into the collection by reappraising those shifts and generational legacies. This has unearthed a rich visual narrative of women’s creative spaces.

Rosie Deacon, SPAGHETTI-STACKSNUFFLE-SHUFFLE, Bunjil Place, 2022. Photograph: Bri Hammond. 2 March–20 June The Collectors, Small Museum Commissions Billy Bain, Rosie Deacon, Kara Wood Taking its cue from Simone Rosenbauer’s Small Museums, we commissioned three artists to develop artistic interventions in response to items within local historic collections. These interventions will become a catalyst for dialogue, understanding and appreciation of the invaluable role that small museums play in shaping identity and collective community memory. This exhibition is supported by the Dobell Exhibition Grant, funded by the Sir William Dobell Art Foundation and managed by Museums & Galleries of NSW. 2 March–30 June Small Museum Simone Rosenbauer Simone Rosenbauer’s Small Museum takes us inside the world of true collectors. This is an exhibition of photographs taken of 41 community museums 181

ar t g ui d e .c o m . au Maitland Regional Art Gallery continued... across Australia. These images highlight the buildings, people, and collections within them. Small Museum fosters an appreciation and understanding for the lesser known cultural treasures that are embedded within these community collections. By shining a spotlight on these often overlooked institutions, the project celebrates their role in preserving local heritage, history, and identity through contemporary art. This exhibition is supported by the Dobell Exhibition Grant, funded by the Sir William Dobell Art Foundation and managed by Museums & Galleries of NSW.

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

action, caring for country, tending local gardens, and working with community groups focused on climate solutions.

Manning Regional Art Gallery www.manningregionalartgallery. com.au 12 Macquarie Street, Taree, NSW 2430 [Map 9] 02 6592 5455 Tue to Sat 10am–4pm.

Daniel Mudie Cunningham, Proud Mary, video still. 21 February–14 April Daniel Mudie Cunningham: Proud Mary

Kathrin Longhurst, Tamil, 2019, oil on linen, 180 x 180 cm. Image courtesy of the artist.

What song do you want played at your funeral? Proud Mary brings together works that answer this question through a deeply personal and participatory lens. The exhibition signals the enduring role memory, mortality and memorialisation play in Daniel’s lifelong practice of queer self-portraiture. Proud Mary at MAG&M is the first time the 2022 rendition of the performance will be seen in Sydney.

9 March—9 June Settled/ Unsettled Penny Byrne, Mehwish Iqbal, Kathrin Longhurst, Angus McDonald

Heather Dorrough, Self Portrait No 6 (Buzzflies) (detail), 1982, textile, dye, photographic silk screen printing, machine embroidery, 212 x 54 cm. Photograph: Jenni Carter.

Settled/Unsettled explores issues of war and cultural displacement through the lens of asylum-seeker, refugee, and migrant experiences. By investigating the themes of conflict and exile, home and belonging, the exhibition contributes to the movement of empowerment and acceptance. 16 March—16 June Visual Weight Robert Klippel

Until 23 March Lineage Heather Dorrough, Kate Dorrough

Step inside the story of a creative friendship as we showcase important works by Robert Klippel drawn from the collection of Geoffrey Hassall.

Barnaby Hancock, NBSC Balgowlah Boys, Riot & Repeat, painting.

13 April—23 June Pregnant Woman Ron Mueck

Marking the 30th iteration of our Express Yourself exhibition, the annual curated selection of artworks by HSC Visual Arts students from the 20 secondary schools across the Northern Beaches. The exhibition will feature a broad range of expressive artforms that explore the contemporary themes which are of importance to young people today.

Pregnant Woman is on loan from the National Gallery of Australia through the Sharing the National Collection program. Over the year the work will engage with our own collection and exhibitions designed and curated to allow for different conversations and ideas to emerge related to family (in all its diverse forms), motherhood, birth and the marvel of humanity.

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1 March–14 April Out Front 2024

This exhibition is a conversation across time. The multi-disciplinary works of mother and daughter Heather and Kate Dorrough explore the nexus between the arts and crafts movements, female creative lineage, body and landscape, river and fertility, and environmental issues and activism. The exhibition encompasses fibre art, paintings, prints, ceramics, sculpture and video.

Bleeding Hearts and Morning Glory Guy Fredericks & Chloe Watfern with Studio A Bleeding Hearts and Morning Glory is a socially engaged exhibition that encourages people with intellectual disability to participate in conversations about climate change. The project engages neurodivergent people across the Northern Beaches involved in climate

Robyn McGrath, Corridors and Compartments, mixed media. Photograph: Jane Tavener. 2 April–18 May Untethered Fibre Artists - Strange Notions: fanciful conceptions of the experienced and imagined

NEW S OUTH WALES This exhibition of representational and conceptual works of fibre art is about the intense spirit reflected in and associated with the individual artist’s chosen subject matter. The theme, Strange Notions, has the potential to delve into rich resources. From the tangible to the non-tangible, the personal to the communal, Strange Notions yields critical reflections and thoughtful projections from the artists.

Margaret Whitlam Galleries

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

Wed open until 8pm. Closed public holidays. See our website for latest information. 23 February—24 March New Acquisitions from the Mosman Art Collection Imants Tillers, Leila Jeffreys, Pro Hart, Philip Wolfhagen, Ruth Burgess and more. New Acquisitions from the Mosman Art Collection shows several artworks that have recently been donated to the Gallery including works by Ruth Burgess, Leila Jeffreys and Philip Wolfhagen. 23 February—24 March Seasons Members of Mosman Art Society

www.whitlam.org Whitlam Institute, James Ruse Dr and Victoria Road, Rydalmere NSW 2116 02 9685 9210 Weds and Thurs 10am–4pm. See our website for latest information.

Seasons is a group exhibition featuring the work of members of Mosman Art Society and refers to the turning of time, taste and life. Mosman Art Society fosters the development, practice and love of art throughout the community. You can join Mosman Art Society for your chance to exhibit in this exhibition. For further details visit mosmanartsociety.org.au.

The Margaret Whitlam Galleries, housed within the historic Female Orphan School on the banks of the Parramatta River, are a revolving door of riveting art and social history exhibitions. Michael McHugh, Metallica, 2024, acrylic on canvas, 152 x 137 cm. Until 23 March Chroma Michael McHugh

Tully Arnot, Untitled studio experiment, 2018, macro photograph. Image courtesy and © the artist. Leanne Tobin Ngallawan, We Live, We remain, The Call of Ngura, 2022. Blown glass, dimensions variable.

23 February—12 May Soft Tully Arnot

23 November–26 April Women (seen)

Tully Arnot’s practice explores models of plant-based multisensory perception as well as how technology mediates our relationships with the natural world, through areas including plant robotics and the simulation of nature. These artworks reflect on Arnot’s earlier research, looking at how emergent ways of being are facilitated by social media and human-robot interactions, including with AI, companionship robots and consumer level replacements of human pleasure, connection and labour.

An exhibition celebrating identity, community and belonging with 20 women artists connected to Western Sydney.

Savanhdary Vongpoothorn, Latsamy’s Clouds, 2023, gesso and acrylic on canvas, 180 x 148 cm. Until 23 March Space Element Savanhdary Vongpoothorn A Changing Australia: The Time of Gough Whitlam. Permanent exhibition at the Female Orphan School, Rydalmere.

28 March–20 April The Scale of a Mark AJ Taylor

Permanent Exhibition A Changing Australia: The Time of Gough Whitlam

Mosman Art Gallery

Located in the East Wing of the building. Archival recordings, photographs and historical objects from the Whitlam Prime Ministerial Collection produce a fascinating recollection of the Whitlam Government and its transformative impact on Australia.

www.mosmanartgallery.org.au 1 Art Gallery Way, Mosman, NSW 2088 [Map 7] 02 9978 4178 Open Thu to Sun 10am–4pm,

Xanthe Muston, Beyond the Fence, 2023, watercolour, gouache, ink, and carbon transfer on paper. Image courtesy and © the artist. 17 February—12 May Somewhere Else to Go

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ar t g ui d e .c o m . au Mosman Art Gallery continued... From Woolf to Carver, Shakespeare to McFarlane, Xanthe Muston employs literature as a starting point to explore surreal moments of human connection. Some paintings are vignettes of everyday happenings. Others capture sleepless scenes of the domestic interior and the figures who inhabit them. What unites her work is a shared exploration of what ‘home’ means in 2024: What does it mean to connect in a ‘post-covid’ world, in a world backdropped with crisis – economic, social, and ecological – that stubbornly leaks into the foreground? And how might this tension be crystallised in the place that is supposed to offer a withdrawal from the public world, where home is a place of peace?

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. See our website for latest information. 15 December 2023–10 March giyawarra-nanha gulbalanha / disturbing the peace Michael Cook, Danie Mellor, Christopher Pease, Sandra Hill, Roy Kennedy, Julie Dowling, Lesley Murray, Tony Albert, Avril Quaill, Judy Watson, Ricky Maynard, Vernon Ah Kee, Liz McNiven.

Ali McCann, The Democratic Voice, 2022, archival pigment print. Courtesy of the artist. Olga Svyatova, Rebecca McCauley & Aaron Claringbold, Sammy Hawker and Skye Wagner. Selected by an expert panel comprising Bala Starr, Director, La Trobe Art Institute, Bendigo, Tiyan Baker, 2022 National Photography Prize Winner, and Nanette Orly, Curator, Murray Art Museum Albury, the finalists’ works traverse numerous themes and concepts including the environment and its degradation, family histories and connection to place, as well as spanning diverse photographic practices from large-scale installations, collages and assemblages, archival and chemical, to more intimate moments. Established in 1983, the biennial acquisitive Prize offers a unique opportunity to consider the vital role of photography in contemporary art in Australia. The Prize brings together artists from across the nation who are pushing the boundaries of photographic practice, expanding and developing existing languages and techniques.

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

Nathan Beard, King Mongkut (1956), 2022, Installation view, PICA, 2022. Photograph: Jack Ball. Image courtesy the artist and sweet pea. 23 March—1 September National Photography Prize 2024 The National Photography Prize 2024 finalists include leading Australian artists and collectives Alex Walker & Daniel O’Toole, Ali McCann, Ali Tahayori, Ellen Dahl, Ioulia Panoutsopoulos, Izabela Pluta, Kai Wasikowski, Nathan Beard, 184

Until 28 April MCA Collection: Artists in Focus Joan Brassil, Kevin Gilbert, Simryn Gill, Jumaadi, Tracey Moffatt, Sancintya Mohini Simpson, John Nixon, Leyla Stevens, Alick Tipoti, and a selection of bark paintings from the Arnott’s Collection showcasing Aboriginal artists from Groote Eylandt, Yirrkala, Galiwin’ku, Milingimbi, Maningrida, Ramingining, Gunbalanya, Wadeye and the Tiwi Islands. Curated by Pedro de Almeida, Anna Davis, Jane Devery, Anneke Jaspers, Keith Munro, Megan Robson, Manya Sellers and Lara Strongman.

Tracey Moffatt, First Jobs, Pineapple Cannery 1978, 2008, archival pigments on rice paper with gel medium, Museum of Contemporary Art, donated through the Australian Government's Cultural Gifts Program by the Mordant Family, 2013, image courtesy and © the artist, photograph: Jessica Maurer. Artists in Focus highlights key bodies of work by more than 50 artists acquired by the Museum of Contemporary Art Australia since its inception in 1989. It represents a dynamic approach to the presentation of the MCA’s permanent collection, which will change over the course of 24 months.

Kirtika Kain, The Lunar Line IX, (detail), 2021, fabric, gold leaf, rangoli, pigment, tar on reused silk screen, image courtesy of the artist and Roslyn Oxley9 Gallery, Sydney © the artist. Photograph: Luis Power. 9 March—10 June 24th Biennale of Sydney: Ten Thousand Suns The 24th Biennale of Sydney works across time periods, beyond the borders separating cultural practices rooted in different genealogies, and from all continents. The exhibition owes a profound debt to the rich heritage of what is known today as Australia, especially to the struggles and practices in which First Nations communities and migrants have faced and played key roles. Under the artistic direction of Cosmin Costinaș and Inti Guerrero, the 24th Biennale of Sydney includes six exhibition partners, including the Museum of Contemporary Art Australia, Art Gallery of NSW, Sydney Opera House, Artspace, plus eighty-eight artists. 5 April—30 June Nicholas Mangan: A World Undone Encompassing works across sculpture and film, Nicholas Mangan: A World Undone charts the evolution of Mangan’s distinctive visual language over two decades and offers new perspectives on topics at

NEW S OUTH WALES the forefront of public debate. Curated by Anneke Jaspers, Senior Curator and Anna Davis, Curator.

Upper Hunter Region is also well represented with a number of local artists being successful in winning the Prize including Peter Atkins, Dale Frank, Lyn Nash and Hanna Kay. Along with Muswellbrook Shire Council, who since 1958 has acted as sponsor and administrator of the Muswellbrook Art Prize, Bengalla Mining Company has generously sponsored the Prize for close to three decades, their commitment ensuring the development of the Muswellbrook Shire Art Collection.

Muswellbrook Regional Arts Centre www.artgallery.muswellbrook.nsw. gov.au 1–3 Bridge Street, Muswellbrook, NSW 2333 [Map 12] 02 6549 3800 Mon to Sat 10am–4pm.

Nanda\Hobbs www.nandahobbs.com

Until 16 March Women’s Work: from the Muswellbrook Collections In 2019, the National Gallery of Australia launched its gender-equality initiative Know My Name, a multifaceted project encompassing a series of exhibitions, publication and activations celebrating the work of all women artists with an aim to enhance understanding of their contribution to Australia’s cultural life. In the spirit of Know My Name, Women’s Work highlights the work of six women artists from the collections at Muswellbrook Regional Arts Centre. Viola Bromley, Edna Garran-Brown, Dorothy Burns, Dorothy Napangardi, Rhonda Thwaite and Vicki Varvaressos were wives, mothers, art advocates and pioneers who made a difference. Individually and collectively, they implemented change for future generations to benefit, and enriched the cultural life of Australia.

Hayden Mass, Water Warrior, 2022, acrylic on canvas, 50 x 40 cm. emotions of the Warriors from Warrior Disability Services. The experience of connecting with their creative potential through the visual arts has worked to enhance wellbeing and supported a sense of belonging. Sharing their perspectives, imagination, and creativity for what brings each of them joy and happiness.

12–14 Meagher Street, Chippendale, Sydney, NSW 2008 [Map 8] 02 8599 8000 See our website for latest information.

Until 16 March Breathing: Henry Lewis Being aware of our ‘being’ always seems to be a revelation, as in the quixotic amusement of ‘seeing one’s breath.’ But variation is where photographer Henry Lewis sees, captures, and chronicles value. We may not breathe in the same way, or other influences may impact how we do. And in chronicling the variations within and between his own breathing, Lewis highlights how little we understand or engage with the ubiquity and fragility of the process. Until 25 May Art Tracks VII: Not at the Dinner Table! Bringing together works from the collections acquired through the Muswellbrook Art Prize, spanning from radical ideas to the taboos in normalcy of everyday life. These pieces serve as a visual testament to the transformative power of art, transcending limits, and shedding light on topics considered unfit for polite conversation. The contemporary artists featured in this exhibition acknowledge that within these restricted subjects lies the potential for deeper understanding, empathy and connection. Until 25 May Warrior Expressions: Warrior Disability Services Showcasing artwork by people living with a disability, Warrior Expressions celebrates the experiences, stories, and

Nicola Higgins, Girl with Sunflowers, 2024, oil on canvas, 91 x 76 cm. Tuppy Ngintja Goodwin, Antara, 2022, acrylic on linen, 198 x 198 cm, Muswellbrook Shire Art Collection, Winner, painting category, Muswellbrook Art Prize 2023.

Until 16 March People, People Group exhibition guest curated by Steven Alterton (NAS Director).

2 April–25 May Muswellbrook Art Prize Since 1958, the Muswellbrook Art Prize has grown and evolved and is today one of the richest prizes for painting in regional Australia. Finalists for the Muswellbrook Art Prize vie for a total of $70,000 prize money across three prize categories: Painting ($50,000 acquisitive), Works on Paper ($10,000 acquisitive), and Ceramics ($10,000 acquisitive). Astute adjudication of the Prize over the years has yielded an excellent collection of modern and contemporary Australian paintings, works on paper and ceramics from the Post War period of the 20th Century and into the 21st Century, with the winning acquisitive works forming the nucleus of what is now known as the Muswellbrook Shire Art Collection. Previous winners of the Muswellbrook Art Prize include such key figures as David Aspden, Sydney Ball, Richard Larter and Fred Williams. The

Dee Smart, The light shines through, 2024, watercolour on cotton rag paper, 70 x 38 cm. 11 April–27 April Siren Dee Smart 185

nag.org.au

Exhibition Australia’s Highest Value Art Prize for Women

OPENING NIGHT AND PRIZE ANNOUNCEMENTS

10 May 2024

EXHIBITION OF FINALISTS

11-26 May 2024

Thursdays to Sundays (free entry)

SALE OF ARTWORKS

10-26 May 2024 Purchase Artworks and Opening Night Tickets

ravenswoodartprize.com.au P R O U D LY S U P P O R T E D B Y GOLD PARTNERS

Maria Fernanda Cardoso, excerpt from Actual Size V (Maratus Madelineae) 2023 Professional Artist Winner

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Enquiries: 02 9498 9898 artprize@ravenswood.nsw.edu.au Ravenswood School For Girls, Gordon NSW

ravenswoodartprize.com.au

NEW S OUTH WALES

National Art School NAS Gallery www.nas.edu.au 156 Forbes Street, Darlinghurst, NSW 2010 [Map 8] 02 9339 8686 Mon to Sat 11am–5pm. Free admission.

9 February–7 April Wynne Prize 2023 Various

9 February–7 April New Surroundings Rita Winiger

Touring for the first time, the annual Wynne Prize was first awarded in 1897 in honour of the official opening of the Art Gallery of New South Wales at its present site. Judged by the trustees of the Art Gallery, the prize is awarded to the best landscape painting of Australian scenery or for the best example of figurative sculpture by an Australian artist. An Art Gallery of NSW touring exhibition.

Dive into the majestic and powerful landscape of the East MacDonnell Ranges near Alice Springs with Rita Winiger’s expressive paintings and drawings. Journeying to the Ross River, Armidale-based Winiger was inspired by the dry desert landscape and the body of work in this exhibition is expressive and experimental, using ink, salt, and ochre which Winiger collected and ground herself. 12 April–7 July Around the World with 80 Artworks Various

Chen Man, born Beijing 1980, lives Beijing, Ms Wan studies hard, 2011, chromogenic print on aluminium. La Trobe University, Geoff Raby Collection of Chinese Art. Donated by Dr Geoff Raby AO through the Australian Government’s Cultural Gifts Program, 2019. © Chen Man. Photograph: Jia De. 19 January–30 March Our Time: Four decades of art from China and Beyond – The Geoff Raby Collection Ah Xian, An Kun, Aniwar Mamat, Cang Xin, Chen Man, Chen Wenling, Feng Yan, Gonkar Gyatso, Guan Wei, Guo Jian, Hua Jiming, Jhamsang, Jian Jun Xi, Jiang Shan Chun, Li Dapeng, Li Jin, Lin Chunyan, Lu Peng, Luo Brothers, Qi Zhilong, Laurens Tan, Rose Wong, Shen Jiawei, Sheng Qi, Shi Jianmin, Tan Yifeng, Xiao Lu, and Zhang Hui

Leah Bullen, Conservatory no.2, 2016, watercolour, gouache, monotype on paper. Photography by Brenton McGeachie. 9 February–7 April Homegrown Wynne Leah Bullen, Ross Laurie, Angus Nivison, James Rogers To coincide with the Wynne Prize 2023 at NERAM, this capsule exhibition features several local artists who have been selected and shown in past Wynne Prizes. Includes paintings by Ross Laurie, Pring Prize and Trustees Watercolour prize winner Leah Bullen, seven-time finalist and 2002 winner Angus Nivison, and sculpture by James Rogers.

