Art Guide Australia — March/April 2020

M A RCH /A PR I L 2 02 0

47

22ND BIENNALE OF SYDNEY

14 MARCH – 8 JUNE 2020

87DAYS DAYSOF OFARTS ARTS 87 CULTURE &&CULTURE FREE FREEEXHIBITION EXHIBITIONENTRY ENTRY BIENNALEOFSYDNEY.ART BIENNALEOFSYDNEY.ART #NIRIN2020 #NIRIN2020 MAJOR MAJOR GOVERNMENT GOVERNMENT PARTNERS PARTNERS

Image:Image: Club Ate, Club 2019, Ate, Courtesy 2019, Courtesy the artist the artist

PRINCIPAL PRINCIPAL PATRON PATRON

Madison Bycroft Tianzhuo Chen Lu Yang Sahej Rahal Justin Shoulder Zadie Xa

7 December 2019 – 22 March 2020 Australian Centre for Contemporary Art 111 Sturt Street Southbank VIC 3006 Melbourne Australia acca.melbourne

Asia Engagement Partner:

Media Partner:

Exhibition Partners:

Government Partners:

Image: Justin Shoulder Carrion 2018 Courtesy the artist. Photography and image Liz Ham and Tristan Jalleh v

DAMIEN SHEN A Stone from Another Mountain

Damien Shen, A Stone from Another Mountain, 2019 Courtesy of the Artist and MARS gallery

23.04.20 — 16.05.20

www.marsgallery.com.au

7 JAMES STREET, WINDSOR

The White Rabbit Gallery houses one of the world’s most significant private collections of contemporary Chinese art. Admission is free, as are our guided tours at 11am, 1pm and 3pm.

OPEN WEDNESDAY—SUNDAY 10 AM TO 5 PM 30 BALFOUR STREET, CHIPPENDALE NSW T: +61 (02) 8399 2867 | www.whiterabbitcollection.org

Image: Zhu Jinshi, The Ship of Time (detail), 2018, xuan paper, bamboo, cotton thread, dim. variable

6 MARCH — 10 MAY IN CANBERRA

ONE TICKET. TWO EXTRAORDINARY EXHIBITIONS. Experience the very best new portrait paintings and photographs from across Australia.

BOOK NOW AT PORTRAIT.GOV.AU

Australian Contemporary Jewellery An ADC On Tour national touring exhibition 26 March –27 May 101–115 William Street, Darlinghurst with a national tour to follow

australiandesigncentre.com

Liam Benson Helena Bogucki Julie Blyfield Zoe Brand Maree Clarke Jess Dare Anna Davern Bin Dixon-Ward Sian Edwards Emma Fielden Lola Greeno Pennie Jagiello Bridget Kennedy Inari Kiuru Grace Lillian Lee Vicki Mason Claire McArdle Tiffany Parbs Blanche Tilden Catherine Truman Manon Van Kouswijk Zoë Veness

Supported by the Australia Council for the Arts’ Contemporary Touring Initiative.

Melbourne Convention and Exhibition Centre

MAKING HER MARK selected works from the collection

UNTIL 16 APRIL 313 Healesville-Yarra Glen Road, Healesville VIC 3777 twma.com.au SUPPORTED BY

MAJOR SPONSORS

INAUGURAL FOUNDATION SUPPORTER

IMAGE: Kate Beynon, Masks of the Ogre Dancers 2014–15, synthetic polymer paint on linen, 185 x 165 cm TarraWarra Museum of Art collection, Acquired 2015.

Courtesy of the artist and Sutton Gallery, Melbourne MAJOR PARTNERS

Stopping Time Material Prints 3000 BCE to Now 29 February – 10 May 2020 STOPPING TIME: Material Prints 3000 BCE to Now expands on the definition of printmaking by bringing works of art together in thematic clusters, regardless of their period or place of production.

Supported by:

1 Laman Street Newcastle | 02 4974 5100 | nag.org.au Open Tuesday to Sunday & every day during school holidays John COBURN The 6th Day: God created Man 1977 screenprint on paper, edition 34/50 52.0 x 72.0cm Purchased with assistance from the Visual Arts Board, Australia Council 1978 Newcastle Art Gallery collection Courtesy the artist’s estate

2020 Finalist Exhibition

21 February – 31 May 2020

Artists: Anthea Behm Danica Chappell Elise Harmsen Ali McCann Hayley Millar-Baker Kent Morris Sarah Mosca Phuong Ngo Lillian O’Neil Emma Phillips Debra Phillips Justine Varga

Generously supported by

Exhibition Partner

SHIRLEY HANNAN NATIONAL PORTRAIT AWARD 2020

ENTRIES NOW OPEN $50,000 non-acquisitive award for realistic portraiture

info & entry forms http://gallery.begavalley.nsw.gov.au

2018 WINNER Marcus Callum, Meg (detail), oil on linen, 76 x 102cm

CURATED ALISON BENNETT

BY

SHANE HULBERT

DANIEL PALMER

image

LOOKS KCAB

20 20

MARCH

MAY /

REBECCA NAJDOWSKI

27 16

RMIT GALLERY

The

LOO KC The BY

NE HULBERT DANIEL PALMER

20 20

MARCH

MAY /

CONTACT +61 9 9925 1717 RMITGALLERY.COM

RMIT GALLERY 344 Swanston Street Melbourne Victoria 3000

FIONA McMONAGLE CLASSY 14 MARCH – 10 MAY 2020

Bayside Gallery Brighton Town Hall Cnr Carpenter & Wilson Streets Brighton VIC 3186 Opening hours Wednesday – Friday, 11am – 5pm Saturday & Sunday, 1pm – 5pm Enquiries Tel 03 9261 7111 bayside.vic.gov.au/gallery

@baysidegallery Free entry

Featuring watercolour, oil painting and video works that span the last decade plus a suite of new paintings.

1938

Image: Fiona McMonagle, Princess 2017, oil on linen, 101.5 × 112 cm. Courtesy the artist and Hugo Michell Gallery, Adelaide

MARCH 2020

Gerardo Tan (PHL) Lucina Lane, Adelle Mills, Kate Meakin & Virginia Overell

APRIL 2020

Christopher LG Hill Alethea Everard

Fitzroy Town Hall 201 Napier Street, Fitzroy Melbourne 3065 Wed-Sat 12 - 6 pm

www.connersconnersgallery.com @connersconners

ANNE & GORDON SAMSTAG 2021

VISUAL ARTS SCHOLARSHIPS

Image: Georgia SAXELBY, Lullaby (still from video performance), 2017, in collaboration with Viva Soudan and Bailey Nolan. Photo: Kristin Adair.

INTERNATIONAL

Anne & Gordon Samstag International Visual Arts Scholarships Each scholarship includes — for twelve months of overseas study, a tax-exempt stipend equivalent to US$50,000, plus return airfares and institutional fees.

Applications close 30 June 2020.

To learn more, phone 08 8302 0870, email samstagmuseum@unisa.edu.au or visit unisa.edu.au/samstag.

The Look

A National Portrait Gallery touring exhibition

This exhibition is supported by the National Collecting Institutions Touring and Outreach Program, an Australian Government program aiming to improve access to the national collections for all Australians.

Learn partners

Exhibition partners

Bryan Brown, 2008

by Adam Knott.

Collection: National Portrait Gallery, Canberra

Geelong Gallery 7 March to 3 May

Image © Vee Speers

1-17 May 2020 Sydney

Australia’s premier photography festival headon.com.au

Minstrel Kuik: She who has no self Saturday 15 February – Sunday 10 May

Minstrel Kuik Triplets from the series Mer.rily Mer.rily Mer.rily Mer.rily Part I, 2018-12 C-type on paper 81x51cm. Courtesy of the artist & Richard Koh Fine Art, Kuala Lumpur

Publication support:

Tony Albert, works in progress at Canberra Glassworks Courtesy of the artist and Sullivan + Stumpf, Sydney

DUTY OF CARE TONY ALBERT

Canberra Glassworks Curated by Sally Brand 26 March to 10 May 2020 Exhibition opening: 6 pm 25 March

With thanks to

Government Partners 11 Wentworth Ave, Kingston canberraglassworks.com T 02 6260 7005 contactus@canberraglassworks.com open Wed to Sun, 10am to 4pm

COMMONPLACE 9 JANUARY - 21 MARCH BETH GEORGE MICHAEL CHAPMAN CLOSING EVENT THURSDAY 19 MARCH FROM 5:30PM

Image courtesy of Beth George and Michael Chapman

6 - 29 MARCH OPENING EVENT FRIDAY 6 MARCH FROM 5:30PM

[CENSURATIVA] CRYSTIAN CRUZ EPHEMERAL COMPOSITIONS KATHRYN JEANES COMMUNE WITH NATURE MARY GRAHAM IMAGE: Suzi Zglinicki, Unknown Lands 2 2016, ink on canvas, 27 x 29 cm (detail)

UNKNOWN LANDS SUZI ZGLINICKI

THE UNIVERSITY GALLERY

WATT SPACE GALLERY

University of Newcastle, Callaghan 2308

Corner King & Auckland Streets, Newcastle

OPENING HOURS

OPENING HOURS

Wed-Fri 10AM-5PM, Sat 12-4PM

Wed-Fri 11AM-5PM, Sat-Sun 12-4PM

CONTACT

CONTACT

E universitygallery@newcastle.edu.au

E wattspacegallery@newcastle.edu.au

W www.newcastle.edu.au/universitygallery

W www.newcastle.edu.au/wattspace

T + 61 2 4921 5255

T Watt Space: + 61 2 4921 8733

An exhibition of artwork inspired by the love of plants in the green heart of the city

21 MARCH – 5 APRIL, OPEN 10 AM – 4 PM Lion Gate Lodge, Royal Botanic Garden Sydney rbgsyd.nsw.gov.au/plantswithaheart withaheart Free entry, all artworks for sale

Iron Bark, Bees and Beetles by Jason McDonald

Proudly supported by

NATIONAL EMERGING ART

GL ASS PRIZE 2020

14th March - 21 June 2020 National Art Glass Gallery Wagga Wagga Art Gallery waggaartgallery.com.au Thomas Pearson, Wax and Wane, 2018, blown glass, sand. National Art Glass Collection, Wagga Wagga Art Gallery. Image courtesy Pippy Mount Photography.

Warriewood driveway 2019 acrylic on canvas 122x137cm

Peter O’Doherty

The distance between us 17 March – 11 April 2020

kingstreetgallery.com.au

@kingstreetgallery

21 March—24 April Solo shows by James MacSporran, Samraing Chea, Rebecca Scibilia Opening Saturday 21 March, 3–5pm

Rebecca Scibilia, Japan at Night, 2019, pen paint and marker on paper, 33.5 x 34.5 cm.

PROUDLY SUPPORTED BY

24 High St, Northcote Vic 3040 Australia

T +61 3 9482 4484 T +61 3 9482 1852

info@artsproject.org.au www.artsproject.org.au

Reg. No A0008312K ABN 99 804 795 393

Alison Percy QUIETUDE of the land, the figure and the flower

Exhibition Runs 17 - 28 March 2020

Image: Alison Percy, Magnolia Denudata (detail) 2019, acrylic on linen, 1260 x 1260mm

Tue to Fri: 11am – 5pm Sat: 11am – 3pm

YVONNE AUDETTE, Cantata Giubilante, 2014, oil on plywood, 92 x 122 cm.

JESSIE SCARVELL, Sheep Grazing, possibly Pages River, Murrurundi, (Upper Hunter) NSW, 1898, oil on canvas, 50 x 89 cm.

Commencing March 2020 Innovative Australian Women Celebrating women artists who led the way by challenging traditions, exploring new ideas and influencing the direction of Australian art.

A peek at our City’s treasures; past, present and future.

19 MAR - 19 APR

OPENING NIGHT: THU 19 MAR 6.30pm - 8.30pm

Wyndham Art Gallery Great Art. Deep West.

177 Watton Street, Werribee

#deepwest wyndham.vic.gov.au/arts

Image Credit: Michael Cook ‘Giant Birds - Invasion Series’ (detail)

REVEAL

Artspace Mackay (QLD) 31 August - 24 November 2019 Noosa Regional Gallery (QLD) 6 December 2019 - 26 January 2020 Toowoomba Regional Art Gallery (QLD) 8 February - 22 March 2020 Museum of Art and Culture, Lake Macquarie (NSW) 20 June - 23 August 2020 Canberra Contemporary Art Space (ACT) 12 September - 25 October 2020 Swan Hill Regional Art Gallery (VIC) 23 January 2021 - 14 March 2021 Bundoora Homestead Art Centre (VIC) 27 March - 6 June 2021

An Artspace Mackay touring exhibi�on curated by Yhonnie Scarce and Claire Watson Exhibi�on catalogue and educa�on kit available online www.artspacemackay.com.au Image: Vernon AH KEE Kick the Dust 2019, riot shields, dimensions variable, courtesy of the ar�st and Milani Gallery, Brisbane.

a finer grain.

Selected Works from the SAM Collection An exhibition presenting key and lesser-known works by Australian women artists from the Shepparton Art Museum collection.

Showing until 25 October 2020 FREE ENTRY w sheppartonartmuseum.com.au Image: Margaret Preston, Magnolias, not dated, woodcut print. Shepparton Art Museum collection, Sir Andrew Fairley Bequest, 1975.

@SAM_Shepparton

The Ikona George Raftopoulos 28 Feb 3 May 2020 Broken Hill Regional Art Gallery bhartgallery.com.au George Raftopoulos, Rock of Contemplation, 198 x 183 cm, oil on linen 2017.

DANICA CHAPPELL

Danica Chappell, Glimmer (working title for picturing objects) (2019), daguerreotype, 42 x 49cm. Image courtesy the artist

Part of Collaboratory, an LAI investigative series into collaborative practice in contemporary art.

Danica Chappell has worked with Dr Donna Whelan of the La Trobe Institute for Molecular Science (LIMS) to produce a new body of work for PHOTO 2020.

13042020 06062020

lintonandkay.com.au

BEC JUNIPER RANGELANDS 5 - 19 March Subiaco Gallery

Bec Juniper, ‘Rangelands Ephemeral Blue’ 2020, Oil and acrylic on mixed media, 120 x 183 cm

JOHNNY ROMEO BURN DOWN THE DISCO 21 March - 12 April Subiaco Gallery

Johnny Romeo, ‘Great Young Brave’ 2020 [detail], Oil and acrylic on canvas, 153 x 153 cm

ALAN MULLER DERBARL YERRIGAN SWAN RIVER: Paintings 2010 - 2020 and New River Drawings 18 April - 10 May Subiaco Gallery

Alan Muller, ‘Dawn Over Mooro Country’ 2014, Acrylic on canvas, 75 x 150 cm Subiaco 299 Railway Road (Corner Nicholson Road) Subiaco WA 6008 Telephone +61 8 9388 3300 subiaco@lintonandkay.com.au

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

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

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

arts grants

2020-2021

Applications open Tuesday 28 January Applications close Friday 27 March (at midnight)

Artists and community arts groups seeking funding for innovative new artworks are invited to apply for a Kingston Arts Grant.

Free information session Wednesday 5 February, 6pm The Chamber, Kingston Arts Centre 979 Nepean Highway Moorabbin

Check your eligibility kingstonarts.com.au/opportunities/artsgrants

Enquiries 9556 4440

Forgotten Places, Citizen Theatre, Arts Grant recipient, 2019.

Photo Stu Brown (Citizen Theatre).

You Are Here 21 March – 10 May 2020 For the First Peoples of Australia, who have inhabited this country for over 60,000 years, and for those more recently arrived, our relationship with the Australian landscape is defined by both a deep cultural belonging and a history of conflict and displacement.

Expanding on the longstanding tradition of landscape photography, this exhibition centres each of the artists’ connection and disconnection to country. The works deconstruct how we occupy the land; exploring ideas of home and identity within the environment informed by cultural, personal and historical narratives.

You Are Here subverts a sense of familiarity with the places we inhabit, and ponders the experiences of those we share them with.

Left image: James TYLOR, Economics of water #1 (Flood) (2018), photographic print with gold paint, 100 x 100cm, image courtesy of the artist and Vivien Anderson Gallery.

Right image: James TYLOR, Economics of water #2 (Division) (2018), photographic print with gold paint, 100 x 100cm, image courtesy of the artist and Vivien Anderson Gallery.

Featuring: Duha Ali and Justine Youssef, Ophelia Bakowski, Miriam Charlie, Club Ate (Bhenji Ra & Justin Shoulder) in collaboration with Tristan Jallah, Nici Cumpston, Tammy Law, James Tylor and Anne Zahalka.

Town Hall Gallery Hawthorn Arts Centre 360 Burwood Road, Hawthorn VIC 3122 03 9278 4770

Opening Hours: Mon – Fri 10am to 5pm Sat/Sun 11am to 4pm Closed public holidays boroondara.vic.gov.au/arts

March/April

2020 EDITOR

Anna Dunnill E DITOR AND PODCAST PRODUCER

Tiarney Miekus

EDITOR (ONLINE)

Tracey Clement

W EBSITE AND SOCIAL MEDIA COORDINATOR

Minna Gilligan

GRAPHIC DESIGNER

Jack Loel

DESIGN ASSISTANT

Dylan Reilly

ACCOUNTS MANAGER

Linda Redman

COPY EDITOR

Paul Bugeja

EDITORIAL ENQUIRIES

editors@artguide.com.au SUBSCRIBE

artguide.com.au/subscribe Subscribe online for print and digital.

ADVERTISE

advertise@artguide.com.au +61 3 9812 6948 STOCKISTS

Art Guide Australia is available through newsagencies, art galleries, art supply shops and independent bookstores.

PRINTING

Postscript

WEB DESIGN

Art Guide Australia Suite 7/15, Vere Street, Collingwood, Victoria 3066 +61 3 9419 9123 info@artguide.com.au artguide.com.au facebook.com/artguideaustralia instagram.com/artguideau twitter.com/artguideaust #artguideaust We acknowledge the Traditional Custodians of Melbourne, the Boon Wurrung and Woiwurrung (Wurundjeri) peoples of the Kulin Nation.

TAKT Studio

PUBLISHERS

Graham Meadowcroft Kim Butterworth

Cover artist: Bhenji Ra Art Guide Australia is proud to be a distinguished partner of the 22nd Biennale of Sydney.

front & back

Bhenji Ra, Talking Bodies, 2019.

Performance for Late Night Library, 2019, Surry Hills Library. photogr aph: k aty green loughrey.

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 © 2020 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.