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.

12 April—26 May Artisans of New England Jim A. Barker Artisans of New England is a long-term photographic project by recent New England local, Jim A. Barker. Initiated in 2022, Barker has documented creatives in the region including painters, sculptors, ceramicists, as well as those who make things with their hands such as clockmakers, furniture restorers, seamstresses and writers. 12 April—26 May An Australian Alphabet Southern Highlands Printmakers

Over a 35-year period beginning in the mid-1980s, Australian economist and diplomat Dr Geoff Raby AO assembled an outstanding art collection of artworks by more than 75 artists working in both China and in Australia, as members of the Chinese diaspora. In Our Time presents a selection of works from this special collection, now part of the La Trobe University Art Collection. Through art imbued variously with humour, fantasy and sarcasm, the exhibition In our Time addresses diverse themes ranging from urban life, Chinese philosophy and cultural difference to social justice, human rights and nationhood. The represented artists work in media including painting, photography, drawing, ceramics, sculpture and textiles. This exhibition has been produced for the National Art School in partnership with La Trobe Art Institute and supported by Sydney Festival.

The Howard Hinton, Coventry and NERAM collections are known for their strong representation of Australian art and artists. But also contained within are numerous artworks from farther flung parts of the world that have made their way to Armidale in regional NSW. This exhibition explores works in the collections that have been created by artists from all around the globe or depict locations across various continents. Travel through the collections from Australia to Zimbabwe!

In An Australian Alphabet, each member of the Southern Highlands Printmakers was randomly allocated a letter of the alphabet and invited to think about the country during a difficult 2020. The result is the whole gamut of printmaking techniques and creativity.

Ngununggula www.ngununggula.com

Peter Mackie, Floating weeds, 2023, collagraph and drypoint. 9 February–7 April Urbanus Open Bite Printmakers Open Bite Printmakers have responded to the challenge of looking at their environment and art practice through the dual prisms of inhibition and inspiration. The exhibition explores the personal response by our members to the notion of an urban environment with its excesses and limitations, the common and the uncommon, and aims to challenge the viewer to engage with their own understanding of the subject.

Southern Highlands Regional Gallery, Retford Park, 1 Art Gallery Lane, Bowral, NSW 2576 [Map 12] 02 4861 5348 Mon to Sun, 10am–4pm. See our website for latest information. Ngununggula, meaning ‘belonging’ in the traditional language of the Gundungurra First Nations people, is the first regional art gallery in the Southern Highlands of New South Wales. Ngununggula is many things, and foremost it is a gallery for the community funded by the community. Led by a small but growing team and in partnership with the State Government of NSW, Wingecarribee Shire 187

Royal Art Society of N.S.W. March—14 April

Annual Autumn Exhibition Featuring the Thora Ungar Memorial Award Opening night Friday 1 March, 6–8pm. Guest Judge/Opener Mal Damkar (Beagle Press)

Neil Hetherington.

25–27 Walker Street, North Sydney, NSW 2060 02 9955 5752 royalart.com.au

Mon to Fri 10am–4pm, Sat and Sun 11am–4pm. Closed public holidays.

royalart.com.au

NEW S OUTH WALES Ngununggula continued... Council, the National Trust, and donors, we have established a state-of-the-art gallery that sustainably repurposes the Dairy and Veterinary Clinic at Retford Park, a property of the National Trust (NSW) donated by the late James Fairfax.

Caroline Rothwell, photograph: Anna Kucera. Joan Ross, photograph: Cara O’Dowd. 17 February–5 May Ross & Rothwell: in the same boat Joan Ross and Caroline Rothwell

to have a meaningful connection to the art they produce. Alongside our Exhibition and Education Programs, we care for an established Collection of modern and contemporary art from Australia and abroad.

Jeremy Shockley, Catalina, 2023, oil on canvas, 183 x 152.5 cm. Colin Pearson, 2002, thrown stoneware. Collection of Greg Daly. 26 January–10 March A Maker’s Collection Greg Daly 3 February–7 April The Wattle Room Genevieve Carroll Chapter 11 oysters and buttered bread 2 September 2023–3 March A Likeness 21 October 2023–30 June Collection Highlights and Recent Acquisitions

PIERMARQ*

14 March—14 April If Hollywood Don’t Need Us Preston Daniels & Jeremy Shockley

Outback Arts Gallery www.outbackarts.com.au 26 Castlereagh Street, Coonamble, NSW 2829 [Map 12] 02 6822 2484 Mon to Fri 9am–4pm. Outback Arts is a non-profit regional arts and cultural development organisation. We work with individuals, organisations and government to generate, promote and advocate for the arts and creative industries in the Far West region of NSW.

www.piermarq.com.au

Joe Quilty.

23 Foster Street, Surry Hills, NSW 2010 [Map 10] 02 9188 8933 Mon to Wed 10am–5pm, Thu to Sat 10am–6pm.

15 May—30 June ARTEXPRESS 2024 ARTEXPRESS is an annual series of exhibitions of exemplary artworks created by New South Wales visual arts students for the Higher School Certificate examination.

Orange Regional Gallery www.orange.nsw.gov.au/gallery 149 Byng Street, Orange, NSW 2800 [Map 12] 02 6393 8136 Open daily 10am–4pm. See our website for latest information. Orange Regional Gallery is a centre for art in the Central West of New South Wales, Australia. Artists are at the centre of everything we do at Orange Regional Gallery. We support artists to produce new and innovative works, and assist our audiences

Maximilian Daniels, Untitled 1, 2023, oil and wax on linen, 192 x 145 cm.

Annabelle Harris, Totem Pole, 2022, Waste 2 Art Coonamble 2022 winner. Photograph: Outback Arts.

Until 9 March Maximilian Daniels

21 March 19 April Waste 2 Art Coonamble 189

Margaret Sheridan, Ooma

Feyona van Stom, Lavender Feyona van Stom, Gentle Lady

Julian Ellis, Choice Bridget Whitehead, Dance like no-one is watching

Vivienne Lowe, Divergence

Pat Anderson, Reclining Figure

Jenny Green, Resurgence Martin Williams, Head of Atilan

Helena Lillywhite, Acro balance

Chris Cowell, Sound of Ice

Alan Somerville, Duet

Chris Cowell, Sound Of Ice

Alan Somerville, Duet

www.sculptorssociety.com for enquiries and sales: Feyona van Stom - President feyonavanstom@gmail.com or 0408 226 827 Chris Cowell - Treasurer chrissycowell@gmail.com or 0419 010 923 sculptorssociety.com

NEW S OUTH WALES Outback Arts Gallery continued... Waste 2 Art provides an innovative approach to waste education. Outback Arts and Coonamble Shire Council are inviting individuals, schools, and community groups to take up the challenge and create a new life for materials that would otherwise have been thrown away or considered useless. Over the years many materials have been used: items like soft plastics, tin cans, bottle tops, plastic bags, parts from rusty farm machinery, scrap metal, bread tags - the options are limitless. Instead of ending up in landfill, these waste materials can be turned into fantastic works of art.

Rex-Livingston Art + Objects www.rex-livingston.com 182-184 Katoomba Street, Katoomba, NSW 2780 [Map 11] 02 4782 9988 Thu to Sun 11am–5pm, Mon by appointment, closed Tue & Wed.

This competition gives aspiring and professional artists the chance to explore and share their waste reduction message. It also provides a wonderful opportunity for the entire Coonamble Shire Council community to showcase their creativity. Opening event: 2 March.

Maree Kelly, The Indomitable Scrub. Photograph: Darcy Kelly. 25 April–31 June Half a Million Wild Acres Maree Kelly The Pilliga Scrub is an ancient and wild, semi-arid woodland covering more than 3,000 square kilometres in north-western NSW. Teeming with wildlife, this unusual remnant woodland is characterised by white and black cypress pine and ironbark forests. In the summer heat, the forest is dry with strongly contrasting light and shadows making it seem ominous and impenetrable. During wet times there are waterholes everywhere, and the forest floor is lush with greenery and covered in wildflowers. On the sacred land of the Gamilaraay peoples, the Pilliga Forest is a unique and ancient place, a biodiversity hotspot like nowhere else in the world. It feeds clean water into the Great Artesian Basin—the crucial life support system for much of inland Australia. Maree’s family history includes a strong connection to the Pilliga. As a child, Maree became fascinated by her great grandmother’s tales of her young life growing up with her aboriginal mother in a bark hut on the edge of the scrub, with stories of bushrangers, wild horses, bush tucker and deadly fires and floods. At the heart of an agrarian landscape long since cleared of vegetation lies half a million hectares of rare intact temperate eucalypt woodland.

Rachel Carroll, Near Larapinta, 2023, mixed media on canvas, 120 x 90 cm.

Fiona Ryan-Clark, Russo, 2023, white Raku clay, various glazes, 27 x 18 x 17 cm.

traditional materials. Her key theme is exploration of the concept of ‘waste’, and how society perceives certain resources as such. Through her creative expression and work with materials that might be discarded or overlooked, she poses questions about the value we assign to resources, their interconnectedness and impact on the world.

2 March—31 March Emergence Fiona Ryan-Clark (ceramic sculpture) with Kjell Everingham & NG Malla (painting)

Roslyn Oxley9 Gallery

Fiona Ryan-Clark is an emerging ceramic sculptor whose exhibition Emergence captures figures deep in their disguises but on the verge of transition. All wear masks or the trappings of roles and encourage the viewer to ask: “Who is the person behind this disguise?” or “What masks am I wearing and who am I really?”. She was inspired by the clown-figures (Kosa) of Pueblo Indian cultures in the US, whose role is to move between worlds and remind people of what is important in life. The Pueblo believe they come from the earth, return to the earth, and that artist channel the cultural knowledge of ancestors. Kjell Everingham and NG Malla are emerging painters, Everingham works in minimal semi abstract, often muted paintings, whilst Malla focuses on modernist interiors and urban architectural paintings from the 50’s, 60’s,and 70’s in Australia.

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

5 April—28 April Arrernte Country Rachel Carroll (painting) with Lou Nade (contemporary weaving)

87 Collett Street, Queanbeyan, NSW 2620 [Map 12] 02 6285 6356 Wed to Sat 10am–4pm.

“Through my art, I attempt to capture the memories of Arrernte Country, the energy resonating even in silence, and the excitement sparked by the tales of rocks steeped in history. Sacred sites add a layer of reverence. Imagine a world where everyone had a sacred site to protect”. Lou Nade is a multidisciplinary artist and sculptor engaging with mediums including found, reclaimed, natural resources and

www.roslynoxley9.com.au

9 March–6 April Fiona Hall 9 March–6 April Destiny Deacon 12 April—4 May Bill Henson

Rusten House Art Centre www.qprc.nsw.gov.au/Community/Culture-and-Arts/Rusten-House

Rusten House Art Centre is an 1862 NSW Heritage listed building that was Queanbeyan’s first hospital. It has been restored for reuse as a regional gallery and workshop facility, opening for the first time to the public in April 2021. It boasts many original architectural features and is accompanied by a heritage listed garden. Rusten House is owned and operated by Queanbeyan-Palerang 191

ar t g ui d e .c o m . au Rusten House Art Centre continued...

SCA Gallery www.sydney.edu.au/sca Old Teachers’ College, The University of Sydney, Manning Road, NSW 2006 [Map 7] 02 8627 8965 Mon to Fri 11am–5pm, Sat 12pm–4pm. See our website for latest information.

Sally Simpson, Fragile Equilibrium, bone & organic material. QPRC Art Collection. 2 March–23 March Women’s Exhibition In celebration of International Women’s Day, Rusten House Art Centre will showcase the Women’s Exhibition featuring an eclectic range of works by female artists from the QPRC & ACT regions. Works from the QPRC Art Collection by prominent female artists will also be featured. Opening event: Friday 8 March, 5pm–7pm.

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.

Jelena Telecki, Interior 2, 2021, oil on linen, 137 x 154 cm. Commissioned by the Art Gallery of South Australia, for the 2021 Adelaide Biennial. Courtesy of 1301SW Melbourne. 7 March–20 April At Home with Painting Hany Armanious, Amber Boardman, Angela Brennan, Diena Georgetti, Alex Gawronski, Newell Harry, Madeleine Kelly, Spencer Lai, Archie Moore, Jahnne Pasco-White, Lisa Radford, Tim Schultz , Jelena Telecki, Rex Veal.

Gerwyn Davies, Gunshot, 2023, archival pigment print, edition of 5 + 1AP. © The artist & Michael Reid Gallery, Sydney. images that sit within an Australian context of queer art and visual culture. Obvious reference points include artistic icons of yesteryear like Leigh Bowery right through to artists of the present such as Liam Benson and Justin Shoulder. What makes Davies kin to these few isolated examples is how he draws from fashion, popular culture, advertising, and club culture. Where he differs is how his practice has seamlessly blended references to the local and global through the sites depicted, steeped as they are in the alienation of the built environment with all its vernacular recognisability and visual excess. Davies’ body of work is like a typology of locations – real and imagined – that references and constructs hyperstylised tourist destinations and more generic landscapes, streets, and beaches you might find in a web image stock library. Whatever the location, Davies is drawing attention to the ubiquitous role photography plays in relation to place. What makes this site more of a selfie magnet than any other? is what his work asks. Location location location, is its reply.” Dr. Daniel Mudie Cunnigham, Glisten, February 2023.

Exhibition opening: Wednesday, 6 March, 6pm–8pm.

Shoalhaven Regional Gallery, Nowra www.shoalhavenregionalgallery. com.au 12 Berry Street, Nowra, NSW 2541 [Map 12] 02 4429 5444 Tue to Fri 10am–4pm, Sat 10am–2pm. Free entry. See our website for latest information.

George Tjungurrayi, acrylic on linen, 183 x 153 cm. Private collection. 9 March–14 April Field of Vision: Contemporary Indigenous Art Contemporary Indigenous Art is rarely examined through the lens of painterly invention. This exhibition curated by Christopher Hodges, focuses on artists from the Western Desert, highlighting the methods and techniques artists use to make their visions. The complexity of this imagery rich with cultural knowledge has evolved to create an art movement symbolic of Australia and its ancient land. 192

South East Centre for Contemporary Art – SECCA www.secca.com.au Zingel Place, Bega, NSW 2550 [Map 12] 02 6499 2201 Mon to Sun 10am–5pm. See our website for latest information. 9 February—3 April SECCA Chambers Gallery: Gerwyn Davies: Glisten “For more than a decade, Davies’ has been creating a serial parade of photographic

Jessica Loughlin, Of Light, installation view. Courtesy the artist and The JamFactory. 17 February—10 April SECCA Gallery One: Jessica Loughlin : Of Light Jessica Loughlin is one of Australia’s most internationally acclaimed glass artists and is renowned for her innovative technical approach to kiln-formed glass. She creates ethereal glass works that explore her fascination with the beauty of emptiness and her extensive research into light and space. A studio glass artist for over twenty-five years, Loughlin has dedicated her practice to capturing the transient qualities of light and the quiet sense of contemplation it provokes.

NEW S OUTH WALES

Stanley Street Gallery

2 March–24 March Laterality Caelli-Jo Brooker, Alison Smith, Ahn Wells

www.stanleystreetgallery.com.au

2 March–24 March Scrambled Olivia Parsonage

1/52–54 Stanley Street, Darlinghurst, NSW 2010 [Map 8] 02 9368 1142 Wed to Sat 11am–6pm, or by appointment.

2 March–24 March Embedded Louisa Magrics 30 March–21 April Deciduous Dream Patrick Mavety

The gallery has a strong history of championing early career and established artists in the commercial sector, with a focus on contemporary art that includes a deep recognition of finesse and the highest calibre of technique.

30 March–21 April Butchers Block Liam Power

Image courtesy of the artist. Until 30 March Stranger Than Fiction Pennie Steel Sarah Edmondson, Don’t Touch, 2022, cotton on linen, 53 x 95 cm. Photograph: Greg Piper. Until 23 March Including Words Anthony Bartok, Claudia Chaseling, Joshua Searle, Milovan Destil Markov, Ron Adams, Sarah Edmondson, Toni Messiter

Paintings and Sculptures showing in a group exhibition at Arts Blue Mountains. 9 Honour Avenue, Lawson, NSW 2783. Open Wed to Sat, 10am–3pm.

Straitjacket www.straitjacket.com.au 222 Denison Street, Broadmeadow, NSW 2292 0434 886 450 See our website for latest information.

Sullivan+Strumpf Sydney www.sullivanstrumpf.com 799 Elizabeth Street, Zetland, NSW 2017 [Map 7] 02 9698 4696 Tue to Sat 10am–5pm, or by appointment. See our website for latest information. Sullivan+Strumpf is one of Asia-Pacific’s leading contemporary art galleries, representing engaging and culturally relevant artists from the region. Until 9 March The Garden + Forbidden Fruit Tony Albert Until 9 March The Preview Aidan Hartshorn, Erica Muriata, Keemon Williams

Raewyn Walsh, Fluorescent Bean (Worn), 2024, beeswax, damar crystals, pigment, essential oils, sterling silver, 50 x 60 x 45 mm. Photograph: Sonja Gardiner. 10 April–4 May 67206 Days, 2276 Full Moons Becky Bliss, Nadene Carr, Aphra Cheesman, Nina van Duijnhoven, Neke Moa, Mia Straka, Caroline Thomas, Sarah Walker-Holt, Raewyn Walsh

Alison Smith, The ones that will not stay (detail), graphite and ink on board, 50.5 x 50 cm.

From the New Zealand initiative Handshake Project 2024, this exhibition features jewellery artists whose work contemplates themes of discovery, origins, integration, transformation, virtue, cultural respect, differences, and conflict.

Angelia Tiatia. 14 March–20 April The Dark Current Angela Tiatia

SteelReid Studio www.steelreidstudio.com.au 148 Lurline Street, Katoomba, Blue Mountains, NSW 2780 [Map 11] 0414 369 696 Viewings by appointment.

14 March–27 April Barayuwa Munuŋgurr Patrick Mavety, Dancing in the dark (detail), oil on board, 60 x 90 cm. 193

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Tamworth Regional Gallery

8 March—26 May Portraits of Sound Trish Tait

www.tamworthregionalgallery.com.au 466 Peel Street, Tamworth, NSW 2340 [Map 12] 02 6767 5248 Tue to Fri 10am–5pm, Sat 10am–4pm, Sun 10am–4pm.

Photograph: Noritaka Minami. 28 March—26 May John Andrews: Architect of Uncommon Sense Paul Walker and Kevin Liu

Kate Dorrough, The Enduring Echo, 2019, stoneware ceramic with glaze, 36 x 49 x 20 cm. Photograph: Jenni Carter.

John Andrews: Architect of Uncommon Sense surveys the career of the Sydney & Harvard-trained architect, arguably Australia’s most globally influential. From the megastructural Scarborough College in Toronto of 1965 to the high-tech pods of Intelsat HQ in Washington, DC, 1988, via a series of key projects in Australia, Andrews’s designs were remarkable. But in the face of postmodernism’s rise his fame quickly waned. Andrews, however, remained committed to modernism: design should make the built world better for everyone.

Tweed Regional Gallery & Margaret Olley Art Centre www.gallery.tweed.nsw.gov.au 2 Mistral Road, Murwillumbah South, NSW 2484 [Map 12] 02 6670 2790 Wed to Sun 10am–5pm.. 2 March—26 January 2025 A Delicate Terrain

Heather Dorrough, Self Portrait No 6 (Buzzflies) (detail), 1982, textile, dye, photographic silk screen printing, machine embroidery, 212 x 54 cm. Photograph : Jenni Carter. 13 April–16 June Heather + Kate Dorrough: Lineage This dynamic contemporary exhibition encompasses fibre art, paintings, prints, ceramics, sculpture and video. The multi-disciplinary works of mother and daughter Heather and Kate Dorrough explore the nexus between the arts and crafts movements, female creative lineage, body and landscape, river and fertility, and environmental issues and activism.

Tin Sheds Gallery www.sydney.edu.au/tin-sheds 148 City Road, Darlington, Sydney, NSW 2008 [Map 14] 02 9351 3115 Tue to Fri 10am–4pm. 194

Selected from the Tweed Regional Gallery collection A Delicate Terrain explores the irreversible impact on Australia’s natural beauty and the environment due to changes in eco-systems. A Tweed Regional Gallery initiative.

Portraits of Sound by regional artist Trish Tait celebrates the transformative power of music through a series of oil paintings. Each work contains the portrait of a young musician who finds solace in the personal expression of music. Painted on circular tondo, Tait’s oil paintings are reminiscent of vinyl records and remind us of the importance of being able to record, hold and relisten to the intangible qualities of music.

Sue Healey, On View: Japan, (detail), 2018, single-channel video. Photograph: Pippa Samaya. © The artist. 9 March—19 May synergy: identity, portraiture and the moving body Atong Atem, Gerwyn Davies, Tim Georgeson and Sue Healey synergy: identity, portraiture and the moving body presents a group exhibition of four renowned Australian-based artists who explore personal and cultural forms of identity. A Tweed Regional Gallery Initiative. 9 March—30 June Slow, Motions Emily Ebbs Emily Ebbs was the 2022 recipient of the Tweed Regional Gallery — National Art School Master of Fine Art (Painting) Residency Award. She completed a residency in the Gallery’s on-site Nancy Fairfax Artist in Residence Studio and this solo exhibition, titled Slow, Motion is the outcome of that residency. The exhibition

18 October 2023—28 April Light & Life: Margaret Olley, Laura Jones, India Mark and Mirra Whale Light & Life brings together superb still life paintings by Margaret Olley from public and private collections alongside new work by three contemporary Australian painters – Laura Jones, India Mark and Mirra Whale. 8 March—26 May Looking Back There Were Signs Samuel Leighton-Dore A multidisciplinary exhibition exploring visual artist and screenwriter Samuel Leighton-Dore’s adult diagnosis of Autism Spectrum Disorder, and the ways in which new diagnoses can recontextualise old ideas of self. A Tweed Regional Gallery initiative. An outcome of the PLATFORM program. This project is assisted by the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments.

Emily Ebbs, Rosemary Phthalo, 2023, pigment and essential oils on muslin, 50 x 120 cm. Image courtesy the artist. © The artist.

NEW S OUTH WALES is evocative of mindfulness, reflection and contemplation. Her monochromatic works are created by applying delicate washes of acrylic paint and scented oils to muslin and linen. Allowing each layer to dry, she returns the next day to add another wash, building up the colour slowly and thoughtfully, one layer at a time. The end result emanates a meditative feeling, inviting the viewer to look inwards.

Elliott and Nancy Yu. It celebrates their exceptional practice, advanced technique and contribution to Australian and international studio glass over the past two decades.

20 April–16 June Wynne Prize 2023

19 April—13 October Precipice: The Edges of Things Kat Shapiro Wood Northern Rivers artist Kat Shapiro Wood traverses multiple disciplines in her practice with an intense exploration of materiality and its inherent qualities. A Tweed Regional Gallery initiative. Kat Shapiro Wood is represented by Chalk Horse Gallery in Sydney.

UNSW Galleries www.unsw.to/galleries Corner Oxford Street and Greens Road, Paddington, NSW 2021 [Map 10] 02 8936 0888 Mon to Fri 10am–5pm, Sat & Sun 12noon–5pm. Closed public holidays.

Andy Pye, Gariwerd Doline. 2 March–14 April Andy Pye: Cockies and Hot Rocks In Cockies and Hot Rocks Andy Pye demonstrates a deep affinity for the natural world - the mountains, boulders, waterfalls and birdlife captured in vibrant paintings on canvas and board.

9 March–10 June 24th Biennale of Sydney: Ten Thousand Suns UNSW Galleries is a venue for the 24th Biennale of Sydney, Ten Thousand Suns, curated by Cosmin Costinaș and Inti Guerrero.

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, closed Mondays. Free. Until 16 June Shattering the Glass Ceiling: Women Artists in the National Art Glass Collection Shattering the Glass Ceiling showcases the work of over 20 women artists from the National Art Glass Collection including, Kate Baker, Clare Belfrage, Jessica Loughlin, Judi Elliott, Kathy

Wagga Wagga Art Gallery is delighted to announce it will feature The Wynne Prize 2023 in its 2024 program. Presented by the Art Gallery of New South Wales, this is the first time the Wynne Prize will tour in its 125 year history. Regional audiences will have the opportunity to see the best of Australian contemporary landscape painting and sculpture close to home. The Wynne Prize 2023 is an Art Gallery of New South Wales touring exhibition. This project is proudly supported by the NSW Government through the Create NSW Blockbusters Funding initiative.

Cockies and Hot Rocks is presented by arrangement with Wangaratta Art Gallery.

The University Gallery www.newcastle.edu.au/universitygallery

Anna Louise Richardson, The Good (installation view in artist’s studio), 2023. Photograph:Bo Wong.

Elyas Alavi, Cheshme-e jaan (The Spirit Spring), (detail), 2023. Photograph: Andrew Curtis. Courtesy of the artist.

transformation. Lyndall Phelps will create a site-specific installation that merges her research into the National Art Glass Collection and glass from the scientific world, with the many ways women incorporate glass into craft activities, now and in the past.

23 March–23 June Anna Louise Richardson: The Good The Good is a major new solo exhibition by artist Anna Louise Richardson whose practice is centred around rural life, embedded in the experience and drama of everyday reality. Working primarily in charcoal and graphite, Richardson’s work explores ideas of intergenerational exchange, parenthood and identity based on her experiences of living and working on a multi-generation beef cattle farm in rural Australia. The Good has been curated by Rachel Arndt, The Condensery and Dr Lee-Anne Hall, Wagga Wagga Art Gallery.

The University Gallery & Senta Taft Hendry Museum, University of Newcastle, University Drive, Callaghan NSW 2308 02 4921 5255 See our website for latest information.

23 March–23 June Julia Roche: When our eyes adjust For When our eyes adjust, Julia Roche will present a new body of work on canvas and paper, created both in the night, and of the night. Working on her family property Wooroola, on Wiradjuri Country for the past six years, Roche has developed a signature painting style which both describes the land she sees, and is shaped by it—the layers of her canvases are a record of the environmental elements in which she paints. 23 March–1 September Lyndall Phelps: Science of Common Life In this exhibition the National Art Glass Gallery will become a unique laboratory, a place of surprising experimentation and

Caroline Zilinsky, For Whom The Bell Tolls, 2023, oil on linen, 138 x 138 cm. Image courtesy of the artist and Nanda\ Hobbs Gallery. 23 February—20 April Caroline Zilinsky: Exquisite Cadaver Caroline Zilinsky belongs in a time other than now; her erudite artistic bluntness somehow belongs in the great feasting halls of Nordic mythology rather than the white-walled boxes of the contemporary art world. The artist’s gift is awareness and the courage to paint the uncomfortable. Opening event 16 March, 2pm. 195

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Watt Space Gallery www.newcastle.edu.au/ wattspacegallery 20 Auckland St, Newcastle, NSW 2300 [Map 12] 02 4921 8733 See our website for latest information.

timeless dance between past, present, and future. Through a kaleidoscope of mediums and perspectives, this exhibition unveils a tapestry of emotions, memories, and dreams, inviting you to contemplate the infinite threads that weave the fabric of our existence. Join us in this celebration of artistic exploration, where every stroke, colour, and form tell a story that resonates through ever and a day. Opening event Friday 8 March, 6pm–8pm.

Lin Yen-Wei 林彥瑋, Plaything Study 10, 2012, oil on canvas, 38 x 45 cm.

Hilda Bezuidenhout, Achol and the Ocean, 2023, photograph. Image courtesy of the artist. 8 March—4 May WH!P COLLECTIVE: Stories of Light

Ouyang Chun 欧阳春, Volcanic Ash, 2013, bronze, installed approximately 20 x 400 x 500 cm.

Opening event: 8 March, 5.30pm.

Wester Gallery www.wester.gallery 16 Wood Street, Mulubinba, Newcastle West, NSW 2302 [Map 12] 0422 634 471

Justin Lees, Hexswan, oil on canvas. 8 March—22 March Ever and a Day Luke O’Donnell, Xavier Lane, Christian Dimick, Justin Lees, Darcy McCrae, Emma Currie, Madi Battams, Ronin Pirozzi, Bridgette Ferrier, with more TBC. Step into a realm where artistic expressions transcend the boundaries of the present, inviting you on a journey that stretches across the continuum of ever-changing moments. Ever And A Day brings together a diverse group of visionary artists whose creations explore the 196

Heidi Lai, Ocean Wanderers, oil on canvas. 5 April—20 April Heidi Lai Heidi Lai is a self taught oil painting artist from Hong Kong. She has a Bachelor of Architecture from UNSW in 2010. Her first solo exhibition at Brunswick Street Gallery in Melbourne in March 2023 was a significant milestone, followed by a group exhibition at Aspire Gallery, Brisbane where her artwork received the People’s Choice Award in March 2023. She first exhibited in The Other Art Fair Sydney in May and October 2023. Lai wants to explore how the minorities in the world navigate their daily existence and their interconnections. Within the tapestry of their unique community, often challenging for outsiders to grasp, lies a profound beauty and complexity that invites us to recognize the rich diversity within the fabric of everyday life. Opening event Friday 5 April, 6pm–8pm.

violence. Cities tear themselves apart to make way for towering skyscrapers and gleaming high-rises. However, in this bright new world, one question arises: where have all the people gone? A Blueprint for Ruins reverberates with the shadows of the dispossessed within China’s urban metamorphosis.

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 & Sun 12pm–4pm.

White Rabbit Contemporary Chinese Art Collection www.whiterabbitcollection.org 30 Balfour Street, Chippendale, NSW 2008 [Map 9] 02 8399 2867 Wed to Sun 10am–5pm. Until 12 May A Blueprint for Ruins Group Exhibition Beneath the glossy surface of progress lurks a simmering undercurrent of

Noel McKenna, Half House, Cringila, 2023, oil on plywood, 40 x 40 cm. 9 March—2 June Landscape Tells The Way- Illawarra The exhibition brings together contemporary artists who share a connection to the Illawarra and features their unique perspectives on the local landscape. With artists Riste Andrievski, Suzanne Archer, Sophie Cape, Elisabeth Cummings,

NEW S OUTH WALES Warwick Keen, Steve Lopes, Jo Lyons, Euan Macleod, Noel McKenna, Reg Mombassa, Idris Murphy, Lucy O’Doherty, Amanda Penrose Hart. Curated by Riste Andrievski. 2 March—26 May Ante/Anti/Post: Here + Now IV Emerging Dharawal-based artists address the ongoing impacts of colonialism. This includes but is not limited to the state’s various systems of violence against Bla(c)k, queer, non-white, and other minoritised ways of being. Also, violence against land, non-human life, and viable futures. Artists Monisha Kumar, Angry Girl, Stephanie Beaupark, Monty Hancock, Chip, Matthew Grayson and Sarah Carr grapple with this ‘here and now’ and imagine worlds otherwise. Curated by Alinta Maguire and Aneshka Mora. 2 March—26 May Best Before Clare O’Toole Working in both acrylics and ceramic sculpture the artist explores consumer culture transforming everyday items into vivid still life. Until 7 April Kôgábinô Mai Nguyen-Lon Kôgábinô is a double mistranslation of Vietnamese English for ‘vomit girl’. This recurring motif and adopted character in Nguyen-Long’s practice becomes a visceral metaphor for diasporic trauma and the artist’s inquisitive and ongoing negotiation with the messy edges of histories, cultural identity and family values. Curated by Adam Porter.

the Warlpiri and Kukatja peoples, as well as The Dreaming stories of the Yolŋu people. With artists Abie Jangala, Bai Bai Napangarti, Elizabeth Nyumi Nungurrayi, Judy Martin Napangardi, Judy Watson Napangardi, Liddy Nakamarra Nelson, Molly Tasman Napurrula, Paddy Japaljarri Stewart, Ronnie Jakamarra Lawson, Rosie Tasman Napurrula, Teddy Morrison Jupurrula, Gulumbu Yunupingu, Nyapanyapa Yunupingu and Barrupu Yunupingu.

Yarrila Arts and Museum www.yarrilaartsandmuseum. com.au Yarrila Place, 27 Gordon Street, Coffs Harbour, NSW 2450 [Map 12] 02 6648 4700 Tues to Fri 10am–4pm, Sat & Sun 10am–2pm. Closed on Mondays and all NSW Public Holidays. See our website for latest information. Permanent Museum Exhibition Yaamanga Around here Yaamanga Around here is a permanent exhibition exploring the history and identity of the Coffs Coast through themes of place, community and belonging, with Gumbaynggirr culture at its heart. It features Daalga Nginundi Wajaarr Sing Your Country, created by ZAKPAGE, award-winning storytellers who work at the convergence of film, sculpture, design and architecture. This artwork is dedicated to the Gumbaynggirr people; it is their ancestral lands upon which we live and work; they who were so generous with their cultural knowledge and lore in the making of this film.

Until 24 March OK! Motherhood Richilde Flavell’ Explore the connection between the mundane and the extraordinary by delving into the themes of parenthood and the transformative power of change through artist Richilde Flavell’s captivating ceramic works. From large vessels to a raw clay installation, these artworks evoke reverence and warmth through their generous forms, representing the flow of change, a movement from one state to another, showcasing the beauty and transformative power of clay. Until 26 May Sea Monsters While dinosaurs dominated the land, giant reptiles and sharks prowled the seas, and they’re making a comeback at Yarrila Arts and Museum! Sea Monsters offers an exciting experience that combines real fossils from millions of years ago and giant replicas, including a 13-meter long Elasmosaurus and a 9-meter Prognathdon. Dive into the secret lives of these fascinating creatures with interactive displays and immersive experiences. Not for the faint-hearted, Sea Monsters will ignite the imagination of all ages. It’s seriously scary and seriously fun.

Until 24 March Fluttering on the Surface Sarah Mufford Lose yourself in intricate geometric abstractions. Fluttering on the Surface is a solo exhibition of Sarah Mufford’s complex pattern works, informed by Eastern and Western sources. Mufford’s work invites the viewer to engage with a dynamic interplay of shapes and colours that constantly shift and transform without one element dominating. This sense of movement is enhanced by the artist’s use of negative space, allowing the eye to rest and refocus, creating a sense of rhythm and flow. Bai Bai Napangarti, Love Magic Ceremony Design, 2003, screenprint from linoleum blocks, 76 x 56 cm. Donated through the Australian Government’s Cultural Gifts Program by Adrian Newstead OAM. © Bai Bai Napangarti/ Copyright Agency, 2023. Until 30 June Impressions of Love/Magic And The Dreaming In The Northern Territory: First Nations Prints From The Collection Stories of tenderness, ceremony, eroticism, and love/magic (Yilpinji) of

Richilde Flavell, en caul universe, 2023, ceramic, wax, oil pigment. Photograph: And the Trees Photography.

Jeremy Sheehan, This Floating World, 2024, mixed media. 28 March–19 May Inner & Outer Worlds Jeremy Sheehan and Jo Elliott Jeremy Sheehan and Jo Elliott’s collaborative exhibition, Inner & Outer Worlds, explores how nature works in cycles, rebalancing and finding order. Unique insights and experiences resonate in each of their works. The artists use unexpected materials and objects, transforming them into something extraordinary, taking audiences on a journey traversing time, landscapes and other worldly realms with an immersive experience of light and form.

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A–Z Exhibitions

Queensland

MARCH/APRIL 2024

QUEENSLAND

Above and Below Gallery www.aboveandbelowgallery.com.au

Combining portrait photography and oral histories, SACRIFICE explores the gamut of human experience in Central Queensland. Through beautifully captured images, personal stories of love,

Shop 12a, Port of Airlie, 33 Port Drive, Airlie Beach, QLD 4802 [Map 14] 0419 941 162 Wed to Sat 9am–4pm, Sun 9am–1pm.

Image courtesy of the gallery. Until 17 March Reception this Way: Motels – a sentimental journey with Tim Ross

William Debois, Auntie Kay - Barney Point, QLD, February 2022, photograph.

Above and Below Gallery is the home of Whitsunday photographer, Brooke Miles. The gallery hosts a rolling exhibition year round featuring natures precious landscape and its creatures.

commitment and hardship are expressed with unguarded sincerity. SACRIFICE will display new works resulting from Debois’ artistic residency in the Banana Shire.

Travel around Australia, revisiting your memories of the classic Aussie motel, from family holidays and long road trips to continental breakfasts and mid-century mod-cons. In a land where the car has provided us with the ultimate freedom to hit the road and explore, it is no surprise that Australians wholeheartedly embraced the American concept of the motel.When motels began springing up in the 1950s, they represented a new, stylish and sophisticated way to travel. Join the National Archives and Tim Ross on a driving holiday through the quintessential Australian experience of staying in a motel - holidays of yesteryear! And find out why these images are part of the National Archives’ collection.

Brooke Miles, Coral Veins. Focusing on the ocean as a canvas, from both above in the aerial sphere and below the waters surface, this collection will have you in awe of nature and its wonderous colours and spaces. Brooke’s goal is to capture the moment and slow down time, one photo at a time.

Artspace Mackay

Image courtesy of the gallery. 21 March—5 May Local Contemporary Art Prize: reflections on here and now

www.artspacemackay.com.au Civic Precinct, corner Gordon and Macalister Streets, Mackay, QLD 4740 [Map 14] 07 4961 9722 Free entry. The art gallery will be closed for renovations with public programs ongoing in various locations throughout the region. Visit our website to locate ongoing public programs and events, search the art collection, take virtual tours of past exhibitions and more.

Banana Shire Regional Art Gallery www.banana.qld.gov.au 62 Valentine Plains Road, Biloela, QLD 4715 [Map 14] 07 4992 9500 Mon to Fri 8.30am–4.30pm. 23 March–3 May SACRIFICE William Debois

Acacia Ferry, Water lily, 2023, acrylic on canvas. 23 March–3 May Passion and Purpose – Our Narrative Acacia Ferry and Jordan Flenady Passion and Purpose - Our Narrative is a youth exhibition by local emerging artists Acacia Ferry and Jordan Flenady. An exploratory mix of sculpture, installation art and painting, each artist seeks to share their life’s passions through art. Passion and Purpose coincides with World Autism Awareness Day to shine a light on the talent and perseverance within the autistic community.

Caloundra Regional Gallery

The prize, originally known as Local Artist - Local Content, was created by the Friends Regional Gallery Caloundra Inc. in 2014. As we celebrate its tenth year in 2024, the prize has been renamed to Local Contemporary, reflecting the here and now of artists living and working on the Sunshine Coast. The prize pool has increased to an incredible $17,000 so we are certain the very best local art talent will be amongst our 40 finalists. Come along and see the amazing work and find out who has been selected as the best of the best on the Sunshine Coast.