46

PR E V I E WS

50 52 52 53 54 54 55 56 56 57

The New Sun Exquisite Corpse / Cadavre Exquis Skywhales: Every heart sings Parrtjima whatdothebirdssay Swami’s Gremlin Retreat Two artists and the Parisian avant-garde The Long Kiss Goodbye Kūlī nām dharāyā / they’ve given you the name ‘coolie’ Outside Painting 22 N D BI E N N A LE OF S Y DN E Y

58 62 64 70 76 80

Interview: Brook Andrew Feature: Pushed to the Edge Feature: Bodies in Movement Studio: Trent Walter and Stuart Geddes Feature: Towards a Plastic-free Biennale Photo Essay: The Mind Behind the Lens F E AT U R E S

86 Art in Monstrous Times 90 On Becoming a Crone 94 The Collaborative Muse C OM M E N T

98 Class Ceilings F E AT U R E S

100 The Uncanny Humour of Destiny Deacon 104 The Subtle Art of the Residency

47

Issue 124 Contributors MICH A ELA BEA R is an emerging curator and

writer currently working as the curatorial assistant at RMIT Design Hub Gallery.

She was assistant editor for the 2017 Honolulu Biennial and has written for Art Asia Pacific, viennacontemporary mag and the Australian and New Zealand Journal of Art, among others.

A NDY BUTLER is a writer, curator and artist based in Naarm Melbourne. He is on the board of SEVENTH Gallery and a co-director of Mailbox Art Space. His writing on art and politics in Australia has been widely published.

TR ACEY CLEMENT is an artist, freelance writer and editor at Art Guide Australia. She has a PhD in contemporary art, as well as a diploma in jewellery design, an undergraduate degree in art history-theory and a master’s degree in sculpture. In 2020 she will have a solo show at the Casula Powerhouse Arts Centre as part of winning the 2018 Blake Prize Established Artist Residency. Tracey has been a regular contributor to Art Guide Australia for more than a dozen years.

OSLO DAV IS is an illustrator, cartoonist and artist who has drawn for The New York Times, The Age, The Monthly, Meanjin, SBS and The Guardian, as well as the National Gallery of Victoria, Golden Plains and the State Library Victoria, among many others. Oslo’s latest book is Overheard – The Art of Eavesdropping.​ STEV E DOW is a Melbourne-born, Sydneybased arts writer, whose profiles, essays, previews and reviews range across the visual arts, theatre, film and television for The Saturday Paper, Guardian Australia, The Monthly, The Sydney Morning Herald, The Age, Sunday Life, Limelight and Vault.

BR ION Y DOW NES is an arts writer based in Hobart. She has worked in the arts industry for over 20 years as a writer, actor, gallery assistant, art theory tutor and fine art framer.

Most recently, she spent time studying art history through Oxford University.

48

A NNA DUNNILL is an editor of Art Guide

Australia, an artist and a writer based in Naarm (Melbourne). She works with textiles, ceramics and tattoo. Anna is also one half of collaborative duo Snapcat.

SHER IDA N H A RT is an artist and writer based in Perth. She recently completed a PhD at Curtin University in contemporary art and its relationship to geolocation and remote sensing. Sheridan has exhibited at The Daphne Collection, Paper Mountain, John Curtin Gallery and Turner Galleries.

LEA H JING is a writer and photographer.

Find her at @_leahleahleah.

NEH A K A LE is a writer, journalist and critic who has been writing about art and culture for the last ten 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 Magazine.

JESSE M A R LOW is a Melbourne-based photographic artist. He has exhibited widely both here and overseas. He is represented

by M.33 and his third monograph Don’t Just Tell Them, Show Them was published in 2014.

TI A R NEY MIEKUS is a Melbourne-based writer and an editor of Art Guide Australia whose work has appeared in un Magazine, RealTime, Overland and The Lifted Brow. She is the producer of the Art Guide Australia podcast.

ZA R A SIGGLEKOW is a Melbourne-based arts writer, curator and administrator.

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.

“NIRIN takes on an endless number of meanings around and to do with the edge, all interconnect­ed … and conceptually [is] a call to action of how we can see and be different instead of being separated and distant.” rook Andrew, artistic director, B 22nd Biennale of Sydney: NIRIN

Spotlight on NIRIN, the 22nd Biennale of Sydney P. 58–85 Interview: Brook Andrew Anna Boghiguian Bhenji Ra Stuart Geddes and Trent Walter Lucas Ihlein and Kim Williams Barbara McGrady

49

Previews W R ITERS

Michaela Bear, Tracey Clement, Briony Downes, Anna Dunnill, Andrew Stephens, Tiarney Miekus, Zara Sigglekow and Barnaby Smith.

Melbourne Agnieszka Polska The New Sun

Heide Museum of Modern Art 21 March—14 June

In Agnieszka Polska’s immersive video The New Sun, an emoji-like sun looks down at the Earth, observing its environmental destruction while uttering a combination of love songs, monologues and jokes. This work is part of her video installation What the Sun Has Seen, which won the 2017 National Gallery Prize at the Hamburger Bahnhof in Berlin, establishing Polska as a significant early-career artist.

Agnieszka Polska, The New Sun, 2017, still, video Programmed at Heide Museum of Modern Art animation, duration 00:07:16. courtesy of żak as part of PHOTO 2020, an inaugural biennial fesbr anick a, berlin and overduin & co., los angeles. tival of photography in Melbourne, the work bears a sophisticated relationship to the festival’s theme: how photography has a complicated relationship to ‘truth’, and images themselves. The New Sun could be conceived as ‘post-photography’.

“Photography these days can mean more than capturing images through the use of a traditional camera,” says Brooke Babington, curator of the exhibition. The construction of the work began with a child’s face, which Polska animated using facial recognition software and photographic textures, bringing to mind emojis and gifs, features of our current digital lexicon.

The work is a product of, yet also subverts, the ‘post-truth’ era where public opinion is shaped by emotion as opposed to facts and reason. The sun connects to its audience by encouraging sympathy and trust with its childlike features.

“Polska’s practice has long deliberated on the role that truth plays in art. I think the work’s layered narrative offers a very multi-faceted version of reality—drawing in elements of scientific theory, poetry and the language of comedy routines to reflect upon our current conditions,” says Babington. “In its complexity, I think it inherently goes against the kind of simplified right and wrong versions of events that we hear so much of these days in the media; a feature of what many call ‘posttruth’ politics.” —ZA R A SIGGLEKOW

50

Agnieszka Polska, The New Sun, 2017, c-type print, 90 x 70 cm. courtesy of Ĺźak br anick a, berlin and overduin & co., los angeles.

51

Melbourne A&A: Exquisite Corpse / Cadavre Exquis Tolarno Galleries 12 March–28 March

A&A is a collaboration between two talented men: Australian industrial designer Adam Goodrum and French marquetry artisan Arthur Seigneur. The two met five years ago when Seigneur, who had moved to Sydney with his Australian partner, happened to knock on nearby neighbour Goodrum’s door one day—he’d heard Goodrum was a designer and wanted to connect.

They got talking.

Now, they work together in an extraordinary way, Adam Goodrum and Arthur Seigneur, with this exhibition based on how they employ the age-old Archant console, 2018–19, custom dyed rye child’s game of the ‘exquisite corpse’. In this case, the straw, birch ply, brass, 91 x 156 x 36 cm, unique. ‘blind’ collaboration, with highly unpredictable results, is photogr aphy: josh purnell. based on two different aesthetic approaches, namely the design house of Goodrum combined with the traditional village-based straw marquetry skills of Seigneur. Their relatively new working relationship has led to this latest exhibition as part of Melbourne Design Week.

“For both of us, we would never have done these things independently,” says Goodrum. “For me it is such a privilege to work with such an exceptional craftsman who wants to push the boundaries.”

The design and assembly of their work is, of course, highly collaborative.

Goodrum tends to make a basic plan before a to-and-fro process ensues, with Seigneur doing the marquetry component (the straw, which he dyes, comes from France). Then, a lot of trial and error is involved: models are made, discussions held. “Because the pieces take so long, there is also time to say, ‘Hey, that bit isn’t working, let’s change it’,” Goodrum says.

Goodrum and Seigneur have made three large pieces to occupy the big main room at Tolarno and they say that because they are quite theatrical works, they have created a dark and moody setting with direct lighting to emphasise depth and reflection. —A NDR EW STEPHENS

Canberra Skywhales: Every heart sings Patricia Piccinini National Gallery of Australia 7 March—30 May

When Patricia Piccinini’s hot air balloon sculpture Skywhale, 2013, took to the Canberra skies, the public reaction was swift. Ranging from wondrous delight to sheer outrage, people talked about everything from Patricia Piccinini, Skywhale, 2013, nylon, polyester, the Skywhale production costs to its remarkably nomex, hyperlast, cable. national gallery of auswell-endowed undercarriage. Originally created for the tr alia, canberr a. gift of anonymous donor 2019.

Centenary of Canberra and last seen at TarraWarra austr alian government’s cultur al gifts progr am Museum of Art in late 2019, the powerfully maternal Skywhale is soon to be joined by Skywhalepapa, 2020, a gargantuan male counterpart gently embracing a litter of bulbous offspring.

Commissioned as the third instalment of The Balnaves Contemporary Series and part of the National Gallery of Australia’s female-driven Know My Name initiative, Skywhalepapa is designed to reflect how our views of nurturing are changing.

52

While the Skywhales might be interpreted as a family, at the launch of the NGA’s 2020 program Piccinini admitted to not being entirely certain of the relationship between the creatures. “I’m not trying to say this is what a real family looks like, but I am trying to show this is what caring looks like,” she said. “This is something we can celebrate, it’s something good that’s happened in our lifetimes, the shift in how we understand care, masculinity and parenthood.”

For close to three decades, Piccinini has maintained a long-term fascination with how evolution, technology and humanity intersect, with the Skywhale becoming one of her most controversial creations. “Skywhalepapa is the next step in the Skywhale project, one that I’d never thought I’d be able to do,” says Piccinini.

“With Skywhale, I had a character. With the Skywhale and Skywhalepapa, I have a relationship, a narrative. I have a story.” Describing their appearances as “more a performance than a sculpture,” the Skywhales are scheduled for eight flights over Canberra before they tour to other locations around Australia. —BR ION Y DOW NES

Alice Springs Parrtjima

Alice Springs Desert Park and Todd Mall 3 April—12 April

Parrtjima, Grounded, 2019.

Held in and around Alice Springs, or Mparntwe as it is known to the local Arrernte people, Parrtjima is an annual nocturnal festival which features illuminated sculptures by Indigenous artists and ambitious outdoor lightshows.

During the ten days of the festival, a two-kilometre stretch of the MacDonnell Ranges is transformed into a massive canvas for animated light projections. Artistic director Rhoda Roberts, who is leading Parrtjima for the fourth time, explains that last year this grand lightshow was accompanied by an original music score that included Indigenous poetry spoken in language. “It was epic. Because Country is epic,” she says.

But, as Roberts explains, while Parrtjima may be spectacular, at its heart is sharing and communication. For her this starts first with “sitting side-by-side with the artists,” something visitors also have the chance to do through a program of workshops and conversations called Deep Listening. And artworks are also a vital tool for local artists with something to say.

Roberts works with local custodians of Dreaming stories, which she says are complex and have incredible depth. “The artists we work with in Parrtjima really opened their arms to us and want to tell the world their stories,” Roberts points out.

“They want Australians to actually understand the symbols or what the story is about. Because if you can read the artwork you can then read Country. And if you can read Country you can make it sustainable again.”

In addition to talks, large-scale outdoor sculptures, and lightshows developed in collaboration with local artists, Parrtjima also features music, comedy and cabaret. The festival is designed to be both epic and entertaining. But, as Roberts says, “it is much more than people just coming and looking at pretty lights.”

— T R ACEY CLEMENT

53

Sydney whatdothebirdssay Glenn Barkley Sullivan+Strumpf 8 April—22 April

Towards the end of 2019, curator-turned-artist Glenn Barkley began conceiving a new series of his colourful, wholesomely wonky and obsessively detailed clay sculptures. While these works were initially propelled by the experience of growing up in coastal Australia, Barkley’s solo show has now become equally motivated by environmental concerns.

With his childhood memories tied to the south coast of New South Wales, Barkley recently began crafting his signature patterned ceramics in response to a site of his youth: Badgee Lagoon. Yet the bushfires that began in late 2019 redirected his thoughts. “It’s really affected the whole environment where I grew up,” says Barkley.

“Originally the work I was doing—and it still will be about this—was about the lagoon where I grew up, and where my parents still live. But now it’s also speaking to these environmental things too.”

Glenn Barkley, Hope with sticks and mount, 2020, earthenware, 41 x 18 x 17 cm.

Barkley’s sculptures could be defined as precisely imprecise, and often draw upon his self-declared obsessive nature and his fear of empty spaces, alongside the influence of gardening, text, lyrics and poetry. Now, Badgee Lagoon is the central node—and it’s both environmental and metaphorical. “It’s the way that lagoons are fecund landscapes where life may form, how there’s mosquitoes and how they’re hatching grounds for birds,” says Barkley. “And then it’s the idea of the lagoon as this other fecund space, which could be a space like the imagination: like a swampy place where ideas come from.”

While Barkley notes that many artists will be responding to the bushfires throughout 2020, for him it’s important to explore the devastation obliquely.

“The landscapes where the fires were happening were the landscapes of my childhood,” he says. “And I’m linking this to the idea of the lagoon, and how the lagoon can be a metaphor for memory as well.” —TI A R NEY MIEKUS

Sydney Swami’s Gremlin Retreat Fraser Anderson Darren Knight Gallery 7 March—4 April

Fraser Anderson, Slug Study 1, 2020, thermo plastic, aluminium & chrome paint, 114 x 87 cm.

54

Fraser Anderson began his creative career not at art school, but as an art director for a surf and skate fashion label in his home state of Western Australia. Anderson’s role was hands-on and he made complex and large-scale installations for advertising the brand. Now known as a sculptor, he says, “For me it was a natural evolution from the work I was doing.”

These days, Anderson lives and works in Sydney, but he has also spent time in Bali and West Papua. As he explains, he finds himself drawn to pristine parts of the world. A keen diver, the artist tries to capture some of the

mystery and beauty of the flourishing marine life he has seen in these places, particularly visible in his abstract wall reliefs. Pigment and resin saturated, Anderson’s panels include natural sea sponges gathered from beaches in WA. Of course, Anderson is not alone in being attracted to the world’s unsullied places, and in his solo show Swami’s Gremlin Retreat, he points to the darker side of some of the other seekers he has found in stunning natural locations.

This evocative title is a nod to a self-styled swami he met once, a man who dropped the peace and love and turned into a chainsaw-wielding maniac when provoked.

But, Anderson laughs, “There is an inner gremlin in us all—a disparity between the image we project and what’s going on inside.”

In addition to his colourful sea sponge works, Anderson will present a series of sculptural mixed-media “dwellings” in Swami’s Gremlin Retreat. The artist prefers not to specify the precise nature of the retreat he’s trying to conjure. “It’s choose your own adventure,” he says, “to keep it exciting.” —TR ACEY CLEMENT

Bendigo Two artists and the Parisian avant-garde Bessie Davidson and Sally Smart Bendigo Art Gallery 20 March—21 June

Practicing across disparate mediums, styles and moments in time and space, Australian artists Bessie Davidson (1879–1965) and Sally Smart are connected not only by relation: they are also both strong feminist Sally Smart, Paris Performance, 2019-20, Film, presences in male-dominated, avant-garde traditions. with dancers Deanne Butterworth and Jo Lloyd.

The exhibition explores these ties through over 50 photogr aph: jeff busby. paintings by Davidson and several key works by Smart.

Davidson spent most of her life in Paris, where she first moved to study in 1904 with fellow painter Margaret Preston. Her Impressionist interpretation of domestic interiors, landscapes and female portraits reflected her thriving creative surrounds. Geographically dislocated from her homeland, Davidson’s choice to remain overseas was unusual.

“Davidson and other female artists of this period do not fit neatly into the ‘canon’ of art history, nor does Davidson ascribe to traditional notions of the avant-garde,” explains exhibition curator Tansy Curtin. “Yet the life she chose to lead was quite avant-garde.”

In contrast, Smart looks back in time, combining a range of mediums including performance, collage and textiles to reimagine experimental dance and other cultural histories from a feminist perspective. As Bessie Davidson’s niece, Smart was inspired by her aunt’s work. “The influence of Bessie Davidson on my identity as a young artist was profound,” reflects Smart. “My early art education enabled knowledge of Margaret Preston, compounding Davidson’s relevance and my interest in women artists and their artistic legacy.”

Smart envisions her aunt’s friendship and relations with Preston in a new video work featuring dancers Jo Lloyd and Deanne Butterworth. The dance explores “their decade-long relationship through a tumultuous time in human history and their lives as women artists in Paris at the beginning of the 20th century,” says Smart. “They were courageous artists.” —MICH A ELA BEA R

55

Perth The Long Kiss Goodbye

Lawrence Wilson Art Gallery 8 February—9 May In The Long Kiss Goodbye, six artists play with old artworks, materials, ideas and images, transforming them anew. At the core of the exhibition is a sculptural wall-hanging—a quilt the size of a cinema screen, Sarah Contos Presents: The Long Kiss Goodbye, 2017. Made from “fragments and artist proofs,” as curator Gemma Weston explains, this work, which won Sydney-based artist Sarah Contos the inaugural Ramsey Prize, “was made with the intention of wrapping up and saying goodbye to a moment in time.” Fabric, screen prints and embellishments from previous works are gathered up together; disparate narratives coalesce.

Clare Peake’s practice also frequently re-digests itself, using old works as the basis for new pieces.

Here, the artist has made sterling silver rings filled with the ashes of her visual diaries. “There’s a kind of catharsis to reusing those works,” says Weston; “it borders on Iain Dean, I am a joke but at least I’m not you, 2017, oil on canvas, 170 x 120 cm. photogr aph: ritualistic practice.” Titled Things are never ending, this tim gresham series suggests an ongoing and self-perpetuating cycle rather than a neat wrap-up. An installation by Penny Coss, which sees the artist’s dreamy paintings expand into three dimensions, will be reworked three times throughout the exhibition in a choreographed performance.

Curated for Perth Festival, The Long Kiss Goodbye may have begun as an exploration of studio processes, but the project has gone through its own transformation—sprouting references to psychoanalysis, deities, ritual and the afterlife. Both Iain Dean and Brent Harris situate existential spectres within pop culture and art history. Michele Eliot’s textile series the confidantes emerges from her work as artist-in-residence at a community funeral home, and involves cloths dyed with funeral flowers donated by bereaved families. This turn towards grief and end-of-life care throws a different light on the exhibition’s title, as transformation moves out of the studio and into the slippery, intangible stuff of life and death. —A NNA DUNNILL

Brisbane Kūlī nām dharāyā / they’ve given you the name ‘coolie’ Sancintya Mohini Simpson Institute of Modern Art (IMA Belltower) 22 February—18 April

Sancintya Mohini Simpson, Plantation, 2020, single-channel projection. with thanks to ben leadbetter, kristian bigmore, jenna baldock, indar ami simpson and isha r am das. image courtesy of the artist.

56

Sancintya Mohini Simpson’s exhibition Kūlī nām dharāyā / they’ve given you the name ‘coolie’ is a multi-media exploration of colonialism through the specific phenomenon of indentured labour. This complex show is also a journey through the artist’s tumultuous family history and an insightful inquiry into language via the troubling term ‘coolie’.

The new work builds on Simpson’s 2018 exhibition Bloodlines (at Metro Arts in Brisbane and Blak Dot

Gallery in Melbourne) in which she first explored how her female ancestors were taken from India to South Africa as indentured labourers in the late 19th and early 20th century.

“My practice continues to focus on this history and respond to this lack of acknowledgement of these women,” says the Brisbane-based artist. “I believe this is important as this history has been framed and viewed from an Imperial perspective.”

The exhibition is dominated by a corrugated iron structure in the gallery’s centre, with soil lining the walls and interior. An audio installation provides a soundtrack of a woman singing in Bhojpuri. A video projection shows sugarcane fields, and visitors will also detect the smells of sugar, earth, metal and rust.

Simpson’s extensive research included work with various archives, a trip to South Africa and conversations with her mother, who heavily influenced the artist’s treatment of the word ‘coolie’.

“For her, the word holds trauma. When my mother grew up in South Africa during apartheid, the term ‘coolie’ was still used as a racist and derogatory term against Indian people.

“For me, the word will always hold ties to the indentured labour system, and the movement of free and cheap labourers for the colonies. I hope that viewers come away with a broader understanding of the word, and an understanding of the impact of these lived experiences.” —BA R NA BY SMITH

Adelaide Outside Painting

Hugo Michell Gallery 12 March—8 April Painting is a messy business. It gets on clothes and walls, trodden into carpets, refusing any attempt at a neat boundary between work and life. And the smears run both ways, as painting absorbs everything around it—childcare, cooking, studio clutter, soft furnishings.

The artist Martin Kippenberger likened art to spaghetti: every painting inextricably tangled in a slippery network of incidences, relationships and ideas, the network as important and interesting as the paint itself.

“People for a long time have talked about where painting begins and ends,” says artist Nadine Christensen, and Outside Painting continues to probe this question. For each of the three Melbourne-based artists in the exhibition—Christensen, Katrina Dobbs and Bill Hawkins—the back and forth between life and art is a constant negotiation. Riffing on Kippenberger’s notion of Katrina Dobbs, Flyscreen Blue, 2019, 86 x 112 cm. art-as-spaghetti, Hawkins’s video piece documents the artist ‘networking’ over a pasta dinner, thereby turning the ecosystem of artmaking into his subject matter.

In Christensen’s practice, source material is expansive. A creased reference photograph taped to the artist’s studio wall might be painted in its entirety—as an object in its own right, tape and all. Dobbs, who works from home, necessarily lives amongst her work, and as pieces progress, she moves them to different areas of her house, enacting what Christensen describes as a “really literal blending of home, work, practice, life.” Her recent works use flyscreen and lace as supports, the paint pushed through as if to demonstrate the porousness of the process.

Paint-covered Chux cloths, tarps and carpets—studio detritus, originally functioning to wipe brushes or protect the floor—end up reimagined as paintings, bringing the outside back in. —A NNA DUNNILL

57

Brook Andrew. photogr aph by leah jing.

“What I mean by that is there’s certain tropes in the art world and in the general dominant culture that need challenging.”

— BRO OK A N DR E W

58

Interview

W R ITER

Brook Andrew

Tiarney Miekus

As artistic director of NIRIN, the 22nd Biennale of Sydney, artist Brook Andrew is bringing together over 90 artists, creatives, collectives and communities from Australia and across the globe.

TI A R NEY MIEKUS

The Wiradjuri word NIRIN is the title of the 22nd Biennale of Sydney. Can you talk about the meaning of NIRIN and how it emerged as a frame for the Biennale?

BROOK A NDR EW

I think firstly we needed a name that was not English, and because I’m Wiradjuri I think it makes sense for that word to be in Wiradjuri.

While NIRIN translates to ‘edge’ in English, when you’re doing translations there’s always different understandings of a word. I think the interesting thing about nirin, and how it talks to the edge, is that it can also be the edge of a silhouette, or the edge of a carving, in a culturally specific and active way. Translations take us in many directions depending on perspective and circumstance, and within these different understandings of nirin, suddenly there are many edges and a playfulness, but most importantly it challenges what is the centre and what is the edge. While it’s a particular Wiradjuri word, in its reception, nirin takes on an endless number of meanings around and to do with the edge, all interconnected, and in this way the word is both a concept and a methodology, and conceptually a call to action of how we can see and be different instead of being separated and distant. There are seven themes underpinning this Biennale, each from Wiradjuri language and behaving in the same way. Wiradjuri language is extremely complex as it connects to ceremony, season and ways of being that are not linear as in most Latin languages. I think it’s reflecting on this complexity that assists with understanding what this Biennale is about.

TM

Unpacking that complexity, can you explain the idea of the ‘edge’ and how it relates to what is typically viewed as the centre in contemporary art?

BA

We often talk about the centre. We think we know the context of the centre in regard to the art world, but also generally within culture by

2 2 n d B ienn a le of S ydney

referring to cities such as Paris, Dubai, Beijing or New York—but what is the centre? And what is the outside? We can become accustomed to the dominant historical legacies of cultures that see themselves as more progressive or first world in some cases, and we forget about a lot of cultures that are seen as being on the edge or not the centre, and we forget that they have ancient cultures and ancient roots, as well as new and vibrant trailblazing cultures. Like the Haitians, for example. They were the first country to free themselves from slavery and they are the trailblazers of this incredibly important change within history and slavery, yet they suffer natural disasters such as the recent commemoration of the devastating earthquake and have leading arts movements such as Atis Rezistans—though they are not seen as a centre. It’s points like these that I think need to be highlighted around creative practice internationally, where it doesn’t come from a historically, military or financially powerful centre. I think stories from the so-called edge bring in a very different world view that’s often left out of the dominant art world, or even creative world. Of course, people will say that artists from other centres from around the world, such as Haiti or remote parts of Australia, have shown internationally, but it’s not en masse.

TM

It seems that one of your foremost decisions in curating the Biennale is to ensure it is First Nations and artist led. Can you explain why this is not only important to you, but also important in a larger cultural sense?

BA

When we say First Nations led, I would argue it’s the philosophy of a First Nations methodology.

There are many artists in the Biennale who are not First Nations and I think it’s important to clarify that because the methodologies around a Wiradjuri concept of how we see life and creativity is outside of the contained, often restricted, view of what art is. Under this, we can include [in the Biennale] people who are chefs

59

or scientists, and people who work closely with communities or creatives to make their creative endeavours. For example, there’s Gina Athena Ulysse, who’s a Haitian anthropologist and spoken word performer, who—for the first time— is being shown in an international exhibition like this, and for her it was really exciting because she doesn’t come from your traditional art background. And then you have other artists like Laure Prouvost from France or Jose Dávila from Mexico who are not First Nations, but the tensions and imaginations in their work are very much aligned to the themes that I’m interested in and support those Wiradjuri methodologies.

TM

You’re the first Indigenous Australian to hold the position of artistic director of the Biennale, as well as being an artist in your own right, and currently pursuing a PhD at Oxford University. Every director will bring their own experience to the Biennale, but how do your experiences influence how you approached directing?

BA

For me, I think there is a very big international awareness in regard to what a biennale is, and in regard to how I see the art world, and I hope to bring a broader view that encapsulates different historical legacies. If anything, it’s made me aware: to beware! I think that things need to shift dramatically and urgently around the way in which cultures have been hijacked to display a particular kind of side or view. What I mean by that is there’s certain tropes in the art world and in the general dominant culture that need challenging. For example, biennales historically come from exhibitions which were based on colonialism and showing the wealth of those colonies, and that’s historically problematic for a lot of people because now, today, it involves considering things like restitution, which is a big issue at the moment. You even have Emmanuel Macron, president of France, bringing it to the forefront. Then there’s the repatriation of Aboriginal human remains. There’s one artist, Katarina Matiasek—she’s an Austrian artist in the Biennale, and her work will be demonstrating the links between Austria and Australia in repatriating Aboriginal human remains, and she’s been very much involved in working with Aboriginal communities.

TM

Would you say your curatorial ambition for the Biennale aligns with your continuous curiosity for stories that are left in the dark?

60

BA

Yes, and I think that there’s a lot of fear out there in allowing these other stories to shape the future. I think it is challenging for dominant cultures to understand or to let in people from other parts of the world to re-present their narratives and histories, because often it’s the dominant culture that has shaped people’s lives.

I think it’s really important to trust other views, and to explore other views in a way that is going to help build a different kind of future. And this includes the urgency around the environment.

There’s devastation in Australia at the moment because of the bushfires, but it’s also a world topic of global proportions where the current dominant narratives and legacies need to shift. If there’s a brave approach to that [in the Biennale], I think it’s going to very rewarding.

TM

We’re currently speaking two months out from the 22nd Biennale and Australia is in the midst of a devastating bushfire crisis. Has this affected the Biennale and the artists involved?

BA

I think that the bushfires are something that happen in Australia yearly and while it’s very much part of the cycle of our environment and society, nothing like this has ever happened before. If anything, it really underlines the urgency of climate change and goes beyond First Nations management of land. This disaster also gives agency to artists like Adrift Lab who are world-class scientists working with creatives to really put a spotlight on ocean plastics and the devastation that’s already happening in islands off-shore. I think it also connects to the Brazilian artists in the Biennale who are mainly Indigenous and dealing with these issues—and we are all dealing with these issues, whether in Indigenous and other communities, but city centres often don’t experience that, or don’t really have an understanding unless we have a connection to outside the city centre. I think the Biennale is an opportunity to look at our environment in a holistic way to really see the effects of what’s happening globally. In saying that, two artists in the Biennale, Bhenji Ra from Australia and Jota Mombaça, a Brazilian artist, will be doing a collaborative piece reflecting on the recent bushfires, and the Tennant Creek Brio collective also reflect on traditional burning practices in their work.

So yes, people are really alert to it.

TM

From the way you discuss curating the Biennale, I have the sense that for you it’s as much a moral endeavour as an artistic one?

BA

Well, I think it’s interesting when you first asked me about being the first Indigenous director and so forth—these are really important things to think about, but I could be one of a hundred Indigenous people and we could have got together a whole group of people to curate this, but I’ve been working very closely with communities and Indigenous and other curators internationally and locally, and putting our heads together and thinking about different people.

And this is moral. I think this is where we return to what is a Wiradjuri methodology or a First Nations methodology? It’s not just confined to particular tropes or ideas or aesthetic endeavours within a particular art sensibility. It’s so much wider. It involves food and sharing and solidarity, and working together, and the earth— and that’s not a romantic view. It’s just the reality of how I think and believe that we work together.

TM

On the one hand, it seems as if you’re trying to capture a sense of fluidity and flux of hidden narratives, rather than reinforcing historically dominant narratives.

You can most evidently see this through the inclusion of many First Nations, grass-roots, female, and gender non-binary artists. But when you’re wanting to demonstrate our times and art as one of flux, and you’re also having to curate a holistic event, do you find this to be a juggle?

BA

For me it’s not a juggle at all! It’s very natural.

Really, it’s not a juggle for a lot people, except it’s not part of the way in which museums—and I say museums in inverted commas—traditionally have been architecturally or philosophically built.

If we ask ourselves, “Well, what is a museum?”, the traditional museum is still very much part of that dominant European idea of what art is.

It’s full of white walls, and paintings go on those white walls. The way in which we push against that is to allow the artists in the Biennale to have freedom of expression to see how they can work within those spaces, and that’s always going to be tough when you’re working on a white wall because for many artists that’s not a natural condition. Very few artists in this Biennale have said, “Brook, I want a white room.” There’s only one artist that’s requested one.

TM

In the language surrounding the Biennale there is the position that art can incite change, whether that’s change through action or consciousness. The ability for art to do this—how much has it been on your mind when curating?

BA

I think that artists do this naturally anyway!

TM

But maybe it’s not always natural for curators.

BA

I can’t really comment on that because I’m an artist. I’m not a curator. My role, in inverted commas, is artistic director. I see myself as someone who can help artists shine or help artists express themselves. My job is there to give them a platform. I think that within the art world, and with the public, biennales are often under the magnifying glass and I think I’m there to ensure artists have the freedom to talk about urgent or personal issues and changes that they feel is the zeitgeist.

TM

It seems as if you’re aiming to cultivate a great poeticism to the Biennale and imbue the event with a kind of optimism, drawing upon the sense in which art has the power to heal and transform. Can you explain this further?

BA

I think art has many tropes, meanings and feelings, and sometimes these are confrontational, but I think in this case it can also be a breath.

Like taking a big deep breath and connecting things or ideas or aesthetics or feelings that are often not connected under big dominant narratives around cultures. It’s an opportunity for us to think or feel differently about something, and it’s those kinds of chances, or deliberately juxtaposed ideas or feelings, that can be invigorating.

I think that’s what we need right now. We need a kind of invigoration that’s empowering. Maybe it’s to make new friends, or to re-look at something in a different light, or to let go of something that’s been eating at us, or to join hands in a different way. And I’m not being wishy-washy about this.

I mean it in a very pragmatic way.

NIRIN

22nd Biennale of Sydney 14 March—10 June

61

Pushed to the Edge

22n d B i en n al e of S yd n ey

Investigating exile, genocide and displacement, artist Anna Boghiguian looks at global colonisation, historically and today.

W R ITER

Barnaby Smith

Anna Boghiguian’s considerable body of work sprawls in so many directions that it might initially seem an overwhelming world into which to dive. After all, her creative life has spawned drawings, paintings, photography, sculptures, sound pieces, textual works, installations of many kinds, artist books and ‘visual journals’. However, amid this versatile and eclectic output, there are some constants: her work is consistently dazzlingly rich, multi-disciplinary, socially and historically engaged, and often rather chaotic.

For several recent projects, she has chosen to confront the machinations and evolution of capitalism by focusing on the industries or commodities that have historically underpinned economies and society in various parts of the world. For example, The Salt Traders, as part of Istanbul Biennial 2015, was, as she says, “on the trade of salt and its role in our lives.” Another exhibition, The Loom of History, in New York in 2018, covered the cotton industry in the United States and beyond, its indelible links with slavery and its impact on Native Americans. She has also explored the importance of denim to the French town of Nimes with A Walk in the Unconscious, 2016; and tin mining in Cornwall for A Tin Drum that has Forgotten its Own Rhythm, 2019, a new work that appeared as part of a retrospective show at Tate St Ives last year.

Her contribution to the 22nd Biennale of Sydney promises to be something of a departure as, unlike the aforementioned shows, it does not appear to centre around a particular material or product.

Yet it retains her soulful sense of compassion toward

62

those for whom the progress of history has been brutal—not to mention a spirit of protest and dissent.

Boghiguian is turning her attention directly to people—particularly those who have suffered disenfranchisement, alienation, persecution and worse.

“My exhibition in Sydney is about and around exile,” she says. “As an Armenian, the concept of exile and genocide is not unfamiliar.

“The materials I am using are textiles, paper, wood and metal. The theme is of being uprooted or exiled by colonialists that conquered the land and displaced those who were settled there.

“It’s also about exile because of war, where superpowers resolve conflicts within your territories rather than theirs, leaving destruction and conflict that is not easy to resolve. A cultural genocide takes place, and a human tragedy.”

Given that Boghiguian travelled to Melbourne in January to create the new work, one might guess that the artist is drawing on some aspect of Australian colonialism and Aboriginal history when dealing with exile and genocide. That, however, is not quite the case; Boghiguian is seeking to explore the universal crimes of colonising forces throughout history and across the world. And in doing so, she touches on the wider Biennale theme of ‘nirin’ or ‘edge’.

“I am using exile and edge in a global manner and not linked to one specific place. When people are exiled they are pushed to the edge regardless of colour, breed or territory.”

Boghiguian was born in Cairo in 1946 into an Armenian family—her grandparents survived the

Anna Boghiguian in the studio, 2020. photogr aph: jesse marlow.

63

Anna Boghiguian, works in progress, 2020. photogr aph: jesse marlow.

64

Anna Boghiguian, works in progress, 2020. photogr aph: jesse marlow.

Armenian genocide of the 1910s and 1920s.

Her education foreshadowed the directions she would take in her career as an artist: a degree in Political Science at the American University in Cairo, followed by Arts and Music at Concordia University in Montreal. In a 2019 interview with the Financial Times, she credited her time in Canada—which was a sharp contrast to Egypt under the authoritarian rule of President Nasser in the late 1960s—as her most formative period in becoming an artist.

Her career began properly in the 1980s.

The remarkable drawing, Self-Portrait as the Three Corinthian Women, 1981, was one work that saw her gain traction—it featured at the Tate St Ives exhibition. She soon settled into an idiosyncratic style that combined those socio-political narratives with myth, legend, and the carnivalesque.

Though based out of a studio in Cairo, Boghiguian is often described as leading a ‘nomadic’ or ‘itinerant’ life. Her regular travels have, perhaps along with her Armenian lineage, been the most important influence on the development of both her aesthetics and her political motivations—particularly her journeys through Asia and the Americas, with their sometimes turbulent political environments. And as evidenced by her time in Melbourne, her modus operandi is to create her works in the country in which they will be exhibited.

The recent show at Tate St Ives, and the one in New York, were significant milestones for Boghiguian, in that they were her first solo exhibitions in the UK and US respectively. Her first trip to, and exhibition in, Australia, is also a testament to the longevity and ongoing colour of her career.

“Those exhibitions have enriched my knowledge of the world, and made me aware of where the world stands when it comes to the ordinary workers, and how the world’s resources are used and expired.”

Her work is, therefore, a unique combination of the social and the environmental. And in a way she is the perfect encapsulation of ‘nirin’ or ‘edge’.

If we regard ‘edge’ as a reference to art from the margins, experimental in nature as well as dealing with the fringes of civilisation, Boghiguian fits the brief. Alternatively, if we interpret ‘edge’ as being the precipice towards which we are hurtling as a result of ecological collapse and cultural ennui, her work taps into this idea too. The Biennale of Sydney work promises to be another explosive, playful, withering, dialectical instalment in her career.

Anna Boghiguian

Cockatoo Island (Sydney NSW) 14 March—8 June

65

Bodies in Movement

22n d B i en n al e of S yd n ey

Concerned with the politics of our bodies, artist Bhenji Ra threads together dance, community and collaboration.