Caboolture Regional Art Gallery

www.gallery.sunshinecoast.qld.gov.au

www.moretonbay.qld.gov.au/ caboolture-gallery

22 Omrah Avenue, Caloundra, Sunshine Coast, QLD 4551 [Map 13] 07 5420 8299 Tue to Fri 10am–4pm, Sat and Sun 10am–2pm.

The Caboolture Hub, 4 Hasking Street, Caboolture, QLD 4510 [Map 13] 07 5433 2800 Tue to Sat 10am–4pm. 199

N O R T H

northsite.org.au

QUEENSLAND Caboolture Regional Art Gallery continued...

1March–30 April Abstraction Rhonda Stevens

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

Michael Whitehead, Enigma, 2024, acrylic on clear primed linen, 122 x 122 cm, framed. Image courtesy of the artist.

9 March–1 June One foot on the ground, one foot in the water Catherine Bell, Timothy Cook, Richard Lewer, French & Mottershead, Mabel Juli, Sara Morawetz, Michael Needham, Nell, Patrick Freddy Puruntatameri, Nawurapu Wunuŋmurra. Curated by Travis Curtin. 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. One foot on the ground, one foot in the water is a La Trobe Art Institute exhibition toured by NETS Victoria. 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.

Gallery 48 www.gallery48thestrandtownsville.com 2/48 The Strand, North Ward, Townsville, QLD 4810 [Map 14] 07 47244898 & 0408 287 203 Wed and Sat 12noon–5pm, and Fridays by appointment. See our website for latest information.

abstract artist Michael Whitehead. Having exhibited on Hastings street over twenty years, The G contemporary is delighted to showcase a new collection by the artist.

1March–30 April Portal Jax Dillon

“Everything that went before is important in the evolution of new works, but there is a need to look forward and not be bound by what has happened in the past.” – Michael Whitehead, 2024. Exploring old and new styles, he introduces you to a stunning body of work. Opening Night: Saturday, 13 April, 5pm–7pm. RSVP essential.

The G Contemporary

HOTA

www.thegcontemporary.com

www.hota.com.au

6/32 Hastings Street, Noosa Heads, QLD 4567 0400 716 526 Sun to Thu 10am–5pm Fri & Sat 10am–6pm.

135 Bundall Road, Surfers Paradise, QLD 4217 07 5588 4000 [Map 13] Open daily 10am–4pm.

Jax Dillon, Hamsa, digital artwork, 29.7 x 42 cm,.

Art appreciation has become a conduit of conversation as well as enhancing the spaces in which we find ourselves in. The motivation to introduce an eclectic collection by dedicated artists to global citizens comes from a strong belief that art can provide pleasure and culture in so many ways. Please enjoy the art available and reach out to connect with The G Contemporary.

Image courtesy of HOTA, Home of the Arts. 30 March—4 August Italian Renaissance Alive | Grande Experiences Experience the beauty and brilliance of the Italian masters in Italian Renaissance Alive, an immersive journey celebrating Europe’s cultural rebirth.

Steve Rosendale, Retreat, 2024, oil on canvas, 132 x 204 cm. Image courtesy of the artist. 1 March–31 March Directors Choice Eclectic collection of artists rotated weekly with a special showcasing of retro paintings by Melbourne artist Steve Rosendale. 11 April–28 April Michael Whitehead Rhonda Stevens, Remnants iñ Catalan mists.

Eagerly awaited solo show by local

Abdul Abdullah, A pleasant surprise, 2023, oil on linen, 102 x 76 cm. Image courtesy of the artist and Yavuz Gallery. 9 March—21 July Kingdom of Kindness: Abdul Abdullah Artist Abdul Abdullah invites you to visit his Kingdom of Kindness. This is a special place where everyone belongs. 201

thecondensery.com.au

Taring Padi: Tanah Tumpah Darah Griffith University Art Museum 29 February – 25 May 2024 226 Grey Street South Bank Brisbane Q 4101 www.griffith.edu.au/art-museum artmuseum@griffith.edu.au 07 37357414

Image: Taring Padi, Sekarang Mereka, Besok Kita (First they came for them, then they came for us) (detail) (2023), acrylic on cardboard, dimensions variable. Courtesy of the artists and Milani Gallery, Meanjin, Brisbane. Installation photo from the exhibition Tanah Merdeka (2023) of the artist collective Taring Padi at Framer Framed, Amsterdam. Photo: © Maarten Nauw / Framer Framed CRICOS: 00233E | TEQSA: PRV12076

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QUEENSLAND

Hervey Bay Regional Gallery www.hbrg.ourfrasercoast.com.au 166 Old Maryborough Road, Hervey Bay, QLD 4655 07 4197 4206 See our website for latest information.

Shari O’Dywer, Jasmine Togo-Brisby, Luis Vasquez La Roche, and Shivanjani Lal. Bringing local stories into dialogue with international perspectives, this exhibition makes connections between agricultural and labour practices across colonies of the British Empire in the 19th Century. Through a process of truth-telling and creative exchange, Cane celebrates the enduring spirit and cultural legacy of Australian South Sea Islanders in the Fraser Coast region.

Institute of Modern Art www.ima.org.au

Wilhelmus Breikers, I am optimistic sometimes, 2020, acrylic on canvas. 23 February—21 April Wilhelmus Breikers: Eat the Moon (This is not a dystopian parable) In Eat the Moon, Wilhelmus Breikers presents a selection of works drawing upon reflective examinations of self, questions of reception and perception and the interior dimensions of landscape. Lead by a desire to respond literally to his surroundings, Breikers’ work invariably moves in the direction of metaphor. There is a discernible element of introspection in the work, an enquiry of content as well as form - art for its own sake and Art for the sake of something else. Born in Holland, Wilhelmus Breikers arrived in Australia at the age of seven, completing a visual art degree in Brisbane in his early twenties. A long-term resident of Hervey Bay, Wilhelmus has continued to develop his art practice and has been keenly involved in the cultural life of the Fraser Coast community. With rough-hewn figures and scenery that is often contestable, Eat the Moon (This is not a dystopian parable) destabilises our viewpoint, opening a window to unexpected narratives and identifications.

Ground Floor, Judith Wright Arts Centre, 420 Brunswick Street (corner Berwick Street), Fortitude Valley, QLD 4006 [Map 15] 07 3252 5750 Tue to Sun, 10am–5pm. Thu, 10am–8pm. Free Admission.

them slowly melting away. Using time lapse, Ng compressed hours of real time into minutes of screen time. But, even sped up, the effect remains meditative. Manipulating our sense of space and time, she fast tracks glacial decay while evoking calming waterfalls and collapsing ice shelves. 20 April–16 June It Is Not a Place Jasmine Togo-Brisby Jasmine Togo-Brisby’s work examines the Pacific slave trade and its impact on those who trace their roots to Australia through its practices. A fourth-generation Australian South Sea Islander, the artist conjures with an iconography of tall ships, decorative ceilings, and crow feathers. It Is Not a Place features two major new works—a sculpture and a video— reflecting on the violence ‘civil’ Australian society was founded on, and on the treacherous sea journeys undertaken by South Sea Islanders in the late-eighteenth and early-nineteenth centuries.

Until 7 April Somewhat Eternal Justine Youssef A multi-sensory installation, Somewhat Eternal reveals the manifold impacts of occupation and displacement, and considers our complicity in reproducing these conditions. Somewhat Eternal expands from familial narratives to consider broader cycles of dispossession. Until 7 April Love is the Message, The Message is Death Arthur Jafa In just a few minutes, Arthur Jafa’s roller-coaster video Love is the Message, The Message is Death encapsulates African American experience as a tale of resilience. It combines footage shot by Jafa—an artist with a long career as a cinematographer and director—with excerpts from films, newscasts, sporting events, music clips, and citizen videos. Love is the Message, The Message is Death exemplifies Jafa’s goal to craft ‘a Black cinema’, one with strong ties to music, responsive to the ‘existential, political, and spiritual’.

Mia Boe, Mia and Sidney Nolan (cultural excursionist), 2021, synthetic polymer on linen, 76 x 50 cm. Courtesy the artist and Sutton Gallery, Melbourne. 20 April–16 June Platform Miguel Aquilizan, Mia Boe, Sarah Poulgrain

Leo Favell, Polson Cemetery South Sea Islander Memorial, 1972, Point Vernon. 23 February—21 April Cane Cane explores the history of indentured South Sea Islander workers in the Queensland sugarcane industry. This exhibition brings together historical objects and personal accounts with contemporary artworks from local, national and international artists including Sancintya Mohini Simpson, Dylan Mooney,

Dawn Ng, Avalanche II, 2022, video, 25 minutes. Courtesy the artist and Sullivan+Strumpf, Sydney. Until 18 April Avalanche Dawn Ng Singaporean artist Dawn Ng’s work deals with time, memory, and the ephemeral. For Avalanche, she crafted pigmented blocks of ice, then filmed

A new annual exhibition series, Platform showcases work by emerging artists who were born, live, or lived in Queensland and have not yet had a major solo exhibition in a public gallery. In 2024, Platform showcases works by Miguel Aquilizan, Mia Boe, and Sarah Poulgrain. Aquilizan is a sculptor and a member of family artist collective Fruit Juice Factori. 20 April–27 June The Miraculous Levitation Act of Lauren O Angela Su Hong Kong-based artist Angela Su narrates the story of Lauren O, a mysterious circus performer drawn to levitation practices. The video tracks O from her membership in Laden Raven, an anarchist group of vaudeville performers, 203

ar t g ui d e .c o m . au Institute of Modern Art continued... to her involvement with anti-Vietnam War protesters in the United States, who in 1967 attempted to levitate the Pentagon. Su explores the perils of flight and emotional breakdown, and journeys into the recesses of the mind of her protagonist.

5 March–23 March Field Work Lara Merrett

8 March—20 April ReKalibrating Kantha at Logan Natasha Narain

5 March–23 March Moon Bathing Heidi Yardley

The marvellous and magical: Collage and the moving image Fiona West

Available to view online.

Not quite there Curated by Genevieve Memory

26 March–20 April Still Life Group Exhibition

Jan Manton Gallery

9 April– 20 April Michael Cook

www.janmantonart.com

Available to view online.

54 Vernon Terrace, Teneriffe, QLD 4005 [Map 15] 0419 657 768 Tue to Fri 10am–5pm, Sat 11am–4pm.

Workshop wonders XXII 25 April—1 June Postcards from Iran Sheida Vazir-Zadeh and Atousa Manafi

23 April–11 May Better A Private Dreamworld Robert Malherbe

Robyn Daw Young Visual Artist Scholarship finalists

Logan Art Gallery

Simorgh (Phoenix) – The Mythical legendary bird Razia Ghazal

www.loganarts.com.au/artgallery Corner Wembley Road and Jacaranda Avenue, Logan Central, QLD 4114 [Map 13] 07 3412 5519 Tue to Sat 10am—5pm. See our website for latest information.

Dodging chainsaws Martin Smith

Lay of the land Ann Huthwaite

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 10am–5pm. See our website for up-to-date gallery opening times and special events in conjunction with these exhibitions.

Marion Borgelt, Nocturne Suite: Mica, 2022, oil and pigment on canvas, 120 x 120 cm. 9 April—4 May Star Matter Marion Borgelt

Jan Murphy Gallery www.janmurphygallery.com.au 486 Brunswick Street, Fortitude Valley, QLD 4006 [Map 18] 07 3254 1855 Tue to Sat 10am–5pm, or by appointment.

Vicky Satchwell, The Old Windmill/ The camera reveals that you are UNGRACEFUL!, 2023, found unfinished embroidery.

Col Mac, New Things To Worry About, 2023, install view. Photograph: Joe Ruckli. 3 February—9 March Antecedent Various Artists Drawing from diverse sources like European ghost stories, historic houses and colonial dictionaries, this group exhibition by early career artists Jenna Lee, Col Mac and Miranda Hine highlights the nooks and spaces in our histories and helps us potentially see the present with more clarity.

Lara Merrett, Anna A’s garden, 2024, acrylic and ink on linen, 183 x 153 cm. 204

Martin Smith, Bored being bored I, 2023, pigment print with hand cut letters. Image courtesy the artist and Jan Murphy Gallery. Photograph: Louis Lim.

3 February—9 March Cross Dissolve Various Artists Three Brisbane-based artists – Anthony Baker, Simone Hine, and Victoria

QUEENSLAND Wareham – employ video as a medium to dismantle and reconstruct established concepts of representation, narrative, and identity to arrive at new ways of understanding the screen-based image.

Guy Lobwein, Down to the River, into the street, digital artwork. Courtesy of the artist. 16 March—6 April In the Mudline Guy Lobwein Lobwein’s video work looks to reflect on his feelings of agentive paralysis after the 2022 Meanjin Floods, contemplating the paradoxical discourse of making art with digital technology whilst being aware of the role it plays in exacerbating the Metacrisis. Presented in partnership with the Brisbane Portrait Prize.

As Artists in Residence at Museum of Brisbane (MoB) for BrisAsia Stories, Christine Ko and Louis Lim will extend upon their ongoing project, Departure. In this iteration of the project, Christine and Louis will lead a series of informal conversations and workshops with various members from Brisbane migrant communities. Participants will be encouraged to share their stories of migration and create paper kites using photographs from their family archives. Christine and Louis are interested in kites as a symbol for the migrant experience, for they evoke “flights of joyous and naive childlike wonder and optimism that is simultaneously at the whim of external circumstances, constantly buffeted by the surrounding environment that can sometimes lead to deep disappointment (crash landing)”. Over the residency, more and more kites will be added to an evolving installation in the MoB Hallway.

MoB’s Artist in Residence program is supported by Tim Fairfax AC.

Museum of Brisbane www.museumofbrisbane.com.au Hiromi Tango. Photo: Greg Piper. 2 March–11 August 花弁 Hanabira (Gentle Petal) Artist in Residence: Hiromi Tango Communities from across Brisbane and visitors alike will be invited to create beautiful blooms and buds inspired by flowers found in Meanjin/Brisbane from upcycled textiles and local materials. Visitors are encouraged to participate in facilitated workshops, or simply drop-in and engage in self-guided activities. As the seasons change, the handmade flowers will be added to the walls of the gallery, creating an abundant garden reflecting community engagement.

Until 7 June Departure Artists in Residence: Christine Ko and Louis Lim

Bulmba-ja, 96 Abbott Street, Cairns, QLD 4870 [Map 14] 07 4050 9494 Mon to Fri 10am–5pm, Sat 9am–1pm. See our website for latest information.

Mirndiyan Gununa Aboriginal Corporation, NGURRUWARRA/ DERNDERNYIN: Stone Fish Traps Of The Wellesley Islands (detail), 2023. Photo: Michael Marzik. Until 28 March NGURRUWARRA/ DERNDERNYIN: Stone Fish Traps Of The Wellesley Islands Amy Loogatha, Dolly Loogatha, Elsie Gabori, Agnes Kohler, Dorothy Gabori, Amanda Gabori, Bereline Loogatha, Gloria Gavenor, Coralie Thompson, Joelene Roughsey

Windows explores the nature of vision and how the ways that we see the world affects our experience of time and place. Paine’s installation is centred around two video works that tell stories about the ways that we encounter and understand the world through the collection of information and the construction of knowledge.

Departure at Loupe Imaging, 2023. Photo: Louis Lim.

www.northsite.org.au

This residency is delivered as part of Brisbane City Council’s BrisAsia Festival 2024, produced by Sounds Across Oceans. Official Media Partner: SBS.

16 March—20 April Windows Katie Paine

Level 3, City Hall, Brisbane, QLD 4000 07 3339 0800 [Map 18] Mon to Sun 10am–5pm. Free entry.

NorthSite Contemporary Arts

What flowers will you grow in our healing garden? 花弁 Hanabira (Gentle Petal) is a community-led project that will transform Adelaide Street Pavilion into a vibrant sanctuary, inspiring healing and social connection.

The inaugural presentation of NGURRUWARRA/ DERNDERNYIN: Stone Fish Traps Of The Wellesley Islands is a monumental painting installation by established and emerging artists from Mirndiyan Gununa Aboriginal Corporation, Mornington Island Art, the outcome of a research project led by the Australian Research Council Centre of Excellence for Australian Biodiversity and Heritage (CABAH). Until 28 March Conversations with My Barista (Real or Imagined Selina Kudo Cairns-based artist Selina Kudo delves deep into the intricate landscape of the human psyche—a realm teeming with ceaseless thoughts, ever-evolving emotions, and a cascade of never-ending images. Until 28 March Facing Time: 50 Years Euan Macleod and Geoff Dixon This exhibition features works by artists and long-term friends, Euan Macleod and Cairns based artist Geoff Dixon. 13 April–1 June For thy sake I in love am grown Anastasia Klose This exhibition of new drawings, video and performance is a response to Klose’s “random, exhausting and depressing adventures in conservation” and the 205

ar t g ui d e .c o m . au Northsite continued... artist’s growing awareness of diminishing biodiversity in Queensland and immanent threats to its unique landscapes.

Annika Harding, Disturbances 1-3, 2023, acrylic on timber rounds, approx 8 cm diameter. Image courtesy of the artist.

Outback Regional Gallery, Winton www.matildacentre.com.au Waltzing Matilda Centre, 50 Elderslie Street, Winton, QLD 4735 [Map 14] 07 4657 2625 Mon to Fri 9am–5pm, Sat and Sun 9am–3pm.

new audiences at Onespace gallery. An immediate sense of contemporaneity is established by the premise that the featured works have been produced ‘right now’, and indeed, these paintings by Caroline Gasteen, Alisha Kitto, Clare Jaque Vasquez, and Arabella Walker are ‘hot off the press’. Between and among them, these paintings toy with tensions between the surface and the illusion of space and depth; innovate against traditional methods of paint application. Opening event: 2 March, 5pm–7pm. Artist talk: 2 March, 4pm–5pm.

13 April–8 June Flux and Fog: Landscapes of the Atherton Tablelands Annika Harding An exhibition of new paintings by Annika Harding exploring the landscapes near her home in the Atherton Tablelands. It examines moments of tension between the built environment and agricultural landscapes, and the lush rainforest ecosystem and its intense weather.

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.

Hamilton Darroch, Mask (Noh), 2022, acrylic on canvas, 153 x 137 cm. 5 April–27 April Fairground Ham Darroch Sue Smith, Which Way to Pine Gap, Mate?, 2022, Major Award Winner of the 2023 John Villiers Outback Art Prize. 23 March–19 May 2024 John Villiers Outback Art Prize Finalist Exhibition

Onespace www.onespace.com.au

Peter Hudson, The Track to Tea Tree Bay, (detail). Photograph: Richard Muldoon.

4/349 Montague Road, West End, QLD 4101 [Map 15] 07 3846 0642 Tue to Fri 10am–5pm, Sat 12noon–4pm or by appointment.

24 February–14 April Right Place / Right Time

Exhibiting in April at Onespace, Ham Darroch will explore a set of vibrant concepts which, “lie somewhere between painting and sculpture, figuration and abstraction, yet with a particularly Australian inflection.” – Ham Darroch. Opening event: 6 April, 5pm–7pm. Artist talk: 6 April, 4pm–5pm.

Perc Tucker Regional Gallery www.townsville.qld.gov.au Ground Floor, Cnr Flinders and Denham streets, Townsville, QLD 4810 [Map 14] 07 4727 9011 Tue to Fri 10am–5pm, Sat and Sun 10am–1pm.