W R ITER

Andy Butler

“I think dance has always been the answer for me,” says Bhenji Ra of her interdisciplinary art practice.

“Dance has always been innately queer, and accessible in the way it can slip between gender and class.

There’s lots of power and resilience in that.”

Ra has built a significant profile over the past several years. After an initial training in classical Western forms that she found stifling, moving outside of the “patriarchal structures” that define how the body functions in dance schools has given her space to flourish. “My body was trying to strive to fit into this very masculine, muscular and virtuosic form. I’m surprised I lasted as long I did at dance school—I didn’t have a voice.” Now, Ra brings together dance, community building and politics in her practice. In a way that questions dominant histories and narratives, and brings together people from the margins, she provides platforms for others to find a voice, and in so doing also carves out a place for herself.

In 2015, Ra developed the work Bowling Club Medley for Underbelly Festival on Cockatoo Island.

It speaks volumes to the way that she uses dance to think about community and the transmission and creation of culture. She collaborated with a social group of Filipina women who called themselves the Bay Angels. The Bay Angels would regularly get together to do line dancing in rural bowling clubs.

In matching white cowboy boots and hats, Bhenji and the Bay Angels danced a medley of social dances and folk-inspired Filipino dances in an extended performance.

66

“It was such a form of togetherness and collective joy, and it was a way to put value on that. Line dancing in rural bowling clubs felt like a way that Filipino culture had transformed in this new Australian context.”

Queer and trans histories are fundamental to Ra’s work, as is this sense of finding space for herself and others as a mode of survival. Ra has been a central figure in developing Australia’s local vogue scene through Sydney’s annual Sissy Ball. For the uninitiated, ball culture is a form of performance and resistance that has grown out of New York queer scenes since the 1920s, with mostly black and Latinx folk dancing, walking, voguing, competing on a runway.

Both individual participants and groups (known as ‘houses’) vie for categories like best dance, movement, fashion and flair. From those original roots ball culture has made its way to pockets of QTPOC (Queer Trans People of Colour) around the world.

As the Mother of the House of Slé, a vogue house in Western Sydney, Ra is a senior figure who helps newer girls come into the fray. Ra has fought to create space for many; ball culture and voguing offer a genealogy and tradition to the folks who find them.

“Being a house mother is about creating a system of care and guidance for young women and trans folk and queer folk that are coming up, and giving them what maybe I never had as a young person. Allowing them to feel like they had space and freedom to express and to go after what they want in life. And just giving them permission.”

Bhenji Ra, Talking Bodies, 2019. Performance for Late Night Library, Surry Hills Library. photogr aph: k aty green loughrey.

Club Ate (Justin Shoulder and Bhenji Ra), 2019. courtesy of the artist.

67

Bhenji Ra, Talking Bodies, 2019. Performance for Late Night Library, Surry Hills Library. photogr aph: k aty green loughrey.

68

“Dance has always been innately queer, and accessible in the way it can slip between gender and class. There’s lots of power and resilience in that.”

— BH E N J I R A

Ra grew up in rural South Coast New South Wales in a Filipino working-class family. ‘Otherness’ finds you in regional Australia when you’re queer and brown, and it’s something that Ra understood from an early age. She also recognised that this ‘Otherness’ could be weaponised into a tool of resilience and something to be fiercely proud of. A large Filipino community has flourished in the area: “You can’t have that many Filipina women around you and not feel protected.”

For the 22nd Biennale of Sydney, Ra is collaborating with Sitti Obeso to develop a performance lecture. Obeso is a Tausūg elder and a master of a dance form called Pangalay, which originates in the Southern Philippines. Pangalay has roots in pre-colonial Philippines, and is a classical form defined by slow and graceful movements, with a focus on the hands and the use of ornamented metal fingernails.

The two met when one of Ra’s cousins married into Obeso’s extended family; Ra has familial and cultural ties to the Southern Philippines, and is interested in exploring the transmission of culture and tradition.

“I felt that from when we started working together, she [Obeso] saw me as how I was, recognised my gender variance and all that comes with it—who I am

as a second-generation Filipina. There was no hesitation or resistance to it.”

The performance will focus on the ‘in-between’ of the passing down of cultural knowledge; of the way that it shifts and changes as different generations are brought into the fold—as people come to find a place in a genealogy and a living body of knowledge.“It’s sort of like that Aunty vibe, you know?” Ra says of her relationship with Obeso. “She sends me chain letters via Facebook messenger, saying ‘Allah bless you,’ things like that—looks out for me and tells me about the sort of responsibility that comes with dancing Pangalay.”

These sorts of relationships where cultural knowledge, traditions and history can be transmitted have been central to Ra’s practice over the last several years. The way that she interrogates them through dance unpacks that way that individuals can find a place and a community in larger narratives—especially for those who are usually written out of history.

Club Ate: Bhenji Ra and Sitto Obeso 3 June & 6 June, 12 pm–1.30 pm Powerhouse Museum (Ultimo NSW)

69

70

Studio

22n d B i en n al e of S yd n ey

Trent Walter and Stuart Geddes

“We wanted time to experiment with the press as a drawing tool, a printing tool, as well as a method of output.”

— T R EN T WA LT E R

PHOTOGR A PH Y BY

I NTERV I EW BY

Jesse Marlow

Anna Dunnill 71

72

Trent Walter has run Negative Press, a publisher of limited-edition prints and artist books, for over a decade. Now, for the 22nd Biennale of Sydney, Negative Press is home to a new piece of equipment—the Heidelberg GTO 52, an offset lithography press— and a new collaboration with designer Stuart Geddes to produce a publication, NIRIN NGAAY.

A NNA DUNNILL

How did this collaboration between the two of you come about? And Trent, more specifically, how does it relate to Negative Press, your existing publication practice?

TR ENT WA LTER

I’ve known Stuart since 2001, and I remember he said to me, ‘If you’re ever working on a book, give me a call.’ So when this opportunity came up to work together, I welcomed it. Stuart suggested the idea of purchasing a press for the specific nature of this project, and it made complete sense to allow Negative Press to expand and incorporate the Heidelberg GTO. For me, it is part of my practice as Negative Press—but also it becomes its own entity that Stuart and I run.

STUA RT GEDDES

My background is in graphic design, with a real focus on book design: art and architecture books with a bit of literature, poetry, things like that. I’m also at RMIT, in the School of Design, both teaching and doing a PhD all about the form of the book and collaborative ways of making.

AD

Using the Heidelberg press means that you’re physically printing 1000 copies of the publication yourselves rather than outsourcing to a commercial printer. Why did you decide to go this route?

SG

Being a graphic designer there’s this idea you’re in a ‘making’ profession, a ‘making’ practice, but you don’t really make stuff— you make digital PDFs and you send them to a printer and they make the stuff. So it was about engaging more in that physical making. For a long time I’ve had an interest in using industrial processes in kind of unusual

ways, poetic ways. And the Heidelberg is an extension of that.

TW

We wanted time to experiment with the press as a drawing tool, a printing tool, as well as a method of output.

SG

One of the most expensive things in printing is not the paper or ink—it’s the press time.

Generally when you’re printing a book, everything has to be perfect by the time you get to the press. So that idea of being able to be experimental within industrial process, there’s not really a way for us to do that without owning it ourselves. And this is now an ongoing resource for us and for others to make things, and to have that freedom in an ongoing sense.

AD

What’s involved in the offset lithography process?

SG

Fundamentally, there’s an ink valve at the top that you put wet, sticky ink into, and there’s about 20 rollers that roll out the ink at high speed so it gets into a really consistent film.

TW

We have digital files that go to a platemaker.

They send us back an aluminium plate that has hydrophilic and hydrophobic parts— areas that either attract water, or that repel water and therefore attract oil. Lithography works on the concept that oil and water don’t mix. The machine has dampening rollers that wet the plate, so it keeps the oilbased ink just in the positive image areas— the parts of the plate that attract oil.

Once the ink goes through the duct, it runs down through the rollers, and as you

73

74

start running the paper through and have it on ‘impression,’ the dampening rollers are dampening the plate with each revolution, and ink is being applied to the plate with each revolution. And then the image, with each revolution, is transferring from plate— or offsetting—onto a blanket; and the paper goes between the blanket and the impression cylinder…

SG

…Which squeezes the paper against the blanket, the ink transfers onto the paper, and the paper gets delivered. It does that up to about 8000 impressions per hour.

We also have photo-plates, so we’re going to do some live exposure of plates here as part of the process.

TW

Yeah, that’s going to be fun. Stuart wants to spray solvent through the press while it’s running too— SG

To make it runny.

TW

Despite my protestations!

AD

Tell me about the artist book you’re producing for the Biennale of Sydney, NIRIN NGAAY. TW

[Artistic director] Brook Andrew had this idea of doing two publications for the Biennale—one being a hybrid reader/artist book and one being the catalogue—with the reader coming out in advance of the Biennale, to give people some context for the exhibition. Ngaay is a Wiradjuri word meaning ‘to see’. So nirin, edge, ngaay, to see: ‘to see the edge’. There’s around 37 contributions, some from artists in the Biennale but also essays and poetry from people outside of the Biennale. So Simryn Gill for example has contributed an essay; also Bruce Pascoe; and MzRizk who’s a wonderful Melbourne-based DJ is also involved.

SG

As we would understand a ‘reader’ to be a collection of photocopied essays on a topic, we wanted each of these contributions to have that disparate feel—but then be somewhat unified by our processes and them passing through the press.

TW

We’re interested in what mediation happens through the press. So it’s not just, ‘okay here’s our typographic layout, made digitally, or photographed and then laid out.’

It’s allowing the process of printmaking to influence the construction of the pages as well. Whether it’s through paper, through

digital typography, whether it’s through manipulation of the machine as it’s running, we’re trying to approach it as artists and printers with creativity.

SG

Each of those different sections will be on a range of different papers, in a range of colours, and will hopefully feel like a range of collated ideas that are in discourse with one another.

AD

And you’re doing something unusual with the collation process…

TW

Yes, we’re going to have groups of people come to collate, so that there’s not one order for the book—there’ll be several orders.

SG

It’s about the potential for all these different sets of ideas to have different relationships with one another over their different books.

It felt like there shouldn’t be a particular hierarchy of order.

TW

NIRIN is about challenging dominant narratives. I think the experience of exhibitions is never linear, and we want to reflect that.

It’s like a playlist: if you have the same set of songs, people are going to put them in different orders. The sense of juxtaposition and relational interactions between works will change drastically, and so we have different ideas as readers about how things might coalesce and fit together, whether something might be jarring or whether there’s some symbiosis. I think it offers a range of ways of reading.

There’s a suggestion that came from Brook, thinking about numbering systems: how do we move away from a European, Latin, Roman use of symbols and signs? One of the Biennale artists is Taqralik Partridge, and with Taqralik’s guidance we’re using the Inuktitut alphabet—a North Eastern Canadian Indigenous language—within the publication as a way of indexing the different sections. Each section will have its own set of numbers for the pages; but it will also have a unique character that denotes who it is, what it is, within the table of contents.

NIRIN NGAAY will be available at Biennale of Sydney venues and distributed to bookshops.

NIRIN NGAAY expanded installation Aesop The Rocks (95 George St, Sydney NSW) 14 March—29 March

75

Towards a Plastic-free Biennale

22n d B i en n al e of S yd n ey

Can the Biennale of Sydney ever be plastic-free?

Two artists are testing the limits and possibilities.

W R ITER

Tracey Clement

Kim Williams and Lucas Ihlein are socially engaged artists. As a practice, socially engaged art has been going on for a while, since the 1960s at least, but it has been growing in popularity and garnering more and more critical attention. If you aren’t familiar with the phrase, Tate Modern offers this handy definition: “Socially engaged practice describes art that is collaborative, often participatory and involves people as the medium or material of the work.” Which is not to say that artists working in this field don’t also make actual stuff. Some of them do.

When I meet with the artists to talk about their latest collaborative project, Plastic-free Biennale, Ihlein, laughing, hands me a white sheet of paper covered in typed bullet points and scrawled notes.

“We joke about how as artists what we do is develop Google documents and produce A4 sheets of paper for meetings,” he explains. “It’s one of our mediums!”

The meetings Williams and Ihlein have been going to recently are with Biennale of Sydney staff; the artists have been commissioned to help them facilitate their desire to go plastic-free. The Google doc I’ve been handed states upfront that “this is nigh-on impossible to achieve,” and asks, “So, how can we as artists work in this space where good intentions butt up against our inevitable failure?”

One way Williams and Ihlein deal with the inevitability of failure is to acknowledge it head on. And as artists they do this in ways that affect the heart as well as the mind. For example, explains Williams, they conducted household audits and itemised every single bit of plastic they could locate, then this information was laid out as a concrete poem: a monumental solid

76

block of text that scrolls over not one but four A4 sheets of paper. The bulk of this text—its massive virtual weight made manifest in bold black type—is part of what gives this artwork its strength. “The concrete poem has had quite an impact on friends who have seen it,” she says. “It is horrifying.”

“That auditing process is powerful,” Ihlein adds, “because it is one thing to say, ‘yeah, it’s everywhere: plastic is ubiquitous’. But it is another thing to actually list it all out, because the list goes on and on and on.

And after a while you are like, ‘holy hell.’ And that has an emotional effect.”

This punch in the guts is of course the power of art. But Williams and Ihlein don’t want us to be paralysed by the enormity of the mountains of plastic we are all surrounded by. As Williams puts it, “Plastics is a symbol of something larger, isn’t it?”

The artists’ aim is to provoke conversations around broader topics of environmental sustainability and responsibility, rather than provide definitive solutions.

“We’re just kind of swimming around in this material to see what might emerge,” Ihlein explains. “We don’t have the answers.”

And not having answers is actually one of the key strengths of their socially engaged practice. Williams and Ihlein are perhaps best known for Sugar vs the Reef—a long term project where they worked in collaboration with fellow artist Ian Milliss, as well as with sugarcane farmers Simon Mattsson and John Sweet, and various other members of the community in Mackay, Queensland. And they happily admit that when they started working on the project in 2014, they didn’t know a thing about sugarcane.

Kim Williams and Lucas Ihlein, Plastic-free Biennale: Microplastics field trip in Wollongong, 2019, documentation of event.

Kim Williams and Lucas Ihlein, Plastic in the House (plastic stickers on my fruit!), 2020, music video production still, featuring Hazel Henchion, Albie Muller, Harper Masters, Elkie Peacock.

77

PLASTIC LAPTOP COMPUTER PRINTER DIGITAL SCREEN MOUSE PLASTIC CABLES STORAGE BOX PRINTER TONER PACKAGES BUBBLE WRAP AIR FILLED PACKAGING FOR BOOKS CLEAR PLASTIC STORAGE BOX ROUTER WATER BOTTLE POWER ADAPTER SHRINK WRAP-AROUND BOOK ZIP LOCK BAG SPINDLE FOR CD CASE PLASTIC BAG DVD CASE EXTERNAL HARD DRIVE CASE STICKY TAPE DRIVERS LICENCE MEDICARE CARD $100 NOTE $50 NOTE $20 NOTE $10 NOTE $5 NOTE CREDIT CARD BIROS SPIRAL BOUND BOOK RECORDS CABLES LOT OF CABLES CAMERA TRIPOD KNOBS ON ADJUSTABLE CHAIR KNOBS ON FEET OF CHAIR CAMERA LENS CAP STAPLER POLAROID CAMERA BINDER CLIPBOARD RING BINDER MAGAZINE RACKS PLASTIC A 4 SHEET PROTECTORS STAPLER VACUUM CLEANER TEXTAS NAME CARD HOLDER KAZOO WHITEBOARD PLASTIC TUBS FOR PAPERS PLASTIC TRAY DRAWERS PLASTIC BOX FOR BUSINESS CARDS PLASTIC INDEX CARD HOLDER BUBBLE WRAP PLASTIC PACKAGING TAPE PLASTIC GLUE BOTTLE PLASTIC SHARPIES CASTORS OF DESK PLASTIC HANDLE OF INK ROLLER LUNCHBOXES PLASTIC BOTTLES OF COLOURED INKS PLASTIC TUBS BUBBLE WRAP ICE CUBE TRAY ART PALETTE CAPS ON PAINT TUBES ENGRAVING TOOL CASE PLASTIC RETRACTABLE KNIFE PLASTIC HANDLES PLASTIC INTERNATIONAL PLUG ADAPTORS PLASTIC PARTS OF A HOLE PUNCHER PLASTIC PARTS OF A STAPLER STICKY TAPE DISPENSER PLASTIC TEXTA LIDS PENS PENCIL SHARPENER PLASTIC STRESS BALL FILM CANISTER TRAVEL TAGS CD COVERS PLASTIC TRACING PAPER HIGHLIGHTERS VELCRO BACKING SET SQUARE AND PROTRACTOR EARPHONES BACKPACK CLIPS KEYTAGS GIFT RIBBON FISHING LINE RCA CABLES CORFLUTE PLASTIC MANILA ENVELOPES PLASTIC WRAPPING AROUND BOX OF ENVELOPES COATING ON PHOTOS ACRYLIC PAINT PERSPEX BLISTER PACK FOR BATTERIES ROLLER BLIND AND STRING OF TO MAKE IT GO UP-AND-DOWN ADJUSTABLE ERGONOMIC CHAIR DEVICE FOR HOLDING LAPTOP RING BINDER SPIRAL BOUND A 4 DOCUMENT TYPE WRITER OLD MAC LAPTOP PACKAGES FOR ENVELOPES SHRINK WRAP FOR BOOK CD COVERS WALL CLOCK PLASTIC BOX FOR 3-D PRINTED OBJECT 3-D PRINTED OBJECT HARD DRIVE EXTERNAL HARD DRIVE DOCUMENT DRAWERS LIGHT SWITCHES DOWN LIGHTS IN CEILING CONTACT COVERING ON TEXTBOOK CAMERA FIXTURE TO JOIN DIGITAL CAMERA TO TRIPOD BATTERY RECHARGER SAMSONITE SUITCASE FILLER FOR DOOR SNAKE THAT BLOCKS THE AIR FROM THE FRONT DOOR RACK OF SHOES EVERY ONE OF THEM HAS PLASTIC ON THEM PLASTIC UMBRELLA LANYARD COVER FOR OPAL CARD PLASTIC TEE LIGHT COVERING PICTURE FRAME JEWELLERY CASE BEDSIDE LAMP MOISTURIZER BOTTLE EAR PLUGS TISSUE BOX COATING DIRTY CLOTHES WASHING BASKET POLYESTER CLOTHING BY THE TON CLOTHES HANGERS BEDSIDE CLOCK CEILING FAN PLASTIC REMOTE CONTROL FOR CEILING FAN COMPONENTS OF DREAM CATCHER PLASTIC BUTTONS PICTURE OF A SLOTH KIDS COAT RACK ZIPLOC BAG ELECTRONIC THERMOMETER BEDSIDE CLOCK KIDS FLUFFY TOYS NO DOUBT MADE OUT OF POLYESTER KIDS NIGHTLIGHT CABLES FOOD TRAY TUPPERWARE MAGIC SAND BOX KIDS TOYS BY THE TON MAGIC GENIE LAMP WALLET CDS & CD CASES BOUNCY BALLS DEODORANT TUBES OF OINTMENT DENTAL FLOSS SHAVING CREAM TOOTHPASTE TOOTHBRUSH SHREK TOOTHBRUSH HOLDER PLASTIC FILLINGS IN MY TEETH TOILET SEAT TOILET COMPONENTS TOILET BRUSH BATH TOYS PLUG BASKET FOR PLANT NAIL BRUSH EYE DROP AMPOULES MEDICINE CABINET FIRST AID KIT BANDAID PACKAGING HAIR BRUSH PLASTIC COMBS CHESTY COUGH LIQUID CAP CALAMINE LOTION CAP NAIL BRUSH PLASTIC NETI POT SACHETS PLASTIC STORAGE BOXES FOR MEDICINES PLASTIC BAG FOR THE COTTON BALLS KIDS FACE CREAM TUB BODY CREAM TUB SHAMPOO BOTTLE CONDITIONER BOTTLE PLASTIC RAZOR TO SHAVE MY LEGS SQUEEGEE BOTTLE CAPS AIR FRESHENER HANDWASH PUMP PACK WITCHHAZEL BOTTLE PLASTIC DETTOL BOTTLE OF OIL SUNSCREEN PLASTIC WRAPPING AROUND SOAP BOX OF COTTON BUDS LIP BALM PLASTIC PILL BOTTLES MEASURING CUP BETADINE BOTTLE TUB OF VASELINE EYEDROPPER COATING ON TWEEZERS OINTMENT TUBES PACKET OF NAIL FILES BLISTER PACKS OF PAINKILLERS SOAPBOX EYE DROPS IN PLASTIC AMPOULES PLASTIC BANDAIDS ICE CREAM TUB MAKE YOUR OWN PERFUME KIT POLYESTER DOONAS AND SHEETS MISCELLANEOUS PLASTIC BANDS FOR HOLDING SHEETS LOUNGE ROOM LIGHT COVER KIDS MAGIC LAMP FANCY BALL VINYL COVERING ON POUFFES TISSUE BOX WITH PLASTIC COVER RECORD PLAYER STEREO PLUGS FOR THE STEREO SPEAKERS FOR THE STEREO PLANT POTS WALL UNIT PLASTIC RECORDER LOTS OF KIDS GAMES PASS THE PIGS PLASTIC BOXES FOR CARD GAMES LIKE TOP TRUMPS PLASTIC BOX FOR RECORD PLAYER CLEANING DEVICE KIDS MUSICAL INSTRUMENTS RING BINDER FOLDERS FOR RECIPES LP RECORDS AND THEIR PLASTIC SLEEVES UKULELE CASE UKULELE STRINGS GAS HEATER COMPONENTS MADE OUT OF PLASTIC HARRY POTTER PUZZLE WITH PLASTIC INSERT HOLDING ALL THE PUZZLE PIECES RECIPE BOOKS WITH PLASTIC SLEEVES PLANT POT LAMP PLASTIC BUCKETS HOLDING LOTS OF PENS AND TEXTAS ZIPLOC BAGS TAGS FROM A HOTEL PLASTIC RAINCOAT PLASTIC WIG WORN AS GINNY WEASLEY TO KIDS BOOK WEEK PLASTIC TAKEAWAY CONTAINER FILLED WITH JAGGERY PLASTIC GLASSES PLASTIC CONTAINER FILLED WITH KIDS SLIME SLIME ITSELF KINDLE PLASTIC LAMINATED CALENDAR PLASTIC WALL CLOCK AERO PRESS COFFEE MAKER RECHARGEABLE BIKE LIGHT PLUGGED INTO PLASTIC USB CHARGER PLUGGED INTO A WALL SOCKET MADE OUT OF PLASTIC KETTLE WITH PLASTIC COMPONENTS ON THE HANDLE COFFEE MAKER WITH PLASTIC COMPONENTS ON THE HANDLE COFFEE TAMPER MADE OUT OF PLASTIC USB SPEAKER MADE OUT OF PLASTIC DISHWASHER WITH MANY PLASTIC COMPONENTS PLASTIC CAKE BOX SYNTHETIC PAINT BRUSHES DISH BRUSH VINEGAR BOTTLE PLASTIC SPRAY BOTTLE HAND WASH PLASTIC DISH WASHING CONCENTRATE PLASTIC COMPOST BUCKETS BREAD BOX MADE OUT OF PLASTIC TONGS PLASTIC MANY COMPONENTS ON THE TOASTER LITTLE BOXES THAT HAVE MISCELLANEOUS TABLETS DEAD BATTERIES MADE OUT OF PLASTIC LIDS ON ALL THE SPICES IN THE SPICE RACK PLASTIC PLASTIC CONTAINERS THAT HAVE CAKE DECORATING SUPPLIES MICROWAVE OVEN MADE OUT OF PLASTIC OVEN WITH PLASTIC COMPONENTS SCISSORS WITH PLASTIC HANDLES EXHAUST FAN SALT IN PLASTIC SHAKER SALT CELLAR PLASTIC CHOPPING BOARDS OF ALL DIFFERENT COLORS SHAPES AND SIZES PLASTIC WRAPPED LOLLIES PLASTIC CONTAINERS FOR PASTA AND NOODLES GARLIC SLICER LEGS AND ARMS OF DOLLS CHUX PLASTIC PEPPER SHAKER PLASTIC TEA CADDY KEEP CUP WATER BOTTLE VEGETABLE PEELER BASTING BRUSH PEPPER GRINDER KNIFE HANDLES CAKE SPATULA EGG FLIPPER ICE CUBE TRAYS BASTING BRUSH PLASTIC COATING ON DISHRACK SAUCEPAN HANDLES MIXING WAND BLENDER JUICER DEHYDRATOR ALL THE INTERNAL PARTS OF THE FRIDGE TUBE OF WASABI YOGHURT TUB BEETROOT DIP TUB OF OLIVES TUB OF FETTA TUB OF ICECREAM BREAD BAG FROZEN PEAS BAG GEL PACK ICE PACKS ICE BRICKS SODASTREAM AND SODASTREAM BOTTLES PLASTIC CASING AROUND FOOD PROCESSOR FOOR DEHYDRATOR PLASTIC STORAGE CADDIES CLING WRAP PLASTIC PACKAGING FOR RICE AND NOODLES AND PASTA AND PEARL BARLEY AND SEAWEED PLASTIC SPICE PACKETS PLASTIC LIDS ON ALL THE DIFFERENT KINDS OF VINEGAR AND SAUCES PLASTIC CONTAINERS IN THE FRIDGE PLASTIC STICKERS ON APPLES AND LEMONS PLASTIC MILK BOTTLES DUSTPAN AND BRUSH PLASTIC TRAVEL TAGS CABLE TIES PLASTIC HANDLES ON WALKING POLES PLASTIC TUBE AND MOUTH PIECE AND BLADDER OF CAMELBAK DRINKING SYSTEM FOR BUSHWALKING PLASTIC BROOM PLASTIC STORAGE CONTAINERS OF ALL SHAPES AND SIZES FOR ALL OF OUR TOOLS AS THE BOXES FOR POWER TOOLS THE POWER TOOLS THEMSELVES MADE OUT OF PLASTIC A WHOLE BASKET FULL OF DOUBLE ADAPTORS EVERYTHING MADE OUT OF PLASTIC YOGURT CONTAINER FILLED WITH PLASTIC PERMANENT MARKERS A SMALL PLASTIC CONTAINER WITH MISCELLANEOUS STUFF INCLUDING CRAYONS WALL PLUGS SOME CHAIRS MADE OUT PLASTIC TENNIS RACKET WITH A VINYL COVER AND PLASTIC STRINGS SEWING BOXES PLASTIC CUTTING MAT SCREWDRIVER HANDLE PLASTIC PAINTS LIGHT BULBS MADE OUT OF PLASTIC BACKPACK MADE OUT OF SOME SORT OF POLYESTER GRANDMA SHOPPING TROLLEY MADE OUT OF PLASTIC BUILDERS STRING POLYESTER ROPES MEDICINES PACKAGED IN PLASTIC BLISTER WRAPS BASKETS MADE OUT OF PLASTIC CROCS SHOES SNEAKERS THE SOLES OF MY BLUNDSTONES PLASTIC HATS A PLASTIC WIND UP RECHARGEABLE TORCH PLASTIC RAINCOATS PLASTIC WASHING MACHINE AGITATOR ALL THE WASHING POWDER COMES PACKAGED IN PLASTIC CONTAINER FOR WOOL AND DELICATES PLASTIC CONTAINER FOR PRE WASH STAIN REMOVER EUCALYPTUS OIL SUNSCREEN PLASTIC SCRUBBING BRUSH ABOUT A DOZEN PAIRS OF SWIMMING GOGGLES SWIMMING BAG PLASTIC TURPS BOTTLES MR. MUSCLE FURNITURE WAX BLEACH PLASTIC SPONGE IN A SHRINK WRAP OF PLASTIC GREASE REMOVER IN PLASTIC SPRAY AND WIPE FOR GLASS CLOTHES IN THE WASHING MACHINE HALF OF THEM WITH BITS OF POLYESTER IN THEM PLASTIC SKIN CLEANSER IN PLASTIC BOTTLE METAL RACK IN BATHROOM WITH COVERING MADE OUT OF PLASTIC SHOWER HEAD PLASTIC THANK YOU MILK BODY WASH PLASTIC KITCHEN CABINET WOULD NO DOUBT BE MADE OUT OF PLASTIC SINK PLUGS ALL MADE OUT OF PLASTIC TOILET SEAT AIR FRESHENER PLASTIC SUNSCREEN PLASTIC SYRINGES KIDS INFLATABLE DONKEY TOY PLASTIC WATERING CANS PLASTIC MOP BUCKET PLASTIC SPONGE PLASTIC SQUEEGEE MOP HEAD DOG BALL DECORATIVE ROPE MADE OUT OF PLASTIC HELMETS MADE OUT PLASTIC BIKES WITH MANY PLASTIC COMPONENTS SWIMMING COSTUMES FLIPPERS HAGRID TOY COTTON REELS PLASTIC CLOTHES RACK DIPPED IN PLASTIC BASKETBALL PLASTIC SOCCERBALL PLASTIC KIDS BEACH TOYS PLASTIC BICYCLE BELLS PLASTIC OUTDOOR PLAY EQUIPMENT WITH SLIDE GUINEA PIG RUN PLASTIC BOTTLES FOR THEIR DRINKS PLASTIC CAR DASHBOARD POTPLANT PLASTIC GAPFILLER AROUND THE DOOR PLASTIC SHIRT BUTTONS PVC PLUMBING PIPES PLASTIC COATING ON WIRES TUBE OF HAND CREAM PLASTIC STEGOSAURUS PLANT POT CORD LINE SWITCH ON BEDSIDE LAMP THE HANDS OF A CLOCK PLASTIC LINT BRUSH CEILING FAN REMOTE CONTROL READING GLASSES FROM THE CHEMIST PLASTIC DONGLE CASING TV CASING BABY DOLL PLASTIC WASHING MACHINE AGITATOR DISHBRUSH SCRUBBING BRUSH SCOURER NAIL BRUSH POWER POINT PHONE CHARGER GLUESTICK SHOELACE EYELETS PLIERS HANDLE DRILL CASING ELECTRIC JIGSAW CASING CIRCULAR SAW CASING SCREW CASE PLASTIC STORAGE CASES FOR SCREWS AND NAILS GARDEN HOSE AND FITTINGS WHIPPERSNIPPER CORD PLASTIC SHELVING FOLD OUT TRESTLE TABLE AIR CONDITIONING UNIT PLASTIC SHOPPING BAGS EXPANDING FILE SAW HANDLE SAFETY GLASSES EAR MUFFS DENTAL FLOSS GUITAR PLECTRUMS SUNGLASSES COAT HANGERS GRASS CATCHER PLASTIC CLOTHES PEGS MILK CRATES THE PLASTIC CLADDING COVERING MY ENTIRE HOUSE WHEELIE BINS PLASTIC

Lucas Ihlein and Kim Williams, Plastic-free manifesto: Concrete Poem (household inventory), 2020, Offset lithographic print published by Big Fag Press, design and print: Mickie Quick.

78

“How can we as artists work in this space where good intentions butt up against our inevitable failure?”

— LUC A S I H LEI N A N D K I M W I L LI A MS

“I think part of our method is to not get fussed about not being an expert on the problem situation before we get into it,” Ihlein explains. “Actually, our ignorance is an asset! Because then you are in a position of having to listen, so the community that you are interacting with become the experts.

And just listening in a very engaged way is very affirming for them.”

Up until this point, the primary community the artists have been listening to has been Biennale of Sydney staff. And by listening, acting as “productive irritants” as Ihlein puts it, and by using plastics as a symbolic starting point for wider discussions, they have already helped staff take a good hard look at their working practices. “I guess we have been trying to raise questions about what sort of responsibility does a biennale have,” Williams says. “What should a biennale really look like in order to take on environmental responsibility?”

And some changes have already been made.

For example this year, on Cockatoo Island, the Biennale of Sydney is using recycled corrugated iron for temporary walls in lieu of brand new gyprock, and catering contracts for the opening events have strict no single-use plastics clauses. These initiatives may be small, but they are important. As Ihlein says, “They start to get into the DNA of the way that they operate; then they spiral out.”

And hopefully, visitors to Williams and Ihlein’s Plastic-free Biennale on Cockatoo Island will also get

caught up in spiralling discussions and feel inspired to take actions, both large and small. The work, Williams says, “will be both complete and incomplete” when the Biennale opens to the public. Which means that while there will be evidence of their process on show, visitors will also be invited to participate in an evolving project. One way the public can get their hands dirty (or clean) is to join in scheduled dishwashing sessions at the café on the island, to help reduce landfill.

Williams and Ihlein will also be running tours focussing on microplastics on Sydney harbour beaches.

As a socially engaged project, Plastic-free Biennale doesn’t consist of what Ihlein calls “a singular spectacular entity, which is the work.” Instead, it includes a wide variety of posters, several manifestos, videos (including a music video featuring the plastics concrete poem), an online platform, performances, talks, plastic nurdles and other artefacts, and, of course, A4 sheets of paper. But as both Williams and Ihlein acknowledge, Cockatoo Island itself is also part of the exhibition, a metaphor for our own beleaguered planet: a precious island in space, a vulnerable closed system.

Lucas Ihlein and Kim Williams Plastic-free Biennale Cockatoo Island (Sydney NSW) 14 March—8 June

79

The Mind Behind the Lens

Photojournalist Barbara McGrady tells the stories behind her renowned images.

Indigenous photographer Barbara McGrady has been documenting the machinations of Australian society for more than 30 years. Asked to describe herself, McGrady will reply without hesitation that she is a Gamilaroi/Gomeroi Murri Yinah artist. She is also a photojournalist who says that as an Aboriginal person, political action is a responsibility. “I always felt I had to document our history and our struggle to show people the injustice of it all,” she said in a 2017 interview for NITV. “And one way, other than participating in any kind of social protest, is through photography.” Pursuing this, she has dedicated her career to focussing her lens on both the triumphs and tribulations of Australia’s First Nations people.

McGrady is passionate about sport and her images capture Indigenous athletes as they shine. But the photographer also has a keen eye for quiet moments infused with powerful emotion.

Ngiyaningy Maran Yaliwaunga Ngaara-li (Our Ancestors Are Always Watching), a selection of photographs, will be presented at the Art Gallery of New South Wales and as a major immersive installation at Campbelltown Arts Centre, as part of 22nd Biennale of Sydney: NIRIN.

A S T OLD T O

PHO T O GR A PH Y B Y

Tracey Clement

Barbara McGrady

80

22n d B i en n al e of S yd n ey

Uncle Max Eulo, Smoking Ceremony, Yabun Festival, Sydney, 2015.

BA R BA R A MCGR A DY: I have been photographing the Yabun Festival for quite a long time. It is one of the largest gatherings of Indigenous people on the land of the Gadigal people in Sydney. Held on 26th January every year, it showcases and celebrates Indigenous culture and our survival as a people. Uncle Max Eulo (a Budjari elder) conducts traditional ‘smoking ceremonies’ to cleanse the land and the people. He is a well-known personality and elder.

81

Indigenous All Stars NRL game, Newcastle, 2015.

BA R BA R A MCGR A DY: As a former sports captain of my high school in the country in the 1960s, I have always had a love of sport. Indigenous people have been represented in many sporting events here and overseas over many years and make up 12% of players in the NRL and 10% in the AFL, the two biggest sporting codes.

I have never lost my love of sport, especially if it has an Indigenous element.

Having photographed the All Stars games since their inception, I try to get to every game to document this event, an important event to commence the NRL season, not just for Indigenous people but for the wider mainstream public who are fans of the game.

This photograph of the Indigenous All Stars is part of their ‘war cry’ performance at the start of the game. It is always a fabulous spectacle of dance; a representation of culture, pride and sporting ability, led by their captain. In this photograph is former South Sydney and Australian representative Greg Inglis, one of the greats of NRL, now retired.

82

Justice For TJ Hickey. Mother & relatives of teenager TJ Hickey speak at a rally to protest his death while being pursued by police in Redfern, 2014.

BA R BA R A MCGR A DY: The death of young Indigenous teenager TJ Hickey, impaled on a fence while being pursued by police in Redfern in 2004, was a tragic occurrence felt by all Indigenous people, especially in Redfern and Waterloo. It sparked the Redfern Riots. His family, activists and supporters hold a march and rally on the anniversary of his death to protest the coroner’s inquiry findings and demand answers to why Indigenous people are dying in custody.

The anguish and sorrow of the loss of TJ in such a gruesome way is etched on the face of Gail Hickey, mother of TJ, and relatives, and is heart breaking.

I think I cried when I saw the image while editing the photo.

83

Sovereignty Never Ceded. Redfern Aboriginal Tent Embassy set up by Wiradjuri woman Jenny Munro to protest the gentrification and the erasing of Aboriginal families by the Aboriginal Housing Company & their developers, 2015.

BA R BA R A MCGR A DY: The Redfern Aboriginal Tent Embassy was established

by Wiradjuri woman Jenny Munro and elders on National Sorry Day in May 2014, in the part of Redfern known as The Block. It was set up to protest the dealings of the Aboriginal Housing Company in its handling of the ‘social cleansing’ of Aboriginal families from The Block and the non-transparency of dealings with the developers Deicorp.