An exhibition of new works by Sunshine Coast-based artist Peter Hudson featuring a recent study made en plein air. 24 February–14 April Pressed Into Place A group exhibition featuring local Sunshine Coast-based print artists. 24 February–14 April Michele Rudder An exhibition featuring local Sunshine Coast-based artist Michele Rudder. 20 April—9 June Art In Conflict An Australian War Memorial Touring Exhibition. 206

Arabella Walker, Flourishing, 2024, acrylic on canvas, 100 x 180 cm. Photo: Louis Lim. Courtesy of the artist and Onespace. 1 March–28 March rightNOW Alisha Kitto, Arabella Walker, Caroline Gasteen, Clare Jaque Vasquez This is the fourth iteration of rightNOW, an exhibition format that expedites freshly conceived ideas and experiments straight from artists’ studios to eager

Tommy Pau, Sia (Carina Nebula) (detail), 2015, linoct print on paper, 54.5 x 90.5 cm (plate mark), 71 x 107 cm (sheet). City of Townsville Art Collection. Image courtesy of Townsville City Galleries. Until 14 April Eastern Threads Curated by Gail Mabo.

QUEENSLAND

Queensland Art Gallery | Gallery of Modern Art

An exhibition of Torres Strait Islander textiles, prints, and paintings from the City of Townsville Art Collection. The artwork on display celebrates Erub, Mer Fibrecraft, and Tongan Tapa. The exhibition features works by artists from the permanent collection, including Ais Bero, Jenny Mye, Lucy Thaiday, Ken Thaiday, Alice Hunai, Andrew Passi, George Sambo, Aicey Zaro, and Tommy Pau.

www.qagoma.qld.gov.au Stanley Place, South Brisbane, QLD 4101 [Map 10] 07 3840 7303 Daily 10am–5pm.

Pine Rivers Art Gallery www.moretonbay.qld.gov.au/ pinerivers-gallery 130–134 Gympie Road, Strathpine, QLD 4500 07 3480 3905 Tue to Sat 10am–4pm. Danish Quapoor, Stubborn Forces, 2022, baling twine on porcelain paperclay with clear gloss glaze, 24.5 x 11.5 x 11.5 cm. Photograph: Daniel Qualischefski. ostensibly disparate elements of his practice with a cohesive colour palette and a consistent use of repetitive, time consuming processes.

Jonathon McBurnie, Robot Attack 1, 2007, oil on canvas. City of Moreton Bay Art Collection. 23 March–15 June Art Collection Up Close Martin Edge What comes to mind when you think of an artwork? Art can take on many forms, including printing, sculpture and performance. Because of its infinite possibilities, art is an excellent way to learn about ourselves and the places we live in. Come along and meet a few artists from the City of Moreton Bay’s Art Collection. Through their artworks and our free activities, you will learn about the artist’s homes, families, and communities.

Pinnacles Gallery www.townsville.qld.gov.au

Conceptually, Good Grief is an interrogation of personal identity and familial relationships. The artist reflects on his father’s unexpected death in the 2020 peak of COVID-19, and the exasperation of experiences and memories in the wake of that loss. Collectively, the works illuminate and subvert concepts of grief, sexuality, and gender roles within heteronormative regional contexts.

Henrique Oliveira, Brazil b.1973 / Corupira, 2023, commissioned for Fairy Tales, installation (detail). Gallery of Modern Art (GOMA) Brisbane 2023 / Plywood, tapumes veneer and tree branches / Courtesy: Henrique Oliveira / © Henrique Oliveira / Photograph: C Callistemon © QAGOMA. Until 28 April Fairy Tales’ GOMA | Ticketed Until 8 September sis: Pacific Art 1980-2023 GOMA | Free

Exhibition launch: Friday, 8 March. Floor talk: Saturday, 9 March.

Philip Bacon Galleries www.philipbacongalleries.com.au 2 Arthur Street, Fortitude Valley, QLD 4006 [Map 18] 07 3358 3555 Tue to Sat 10am–5pm. 13 February–9 March Three Private Collections 13 February–9 March 50th Anniversary Exhibition

Riverway Art Centre, 20 Village Boulevard, Thuringowa Central, QLD 4817 [Map 17] 07 4773 8871

Judy Watson, Waanyi people, Australia b.1959, moreton bay rivers, australian temperature chart, fresh mussels, net, spectrogram, 2022, indigo dye, graphite, synthetic polymer paint, waxed linen thread and pastel on cotton, 247 x 488 cm. Proposed for the Queensland Art Gallery | Gallery of Modern Art Collection / © Judy Watson / Copyright Agency. 23 March—11 August mudunama kundana wandaraba jarribirri: Judy Watson QAG | Free

QUT Galleries + Museums

9 March–28 April Good Grief Danish Quapoor

www.artmuseum.qut.edu.au/ wrgallery.qut.edu.au

Danish Quapoor is known for his distinctive flat-colour compositions and playful narratives. The artist’s largest body of work to date features his trademark illustrative paintings, wall drawings and ceramics alongside blown glass, textile forms and stop-motion animation. Quapoor reconciles these

QUT Gardens Point Campus, 2 George Street, Brisbane, QLD 4000 [Map 15] 07 3138 5370 Tue to Fri 10am–4pm, Sun 10am–2pm. Closed Mondays, Saturdays and public holidays.

Lewis Miller, Potted plants, 2023-24, oil on Belgian linen, 66 x 92.5 cm. 12 March—6 April Lewis Miller

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fully acknowledged for their aesthetic value and contribution to the artist’s remarkable creative vision. This exhibition provides rare insight into Robinson’s mastery as a colourist and markmaker by showcasing four decades of printmaking, in particular his lithographs and etchings, alongside major paintings.

Redcliffe Art Gallery www.moretonbay.qld.gov.au/ redcliffe-art-gallery 1 Irene Street, Redcliffe, QLD 4020 [Map 15] 07 3883 5670 Tue to Sat 10am–4pm.

Until 27 April Remnants of the past Kate Douglas Kate Douglas is an Ipswich-based artist whose paintings describe the local built and natural landscape using unique compositions and viewpoints. Her latest works showcase Queensland’s rich heritage, featuring historical buildings and artefacts which still exist today in our community. The artworks explore the inherent feelings embedded in these relics which connect us to another time and pose questions about their former owners or inhabitants. Combining fiction and reality, her works foster discussions about nostalgia and offer an imaginary step back in time.

Redland Art Gallery, Capalaba www.artgallery.redland.qld.gov.au Capalaba Place, Noeleen Street, Capalaba, QLD 4157 [Map 16] 07 3829 8899 See our website for latest information.

Dominic White, House Nailed Country Coolamon, 2023, bronze, steel, cherry ballart (exocarpos cupressiformis), 71.5 x 22.4 x 15.5 cm including base. Courtesy of the artist. Photo by Christian Capurro. 24 March–19 June Current: Gail Mabo, Lisa Waup, Dominic White Current features newly commissioned and recent work by three First Nations artists, Gail Mabo (Meriam), Lisa Waup (Gunditjmara/Torres Strait Islands), Dominic White (Palawa/Trawlwoolway). Their work affirms their powerful connection to their lands, waters and ancestors. The exhibition highlights the three vital and contemporary multidisciplinary practices and references the movement in the passages of water along the eastern coast of Australia connecting land and people of the Torres Strait in the far north to Tasmania in the south. This is a travelling exhibition organised by McClelland.

Ian Friend, Tidal (Moreton Bay) 3, 2005, casein pigment, gouache and crayon on Arches paper. City of Moreton Bay Art Collection. Donated by the artist as part ofthe Australian Government’s Cultural Gifts Program. Until 11 May Intimate Immensity Ian Friend Ipswich-based artist Ian Friend is known for his works on paper that explore the alchemy of materials. His works often incorporate layers of ink and gouache that are inscribed with lines of crayon and pencil, resulting in works that are both intimate and expansive. Intimate Immensity will feature works on paper alongside new paintings and sculptures created over the last five years. Ian Friend has exhibited widely and is represented in numerous international and Australian public collections, including The British Museum, the Tate, the Art Gallery of South Australia, National Gallery of Australia, the Australian War Memorial, National Gallery of Victoria, the Queensland Art Gallery, the University of Sunshine. Intimate Immensity is a partnership between University of the Sunshine Coast Art Gallery, The Condensary and City of Moreton Bay Art Galleries.

William Robinson, Twin Falls, 2000, colour lithograph. QUT Art Collection. Gift of the artist under the Cultural Gifts Program, 2002. Until 15 September William Robinson: The Painter and the Printmaker William Robinson is revered as one of the nation’s great contemporary painters, recognised for his multiperspective depictions of the Australian landscape. While he is most readily identifiable by his monumental paintings, his print works are scarcely understood or 208

Redland Art Gallery, Cleveland www.artgallery.redland.qld.gov.au Corner Middle and Bloomfield streets, Cleveland, QLD 4163 07 3829 8899 [Map 16] Mon to Fri 9am–4pm, Sun 9am–2pm. Admission free.

Susan Gourley, Teabag and Sponge, 2021, discarded polystyrene, cardboard, twine, and paper, plus modelling paste, acrylic paint, and adhesive, 3 x 9.5 x 6 cm. Photograph by Bridie Gillman. Courtesy of the artist. 4 February—26 March Shelf Life Susan Gourley and Cosima Scales Shelf Life is inspired by the everyday objects that surround us and the friendships that sustain us. Engaging with the still-life tradition, Susan Gourley’s sculptures and Cosima Scales’ paintings observe incidental domestic moments, in an exhibition that has developed from a long-lasting friendship and the subtle influence of mutual respect. 4 February—26 March Rara Avis (Rare Bird) Christina Lowry

Kate Douglas, Halfway down the Hill, 2023, acrylic on canvas. Courtesy of the artist. Photo by Mick Richards.

Across photography, sculpture and installation, Rara Avis (Rare Bird) reflects on the conflicted relationship between humans and the natural world. Lowry’s

QUEENSLAND George Miller’s genre-defining Mad Max film series has grown from a tense, low budget Ozsploitation cult hit into a sprawling post-apocalypse action opera, redefining science fiction along the way. Bringing together a range of artists paying homage to their favourite post-apocalyptic (anti)hero, it’s time for ‘Maximum Madness.’ Featuring Isabel & Alfredo Aquilizan, Karike Ashworth, Cigdem Aydemir, Martin Bell, Penny Byrne, Patrick Connor, Rod Coverdale, Alex Cowley, Claire Healy & Sean Cordeiro, Robert Fielding, Emma Gardner, Shaun Gladwell, Franck Gohier, David Griggs, Rosemary Lee, Reg Mombassa, Adam Norton, Phoebe Paradise, Brian Robinson, David Sawtell, Ian Smith, Karen Stephens, Brendon Tohill and Paul White. Curated by Jonathan McBurnie. Christina Lowry, Rara Avis (Rare Bird), 2023, Giclée print. Courtesy of the Artist and Woolloongabba Art Gallery. lush and meticulously rendered work combines references to the history of art and museums alongside contemporary techniques to examine the ways that we have sought to classify and preserve, and to hold onto the beauty and wonder of disappearing nature.

Rockhampton Museum of Art www.rmoa.com.au 220 Quay Street, Rockhampton, QLD 4700 [Map 14] 07 4936 8248 Mon to Sun 9am–4pm. Admission free.

24 February—25 August COLLECTION FOCUS Capricornia Printmakers

16 March—23 June Fernando do Campo: Capricornian Minotaurs and Where to Find Them Argentina-born artist Fernando do Campo reflects on his formative years spent in Rockhampton with this deep dive into the social history of beef and agriculture. Archives and private collections of photographs, paintings, prize ribbons and union banners, displayed alongside do Campo’s own artworks, narrate the affectionate and complex knotted histories that emerge between humans and cattle in this proclaimed ‘Beef Capital of Australia’.

Over one inspiring year, local artist collective Capricornia Printmakers embarked on a transformative journey of selecting and responding to artworks from the Rockhampton Museum of Art Collection including Eduardo Paolozzi, Max Lovell, Peter Blake, and Lesbia Thorpe. This served as both mentor and muse, prompting each printmaker to create their unique blend of tradition whilst pushing boundaries by embracing new materials, techniques, and technologies, expanding the possibilities of printmaking, creating an innovative artistic dialogue with the Collection and their peers.

Toowoomba Regional Art Gallery

Stephen Bird (b. 1964), Pair of Pugilists, 2012, glazed earthenware, 2 pieces: left 66 x 26 x 19 cm; right 73 x 30 x 20 cm. Image courtesy of the artist.

Craig Koomeeta, Wik-Alkan people, Australia, QLD, b.1977, Apelech brothers, 2002, carved milkwood with natural pigments, left: 112 x 35 x 15 cm & right: 124 x 38 x 11 cm. Purchased 2002, Queensland Art Gallery Foundation. Collection Queensland Art Gallery, Gallery of Modern Art. © Craig Koomeeta.

24 February—25 August Industrial Sabotage Stephen Bird

Franck Gohier (b. 1968), Max Rockatansky, 2023, black wattle, flattened baked bean tins, sheet aluminium, etch primer, nails, artist acrylic and found objects, 78 x 25 x 22 cm. Courtesy of the artist. 16 March—30 June Maximum Madness: Art Inspired by Mad Max

Bird’s wares, which he terms ‘industrial sabotage,’ surprise and shock with their violent, bawdy, funny and even grotesque subject matter; offering much more than an ornamental surface.

A UK-born painter and ceramicist whose artworks take aim at the class divide of British pottery. While the world-famous ceramics factories of England (think Royal Doulton, Spoke and Wedgewood) are synonymous with fine collectibles, Bird looks to the pre-Industrial Revolution records of workers creating one-off pieces of experimentation and self-expression at the end of their workday. Likewise,

www.tr.qld.gov.au/trag 531 Ruthven Street, Toowoomba, QLD 4350 [Map 16] 07 4688 6652 Wed to Sun 10.30am–3.30pm Closed Mon, Tue & Public Hols. Free Admission. See our website for latest information.

6 April–21 July I, Object I, Object considers the many complex relationships Indigenous Australian artists continue to have with objects – from the histories informing their creation to the social and cultural consequences of their collection. The exhibition 209

art supplies for artists at every stage of experience Arthouse Northside est. 1997 Tel: 07 3869 2444 Shop 2-3/140 Braun Street | Deagon | 4017 | QLD

www.arthousenorthside.com

arthousenorthside.com

We represent a diverse range of artists and celebrate the creative work they bring to the art world. We offer various services for the artist and the art collector, including artist representation, exhibition opportunities, art consultancy, sourcing and placement.

4 Russell Street, Toowoomba QLD Open: 9 am – 5 pm Monday – Friday Phone (07) 4638 8209 gallery@featherandlawry.com.au www.featherandlawry.com.au

GALLERY EXHIBITIONS FEBE ZYLSTRA 5 February - 14 March 2024 MARISA AVANO 22 April - 30 May 2024

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featherandlawry.com.au

QUEENSLAND Toowoomba Regional Gallery continued... demonstrates the great pride and inspiration of inherited cultural practices and historical Indigenous objects, and reveals the difficulties posed by their collection and estrangement.

Umbrella Studio Contemporary Arts www.umbrella.org.au 408 Flinders Street, Townsville, QLD 4810 [Map 14] 07 4772 7109 Tue to Fri 9am–5pm, Sat and Sun 9am–1pm. See our website for latest information.

Wren Moore, 40 degrees of separation (Fluted Cape, TAS), 2023, digital print on brushed aluminium, 76 x 111 x 2 cm. Photograph: Amanda Galea.

belonging in place, can be expressed through material investigations and bodily movement. Wren Moore developed this expansive new series through her Doctoral fieldwork in 2021 and 2022. Moore spent half her life in North Queensland (at the 20th latitude of Australia) and in Tasmania (at the 40th latitude). The basis for her research and exhibited artwork is her internal and locational migrations between these two regional zones. Through critical engagement with place theory, contemporary jewellery theory, wayfaring and material making, 20/40 Degrees of Separation translates the landscape and topographies of both place and self in new and innovative ways.

University of the Sunshine Coast Art Gallery www.usc.edu.au/art-gallery UniSC Sunshine Coast, 90 Sippy Downs Drive, Sippy Downs, QLD 4556 [Map 13] 07 5459 4645 Mon to Fri 10am–4pm, Sat 10am–1pm. See our website for latest information.

This exhibition from The University of Queensland Art Museum touring with Museums & Galleries of NSW has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body, and the Australian Government’s Visions of Australia program.

UQ Art Museum www.art-museum.uq.edu.au 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. UQ Art Museum is a site for progressive and contemporary creative inquiry. Our work speaks to the distinct context of the Art Museum’s place within the University. We collect and exhibit progressive works of art, which stimulate dialogue and debate. We’re committed to opening up dialogue with the faculties, research institutes and centres of the University, and to place education at the core of our activities.

The University of the Sunshine Coast Art Gallery is a space where art, ideas and community come together. Located at UniSC Sunshine Coast, the art gallery was redeveloped in 2020 establishing itself as the leading public gallery in the region.

Stephanie Comilang and Simon Speiser, Piña, Why is the Sky Blue?, 2021, video installation with open sound, virtual reality headsets, pillows, 3-D printing on woven piña fabric. Courtesy of the artists & ChertLüdde, Berlin, Germany.

proppaNOW: Gordon Hookey, Jennifer Herd, Tony Albert, Megan Cope, Richard Bell, Vernon Ah Kee (left to right). Photo: Rhett Hammerton. Until 4 May OCCURRENT AFFAIR: proppaNOW

Wren Moore, 20 degrees of separation (Cardwell, QLD), 2023, digital print on brushed aluminium, 111 x 76 x 2 cm. 15 March–28 April 20/40 Degrees of Separation Wren Moore This exhibition explores how disparate climates, weather, landscapes, and human

OCCURRENT AFFAIR is a major exhibition featuring new and recent works by Brisbane-based Aboriginal artist collective proppaNOW. Established in 2003, proppaNOW is one of Australia’s leading cultural collectives, exploring the politics of Aboriginal art and culture, and provoking, subverting and re-thinking what it means to be a ‘contemporary Aboriginal artist’. Conceived as a collaborative activist gesture, OCCURRENT AFFAIR will address current socio-political, economic and environmental issues, while celebrating the strength, resilience and continuity of Aboriginal culture.

Until 15 June How We Remember Tomorrow Cora-Allan, Brook Garru Andrew, Atong Atem, Sonja Carmichael and Elisa Jane Carmichael, Stephanie Comilang and Simon Speiser, Latent Community, Shivanjani Lal, Napolean Oui, Lisa Reihana, Teho Ropeyarn, Katerina Teaiwa, Jasmine Togo-Brisby How We Remember Tomorrow celebrates the unwavering power of storytelling across generations, through oceans and waterways, transcending eras and perspectives. Featured artists understand the watery spaces of our planet as ancestral archives, sources of knowledge, which carry stories and cultural practices. Alongside their kin, they honour intergenerational narratives, disseminated along ocean currents, despite ongoing colonial legacies of forced displacement, homeland dispossession, indenture and the loss or dormancy of vital cultural practices.

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A–Z Exhibitions

Australian Capital Territory

MARCH/APRIL 2024

AUSTRALIAN CAPITAL TERRITORY

Aarwun Gallery aarwungallery.com.au 11 Federation Square, Gold Creek, Nicholls, ACT 2913 [Map 16] 0499 107 887 Daily 10am–4.30pm and by appointment in the evening.