Ms Munro demanded that Aboriginal families be given priority housing when development is complete. The Block is a part of Redfern known to Aboriginal people as a ‘sacred’ special place.

A satisfactory agreement between the warring parties was reached in a court case with the Minister for Aboriginal Affairs, CEO of Aboriginal Housing Company Micky Mundine, and Jenny Munro. The Tent Embassy was disbanded in 2015.

I photographed the first day of the establishment of the Embassy in 2014 through to the last day of its disbandment, including the court case in 2015.

84

Black Diggers Memorial Service. ANZAC Day service to honour the contribution of Indigenous soldiers in all theatres of war, Redfern Park, 2015.

To my knowledge, Indigenous people have fought alongside non-Indigenous soldiers in all the wars that Australia has been involved in. They fought alongside their fellow soldiers and were treated as equals on the battlefield and in the trenches. But on their return their contribution was forgotten and they were treated as second-class citizens and subjected to the country’s racist policies and practices.

In recent years, this erasure of Indigenous people in world wars and conflicts has been rectified, and their contribution to service to our country has become part of mainstream ANZAC Day memorial services.

The Black Diggers Memorial Service began in 2007 immediately after the ANZAC service in the city. It is held in Redfern Park, at the cenotaph, where wreaths are laid and speeches are made by dignitaries.

My image of the Black Diggers Memorial Service taken in 2015 shows the solemnness of the occasion with a smoking ceremony, respect and remembrance for those soldiers who didn’t return and who made the ultimate sacrifice.

BA R BA R A MCGR A DY:

85

Art in Monstrous Times Working under the theme of ‘the monster’, this year’s Adelaide Biennial looks at the threats, anxieties and hopes of our current moment.

W R ITER

Steve Dow

Monsters are dredged from our dreams, dropped in there by grief and loss, by dystopian politics and existential threats that engulf the landscapes of our lives and of our minds. In the Adelaide Biennial, celebrating its 30th anniversary in 2020, these monsters emerge, playing out in galleries that become shadow stages of the psyche.

The 23 artists and collaborative groups showing work under the theme Monster Theatres are looking at this current period of “extreme flux”, says curator Leigh Robb, “politically, socially, economically and environmentally”. Thinking of the etymology of the word monster—monere in Latin, for warning or portent—Robb noted a lot of different types of monsters appearing.

“The threat of the apocalypse has always been present, and it feels that way right now, even in the last few months,” she says. “Venice was having the worst floods it’s ever had; there’s tsunamis, there’s bushfires. The environment is sending its own warnings.”

For the exhibition, artist Megan Cope, a Quandamooka woman who keeps a studio on Minjerribah or North Stradbroke Island, has created an installation made from blasted rocks sourced from a geological museum. Creating a sound inspired by the ground-dwelling bush-stone curlew bird, its high-pitched wail might be understood as a harbinger of death.

Lots of violin, double bass and cello strings have been woven around the rocks, Cope explains from Melbourne, where she also spends part of the year.

86

These strings are attached to industrial materials, elements of extraction, and tree stumps, to create a visual and aural sense of environmental trauma in a work Robb calls a “lamentation for an exploded country”.

Musicians will activate and perform with the installation, inspired by Minjerribah’s controversial history of sand mining. “It really did create a lot of tension, fear and anxiety in our community,” says Cope, “but when I asked my grandmother what she thought, she laughed at me and said, ‘Look, we were here before the mine, and we’ll be here afterwards’.”

Cope also has the large mine at Olympic Dam, north-west of Adelaide, in mind, with its huge copper and uranium deposits. “We’re going into the substrata now, with that type of mining,” says Cope. “If you look at the middens, they were mounds that were overland, and this is a deeper extraction that’s very, very destructive; we know that.”

The theme of Monster Theatres is “really critical right now”, says Cope. “Colonisation is the monster.

It’s a machine, it’s a process, it’s a project turning everything that is sacred and sentient into death and trauma.”

Judith Wright’s art meanwhile is often marked by an internalised grief made external; part of an ongoing project to imagine the life of a child who has died. Robb says Wright’s Biennial installation, Tales of Enchantment, continues her shadow play and carnivalesque underworld, with hybrid and mythical composites. “She’s negotiated that loss of a daughter

Megan Cope, Study for Untitled, 2020, rock, violin strings. Š megan cope/this is no fantasy, melbourne.

87

Judith Wright, Sightlines, 2019, synthetic polymer paint on paper, found objects, wood, metal. Š judith wright/sophie gannon gallery, melbourne/fox jensen gallery, sydney/fox jensen mccory, auckland, photo: carl warner.

Stelarc, Extended Arm, 2011, performance still. scott livesey galleries, melbourne; Š stelarc/scott livesey galleries, melbourne, photo: dean winter.

88

“Colonisation is the monster. It’s a machine, it’s a process, it’s a project turning everything that is sacred and sentient into death and trauma.”

— M E G A N C OPE

in the work, so there’s an imaginary world for that lost child, and this speculative theatre for Judith has always been a very poetic space,” says Robb.

Speaking from her home in Brisbane, Wright says that her installation will be connected to a series of her works on paper in another room, connected by “flying eyes”—cut-out eyes suspended from the ceiling, as a “symbol of the eternal bosom, with the pupil its child”.

The installation, based on In the Garden of Good and Evil, Wright’s work at Queensland Art Gallery in 2018, has been significantly modified to fit the Monster Theatres theme, with added pieces. The theme is “especially relevant for our turbulent times in that it can incorporate contemporary themes as well as mythological ones,” she says.

Wright’s career as a dancer with the Australian Ballet, prior to commencing her art practice in the late 1970s, has greatly influenced her work, particularly her paintings, installations and video art that are about the body and its relationship to other presences, and the fluidity between the conscious and unconscious mind.

“The ideas seem to come to me out of nowhere, although they often come in the early morning, so I guess dreams have something to do with it,” says Wright. The shadow play around her figures is overtly theatrical. “When I was in the Ballet, [Sir] Robert Helpmann was the director and he had a strong sense of theatre, so that sense of the theatrical and of the unknown has always had an influence on what I do.”

Ballarat-born artist David Noonan, based in London for more than a decade, makes very theatrical, mise en scene collages alongside printmaking, sculpture and filmmaking to create alternative landscapes and encounters. Among his pieces showing at

the Biennial are his filmic work A Dark and Quiet Place, 2017-18, which moves between representation and abstraction, as well as his tapestries.

Cyprus-born, Melbourne-raised Stelarc meanwhile has been “really exciting” to work with, says Robb. The performance artist is famed for testing the limits of the human body and exploring the interface between man and machine. Working with Flinders University engineers and various programmers, his new work involves a nine-metre robot that can be choreographed manually, either in the gallery or online, and Stelarc himself will perform within the robot interface five hours a day.

Other artists whose works will be seen at the Biennial include Mike Bianco, Abdul Abdullah, Karla Dickens, Mikala Dwyer, Pierre Mukeba, Polly Borland, Michael Candy, Erin Coates and Anna Nazzari, Julian Day, Brent Harris, Aldo Iacobelli, Mike Parr, Julia Robinson, Yhonnie Scarce, Garry Stewart and Australian Dance Theatre, Kynan Tan, Mark Valenzuela and Willoh S. Weiland.

Robb says these artists were chosen partly because they could provoke a conversation, and through their work are “manifesting the monsters” of our time.

“Monsters embody a cultural moment and they conjoin fears and anxieties,” says Robb, “but also a lot of the artists’ works are propositions of hope or alternative ways of living on this damaged planet.”

2020 Adelaide Biennial of Australian Art: Monster Theatres

Art Gallery of South Australia and Adelaide Botanic Garden (North Terrace, Adelaide SA) 29 February—8 June

89

On Becoming a Crone In a world that values youth, Sally Rees explores and celebrates female ageing through the figure of the crone and magical happenings.

W R ITER

Briony Downes

Commonly referring to a wizened woman possessing magical powers, the crone is a persistent character in folklore. From the Norse myth of Elli, the Goddess of Old Age who triumphed over Thor in a wrestling match, to the Baba Yaga in Russian literature, a mysteriously powerful old woman who lives in a hut propped up by chicken legs, the crone is also associated with witchcraft and the occult.

During the 12-month process of working on her Crone project, Tasmanian artist Sally Rees has become well versed in these representations of older women. Using the mediums of sound, video and performance, which Rees describes as “witnesses to uncanny human experience,” Crone is one of three projects produced with funds from Suspended Moment: The Katthy Cavaliere Fellowship.

Awarded in 2018 to Rees, Giselle Stanborough and Frances Barrett, The Katthy Cavaliere Fellowship is open to artists with a background in installation and performance, honouring the artistic legacy of the late Italian-Australian artist who passed away in 2012. In a collaboration between Carriageworks, the Australian Centre for Contemporary Art and the Museum of Old and New Art (Mona), each gallery has spent the past year working with an artist to develop a new exhibition. At Mona, Nicole Durling, senior curator and co-director of Exhibitions and Collections, has been working with Rees to facilitate Crone, a body of work addressing female ageing and the lack of visibility afforded to older women. While Rees admits crone mythology has heavily influenced her work, the end result of Crone is based on her own

90

experience of ageing. “The crone as she is represented in this show is me, it’s my crone,” she explains.

“It’s very singular and aspirational but I hope coming from the singular lends it a broader relevance.”

For Rees, the experience of ageing has been fortified by networks—the lifelong connections forged between women that fuel their power, courage and strength. “If you simply looked at statistics, you would think people were trying to kill us and make sure we never got old,” says Rees. “We must be quite resilient, we’ve seen a lot and we have a viewpoint. That’s very valuable.” The collective power of the network is reflected in the central work of Crone—a series of animated videos featuring women calling out to each other like birds. Arranged in a circle are multiple monitors, each featuring one woman signaling her presence by mimicking the calls of sandpipers, crows, owls or chickens. The women have played a significant part in Rees’s life, from long-term friends and family members, to those who offered help when it was needed most. The majority are aged 47 and up, with women over the age of 50 blessed with a large prosthetic nose, a physical symbol of having passed through a significant age milestone.

Refining Crone with the help of dramaturg Deborah Pollard and fashion designer Sabrina Evans, the entirety of Rees’s Crone project includes animation, custom-made costumes and an outdoor durational performance. Rees acknowledges a strong admiration for American experimental filmmaker Stan Brakhage, known for painting directly onto his film cells. In the Crone bird call animations,

Sally Rees, CRONE, 2020. image courtesy of the artist.

Sally Rees, Flock, 2020, still from multi-loop HD video installation. image courtesy of the artist.

91

Sally Rees, Zap Zap, 2016, frames from HD video loop. image courtesy of the artist.

Rees has added watercolour elements onto select panels of film to illustrate the colour and shape of sound. Depending on the depth of tone and length of the noise they make, splotchy forms splash and stretch from each woman’s mouth. “Translating the sound into a visual has had to be really intuitive,” says Rees. “It was a process of bringing something unseen into being.”

The act of summoning the unseen is a consistent theme in Rees’s oeuvre. With a lifelong interest in magic, alchemy and the occult, Rees has come to view art as a form of magical practice, an act of conjuring an idea into being. In 2016, Rees conducted The Guðmundsdóttir Summoning—a small gathering of people hoping to magically beckon the Icelandic singer Björk to Tasmania. Part of the group exhibition Gratis curated by Sam Johnstone at the University of Tasmania’s Plimsoll Gallery, Rees and her fellow summoners, aka The Guðmundsdóttir Coven, painted tattoos on their hands and conducted karaoke rituals.

“I’ve been a big spooky fan since I was a kid,” admits Rees. “Magic moved its way back into my practice when I was feeling politically frustrated. I started making artworks specifically designed as spells and began to look at magic as a form of protest.”

92

In addition to the gallery-based pieces, the final action in the Crone project will take place in August when Rees dons her custom-made crone attire and hikes down the mountain trails of Hobart’s kunanyi/ Mt Wellington. Coinciding with her 50th birthday, the long trek will deposit Rees back at Mona where she will acquire her own prosthetic nose—a mark of “true crone-age.” Celebrating ageing women as figures of great power and courage, admired for their tight networks of support and deeply valued for their wisdom, Crone unashamedly turns any idea of frailty on its head. When asked what life would be like for older women in a perfect world, Rees concludes, “Older women would have the freedom and social support systems to be whatever they want. They would be heard and given opportunities to contribute to the world in a fulfilling way. I don’t know anyone who just wants to sit and watch soap operas.”

Sally Rees Crone

Museum of Old and New Art (655 Main Rd, Berriedale TAS) 8 April—10 August

“I started making artworks specifically designed as spells and began to look at magic as a form of protest.”

— S A LLY R EE S

Sally Rees, Summonings (various), 2014, dual screen HD video installation. image courtesy of the artist.

93

The Collaborative Muse Two creatives are reviving the concept of the muse.

W R ITER

Tiarney Miekus

Poised in front of two large windows in Jacqui Stockdale’s Melbourne studio is a woman astride a magnificent white horse. Bathing in a creamy light, the female figure straddles the muscled creature while wearing a mid-19th century cascading dress.

She rides bareback and bare-breasted, cradling a Martini Henry rifle and donning a Ned Kelly-like helmet. She has aura: indomitable and strident.

Her posture is pure heroine. And look at her belly: she’s eight months pregnant.

Her name is Historia. She’s one of Stockdale’s recent creations tied to rethinking the Ned Kelly mythology. “Historia was created as Ned Kelly’s love,” explains the artist. “She becomes the centre.

She becomes greater than him.” Previously Historia lived in photographic form, and she’s now entering the third dimension in what Stockdale calls an assemblage, rather than sculpture. Stockdale, who is well-known for images and portraits that drift between photography and painting, has long worked at the crossroads of unpacking dominant Australian narratives, thinking through the myth of the Kelly Gang, colonisation, feminism and Indigenous rights.

Continuing these threads, this new sculptural rendering of Historia and her horse, titled Such is Love, 2020, will make its debut in Stockdale’s exhibition The Long Shot at Linden New Art, which considers the Kelly myth and history through a matriarchal, feminist lens. The exhibition contains what Stockdale calls a “delirium of characters”, all created from her extensive historical research. There’s Ned Kelly’s mother Ellen Kelly, better known as Ma Kelly,

94

alongside a sexually-charged “Syphilis man”, Chinese immigrants chasing gold (Historia’s horse has dropped a giant nugget from its bowels), and Irish and English convicts and settlers. While Stockdale is bringing these histories and characters together to question what it means to identify as ‘Australian’, particularly in a moment of colonisation of First Nations people, she’s also concerned with the performative idea of masking. As she explains, “Masquerade allows you to reveal a lot of what’s been hidden, instead of the other way around.”

Masquerade defines much of Stockdale’s art.

In her highly regarded series The Boho, which showed at the 2016 Adelaide Biennial, Stockdale created portraits from real life models, evoking members of the Kelly Gang. Historia, too, first arose from a model, but unlike other characters, she has no clear historical antecedent. She’s more akin to Virginia Woolf’s creation of Shakespeare’s sister—the imagining of a woman who never lived in the world, but does exist in aesthetic form to reflect on history and gender.

Yet Historia is also a symbol of creating art in the present: she’s the result of Stockdale’s creative relationship with a real and living muse, filmmaker Siân Darling.

Considering the historically passive notion of the muse, and in light of our current #metoo era, the idea of the muse may, at first glance, seem problematic: the muse is almost always female; she is often a docile yet libidinal force; her power is inspiration, but this power is granted only so long as the artist, almost always a man, continues to find her inspiring.

Jacqui Stockdale, Historia, 2016, type c print, 140 x 110 cm.

95

Siân on Horse, Taken during body casting for Such Is Love, December 2019.

Jacqui Stockdale, McSyphilis Whistler, 2020, mixed media, 190 x 80 x 80 cm.

96

“If a male artist created Historia, it’d be a totally different story. I revel in the freedom of my gender, for once.”

— J AC QU I S T O CK DA L E

Darling knows this history. “I’ve been called a muse by artists and by witnesses to the art that’s been created around me, and it’s really strange,” she explains. “I’ve thought, ‘You can do paintings and write songs about me, but where does that leave me?’ I never found it flattering. I found the title to be an incidental thing.” Yet rather than disavowing the idea of the muse altogether, Stockdale and Darling are rescuing the term from passivity, giving the muse new shape through mutuality, collaboration and respect.

Even though the muse may be an old concept, it still has contemporary resonances and implications; a duality between past and present that threads Stockdale’s art.

Darling and Stockdale first met in the early 2010s at a fundraising dinner. One year later, Darling was modelling various characters for Stockdale’s work. Darling, however, isn’t Stockdale’s only muse, with Stockdale noting a muse can strike anywhere: “Once I start getting an idea, I often have these muses appear. They really do. I’ve walked up to somebody and have said, ‘You’re Ned Kelly’s lover. Can I put you into my show?’” As a filmmaker and creator herself, and someone used to being behind the camera and directing, Darling relinquished this role to Stockdale.

The seeds for Historia were planted in 2015 when Stockdale was creating The Boho portraits which, as Stockdale explains, “really looked at the myth and hysteria around Ned Kelly and the Ned Kelly story.” In the images, Ned Kelly is modelled by another Kelly: the singer-songwriter Paul Kelly, who is also Darling’s partner. When Paul was finishing being shot as Ned, Darling and Stockdale distinctly remember

a theatrical presence in the air. Historia didn’t yet exist, but in a mood that was “provocative and playful”, Darling began to take on the character. “And that’s when all the planets aligned,” says Stockdale. Or, as Darling puts it, “And that’s when I picked up the rifle and took off my top.”

From here the creation of Historia became an act of doing that was as professional as it was intimate: the pair worked instinctively to model and capture the character. “I’m not doing a portrait of Siân,” explains Stockdale of this process. “She evokes the character that I need.” For Darling, the modelling brings forth a particular kind of performativity, giving her agency in evoking a shared vision. “It’s a flirtation with something that doesn’t exist yet, and we’re dancing around to form a figure together,” reflects Darling. “I love the way Jacqui, when she’s styling what I’m wearing or adjusting something on me, or assessing the way I’m positioning myself, helps me feel personally invisible. As a model I dissolve, and I feel like she’s finding what we’ve both been looking for.”

While Stockdale and Darling’s collaborative understanding of the muse isn’t necessarily premediated on both being female—Stockdale has male muses, too—there is a sense in which Stockdale’s gender frees her. As she says, “If a male artist created Historia, it’d be a totally different story. I revel in the freedom of my gender, for once.”