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 12pm–5pm, closed public holidays. See our website for latest information. ANCA Gallery is a not-for-profit artistrun initiative. The gallery presents a professional program of art exhibitions and events, supporting critical approaches to contemporary arts practice. Until 10 March Loose Ends S.A. Adair, Zev Aviv, Katrina Barter, Lucy Chetcuti, Tilly Davey, Kirsten Farrell, Karen Lee, Steve Roper, Kate Stevens

Andrew Grassi Kelaher, She’s Always on my mind, mixed media, 120 x 140 cm. 9 March–24 March Tactile Textured Terrain Andrew Grassi Kelaher

Loose Ends invites you to take a look into the dark corners of nine ANCA artist’s studios as they face unfinished projects, or make new works from the disparate materials each artist has stashed away because… “I’ll use that for something one day”. It doesn’t count as hoarding if you’re an artist, right?

www.artistshed.com.au 1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 Tue to Sat 9am–5pm, Sun 10am–4pm.

Margaret Hadfield’s work is varied in subject and mediums. Margaret is well travelled to many corners of the world including Antarctica. Some of her works are conceptual and delve into history.

Belco Arts www.belcoarts.com.au

16 February–28 March Lines of Sight Patsy Payne and John Pratt This body of work is the outcome of three years phone conversations and postcard dialogues mostly at a distance of 1100 kilometres between Darkinjung and Ngunnawal country. Alicja Spiewok-Deegan, Gdansk, 1978, 2023, oil on canvas, 135 x 135 cm. 13 March–28 March Body, Space and Place Jack Black, Conor Dunne, Ha-jung Kwon, Alicja Spiewok-Deegan

Margaret Hadfield, The Play of Light. acrylic, 76 x76 cm.

This exhibition conceptually and materially considers the need for the societal and industrial change required if we are to transition to a low carbon future. Using the artist’s own backyard as both reference and muse, Il faut cultivate nous jardin - (You must cultivate your garden) is the culmination of a year’s research into sustainable and circular studio materials and processes.

118 Emu Bank, Belconnen, ACT 2617 02 6173 3300 Tue to Sun, 10am–4pm. See our website for latest information.

Artists Shed

The Artists Shed has works by the principle artist Margaret Hadfield and ‘Shed Artists’ who are rising students and friends. The Artists Shed is a unusual artist run Gallery,Art School and Art Store.

Michele England, Slow down and admire her quiet determination, 2024, egg tempera, graphite, rice paper, 40 x 40 cm.

As part of ANCA’s support for emerging artists in the Canberra region, the ANCA Gallery awards an annual exhibition (EASS Award) to an ANU School of Art & Design graduate, or graduates, whose work demonstrates creative distinction. Body, Space and Place brings together the work of four recent graduates, working across a variety of mediums including photography, printmaking and oil painting. Each artist presents their individual reflections under the broad thematic of Body, Space and Place, exploring concepts of presence/absence, location, context, memory and identity. 24 April–12 May Il faut cultiver notre jardin Michele England

Interwoven 7 Basketry and Textile Artists Traditional and experimental works relate to generations of makers that have come before, interacting with material, pattern, colour, design and texture, making the practice of fibre art a mindful, meditative, and soul-nourishing practice for most makers. atmo-spheres Francis Kenna This exhibition takes these transitory states of atmosphere as a place to begin questions around the mutability of space and our own experience. The Benefit of Doubt Fran Romano and Zoe Slee This exhibition is an experimental project, exploring the idea of self-doubt. Working collaboratively, they focus on concepts of self-doubt, self-image and related preconceptions and biases. 5 April–19 May Life Drawing Lee Crisp 213

ar t g ui d e .c o m . au Belco Arts continued...

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.

Lee Crisp, Three Graces having a good think. Drawing from life experience as an artist and her love of art history, Lee Crisp looks at the contemporary lives of women from the perspective of the embodied subject. Lee explores agency, strength, sensuality and sexuality as lived by mature women.

Canberra’s largest private gallery featuring regular exhibitions of contemporary paintings, prints, sculpture, glass and ceramics by established and emerging Australian artists.

21 March—6 April Colossal wreck Kirrily Humphries Drawings.

Canberra Glassworks www.canberraglassworks.com 11 Wentworth Avenue, Kingston, ACT 2604 [Map 16] 02 6260 7005 See our website for latest information.

29 February—16 March Crispin Akerman Paintings.

Rosalind Lemoh, works in progress during 2023 residency at Canberra Glassworks. 7 March—28 April Told. Retold. Untold. Rosalind Lemoh Natalie Hill, Whirlpools (detail). 5 April–19 May Emergence of Materials and Self Natalie Hill This collection is of Intuitive impressionistic abstracts born of high energy and playing with a multitude of glorious materials. 5 April–19 May HOLD III Ceramic Open Exhibition Ceramic artists have been invited from throughout Australia to investigate the beauty and sense of intimacy experienced when eating or drinking from an exquisitely crafted plate, or vessel.

Ulrica Trulsson, Midwinter echoes I, stoneware, porcelain slip, glaze, 27 x 13 x 13 cm; 27 x 9.2 x 9.2 cm. 29 February–16 March Midwinter echoes Ulrica Trulsson Ceramics.

5 April–19 May The Bone People Brenda Runnegar The Bone People operates as a diorama featuring a herd of imaginary animals – some with riders. The Bone family are onlookers – either seated or standing on the side. Insects will also be included.

Born in Sierra Leone and based in Gundaroo, New South Wales, Rosalind Lemoh’s artistic practice deeply examines identity within the Australian context. Using found objects that are meticulously replicated in concrete, bronze, aluminium, and for the first time, glass, she creates assemblages and installations. Her choice of objects ranges from tiny seeds or fruit to fullbody with an attention to detail and an emphasis on capturing wear and decay. These groupings become repositories of memory and personal narratives. Influenced by distinct and varied art history, including Arte de Povera, concrete poetry, and natural history collections, her art serves as a means to explore her identity as a female artist of colour, engaging in a dialogue between personal identity and broader societal narratives. Curated by Aimee Frodsham. Opening night & gallery floor talk: Sat 16 March, 4pm.

5 April–19 May PLACE Alexander Thatcher ‘There are many things in life I have immense gratitude for. In this playful exhibition, I hold homage to two: my love for creating tiny ceramic architecture and my passion for clay.’ – Alexander Thatcher, 2024. 5 April–19 May Dog Lisa Jose Dog presents a series of linocut portraits of pet dogs, and asks the viewer to contemplate preconceptions about their place in society.

Derek O’Connor, Funeral Procession, Only the Sun, oil on canvas, 198.5 x 167.5 cm. 21 March—6 April The Village Within Derek O’Connor Paintings.

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Robert Fielding, work in progress during 2023 residency at Canberra Glassworks. 9 May—21 July Robert Fielding Robert Fielding is a contemporary artist of Pakistani, Afghan, Western Arrernte

AUSTRALIAN CAPITAL TERRITORY and Yankunytjatjara descent, who lives in Mimili Community in the remote Anangu Pitjantjatjara Yankunytjatjara (APY) Lands. Fielding combines strong cultural roots with contemporary views on the tensions between community life and global concerns. He confidently moves across different mediums, whilst pushing aesthetic and conceptual boundaries in central desert art. Robert Fielding will undertake a Canberra Glassworks supported residency in mid-2023 to realise works for this exhibition. Co-curated by Erin Vink and Aimee Frodsham. Openingnight & Gallery floor talk: Wed 8 May, 5pm.

of animal symbolism crafted in metal, drawing on archaeology, anthropology, and a particular Nordic worldview.

Everlasting Happiness Deborah White

M16 Artspace

Opening Thursday 18 April, 6pm–8pm.

www.m16artspace.com.au Blaxland Centre, 21 Blaxland Crescent, Griffith, ACT 2603 [Map 16] 02 6295 9438 Wed to Sun 12pm–5pm. See our website for latest information.

Craft + Design Canberra

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. Until September Janet Fieldhouse: Sister Charm Art Makers X National Gallery

www.craftanddesigncanberra.org Level 1, North Building, 180 London Circuit, Canberra, ACT 2601[Map 16] 02 6262 9333 Wed to Sat 12noon–4pm. See our website for latest information.

Dark Silhouette Helen Heslop

Nathan Hughes, Those With Eyes to Seethe (detail), 2023. Image courtesy of the artist. Until 17 March New Work Martin Paull Absurd Frontier Nathan Hughes CAPTCHA Mathew Francis Cold Collations Susan Chancellor

Sister Charm, the second commission in the National Gallery x Art Makers series is presented by Kalaw Lagaw Ya/Meriam Mir artist Janet Fieldhouse. Inspired by her matrilineal connections to the Torres Strait Islander communities, Fieldhouse is known for her usually intricate and smallscale sculptures which depict the elasticity in nature. This large-scale work for the National Gallery’s Sculpture Garden will be her most ambitious work to date. 25 November 2023—19 May Deep inside my heart The exhibition features work by Louise Bourgeois, Nancy Spero, Ana Mendieta, Lynda Benglis, Marlene Dumas, Kiki Smith, Bronwyn Oliver, Tracey Emin, Sarah Lucas and I Gusti Ayu Kadek Murniasih. 2 December 2023—28 April Emily Kam Kngwarray Emily Kam Kngwarray celebrates the timeless art of a pre-eminent Australian artist, one of the world’s most significant contemporary painters to emerge in the twentieth century. A senior Anmatyerr woman, Kngwarray devoted her final years to painting, creating works that encapsulate the experience and authority she gained throughout an extraordinary life.

Holly Grace. 21 March–11 May 2023 Artists-in-Residence Exhibition, Southfacing Julie Bradley, Holly Grace The 2023 Artist-in-Residence Exhibition, Southfacing showcases the work of mixed media artist Julie Bradley and glass artist Holly Grace, completed as part of the annual Craft + Design Canberra Artist-in-Residence program. The artists undertook a residency at Gudgenby Ready-Cut Cottage in the Namadgi National Park, following a two-week research component at the National Portrait Gallery of Australia.

Guy Morgan, Have your say, 2023. Image courtesy of the artist.

Presented in partnership with ACT Parks and Conservation Service and National Library of Australia and The National Portrait Gallery of Australia.

Layered Land Barbara Dawson

22 March–14 April # Guy Morgan HARD YAKKA UK Frederik

Opening Thursday, 21 March, 6pm–8pm.

21 March–11 May Talisman, Tool, And Touchstone Dr Oliver Oakley Smith

19 April–12 May The Daylight Moon Francis Cai

This solo exhibition of contemporary metal work draws on the long tradition

Life in the Old Dog,Yet Brian Jones

Jordan Wolfson, Body Sculpture, (detail), 2023, National Gallery of Australia Kamberri/Canberra, purchased 2019. © Jordan Wolfson. Courtesy Gagosian, Sadie Coles HQ, and David Zwirner. Photograph: David Sims. 9 December 2023—28 April Jordan Wolfson: Body Sculpture Jordan Wolfson’s Body Sculpture is a

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ar t g ui d e .c o m . au National Gallery of Australia continued... robotic work of art, combining sculpture and performance to generate emotional and physical responses in the viewer. The work can be viewed at set performance session times. It is a free and ticketed art experience. Sessions are on Sat, Sun and Mon, Thu and Fri.

16 March—25 August A Century of Quilts Presenting a rare opportunity to see a historically and artistically significant group of works, A Century of Quilts showcases an often-overlooked art form made almost exclusively by women. Included in the exhibition is the National Gallery’s most requested work of art: The Rajah quilt 1841. 27 January—19 May 4th National Indigenous Art Triennial: Ceremony

Vincent Namatjira, Western Aranda people, Australia in Colour, 2021, National Gallery of Australia, Kamberri/Canberra, purchased in celebration of the National Gallery of Australia's 40th anniversary, 2022. © Vincent Namatjira/Copyright Agency. 2 March—21 July Vincent Namatjira: Australia in Colour The first survey exhibition of acclaimed Western Aranda artist Vincent Namatjira, Vincent Namatjira: Australia in colour, charts the artist’s career, revealing the power of his painting and the potency of his words.

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Ceremony remains central to the creative practice of many Aboriginal and Torres Strait Islander artists. This exhibition and program of events will animate and heal to reveal how ceremony is at the nexus of Country, of culture and of community. On tour at Western Plains Cultural Centre, NSW.

National Portrait Gallery www.portrait.gov.au King Edward Terrace, Parkes, ACT 2600 [Map 16] 02 6102 7000 Daily 10am–5pm. Disabled access. See our website for latest information.

bwoodworks.com.au

Ralph Heimans, HM Queen Mary of Denmark, 2006, oil on canvas. The Museum of National History at Frederiksborg Castle. © Ralph Heimans. 15 March–27 May Ralph Heimans: Portraiture. Power. Influence. Ralph Heimans: Portraiture. Power. Influence. is the first major exhibition of the Sydney-born artist’s work in his home country. Heimans is an internationally sought-after portraitist known for his meticulously realised paintings that revitalise a centuries-old tradition and provide insights into the lives of the prominent and powerful. His work is defined by his bold approach to geometry, luminosity, symbolism and draughtsmanship.

A–Z Exhibitions

Tasmania

MARCH/APRIL 2024

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

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.

Contemporary Art Tasmania www.contemporaryarttasmania.org 27 Tasma Street, North Hobart, TAS 7000 [Map 17] 03 6231 0445 Wed to Sat, noon–5pm.

Leyla Stevens, GROH GOH (Rehearsal for Rangda) (still), 2023, single channel film, 28 minutes.

2024 Selected Artists: Halima Bhatti, 16 March 2024 – 20 April 2024; Caitlin Fargher, 27 April 2024 – 10 June 2024; Corinna Howell, 15 June 2024 – 20 July 2024; Candice Broderick, 2 November 2024 – 7 December 2024; i, 14 December 2024 – 27 January 2025. 27 January–7 March Current: Mabo, Waup, White Gail Mabo, Lisa Waup, Dominic White Current features newly commissioned and recent work by three First Nations artists, Gail Mabo (Meriam), Lisa Waup (Gunditjmara/Torres Strait Islands), Dominic White (Palawa/Trawlwoolway). Their work affirms their powerful connection to their lands, waters and ancestors. Current: Gail Mabo, Lisa Waup, Dominic White is a McClelland touring exhibition. This project has been assisted by the Australian Government’s Visions of Australia program, the Besen Family Foundation, and the Gordon Darling Foundation.

16 February–23 March A Dance Retold Leyla Stevens

Kevin Perkins and Belinda Winkler. Photograph: Peter Whyte. 15 March–6 April Kevin Perkins and Belinda Winkler 15 March–6 April Platform 2024 Lucinda Bresnehan, Britt Fazey, Kate Lewis, Frances Malcomson, Lorna Quinn

Natalya Hughes, The Interior (installation view), 2022, Institute of Modern Art. Photograph: Charlie Hillhouse.

Image courtesy of Jon Smeathers. 12 April–18 May CAT Curatorial Mentorship exhibition Curated by Jon Smeathers.

Devonport Regional Gallery Hermannsburg Potters. Photograph: Jack Bett. 12 April–4 May Hermannsburg Potters 12 April–4 May Tim Burns

Colville Gallery www.colvillegallery.com.au 15 Castray Esplanade, Battery Point, TAS 7004 [Map 17] 03 6224 4088 Daily 10am–5pm. Colville Gallery is a Hobart based gallery specialising in Contemporary and Modern Fine Art. The Gallery presents works by contemporary Tasmanian and Australian artists featuring paintings, works on paper, photography and sculpture in an annual program of curated exhibitions. 218

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. 16 March–20 January 2025 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.

2 March–13 April The Interior Natalya Hughes The Interior is an immersive installation combining sculptural seating, richly patterned soft furnishings, and uncanny object d’art, nestled around a hand painted mural to generate a stimulating space to unpack our collective and unconscious biases. The Interior is a travelling exhibition organised by Institute of Modern Art (IMA), toured by Museums & Galleries Queensland. The Interior has been assisted by the Australian Government though the Australia Council, its arts funding and advisory body; the Australia Council’s Contemporary Touring initiative; the Fini Artist Fellowship through the Sheila Foundation; Queensland College of Art, Griffith University; Creative Art Research Institute, Griffith University; and Porter’s Paints, New Farm. Museums & Galleries Queensland is supported by the Tim Fairfax Family Foundation and receives funds through the Australian Cultural Fund. 23 March–11 May Beyond the wandering moon, beyond the star Many thinkers and theorists have argued that modernity is defined by the rejection of magic. Spirits, fairies, and spells are the domain of children, and rationality is an essential virtue. However, magic has a key role to play in both the personal

TASMANIA 8 March–18 March Celebrating our Landscape Handmark Artists

Curated by Michel Blancsubé with Trudi Brinckman from Mona, commissioned by Olivier Varenne. Until 1 April Heavenly Beings: Icons of the Christian Orthodox World Curated by Jane Clark, Senior Research Curator, Mona, and Dr Sophie Matthiesson, Senior Curator of International Art, Auckland Art Gallery Toi o Tāmaki, Aotearoa New Zealand. Until 1 April Hrafntinna (Obsidian) Jónsi Curated by Sarah Wallace, Mona.

Madeline Gordon Gallery www.madelinegordongallery.com.au

Bethany van Rijswijk, We worshipped, we parted green from green, 2021, archival print of hand-cut collage on paper, Edition of 10 + AP, 80 x 60 cm. and broader sociopolitical worlds. This exhibition seeks to re-enchant. It holds the existence of other, invisible worlds, as truth, and their mystical inhabitants as living. Featuring loaned and Permanent Collection work by artists including Bethany van Rijswijk, Terry Whidborne, Nanna Bayer, Lorraine Biggs, Wendy Bulmer, David Keeling, Milan Milojevic, Peter Sugden and others. Title from Somewhere or Other by Christina Rosetti, 1859. Curated by Ellina Evans.

57 George Street, Launceston, TAS 7250 0488 958 724 Wed to Fri 11am–5pm, Sat 10am–1pm. Other times by appointment. Jennifer Marshall, The Edge of the Sea, 2024, oil on linen, 153 x 97 cm. 22 March–8 April Conversations Jennifer Marshall

Madeline Gordon Gallery represents a convergence of passion and expression. It’s an invitation; to feel, defy, explore, connect, revere, and most importantly – to get lost in the wonderful work of our artists.

27 April–10 June ATMOSPHERES: 2024 Solo Commission Michaye Boulter “In my studio, there is a large table with a pile of ill-printed photographs; they have been drawn on, ripped up, some photocopied into black and white and drawn on again. There are plenty more in boxes; these are chosen. For the intimate mass of grasses I recall being nestled in, others for a particular memory I can’t quite place, an intensity of light or a specific colour, soft duck egg blue, or rich purply greys. They aren’t in chronological or geographical order.” – Michaye Boulter, 2024. 18 May–13 July All in. A community exhibition featuring artwork by residents of North West Tasmania. All ages and all abilities are encouraged to enter. Let’s celebrate and showcase you, our creative community.

Robyn Harman, One Sister, Bruny Island. Susan Simonini, Highs and Lows, 2023, acrylic on board, 73 x 68 cm. 12 April–29 April Glimmer Susan Simonini

Handmark

Museum of Old and New Art (Mona)

www.handmark.com.au

www.mona.net.au

77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6223 7895 Mon to Fri 10am—5pm, Sat 10am—4pm, Sun 11am–3pm.

655 Main Road, Berridale, Hobart, TAS 7011 03 6277 9978 Fri to Mon 10am—5pm. See our website for latest information.

Until 18 March Celebrating our Landscape at the Clarendon Arms, Evandale Handmark Artists

Until 1 April Jean-Luc Moulène and Teams Jean-Luc Moulène

March The Sentinals Robyn Harman

Penny Coss, In Ten Days (Series). Day 4, 2023. April Sediment Pours Penny Coss Feeling Kerala Joanna Pinkiewicz 219

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Penny Contemporary www.pennycontemporary.com.au 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.