The Long Shot Jacqui Stockdale

Linden New Art (26 Acland St, St Kilda VIC) 22 February—17 May

97

COMMENT

Class Ceilings The art world’s complicated relationship with money and power.

W R ITER

Neha Kale

I can’t think of a contemporary artist who skewers the art world’s class anxieties as wittily as Sarah Lucas.

The sculptor, who represented England in the 2015 Venice Biennale, grew up on an East London council estate, the daughter of a milkman and a sometimes cleaner. Over a series of mornings in 1992, she placed two freshly fried eggs and a kebab on a kitchen table in an empty storefront. The work, Two Fried Eggs and a Kebab, became a bawdy riff on the female anatomy.

But it also made working class signifiers—the no-nonsense British fry up, the cheery East End kebab shop—the stuff of high art, exposing the arbitrary nature of our class biases in the process.

Lucas came of age in a post-Thatcher England, riven by aristocratic privilege and centuries of deep class division. But the questions her work asks—who gets to make art? who gets to consume art?—can apply equally to Australia today. As the evidence shows, we’re a nation enveloped in class divisions.

Recent research by the International Monetary Fund found that Australia was ranked fourth in the developed world when it comes to the wealth gap between its richest and poorest regions.

A 2017 Australian National University report revealed that we could divide the country into six social classes—from the ‘established affluent’ to the ‘precariat.’ Analysis from the Organisation for Economic Co-operation and Development discovered that if you’re born into poverty in Australia, it can take four generations for your descendants to earn the average wage.

We like to pretend that we’re the land of the fair go, a country where your station in life is dictated not by accidents of birth but the accumulation of talent, hard work and effort. To speak of class in Australia is to violate a secret code, one that determines our selfimage. And to speak of class in the art world, where economic, social and cultural capital is a precondition of membership, is to cast this code in neon. It’s to hold it up to the light.

98

Of course, art has always had a tangled relationship with class—artists historically and today have often created works through a classist patronage system. Think of Michelangelo, bankrolled by the Medicis; American photographer Robert Mapplethorpe and his blue-blooded lover Sam Wagstaff; or Heide’s John and Sunday Reed, whose family fortune nurtured artists like Albert Tucker and Moya Dyring.

The problem, I think, isn’t that the art world is powered by wealth but that it pretends that class isn’t a barrier to entry and that our material realities are all the same.

Making Art Work, a 2017 report from the Australia Council, found that Australian artists earn an average of $18,800 a year from their creative work.

This state of low earnings is exacerbated by a culture of free labour and unpaid internships. For this we can partially thank the myth of the starving artist, the notion that art is a labour of love—not money—that should have ended with 19th century Montmartre but still has an insidious hold over the way we compensate creative workers for their time and talent.

In the short term, this prevents the opportunity for artists to earn a living wage ($41,184 a year according to April 2019 data from the Australian Bureau of Statistics). In the long term, this can shut down prospects of class mobility: of who has the monetary security, and therefore the freedom, to create art. The choice, for working-class artists, is often between a career in the arts or the chance to become financially stable.

These stakes are only heightened by a spate of continuous funding cuts. According to a 2016 Guardian report, grants for individual artists and writers are down nearly 70 percent since the Australia Council lost $105 million in funding under Senator George Brandis. By November 2019, a quarter of small arts organisations found themselves without Australia Council backing,

Illustration by Oslo Davis.

and then, in December 2019, Prime Minister Scott Morrison amalgamated the Department of Communications and the Arts into the Department of Infrastructure, Transport, Regional Development and Communications, symbolically erasing the word ‘arts’ from the national agenda. The move crystallised the notion that art is less the glue that binds society together than it is a silent luxury only accessible to those whose status never depended on the protections language can afford.

Staying relevant in the art world has also meant attending previews mid-week, swinging by exhibitions on the weekend, maintaining art world knowledge and nurturing a network of relationships. The theorist Pierre Bourdieu famously referred to this as ‘habitus’—the physical embodiment of cultural capital that determines our tastes and is subject to its own rules. And so many of the art world’s defining rituals presume a level of class privilege too.

Your ability to be part of this habitus assumes that you have few pressing demands on your time, the luxury of blurring work and leisure. In a December 2014 article in the Canadian publication Momus, Andrew Berardini writes about how his career in the art world has made him part of the ‘poverty jetset’— the network of artists, writers and advisers who fly

between international openings and biennales, an inversely proportional relationship between the high glamour of his life and the low state of his bank balance. I was once on a panel with a well-respected curator whose status as a single mother made Thursday night openings impossible.

All of this is made worse by Instagram, which flattens class differences, drawing false equivalences between artists, writers, curators and the high-worth collectors who share the same orbit. In the art world, class isn’t so much a barrier but an organising principle, the force that dictates who gets to belong—and who’s left out.

The art world should hold a mirror up to the real world. It should capture the breadth and depth of experiences. But by treating class as if it doesn’t matter, we shut down new voices. By pretending that material realities aren’t important, we ignore the limits of artists’ lives. Close your eyes and picture culture without Sarah Lucas’ fried eggs and kebabs, or Grayson Perry’s tapestries and sculptures that expose our taste prejudices, or any number of artists who contest the arbitrary nature of our class biases.

If great art helps us see the world anew, our classist lens is holding us back—and the act of looking is a lot less interesting for it.

99

The Uncanny Humour of Destiny Deacon Revealing truths through rescued kitsch.

W R ITER

Andrew Stephens

Destiny Deacon was once recorded as saying of her art that there is “a laugh and tear in each picture”.

DESTINY, the new survey of her work, under the curatorial eye of the National Gallery of Victoria’s Myles Russell-Cook, intensifies that idea: passing from one Deacon video or photographic installation to another, we might easily waver between wistfulness, amusement and a sense of sweet affection.

As Russell-Cook says, one of the things he loves most about Deacon’s work is that you can stand in front of it for ages, in the white cube that is a gallery, before you remember how wonderful it is that art can be funny. And before we’ve stopped laughing, we recognise this is the sort of humour where an observer might not be sure they are actually “allowed” to laugh. Take, for example, Smile, 2017—a deceptively simple work that shows the iconic smiley face, but one constructed with two black dolly heads for the eyes and a boomerang for a mouth.

“In blurring the line between the sad and the humorous, she shows audiences how the truth is often absurd,” says Russell-Cook.

Deacon has been on the scene for about 30 years, and she has become a much-admired figure, especially around the Melbourne visual arts world, partly because of this delicate ability to infuse a great sense of mirth into deeply troubling, serious subject matter. Where other artists might be hesitant to forage, even those with Indigenous heritage, Deacon goes boldly, and with great warmth.

Born in Maryborough, Queensland, Deacon came to Melbourne when she was aged about two.

100

While she has not grown up on her families’ Country, she has certainly embedded herself in Melbourne, which is inscribed strongly throughout her work through images such as a creepy Luna Park face, a scene from the top of Eureka Tower, dallying with the Moomba king and queen, and other recognisably local scenes.

A slight departure from this is one of the last works in the show’s trajectory, titled Postcards from mummy. Two years after Deacon’s mother died in 2006, the artist made a journey that replicated one her mother had made as a very young woman from Cooktown to Brisbane. As she travelled, Deacon mailed postcards to herself back home in Melbourne.

“While it might be easy to read this work simply as a tribute to her mother, it is more about reflecting on and coming to terms with the start of her mother’s adult life,” says Russell-Cook. “But it also speaks to a universal experience of Indigenous people around dislocation, and being a stranger in ancestral Country – but feeling the need to reconnect. That is fascinating in the context of how we identify Destiny so much as a ‘Melbourne artist’.”

While Deacon eschews ‘artspeak’ and prefers to let her work speak for itself, she is at the same time remarkably nimble with the variety of ways her works manifest. One example is an installation work

by Deacon (and her long-time collaborator Virginia Fraser) called Colour Blinded. Appearing just after the halfway mark through the exhibition, this multi-work arrangement is inside a curtained-off room and features six black-and-white photographs taken on

Destiny Deacon, Oz Games – Under the spell of the tall poppies, 1998, printed 2019 Melbourne, lightjet photograph from Polaroid photograph, 80 x 100 cm. courtesy of the artist, © destiny deacon.

101

Destiny Deacon, Me and Virginia’s doll (Me and Carol), 2007, printed 2019 Melbourne, lightjet photograph from Polaroid photograph, 80 x 100 cm. courtesy of the artist, © destiny deacon.

Destiny Deacon, Escape – From the whacking spoon, 2007, printed 2019 Melbourne, lightjet photograph from Polaroid photograph, 80 x 100 cm.

102 courtesy of the artist, © destiny deacon.

Destiny Deacon, Last Laughs, 1995, printed 2019 Melbourne, lightjet photograph from Polaroid photograph, 80 x 100 cm. courtesy of the artist, © destiny deacon.

orthochromatic film—a type of film that produces unexpected effects by excluding the colour red.

The photos feature one of Deacon’s mainstay images: black dollies collected in charity shops or through friends. They are portrayed in various social situations but are accompanied by two Perspex cubes (titled Snow storm) in which golliwogs are imprisoned in a dense filling of Styrofoam balls.

As Russell-Cook observes, these cubes invert the idea of the “white cube” gallery—especially as the room’s lighting is done with low-pressure yellow-tinted sodium freeway lamps. “This is a dig at the whole idea of Indigenous art being presented in the white cube/art gallery,” he says. “But it feels like the white cube has been contaminated because of the lighting.” In this way, the audience’s skin takes on a similar saturated hue as the walls and the photographs. “We are literally ‘colour blinded’.”

This room also features two video works in which viewers are directly addressed and made to feel like intruders interrupting a private performance.

Russell-Cook interprets these as entangling us as active participants in the work—and, by default, in the whole story of Indigenous suffering that flows beneath the surface of the entire exhibition.

All this contrasts strongly with another installation in the show—a life-size lounge room, complete with couches and a large swathe of Deacon’s personal collection of Aboriginal kitsch paraphernalia, much of it produced in the first three quarters of last century. This, along with many other works in the exhibition, transports us to the “uncanny valley”, which Russell-Cook explains relates to the degree of an object’s resemblance to a human being and the emotional response to such an object. But these objects are not presented with derision or rejection: Deacon, he says, simply wishes to “rescue” them.

“She is not passing judgement on the objects,” he says. “She just doesn’t want to see them in some white home, and that’s why she began collecting them.

As you look at them, you start to see the characters you have met throughout the show appearing and elevated to this new role within the gallery.”

DESTINY

National Gallery of Victoria - Australia (Federation Square, Melbourne VIC) 27 March–9 August

103

The Subtle Art of the Residency Regional towns in Western Australia are rethinking the typical artist residency, moving toward greater social engagement.

W R ITER

Sheridan Hart

Velocity equals distance over time. So runs the traditional logic of the artist’s residency: the further you travel and the longer the trip, the more productive you will be. In this widespread, familiar approach, success is measured in the volume of work made, rather than its relationship with or value to a place, community or issue. Further, the mechanism by which it is achieved is isolation; far-flung and Internet-less, the artist works up a monkish lather of silent industry, fuelled by cups of tea and countryside views.

This model works superbly for many, but its prevalence, I argue, results from a lack of imagination rather than successful examples. As artists cycle through established accommodations, very often back-to-back, there is little opportunity for them or their hosts to review the value, terms or possibilities of the arrangement. The artist gets a lot done, but remains a distant, romantic figure, rarely working in response to or for the benefit of their host community.

The question of how a residency might invigorate an artist’s whole career or meaningfully serve others is one that Marco Marcon, co-founder of International Art Space (IAS) in Perth, has been asking for two decades: “When I worked at Curtin, I’d often meet one of the university’s artists in residence at some function. I’d ask if they’d just arrived and it would turn out they’d been there for months; I just hadn’t seen them. We wanted to do exactly the opposite.”

IAS’s longform triennial program Spaced is in its fourth iteration. Responding to the program theme of Rural Utopias, a wave of artists has already begun dispersing to twelve regional WA towns, following

104

a residency model that places social engagement at the forefront. “The word ‘residency’ is almost a misnomer,” says Marcon. “It’s more like an open studio.

Work proceeds via dialogical exchange between artist and community. The artists are subject to very few requirements, but one is that they don’t close themselves off in a studio.”

The Spaced model unfolds in two stages. In the first, artists undertake 12 weeks of investigation.

They are accommodated by a host or partner organisation and learn about the people, environment and economy around them. No artwork is made. A second residence is undertaken only after a lengthy break at home which “allows artists to extend their community dialogue and let their idea develop,” explains Marcon.

IAS has developed Spaced over 20 years.

One early iteration took place in a “fishbowl” gallery on the main street of Kellerberrin, three hours east of Perth. “The visiting artists kept saying the same thing,” Marcon remembers; “I’ve been working here three months, and only now I’m leaving do I have a clear idea of what could be achieved!” The separation of research time from practice time quickly bore fruit.

More tweaks followed; an EOI to gauge host and artist expectations, a stage-one review after which IAS gives “more money to fewer artists”, and increased flexibility around project timing.

Each Spaced program ends with a polished exhibition (Spaced 3: North by Southeast was shown in 2018 at the Art Gallery of Western Australia) and a publication. Program Director Soula Veyradier refers to the residency, exhibition and book as “three nodes”,

Alana Hunt, from the series All the violence within this, 2019, photograph, 35 mm film. supported by the copyright agency’s cultur al fund.

Elizabeth Pedler, no one is an island, 2019-2020.

105

“It’s more like an open studio.

Work proceeds via dialogical exchange between artist and community.”

—M A RC O M A RC ON

none weightier than any other. Each is “a snapshot of what context-responsive and socially-engaged artistic approaches can look like”.

The theme of Spaced 4: Rural Utopias is a fertile brief, and Veyradier anticipates meditations on “food, production, labour, environment and how deep artistic practice can benefit the regions.” Each artist’s destination is individually brokered. Some have limited wi-fi access, others require a three-day drive.

“The journey alters your sense of the world,” says Veyradier. “The artist arrives as a stranger, with no allegiances or familiarity with their new setting. They might see things which the community, in its routine, cannot, and precipitate new conversations.”

In Pingelly, 160km southwest of Perth, Mike Bianco is working alongside the University of Western Australia’s Future Farm initiative. “The conversations he’s starting around what agriculture looks like there have brought in perspectives on neighbourhood engagement, landcare and social history,” says Veyradier. On Miriwoong Country in the east Kimberley, Alana Hunt documents and unsettles what the artist describes as “the historic and contemporary violence of her own colonial culture,” focussing on the seemingly mundane activities of leisure and development. Elizabeth Pedler has been writing a blog diarising her stay at a sheep farm in Wellstead. One can read about how it feels to drench a skittish animal, the intensity of agrarian physical labour and the direction her host family is taking around sustainable agricultural practice.

The pairing of artists with hosts is not unlike matchmaking. “Each artist and community volunteered for the unknown,” says Veyradier.

106

“There’s no pre-determined outcome. It’s a question of timing, interest and commitment.” The candour of the IAS team is refreshing. They don’t expect every project to work out; nor do they pussyfoot, like many of us feel required to, with terms like unforeseen circumstances. Lack of commitment or resources, and personality clashes are hurdles Marcon names frankly: “Sometimes people don’t get along.”

In recent years, IAS has developed Know Thy Neighbour (KTN), an urban sibling to Spaced. “We took the global/local idea of community residency and applied it to Perth at a neighbourhood level,” explains KTN curator Katherine Wilkinson. “Each of us is so affected by patterns of habit and privilege in how well we know our surroundings. Know Thy Neighbour is a provocation for WA artists to discover and serve nearby micro-communities.” Deadlines and fixed outcomes are eschewed in favour of projects which are brief, playful and repeatable. As with Spaced, one preferred measure for success is longevity. “It’s about relationship building,” explains Wilkinson. “KTN supports artists to make ongoing links with local councils, or develop events that could be picked up by other festivals and galleries.”

Where residencies generate strong community support, they “invite a different way of articulating artistic value,” says Veyradier. There’s no attendance or sales data here: “it’s trickier, but far more rewarding to aim for outcomes like exchange of values, trust and openness to complexity.”

Spaced 4: Rural Utopias

2019—2021 Regional locations throughout Western Australia.

A–Z Exhibitions

MARCH/APRIL 2020

Victoria

James Street, McClelland Drive,

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

Dodds Street, Punt Road, Rokeby

Street, Lyttleton Street, Dunns Road,

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

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

Alcaston Gallery

Ararat Gallery TAMA

11 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 9418 6444 alcastongallery.com.au Wed to Sat 11am–5pm, or by appointment.

82 Vincent Street, Ararat, 3377 [Map 1] 03 5355 0220 araratgallerytama.com.au Daily from 10am–4pm.

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.

7 December 2019—7 June Collected, Saved and Combined Highlights from the collection.

4 January—26 April Drafting Sheep Lionel Lindsay

Pat Brassington, Flushed, 2019, pigment print, 75 x 75 cm. Image courtesy of the artist and ARC ONE Gallery.

15 April–16 May Night Swimming Pat Brassington This exhibition is part of PHOTO 2020.

Art at Linden Gate

Thunuyingathi Bijarrb/May Moodoonuthi, Burrkanda, 2007, synthetic polymer paint on linen, 101 x 151 cm. Courtesy of the Estate of the Artist and Alcaston Gallery, Melbourne.

4 March–28 March Makuwalada – Women Sally Gabori, Paula Paul, Claudia Moodoonuthi and May Moodoonuthi.

Alliance Française Eildon Gallery

The gravestones of Chinese migrants at the Ararat Cemetery. Image courtesy of Siying Zhou, who spent a month in Ararat researching the town’s Chinese history to inform her exhibition Drawing Dashes Between Dots.

899 Healesville–Yarra Glen Road, Yarra Glen, VIC 3775 [Map 4] 03 9730 1861 0418 851 819 artatlindengategallery.com.au Mon to Fri 10am–5pm.

14 March—12 July Drawing Dashes Between Dots Siying Zhou

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

Robert Last, Deep Sea Sputnik, found objects and lights, 19 x 10 x 26 cm.

51 Grey Street, St Kilda, VIC 3182 [Map 6] 03 9525 3463 afmelbourne.com.au Mon to Fri 10am–7pm, Sat 9am–6pm. (Closed Sunday and public holidays).

6 March—13 April Nections Robert Last Exhibition to be opened by Matt Adnate, Saturday 7 March, 3pm–5pm.

16 April—7 May La Loire An exhibition of paintings of The Loire River in France by Australian artist, Peter Caddy.

Anna Schwartz Gallery 185 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9654 6131 annaschwartzgallery.com Tue to Fri noon–5pm, Sat 1pm–5pm.

February—14 March Earthcraft 2020 Mikala Dwyer 21 March—24 April Groups & Pairs 2016–2020 John Nixon 108

Dani Marti, Blue on Blue–take 2 (detail), 2019, customised corner cube reflectors on aluminium, 240 x 362 x 10 cm (overall).