Hayley Millar Baker, Entr’acte, 2023 , single channel video, 11:20 mins, looped. Installation view, Australian Centre for Contemporary Art, Melbourne 2023. Commissioned by ACCA. Courtesy the artist and Vivien Anderson Gallery, Melbourne. Rona Green. 15 March—8 April Many kinds I met there Rona Green

Plimsoll Gallery, University of Tasmania www.utas.edu.au/creative-arts-media/events/plimsoll-gallery 37 Hunter Street, Hobart, TAS 7000 [Map 17] 03 6226 4353 Mon to Sat 11am–4pm, closed Sun and public holidays. See our website for latest information. 9 March–4 May Between Waves Hayley Millar Baker, Maree Clarke, Dean Cross, Brad Darkson, Matthew Harris, James Howard, Jazz Money, Mandy Quadrio, this mob, Cassie Sulliva 220

collections in Australia and the Royal Park site has proudly housed all the wonders of these collections for over 130 years. Strange Nature immerses you into the art of major contemporary artists, both local and national, to display the weird and wonderful facets of the natural world that inspire their versions of plants and animals. Ongoing The First Tasmanians: our story

Maree Clarke, now you see me: seeing the invisible #1 (detail), 2023, photographic microscopy prints on acetate, 30 x 30 cm each. Installation view, Australian Centre for Contemporary Art, Melbourne, 2023. Commissioned by ACCA. Courtesy the artist and Vivien Anderson Gallery, Melbourne. Photograph: Andrew Curtis.

Carolyn V Watson. 12 April—6 May The comfort of shared uncertainty Carolyn V Watson

Troy Emery, Big Blue 2022. Courtesy of Martin Browne Contemporary.

Between Waves Amplifies concepts related to light, time and vision – and the idea of shining a light on our times – as expressed by the Wurundjeri Woi Wurrung word ‘Yalingwa’. The exhibition variously explores the visible and invisible energy fields set in motion by these ideas, to illuminate interconnected shapeshifting ecologies within, beyond and between what can be seen. Between Waves is an exhibition developed by the Australian Centre for Contemporary Art (ACCA) touring nationally with NETS Victoria. Curated by Jessica Clark.

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. Free Admission. Until 14 April Strange Nature Troy Emery, Kate Rohde, Vanessa Newton-Brown, Tom O’Hern, Samantha Dennis, Helene Boyer, Laura E. Kennedy, Milan Milosevic QVMAG is home to one of the oldest and most significant natural scienc

Explore the history and culture of the Tasmanian Aboriginal people in this engaging exhibit, developed under the guidance of the QVMAG Aboriginal Reference Group and with the support of the Tasmanian Community Fund. The Queen Victoria Museum and Art Gallery respects and acknowledges the Aboriginal people of Tasmania, their culture and customs.

St John Pound, 2021. 16 September 2023—31 March Wetlands Wetlands are dynamic ecosystems with complex relationships between the many organisms that live within them. They are transitional zones between terrestrial (land) and aquatic (water) systems and occur from sea level all the way to alpine country. Wetlands have been important places for humans and human settlements and have inspired artists as places of great beauty.

Tasmanian Museum and Art Gallery www.tmag.tas.gov.au Dunn Place, Hobart, TAS 7000 [Map 17] 03 6165 7000 Tue to Sun, 10am–4pm. Free entry. 7 March—27 October Lands of Light: Lloyd Rees and Tasmania This exhibition celebrates the work of Lloyd Rees (1895-1988), particularly his works painted in Tasmania between

TASMANIA 13 March—28 July Unshackled

Lloyd Rees, Afternoon (Blue Days on the Derwent), 1983, oil on canvas on board. Collection: R Jensen. 1967 and 1988. Rees was one of the pre-eminent Australian landscape artists of the twentieth century and a highly accomplished painter, draughtsman and printmaker. His vision was highly individual and idiosyncratic, and little influenced by the artistic trends that waxed and waned throughout a long career. Rees sought to build on the legacy of European landscape painting, taking inspiration from artists such as Corot and Turner while also drawing on a much younger Australian tradition. Drawing on the extensive collection of the Rees family, the collections of several major public galleries and a number of private collections, the exhibition will explore the influence of Tasmania, and in particular the Tasmanian light, on Rees’ work.

Unshackled tells a new story of convict Australia drawn from recent discoveries within the UNESCO listed convict records. It highlights the shared but different experiences of the dispossessed poor, the political radicals and First Nations resistors across Australia who were forced into the convict system. Convict transportation was one of the world’s largest forced migrations of unfree workers and this exhibition debunks the commonly held misconception of convicts as passive, traumatised victims. From the uprisings at Castle Hill, Norfolk Island and Bathurst to the strikes and rebellions on road gangs and in the female factories to the thousands who absconded from custody, convicts railed against their colonial masters at every turn both individually and collectively. The Unshackled exhibition is based on Conviction Politics – a major Australian Research Council project lead by Monash University and Roar Film. The exhibition has been financially supported by The Mineworkers Trust and Maurice Blackburn Lawyers with foundational investment from the NSW Teachers Federation, Trade Union Education Foundation of the ACTU, Libraries Tasmania and Australian Manufacturing Workers Union and

significant in-kind support from Roar Film, Monash University and the Tasmanian Museum and Art Gallery.

Ceramics by Greg Piper. 22 March—19 May SIXTY: The Journal of Australian Ceramics 60th Anniversary 1962–2022 Twenty-two acclaimed ceramic artists from across Australia will be showcased in this major Australian Design Centre, ADC On Tour exhibition. The exhibition is presented by ADC in partnership with The Australian Ceramics Association (TACA) to acknowledge this significant anniversary for the ceramics community in Australia. The ceramic artists selected for this exhibition represent their contemporary peers and those who came before them throughout the history of Australian ceramics. This celebratory exhibition is guest curated by Anna Grigson and ADC’s Lisa Cahill with design by Studio Garbett.

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A–Z Exhibitions

South Australia

MARCH/APRIL 2024

S OUTH AUSTRALIA

Adelaide Contemporary Experimental

Carrick Hill House Museum and Garden

www.ace.gallery

www.carrickhill.sa.gov.au

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.

46 Carrick Hill Drive, Springfield, SA 5062 08 7424 7900 Wed to Sun 10am–4.30pm. See our website for latest information.

Gareth Sansom, ZZZZZ, 2003, oil on linen, 122 x 122 cm. Courtesy of GAGPROJECTS, Adelaide. 1 March–28 March An old man’s mixtape Gareth Sansom 5 April–4 May Dani Marti Sam Petersen, Wee, 2020, digital photograph. Courtesy of the artist. 17 February—4 May Yucky Josh Campton and Lorcan Hopper, Sophie Cassar, Makeda Duong, Sam Petersen, Elizabeth Reed, and Finnegan Shannon.

Art Gallery of South Australia

JamFactory Matthew Smith, Nude with a Pearl Necklace, c. 1930. © Estate of Matthew Smith. Photo & Design: Bit Scribbly. Until 30 June To Bare All: The Hayward Nudes

Flinders University Museum of Art

www.agsa.sa.gov.au

www.flinders.edu.au/museum-of-art

Kaurna Country North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7000 Daily 10am–5pm. Free entry. See our website for latest information.

Flinders University, Sturt Road, Bedford Park, SA 5042 [Map 18] 08 8201 2695 Mon to Fri 10am–5pm or by appt. Thu until 7pm. Closed weekends and public holidays.

www.jamfactory.com.au 19 Morphett Street, Adelaide, SA 5000 [Map 18] 08 8410 0727 Open Daily 10am—5pm. 730 Seppeltsfield Road, Seppeltsfield, SA, 5355 [Map 18] 08 8562 8149 Open Daily 11am—5pm.

Andrea Barker, Calix, 2023. Photograph by Peter Whyte. Adelaide: Until 28 April MAKE Award: Biennial Prize for Innovation in Australian Craft and Design

Marikit Santiago, born 1985, Thy Kingdom Come, 2021–22, interior paint, acrylic, oil, pyrography, pen, gold leaf on found cardboard (pen and paint markings by Santi Mateo Santiago and Sarita Santiago), collaboration with Maella Santiago, 167 x 307 cm. Courtesy of the artists and The Something Machine, Bellport, New York. Photograph: Garry Trinh. 1 March—2 June 18th Adelaide Biennial of Australian Art: Inner Sanctum The 2024 Adelaide Biennial offers an encounter with artists, poets and makers. Curated by José Da Silva, Inner Sanctum offers a snapshot of contemporary Australia that is reflective and hopeful.

Kaylene Whiskey, Ngura Pukulpa – Happy Place, 2021. Courtesy Kaylene Whiskey and Iwantja Arts. Photo: Max Mackinnon. Until 19 April Between the Details: Video Art from the ACMI Collection Kaylene Whiskey, Jason Phu, Deborah Kelly, Zanny Begg, David Rosetzky.

GAGPROJECTS www.gagprojects.com 39 Rundle Street, Kent Town, SA 5067 [Map 18] 08 8362 6354 Director: Paul Greenaway.

Dana Harris, Fieldwork, 2023. Image courtesy of the artist. Seppeltsfield: 2 March–12 May Residue and Response: Tamworth Textile Triennial 223

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Murray Bridge Regional Gallery

Neoterica at Adelaide Festival

www.murraybridgegallery.com.au

www.neotericexhibition.com

27 Sixth Street, Murray Bridge, SA 5253 08 8539 1420 Tue to Sat 10am–4pm, Sun 11am–4pm. Closed Mon and public holidays..

Kaurna Country, Adelaide Railway Station, Northeastern Concourse, North Terrace, Adelaide, SA 5000 See our website for latest information.

Photograph: Sam Roberts.

Deborah Prior, Grandmothers remembering Acacia blossoms falling after the rain (detail), 2022, woollen blankets, wool and cotton yarns, eucalyptus dyed wool, glass beads, studio ephemera, 220 x 129 x 150 cm. The University of Western Australia, Cruthers Collection of Women’s Art. Photo: Sam Roberts. Until 14 April On The Third Day Deborah Prior Blanket and body ecologies: fragile bodies and difficult questions begun ‘on the sheep’s back’.

1 March–14 April Neoterica: 20 artists, 20 writers, championing SA contemporary art Eleanor Alice, Jenn Brazier, Fran Callen, Makeda Duong, Deirdre Feeney, Keith Giles, Gail Hocking, Sam Howie, Matt Huppatz, Simone Kennedy, Bernadette Klavins, Kate Kurucz, Tristan LouthRobins, Riza Manalo, Sue Ninham, Sonja Porcaro, Jess Taylor, Cassie Thring, Sarah Tickle, Raymond Zad.a Neoterica is an independent artist-led major survey exhibition, bringing together new works from 20 mid-career South Australian artists in a celebration of their enduring contribution to our visual arts landscape. Showing as part of the Adelaide Festival, at the Northeastern Concourse, Adelaide Railway Station, North Terrace, Adelaide. The exhibition is accompanied by a printed catalogue featuring the responses of 20 SA writers. Pairing artists and writers who have not worked together in this capacity before, forging new relationships, perspectives, and engagement. Along with a public program of exhibition and publication launch, talks, finisage and performances. Led and curated by Ray Harris, the second biennial iteration from Neoteric 2022. Opening celebrations: 2 March, 5pm– 8pm, Artist talks: 16 March, 2pm, Writer talks: 23 March, 2pm, Finissage and Performances: 14 April, 2pm.

Alan Todd, Enclosure, 2022, wood, glass, 40 x 20 x 20 cm. 10 May–8 June Local Schools Exhibition Various artists

Samstag Museum of Art www.unisa.edu.au/connect/ samstag-museum/ University of South Australia, 55 North Terrace, Adelaide, SA 5000 08 8302 0870 Tue to Sat 10am–5pm. See our website for latest information.

praxis ARTSPACE www.praxisartspace.com.au 68–72 Gibson Street, Bowden, SA 5007 [Map 18] 08 7231 1974 or 0411 649 231 Wed to Sat 11am–4pm. Appointments welcome.

Newmarch Gallery www.newmarchgallery.com.au Rose Walker, Penneshaw, 2024, porcelain, 11 x 6 x 10 cm. Photo: Rose Walker. Until 14 April Coastal Layers Rose Walker The first solo exhibition by expert local ceramicist, whose artworks express the constant change and unpredictability of the land and give a sensitive impression of a place and time. 224

‘Payinthi’ City of Prospect, 128 Prospect Road, Prospect, SA 5082 08 8269 5355 Mon to Fri 9am–5pm, Sat 10am–4pm. Sun Closed. See our website for latest information. 5 April–4 May Conversations with my Father Alan Todd

George Raftopoulos, Gardener of Memory, 2022, oil & acrylic on canvas, 180 x 180 cm.

S OUTH AUSTRALIA Until 30 March They Walk Amongst Us George Raftopoulos

Sauerbier House Culture Exchange

3 April–4 May Pigeon Palace Kelly Reynolds

www.onkaparingacity.com/ sauerbierhouse

Artist Kelly Reynolds aims to befriend pigeons in close proximity to Sauerbier House.

21 Wearing Street, Port Noarlunga, SA 5167 [Map 18] 08 8186 1393 Wed to Fri 10pm– 4pm, Sat 1pm–4pm.

3 April–4 May Thirst, is taught by water Aleksandra Antic Antic explores the cult of water in Slavic traditions and healing practices to frame her own questions of belonging, loss and personal/ collective trauma as an ontological inquiry into the Onkaparinga/ Ngankipari River.

Jessie Hui, Treat your belly!, 2024, acrylic on canvas, 51 x 61 cm. 4 April—4 May I’m Taking My Time Jessie Hui 4 April—4 May Flying Horses Josh Juett and Dan Withey 4 April—4 May Sheer Drop Michael Carney

Sam Howie, The Ephemeral, 2023, acrylic on paper, 180 x 168 cm. Photograph: Sam Roberts. Until 23 March The Ephemeral/The Eternal Sam Howie Howie looks to highlight contradictions and similarities in relation to the universal and the particular, the past and present, and ultimately shares a deeper contemplation between the ephemeral and the eternal.

Between [the] Details

Lynn Lobo, Dry Creek, a Tributary, 2022, gouache on paper, 15 x 20 cm. Image courtesy of the artist. 3 April–4 May Returning to the source, A river portrait Lynn Lobo From its source in the Adelaide Hills to its mouth at Port Noarlunga, Lobo has walked, sat, and meditated along the banks of the great being that is the Onkaparinga River.

Flinders University Museum of Art 19 Feb – 19 Apr 2024 Free Exhibition

Video Art from the ACMI Collection

Kaylene Whiskey, Ngura Pukulpa – Happy Place, 2021. Courtesy Kaylene Whiskey and Iwantja Arts.Photo: Max Mackinnon.

flinders.edu.au/museum-of-art

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A–Z Exhibitions

Western Australia

MARCH/APRIL 2024

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 12pm–4pm, or by appointment.

Jo Darbyshire, Mirage, Pink Sky, 2024, oil on canvas, 80 x 80 cm. 9 March—13 April Mirage Jo Darbyshire A new series of paintings inspired by the artist reconnecting with her childhood home: Lake Grace in regional Western Australia. The works explore the power of painting to create and invite the viewer into liminal, imaginative spaces. 9 March—13 April All the Litter Things Virginia Ward Virginia Ward utilises offcuts discarded from factory production to create works that expand the meaning of the materials. Through debris and detritus of human industry, the newly formed artworks seek expressions of emergence and expansion of the universe, while exploring the human-made semiotic contractions of authenticity. The series questions perceptions of reality and the instability of meaning.

An ongoing exploration of how patterns reveal themselves in unexpected ways — original paintings hand-cut into lines and sewn with invisible thread in pre-determined sequences. Depending on the colours and patterns of the sometimes-deliberate painted surfaces, the final assemblages may resemble growth patterns, musical notations, or ripples in water. Or they may simply settle into a composition of complex harmonies. Either way, they are instinctive evocations of an underlying universal order. The element of surprise and chance that keeps the process alive. The resolution of one artwork, by its own nature, can often become the kernel for the next.

pulse of young people who will influence, empower and shape the world we live in. It is an inspiring, rewarding and insightful look at the world through the minds of our most talented young artists.

20 April—18 May Controlled Chaos Galliano Fardin

Anna Park, I’m Fine, 2022, ink, acrylic, charcoal, and paper on panel, two parts: 233.7 x 173 x 5.7 cm each, 233.7 x 346.1 x 5.7 cm overall. © Anna Park. Courtesy of the artist and BLUM, Los Angeles, New York, Tokyo. Photograph: Evan Walsh.

Drawing from his tumultuous upbringing, Galliano Fardin’s new exhibition Controlled Chaos is a manifestation of the artist’s ongoing search for meaning and purpose. Employing his characteristically meditative approach, Fardin taps into his subconscious to produce a series of abstract paintings which weave together memories of his misspent youth, his lifelong search for creativity and the mysteries of the universe.

The 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. Free admission. Until 10 March State of Abstraction

From 20 April Look, look. Anna Park Rising star of contemporary art comes to AGWA in an Australian-first exhibition. Look, look. Anna Park debuts more than 15 new charcoal and ink works on paper that feverishly capture the spirit of contemporary life. Drawing inspiration from advertising, comic books and American popular culture, Park’s works address the cultural construction and perception of identity, sexuality, and power within our hyper-mediated society. Until 21 April Death Metal Summer Shot entirely with film and employing a candid street-style manner, this collaborative exhibition by American photographers Deanna Templeton and Ed Templeton, is an incredibly energetic overview of their overlapping individual practices featuring over 140 works produced between 1995 and 2019.

Bringing together abstract works by some of WA’s most historically important artists as well as lesser-known makers from the mid-twentieth century to today, the exhibition examines diverse approaches and philosophies around art making. From 20 March FORECAST FORECAST is an all-ages interactive exhibition by Dianne Jones, Eva Fernandez and Jo Pollitt in collaboration with AGWA, inviting audiences to engage in artist-led meditative practices that deepen connection with changing environments, supporting feeling, response, and action in living with increasingly unstable futures. Until 1 April The Antipodean Manifesto

Eveline Kotai, Line Dance 1, 2024, acrylic and polymer thread on canvas, 46 x 46 cm. 20 April—18 May Beyond the Lines Eveline Kotai

This State Art Collection exhibition explores the formation and aspirations of the seven artists who formed the Antipodean group in Melbourne in 1959, situating their work within the social and political context of late 1950s Australia. From 6 April The West Australian Pulse WA’s talented young artists are celebrated in this yearly showcase, gauging the

Yhonnie Scarce, In the dead house, 2020, hand-blown glass, found mortuary trolley, dimensions variable. Collection of the artist. Image courtesy of the artist and THIS IS NO FANTASY, Melbourne. © Yhonnie Scarce. Photograph: Saul Steed. Until 19 May Yhonnie Scarce: The Light of Day Internationally recognised Kokatha and Nukunu artist Yhonnie Scarce brings her luminous and powerful works to The Art Gallery of Western Australia in the largest-ever ensemble of her collected glass and mixed-media works seen in Australia. One of the country’s leading contemporary artists, Scarce is known for her largescale, unforgettable glass installations that reveal hidden stories of Australia’s 227

ar t g ui d e .c o m . au Art Gallery of Western Australia continued... foray into nuclear testing, and the impacts of colonisation on First Nations people, illuminating the artist’s desire to bring the darkest shadows of Australia’s past into the direct light of day.

been designed to offer an open-ended platform for artists to prioritise process and provocation.

www.artitja.com.au Earlywork, 330 South Terrace, South Fremantle, WA 6162.

www.dovacollective.com.au 640 Hay Street Mall, Perth, WA 6000 0419 614 004 Tue to Sat 10am–4pm. See website for latest information.

Ongoing Balancing Act Our story is not one story but many stories to share. Balancing Act invites you to be surprised, delighted and challenged by the stories told through the eyes of First Nations artists and their works of art in this State Art Collection showcase.

Artitja Fine Art Gallery

DOVA Collective

DOVA Collective is the creative vision of Perth-based team Sherylle Dovaston (Principal Artist and Creative Director) and Glenn Dovaston (Marketing and Operations).

Image courtesy of the gallery. 16 March–21 July South West Art Now 2024 Amanda Bell, Phillip Berry, Ian Daniell, Anthony Debbo, Kate Debbo, Jenni Doherty, Francesco Geronazzo, Jillian Green, Ruth Halbert, Sarah Hewer, Sandra Hill, Seamus Hughes, Corey Khan, Carly Le Cerf, Elisa Markes-Young, Alex & Nicole Mickle, Paul Moncrieff, Deanna Mosca, Kate Mullen, Chester Nealie, Lori Pensini, Rizzy, Helen Seiver, Louise Tasker, Thommo’s Community Garden, Monique Tippet, Christopher Young

Greg James, Eternal Peace, bronze, 24 x 15 x 19 cm.

DADAA Gallery www.dadaa.org.au

Janice Stanley, Pantu (Salt Lake), 150 x 148 cm. Courtesy Ernabella Arts and Artitja Fine Art Gallery.

92 Adelaide Street, Fremantle, WA 6160 [Map 20] 08 9430 6616 Tue to Fri 10am–4pm, Sat 10am–2pm. See website for latest information.

9 March–1 April MANTANGURU | From the Sand

Sherylle Dovaston, Fresh Hell, acrylic on canvas, 81 x 106 cm.

Groups show exhibiting artists from ERNABELLA ARTS.

Until 16 March Coming Together Greg James and Sherylle Dovaston

MANTANGURU means from the sand in Pitjantjatjara language, as in the words of the artists ‘that’s how our stories were told before’. Home of the Anangu people, the exhibition brings together paintings coupled with hand built and wheel-thrown ceramics using the sgraffito technique to apply their walka (design) representing connection to Country and storytelling. Image courtesy of the gallery.

Bunbury Regional Art Gallery www.bunbury.wa.gov.au/brag 64 Wittenoom Street, Bunbury, WA 6230 08 9792 7323 Wed to Sun, 10am–4pm. See website for latest information. BRAG is set to transform as SWAN 2024 takes over the entire gallery. Featuring 27 artist from across the South West, this year’s curatorial focus is on practice rather than singular artworks, and has 228

11 February–20 April Arising in the east Presented by Perth Festival in association with Tanpopo-no-ye Art Centre HANA (Nara), New Traditional Project, Good Job! Centre (Kashiba), and Atelier Yamanami (Shiga Prefecture) and DADAA Three Japanese arts and disability organisations reframe our understanding of disability arts and disability culture. Through this immersive survey of textiles, works on paper, books and illustrations, the artists challenge what and who we value, and ask us to reconsider the clockin, clock-out measure of human contribution.

The sensual tactility of small bronze sculptures by renowned WA artist Greg James combine with the abstract paintings of Sherylle Dovaston in Coming Together. This exhibition at DOVA Collective in Perth’s CBD investigates the juncture of abstraction and figuration, of visual and physical experiences, of intangible and concrete sensations. One of WA’s finest sculptors, Greg James is known for his life-sized bronze figures across Perth and Fremantle. Focusing on form and surface, Greg’s smaller collectable works are emotive, sensual, and tactile. Greg’s work attests to his attention to detail and his ability to capture the essence of his subjects. Emerging artist Sherylle Dovaston investigates the profound interplay between introspection and experience as she draws together the dimensions of sensation, memory and imagination, offering an understanding of self as a vivid mosaic of recollections and sensory experiences.

WESTERN AUSTRALIA

Fremantle Arts Centre www.fac.org.au 1 Finnerty Street, Fremantle, WA 6160 [Map 20] 08 9432 9555 Daily 10am–5pm. Free admission. See website for latest information.

Tim Georgeson, Pyrogenesis (still), 2020. Image courtesy of the artist.

9 February–14 April Kinara pulka irnyani palyanu. Tjintungku kampara utinu (The big moon shone brightly and made. The sun burnt through and brought it out) Robert Fielding Revealing a complex and intertwined relationship with the spirit of the land, Kinara munu Tjintu (Moon and Sun), showcases Yankunytjatjara artist Robert Fielding’s diverse practice through photography, print and video. Engaging with site-specific interventions and process-based practices, Fielding merges abandoned objects, natural elements and sacred language as an ongoing dance between artist and country upon which he works. Robert Fielding is a contemporary artist of Pakistani, Afghan, Western Arrente and Yankunytjatjara descent, who lives in Mimili Community in remote Anangu Pitjantjtjara Yankunytjatjara (APY) lands. Fielding won the work on paper category at the National Aboriginal and Torres Strait Islander Awards in 2015 and 2017. He also won the 2015 Desart Art Worker Prize.

Adam Sébire, anthropoScene II: Tideline, 2018, HD video still. Courtesy of the artist. Until 28 April Polarity: Fire & Fire Tim Georgeson, Maureen Gruben, Dr Cass Lynch, Mei Swan Lim, Adam Sébire, Indigenous Desert Alliance

John Curtin Gallery www.jcg.curtin.edu.au Curtin University, Kent Street, Bentley, WA 6102 [Map 19] 08 9266 4155 Mon to Fri 11am–5pm, Sat 12pm–4pm (during Feb) Sun 12pm–4pm Closed Public holidays. Free admission.

15 March—17 March New Bloom Olivia Jones Olivia Jones’ latest exhibition titled New Bloom deepens her investigation of self. A departure from the soft, dreamlike colours of her near sell-out exhibition of 2022, this new series of works speak more loudly about living with mental health. Moving to a broader palette and now painting on rough hessian instead of canvas, Jones invites and looks for vibrancy to surface through the mix of glossy blacks and deep purples she mixes with the crushed Toodyay stones and quartz from her family’s rural property. These deeply textured and striking works serve as acts of resistance and symbols of resilience for all. Olivia Jones is a noteworthy early career artist from Western Australia and holds a Bachelor of Arts (Honours) from Curtin University.

Susan Flavell, The Horn of the Moon (Kali Goddess) (detail), 2017, installation view, John Curtin Gallery, recycled, found, gifted and made objects. Photograph: Tarryn Gill. 9 February–14 April The Horn of the Moon, 13 Goddesses and their consorts (there are no museums at the end of the world) Susan Flavell Seven years in the making, Walyalup based artist Susan Flavell’s The Horn of the Moon, 13 Goddesses and their consorts is a beautiful and frightening carnival: a day of the dead procession, a celebration, a call to arms. Like a shelter housing mythical beasts and animate detritus, washed up on an apocalyptic tide, the darkened gallery spaces are overwhelmed with objects, revealed through shimmering spotlights.

KolbuszSpace www.kolbuszspace.com

Robert Fielding, Manta Miilmiilpa (sacred earth), 2021, UV print on cotton rag with aerosol paint alteration. Courtesy the artist and Mimili Maku Arts.

Olivia Jones, New Bloom XV, 2023, oil paint with crushed Toodyay rock and quartz on linen, 120 x 120 cm.

2 Gladstone Street, Perth, WA 6000 [Map 19] 0414 946 962 Open during exhibitions or by appointment.

Joana Partyka in her studio, photograph courtesy of the artist. 19 April—21 April Around Inside Aileen Corbett, Beverley Iles, Matvey Nechaev And Joana Partyka A curated ceramics exhibition about the human response externally and internally to our surrounds and contemporary political and environmental concerns. Around Inside looks at the practice of four KS ceramic artists and how their works overlap thematically and contextually, whilst challenging both the boundaries of the ceramic medium and conventional notions of beauty. 229

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WESTERN AUSTRALIA

Lawrence Wilson Art Gallery & Berndt Museum

MOORE CONTEMPORARY www.moorecontemporary.com

www.uwa.edu.au/lwag

Cathedral Square, 1/565 Hay Street, Perth, WA 6000 [Map 19] 0417 737744 Wed to Fri 11am—5pm, Sat 12pm—4pm.

The University of Western Australia 35 Stirling Highway (corner Fairway), Crawley, Perth, WA 6009 [Map 19] 08 6488 3707 Tue to Sat, 12noon–5pm.

Diana Watson, Albania, 2023, oil on linen, 154 x 122 cm.

Curtis Taylor, Boong, 2023, Dark Mofo 2023, installation view. Courtesy of Dark Mofo 2023. Photograph: Rosie Hastie. 17 February–27 April Jintulu: People of the Sun Jintulu: People of the Sun follows the long shadow cast by colonisation and the bleak legacy of genocide, dispossession and racism that remains etched into contemporary Australia. In this exhibition, Jintulu interweaves ancient stories with more recent experiences of control, displacement and appropriation. The exhibition juxtaposes new works by senior Walmajarri artist Murungkurr Terry Murray, acclaimed Martu artist Curtis Taylor and Persian South African artist Natalie Scholtz with iconic works from the University of Western Australia’s collections by Valerie Takao Binder, Irwin Lewis, Sidney Nolan and Alison Alder. A Perth Festival exhibition supported by Visual Arts Program Partner Wesfarmers Arts.

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. Cherubino Wines: 3642 Caves Road Willyabrup, WA 6280 08 9388 3300 Thu to Sun 10am–4pm. 6 March—25 March Subiaco: Artemis Garden III Diana Watson

“While working on these paintings, I could not help but wonder what our lives would be without flowers? We rely on them to send messages that we cannot put into words. Their perfume evokes memories of people and special times. They are always needed at the best and worst moments. In fact they are a blessing to have around us every day of our lives.”

Rebecca Baumann, Light Interference (Refracted Field) (installation view), 2022, dichroic acrylic. 23 March–4 May Rebecca Baumann Samantha Dennison, South Coast Vessel and Garden Artichoke, 2024, oil on canvas, 25.5 x 33 cm. 6 March—25 March Subiaco Gallery 2: Women of the West Samantha Dennison, Bec Juniper, Kathryn Junor, Isabelle de Kleine, Hayley Welsh, Fi Wilkie, Joanna Willis, Justina Willis and Ingrid Windram For the first time in history, more women and underrepresented artists are being shown, sold and written about. This is changing what art is seen and the audiences seeing it, with the corollary that art itself is changing. There are new tensions in art, new narratives and other ideas. Linton & Kay Galleries is proud to shine a light on a few inspirational women artists whose artworks we are indeed fortunate to enjoy.

Following her major public installation for Perth Festival 2024, in a solo exhibition in the gallery, Rebecca Baumann presents a new iteration of her Field works in dichroic acrylic accompanied by new works on paper.

Mundaring Arts Centre www.mundaringartscentre.com.au 7190 Great Eastern Highway, Mundaring, WA 6073 08 9295 3991 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm.

27 March—15 April Subiaco: I Canoe Can You Kate Debbo “These are paintings about love, friendship, family and connection. Some of the works are wishes, some are dreams and states of mind and some reflect places and things I’ve seen in the world around me. All are invitations to play, transporting you to a better world and a reminder to celebrate life.” Kate Debbo 2024

Ric Spencer, Suburban Foraging (coffee rock) 3, pencil on paper, 56 x 42 cm. Image courtesy of the artist. 231

ar t g ui d e .c o m . au Mundaring Arts Centre continued... Until 21 April Drawn George Haynes, Merrick Belyea, Nic Compton, Ric Spencer The distinctive conceptual concerns and diverse creative wells of four preeminent West Australian artists are drawn together to describe, research, investigate, to meditate and to heal.

Midland Junction Arts Centre www.midlandjunctionartscentre.com.au

Until 21 April Tree Of Life Una Bell Drawing from the ancient pictograph of the Tree of Life, Bell’s imagery in her paintings and linocuts become species lists that catalogue endemic flora and fauna.

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www.pica.org.au

276 Great Eastern Highway, Midland, WA 6056 08 9250 8062 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm. See website for latest information.

Perth Cultural Centre, 51 James Street, Northbridge, WA 6000 [Map 19] 08 9228 6300 Tue to Sun 10am–5pm.

Galleries currently closed for heritage works, re-opening 15 March with Re.Collection curated by Samara King.

9 February–31 March Sun Signals Joan Jonas

The 2024 program at Midland Junction Arts Centre features a diverse line-up of group and solo shows including Stitched and Bound presented by West Australian Quilters Association and Coincident by renowned ceramist, Bernard Kerr. Una Bell, Evening Bushland, 2023, acrylic on canvas, 61 x 91 cm. Image courtesy of the artist.

Perth Institute of Contemporary Arts (PICA)

16 March–5 May Re.Collection Dianne Jones, Jarnda Councillor-Barns, Katie West Curated by Samara King A celebration of the endurance of Aboriginal art and culture, and connection to Country in Western Australia. Through archival photographs and commissioned artworks, Re.Collection demonstrates Aboriginal presence across history and disrupts colonial narratives.

bunbury.wa.gov.au/brag

Helen Johnson, The Actual, 2022, synthetic polymer paint and pencil on canvas. Courtesy of the artist . 9 February–31 March Follower, Leader Helen Johnson Untitled (eclipse) A.K. Burns

A–Z Exhibitions

Northern Territory

MARCH/APRIL 2024

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Araluen Arts Centre, Mparntwe www.araluenartscentre.nt.gov.au 61 Larapinta Drive, Alice Springs, NT 0870 08 8951 1122 Open daily 10am–4pm. See our website for latest information.

Australia. Coordinated by the Alice Springs Art Foundation, The Alice Prize is pre-selected and judged by industry experts and provides the opportunity for artists to exhibit in Mparntwe/Alice Springs, the cultural heart of Australia.

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. Free admission. See website for latest information.

Kunmanara Carroll, 2020. Photo: Rhett Hammerton. Until 12 May JamFactory ICON Kunmanara Carroll: Ngaylu Nyanganyi Ngura Winki (I Can See All Those Places) JamFactory ICON Kunmanara Carroll: Ngaylu Nyanganyi Ngura Winki (I Can See All Those Places) is a JamFactory touring exhibition. Kunmanara Carroll (1950 – 2021) was a Luritja/Pintupi/Pitjantjatjara artist who worked at Ernabella Arts at Pukatja in the APY Lands. JamFactory ICON Kunmanara Carroll: Ngaylu Nyanganyi Ngura Winki (I Can See All Those Places) has been assisted by the South Australian Government through the Department for Innovation and Skills and the Australian Government through the Australia Council for the Arts, Contemporary Touring Initiative. Ernabella Arts and the Carroll family gratefully acknowledge support from the Government of South Australia through Arts SA and the Commonwealth Government through the Australia Council for the Arts and the Indigenous Visual Arts Industry Support (IVAIS) program.

Image courtesy of the gallery. Until 2 June EXIT ART EXIT ART is an annual exhibition that showcases the artistic talents of Northern Territory (NT) Stage Two students. The event is presented by the Museum and Art Gallery of the Northern Territory (MAGNT) in partnership with the Northern Territory Department of Education.

Chun Yin Rainbow Chan, 魚文,鳥文 Fish Song, Bird Song, 2020, (still, detail), single-channel video, 2 mins 12 secs. Courtesy of the artist. 2 March–2 June 52 ACTIONS Curated by Artspace

Adrian Jangala Robertson, Family in Yalpirakinu, 2021, acrylic on canvas, 61 x 122 cm. The Alice Prize 2022 winner. Araluen Art Collection. 22 March–12 May The Alice Prize The Alice Prize is an acquisitive national contemporary prize that celebrates artists working in any medium or theme from across the nation. During its more than 50 year history The Alice Prize has become one of the most significant national regional art prizes and has facilitated an important collection of Australian art for the people of Central 234

52 ACTIONS brings together 52 leading Australian artists from across the country to present the diversity, complexity and dynamism of contemporary Australian art now. This exhibition has evolved from Artspace’s online commissioning platform of the same name, which was a year-long project from May 2020 to June 2021 that presented new works by a different artist or collective each week on Artspace’s Instagram @52artists52actions and website. 52 ACTIONS centres around the social and cultural importance of art as action - something that can offer a greater understanding of one another and the nuances of our individual and collective circumstances.

52 ACTIONS is curated by Artspace, Sydney. The exhibition is touring nationally with Artspace, Sydney, with support from Museums & Galleries of NSW. This project has been assisted by the Australian Government’s Visions of Australia program and is proudly funded by the NSW Government through Create NSW; the City of Sydney; and the Copyright Agency.

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. See website for latest information. Based in Darwin on Larrakia Country, the Northern Centre for Contemporary Art (NCCA) is an independent arts organisation that connects audiences with NT, national and international artists through contemporary art exhibitions and programs. NCCA is a forum for ideas and critical engagement with social, aesthetic and conceptual concerns relevant to Northern Australia and Asia.

Cleverman installed at ACMI, Melbourne, 2018. Photograph: Michael Jalaru Torres. 24 February–27 April Cleverman Explore First Nations storytelling, mythology, language and creativity through the lens of Australia’s critically acclaimed Indigenous, superhero TV series, Cleverman. Visitors are welcomed into the Bindawu Spirit listening space, to hear the key Dreaming stories underpinning the series, and to explore behind-the-scenes interviews with cast and crew, original artwork, props and video content – revealing how this incredible series was made. Conceived and developed in close consultation with a multidisciplinary Indigenous Advisory Group, and First Nations curator Kathrine Clarke, Cleverman was co-curated with series concept creator Ryan Griffen and production designer Jacob Nash. Cleverman is on tour from the Australian Centre for Moving Images.

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ArtSpace Realm Bundoora Homestead Bunjil Place Burrinja Cultural Centre Deakin University Art Gallery Frankston Arts Centre Footscray Community Arts Centre Bayside Gallery Gallery Elysium Glen Eira City Council Gallery

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Heide Museum of Modern Art Hearth Galleries Incinerator Gallery Ivanhoe Library and Cultural Hub Kingston Arts Centre Maroondah Federation Estate Manningham Art Gallery McClelland Sculpture Park & Gallery Monash Gallery of Art Monash University Museum of Art

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Mornington Peninsula Regional Gallery The Stan Gallery TarraWarra Museum of Art The Substation Town Hall Gallery Walker Street Gallery Whitehorse Arts Centre Yarra Ranges Regional Museum Yering Station Art Gallery

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Cooee Art Gallery Defiance Gallery Frances Keevil Gallery Gallery 76 Gallery Lane Cove Grace Cossington Smith Gallery Granville Centre Art Gallery Incinerator Art Space Interlude Gallery Gallery Lowe and Lee

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Leo Kelly Blacktown Arts Centre Bankstown Arts Centre Blue Mountains City Art Gallery Bundanon Campbelltown Arts Centre (C-A-C) Casula Powerhouse Arts Centre Creative Space Fairfield City Museum & Gallery Hawkesbury Regional Gallery Hazelhurst Regional Gallery & Arts Centre Hurstville Museum & Gallery Peacock Gallery and Auburn Arts Studio Penrith Regional Gallery Rex-Livingston Art SteelReid Studio Sturt Gallery UWS Art Gallery Wallarobba Arts and Cultural Centre Wollongong Art Gallery

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L A S T WO R D

“…We’re learning about celebrating life and resilience in a changed mode, in an altered state. This is the collective experience of the 21st century.” — C O SM I N C O S T I N A Ș,

C O -A R T I S T I C D I R E C T O R ,

2 4T H B I E N N A L E O F S Y D N E Y, P. 6 5

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 © 2024 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.

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