Image courtesy of the artist and ARC ONE Gallery.

4 February–7 March Blue on Blue Dani Marti 12 March–11 April Gallery Sally Dan-Cuthbert with ARC ONE presents Partu (Skin) Johnny Nargoodah and Trent Jansen

Margaret Blackburn, Coranderrk, Healesville, acrylic on board, 82 x 122 cm.

6 March—13 April Birrarung - A River’s Journey Margaret Blackburn Exhibition to be opened by Matt Adnate, Saturday 7 March, 3pm–5pm.

17 April—11 May Lumiere Peter Flint

Until 3 May Next Gen 2020: VCE Art and Design A selection of work by students studying VCE art and design subjects in 2019.

Artbank 18–24 Down Street, Collingwood, VIC 3066 [Map 3] Freecall 1800 251 651 artbank.gov.au Mon to Fri 9am–5pm.

12 March—28 May The Grey Zone: Collecting and Collaboration in Contemporary Art and Design Edition Office and Trent Jansen For the first time in its history, Artbank will present an exhibition that inhabits the nexus between art and design.

Blurring traditional boundaries between visual artists and designers, Artbank will invite cross-discipline practitioners and architecture firm, Edition Office to collaboratively explore the concept of the Collection as a cultural repository of ideas, objects and memories.

21 March, 1pm–3pm Melbourne Design Week Program Lyon Housemuseum Galleries x Artbank: Collecting Contemporary Design.

Artbank and the Lyon Housemuseum Galleries will look at what it means to create, collect and care for contemporary Australian design.

Art Echo Gallery 32–34 Wellington Street, Collingwood, VIC 3066 [Map 3] 0431 306 354 artecho.com.au Wed to Sat, 12noon–6pm, or by appointment.

An artist run gallery. Applications to exhibit with Art Echo Gallery are now open by email: echo.eltham@hotmail.com.

Fu Hong, Autumn in Bright, detail, 30 x 40 cm.

28 February—14 April Landscape and Street View Fu Hong and Echo Cai

David Noonan, Untitled, 2019. Jacquard loom tapestry.

14 March—28 June Stagecraft David Noonan

Art Gallery of Ballarat 40 Lydiard Street North, Ballarat VIC 3350 [Map 1] 03 5320 5858 artgalleryofballarat.com.au Daily 10am–5pm.

30 November 2019—15 March Geoff Bonney: Pangrams Bonney is a painter and sculptor living near Learmonth, north-west of Ballarat, who has had a lifelong interest in text.

14 December 2019—22 March Cake Industries: 08:26am Jesse Stevens and Dean Petersen

Anne Wallace , Rich Girl, Avenue Foch, 2010, oil on canvas. Collection of Alison Green, Sydney.

28 March—21 June Strange ways Anne Wallace

The latest project by local artists Cake Industries explores the complexity of the human psyche in a dark and humorous work.

Until 28 June Glass darkly A selection of works from the Gallery collection.

Artbank → Photography, Ben Hoskings. Mish Meijers, Speculative Feminism, 2016, graphite on paper. Tuppy Goodwin, Antara, 2017, synthetic polymer paint on canvas. David McDiarmid, Disco Kwilt, c.1980, self-adhesive holographic film on composition board. Elvis Richardson, Slide Show Land “Jack” and Slide Show Land “Dorothy”, 2005, digital Type-C print. Robert Jnr Campbell, Please Welfare don’t take my kids, 1987, synthetic polymer paint on canvas. Paul Yore, The Glorious Dawn, 2013, synthetic and metallic thread on wool and cotton.

109

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

ArtSpace at Realm and Maroondah Federation Estate Gallery ArtSpace at Realm: 179 Maroondah Highway, Ringwood, VIC 3134 [Map 4] 03 9298 4553 maroondah.vic.gov.au/exhibitions Mon to Fri 9am–8pm, Sat and Sun 10am–5pm.

Maroondah Federation Estate Gallery: 32 Greenwood Avenue, Ringwood VIC 3134 [Map 4] 03 9298 4553 Mon to Fri 9am–5pm.

Saturdays 12noon to 5pm.

ArtSpace at Realm:

First Nations people used plants for food, medicine, tools and shelter for at least 65,000 years before James Cook brought the Endeavour to the east coast of Australia. Cook’s arrival saw naturalist Joseph Banks and botanist Daniel Solander collecting Australian plants which were then taken to London to be studied and classified by western scientists. This highly informative exhibition provides insights into the vast Indigenous knowledge and use of these native plants, with displays of six of the actual specimens that were collected by Banks and Solander 250 years ago, as well as 30 reproductions of plants from their collections.

The exhibition is presented by the Australian Plants Society-Victoria Inc. and supported by Royal Botanic Gardens Victoria through the Melbourne Herbarium where many specimens are held.

Michelle Coulson, Different People, 2019, pencil on paper, 28 x 38 cm.

Suzanne Barnes, Oriana Ciarma, Jacob Cartelli, Michelle Coulson, Elizabeth Dunkley, Sam Forster, Lionel Grijalva, Will McConnell, Joanne Nethercote, Andrew Nicolaides, Ross O’Meara, Paul Quick and Jillian Richards.

15 February–26 April Take me with you Isobel Knowles and Van Sowerwine A suite of works by dynamic Melbournebased artists, Isobel Knowles and Van Sowerwine, at ArtSpace Realm. This mini-survey exhibition includes physically and emotionally engaging stop-motion installations, virtual reality, animations and film sets. The centrepiece of the show is Passenger (2019) a VR stop-motion animated journey taking place in a taxi that creatively explores immigration and the strangeness of arriving in a new place. This will be a unique opportunity to see these extraordinary participatory narrative experiences all together for the first time.

Maroondah Federation Estate Gallery: 17 February–17 April Australian plants revealed: 65,000 years of traditional knowledge and 250 years of science Australian Plant Society Victoria.

Arts Project Australia 24 High Street, Northcote, VIC 3070 [Map 5] 03 9482 4484 artsproject.org.au Mon to Fri 9am–5pm, Sat 10am–3.30pm.

For artwork enquiries please contact the gallery.

Arts project Australia is a creative social enterprise that supports artists with intellectual disabilities, promotes their work and advocates for their inclusion in contemporary art practice.

Rebecca Scibilia, Japan at Night, 2019, pen paint and marker on paper, 33.5 x 34.5 cm.

8 February—14 March Portraits of Will Will Murray

21 March—24 April Solo shows by James MacSporran, Samraing Chea, Rebecca Scibilia.

8 February—14 March Pleased to Meet You

Artspace at Realm → Isobel Knowles and Van Sowerwine, Passenger, 2016, still from VR. 110

VICTORIA

ACCA → Tianzhou Chen and Andrew Thomas Huang, Exo-Performance / Beio, 2019, (video still). Courtesy of the artists and BANK / MAB SOCIETY, Shanghai.

Australian Centre for Contemporary Art (ACCA) 111 Sturt Street, Southbank, VIC 3006 [Map 2] 03 9697 9999 acca.melbourne Tue to Fri 10am–5pm, weekends 11am–5pm, Mon by appointment. Free entry.

ACCA plays an inspirational and critical role investing in our artistic and wider communities, leading the cultural conversation and setting the agenda for contemporary art.

7 December 2019—22 March Feedback Loops Featuring new commissions and existing works by six local and international artists whose practices sample ideas and images from our past and present to speculate on the future. This exhibition brings together works by artists born in the 1980s, who grew up alongside the growth of the internet and who enmesh technology and popular culture with ritual, spirituality, myth and speculative fiction with a cyclical sensibility that is at once playful, spectacular and challenging.

Curated by ACCA’s Miriam Kelly, Feedback Loops includes large scale installations of video, sculpture, interactive gaming and artificial intelligence as well as a program of live performance by Madison Bycroft, Tianzhuo Chen, Lu Yang, Sahej Rahal, Justin Shoulder and Zadie Xa.

4 April—8 June Contemporary Australian Solo Series Frances Barrett: Meatus

Australian Print Workshop

Led by Frances Barrett, with Nina Buchanan, Hayley Forward, Brian Fuata, Del Lumanta and Sione Teumohenga.

Curator: Annika Kristensen.

210 Gertrude Street, Fitzroy, VIC 3065 [Map 3] 03 9419 5466 australianprintworkshop.com Director: Anne Virgo OAM Tues to Sat 10am–5pm.

Closed Easter holidays 10/11April.

Free entry.

Drawing on her background in performance, curating and collaborative models of making, Sydney-based artist Frances Barrett will extend the parameters of the Katthy Cavaliere Fellowship’s solo commission to present new sonic compositions and live performances by multiple artists.

A ‘meatus’ – to which the exhibition title refers – is an opening or passage leading to the interior of the body, such as the ear or mouth; a juncture between the internal and external, where the body opens itself to the world. For this project ACCA’s galleries are conceived as a form of meatus for the audience to enter; a passage in which to experience multiple voices, embodied knowledges, affective territories, deep listening and relational practice in an immersive and sensory exhibition of sound and light.

Frances Barrett: Meatus is part of Suspended Moment: The Katthy Cavaliere Fellowship, a suite of three new commissions in support Australian women artists working at the nexus of performance and installation, presented in a partnership between the Australian Centre for Contemporary Art, Melbourne, Carriageworks, Sydney, and the Museum of Old and New Art (Mona), Hobart.

Colectivo Ayllu, The Cannibal, original lithograph, 68 x 100 cm (image size).

Produced in collaboration with Australian Print Workshop (APW).

111

Maritime Art Prize & Exhibition 2020 Explorations of human endevours and the oceans Mission to Seafarers Melbourne October 2 - 25

$25,000 in prizes Entries open April www.missiontoseafarers.com.au

717 FLINDERS STREET DOCKLANDS VIC 3008

Caring for Seafarers in Victorian Ports since 1857

�� �� �� �� �� �� �� �� �� ��

VICTORIA 29 January–8 March Target: Bayside art and design graduates

Australian Print Workshop continued...

8 February–14 March Crossing Paths A selection of original limited edition fine art prints produced by artists supported by APW programs in 2019 including works by Jessie Balletta (APW Collie Print Trust Emerging Victorian Printmakers Scholarship), Barbie Kjar (APW James Northfield Lithography Scholarship) and Artist-in-Residence Ron McBurnie.

21 March–15 April Perrear the Pain Original lithographs produced by Colectivo Ayllu in collaboration with APW, as a result of an artist-in-residency undertaken by Colectivo members at APW in preparation to their participation in the 2020 Biennale of Sydney. Through a process of investigation by images and documents of Spanish colonialism, Colectivo Ayllu proposes in Perrear the Pain a series of visual and textual crosses that account for the long memory of colonial pain and certain forms of resistance.

Australian Tapestry Workshop 262–266 Park Street, South Melbourne, VIC 3205 [Map 6] 03 9699 7885 austapestry.com.au Tues to Fri 10am–5pm, gold coin entry to the galleries and Workshop.

Guided tours Wed at 11am and Thur at 2pm, $10 per person: bookings essential.

During your visit you will have an opportunity to observe the ATW weavers at work on contemporary tapestries from our mezzanine, as well as look down into the colour laboratory where the yarns are dyed for production. The ATW has two galleries which feature curated exhibitions of tapestries, textiles and contemporary art on a rotating basis. Work in progress on the looms includes Plant Song by Janet Laurence and The Royal Harvest by Naomi Hobson.

An annual exhibition celebrating the skill and diversity of Bayside’s talented 2019 VCE Art & Design Graduates.

Detail of gown by Linda Britten inspired

by Daisy Andrews tapestry Lumpu Lumpu Country.

11 February–17 April Linda Britten Couture Explore Woven Song through an exhibition that features the magnificent gowns created by leading Melbourne couturier Linda Britten, especially for Deborah Cheetham’s performances. The Woven Song gowns were created specifically in response to ATW tapestries designed by Brook Andrew, Daisy Andrews and Nanyuma Napangati for Australian Embassies and High Commissions in Singapore, Tokyo and New Delhi.

24 March–5 June Air19 Works by 2019 Artists in Residence at the ATW. Artists include: Adrian Lazzaro, Amanda Ho, Ana Teresa Barboza, Daniela Contreras, Deborah Prior, Gosia Wlodarczak, Kate James, Lee Darroch, Megan Williams, collaborative duo Nina Ross and Stephen Palmer, Roseanne Bartley, Rosie Westbrook, Sharon Peoples and Zela Papageorgiou.

Bayside Gallery Brighton Town Hall, corner Carpenter and Wilson streets, Brighton, VIC 3186 [Map 4] 03 9261 7111 bayside.vic.gov.au/gallery facebook.com/baysidegallery Wed to Fri 11am–5pm, Sat to Sun 1pm–5pm. Free entry.

29 January–8 March Bayside Local: Journeys and Discoveries A group exhibition that showcases the work of accomplished artists with a connection to Bayside. A range of media, techniques and approaches to art-making demonstrates the creativity of artists and their engagement with the unique qualities of the Bayside area.

Fiona McMonagle, Wannabes, 2019, watercolour on paper, 130 x 115 cm.

Courtesy of the artist and Hugo Michell Gallery, Adelaide.

14 March—10 May Classy Fiona McMonagle Melbourne-based artist Fiona McMonagle is well-known for her watercolours that probe the darker side of pedestrian life in the suburbs.

Featuring watercolour, oil painting and video works that span the last decade plus a suite of new paintings, this major exhibition focuses on notions of class within Australian society, and recollections of suburban youth subculture.

A special feature is the ambitious animation The park at the end of my road, which is displayed for the first time since its commission by the 2016 Adelaide Biennial.

Benalla Art Gallery Botanical Gardens, Bridge Street, Benalla, VIC 3672 [Map 1] 03 5760 2619 benallaartgallery.com.au Wed to Mon 10am–5pm, closed Tue.

Lesley Dumbrell, Grevillea, 1981, woven by Cresside Collette, Carol Dunbar and Iain Young, wool, cotton, 160 x 250 cm.

Until 13 March Millefleur Inspired by the new Janet Laurence commission Plant Song, the exhibition Millefleur explores the ATW’s rich history of interpreting the natural world through tapestry. Various artists including Janet Laurence, Angela Brennan, Nusra Latif Qureshi, Christine Johnson and John Olsen.

Memphis Neagle, Addiction, 2019, 42 x 58.5 cm. Courtesy of the artist and Firbank Grammar.

Phillip Edwards, Fog’s evening song, 2019, watercolour on 300gsm Arches paper.

Courtesy of the artist.

113

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

7 February—12 April Phillip Edwards: The Mountain’s Quiet Heart An artist’s tribute to the majestic landscape of Mount Buffalo, east of Benalla.

Through watercolour and mixed media, Phillip Edwards translates the visceral experience of exploring the Mountain at different seasons, taking viewers on a journey across the snow blanketed plateau and gullies, following the streams and lake, exploring the landscape dotted with rock formations, wildflowers, scrub, and thick bush, and looking out across a region either shrouded by mist, or basking in glorious sunshine.

17 April—21 June Kirsten Berg: Still in love with the world Still in Love with the World is a call to arms, exploring the artist’s “concern about the incessant misuse and skewed distribution of power in the world, our compromised environment, and the resulting anxiety many of us share about the future.” Berg ponders, “how do we remain Still in Love with the World when we are up against seemingly insurmountable human and environmental trouble? How can we activate ourselves and ensure resilience?” The exhibition explores rituals and gestures of self–preservation and reinvention as a means of reconnecting to the physical world and as a form of human solidarity and resistance.

Alun Leach-Jones, Noumenon XI blue ikon, 1967, synthetic polymer paint on canvas. Gift of Benalla Apex Club, 1967 c. Estate of Alun Leach-Jones / Copyright Agency, 2019.

Until 12 July On the Up: The Benalla Art Gallery Collection The Benalla Art Gallery Collection—an incredible body of work spanning three centuries of Australian art—continues to grow and inspire new generations of art lovers. With the Gallery having taken part in Creative Victoria’s Regional Digitisation Roadshow in 2019, there is now even greater opportunity to share the Collection with broader audiences.

Thanks to the funding and assistance awarded through the State Government, Benalla Art Gallery worked with professional photographers, collections staff and conservators to document the entire collection. The resulting images and 114

records are being methodically refined and made publicly accessible through a new and improved Benalla Art Gallery website.On the Up celebrates these landmark projects by ensuring a selection of the first 100 uploaded artworks are also up on the walls. Works featured within the exhibition are an indication of the impressive breadth and quality of the Benalla Art Gallery Collection, and include a selection from both the Ledger and Bennett bequests, alongside numerous significant acquisitions which entered the Collection either by purchase, or as a gift from one of the Gallery’s many generous donors.

Bendigo Art Gallery 42 View Street, Bendigo, VIC 3550 [Map 1] 03 5434 6088 bendigoartgallery.com.au Licensed café open 8.30am–5pm seven days. Gallery and gift shop open daily 10am–5pm.

BLINDSIDE Nicholas Building, 714/37 Swanston Street, (enter via Cathedral Arcade lifts, corner Flinders Lane), Melbourne, VIC 3000 [Map 2] 03 9650 0093 blindside.org.au Tue to Sat noon–6pm.

BLINDSIDE provides unique experiences for artists and their development, always striving to expand the sphere of artistic practice and empowering artists to see into fruition bold and spectacular ideas.

We provide the opportunity for audiences to see the breadth of contemporary art practice from sculpture, drawing, painting and performance art, through to new media, video, sound, installation and craft.

If you are heading to our space, expect the unexpected.

28 March—21 June Two artists and the Parisian avant-garde Bessie Davidson and Sally Smart

Madeleine Minack, Untitled, 2019, mixed media installation. Courtesy of the artist.

26 February—14 March Six p.m. on a Wednesday Rachel Button, Veronica Charmont, Kaijern Koo, Madeleine Minack, HeeJoon Youn.

Luyuan Zhang, Instrument Practice, 2019. Courtesy of the artist.

Ross Taylor, Black Hill (The Big Top), 2019, pencil on paper. Courtesy of the artist and Sophie Gannon Gallery.

26 February—14 March Instrument Practice Luyuan Zhang

28 March—7 July Ross Taylor: Field notes

18 March—4 April Sound Series Bridget Chappell Curated by Thomas Ragnar Presented with Liquid Architecture.

18 March—4 April Show and Tell Sarah Ujmaia

Hoda Afshar, Remain, (still), 2018.

2 channel HD video, 23.29 mins.

Courtesy of the artist.

24 April—14 June The Burning World Hoda Afshar, Peta Clancy, Michael Cook and Rosemary Laing.

8 April—25 April To Listen, Not to Preserve Archie Barry, Kevin Diallo, Debris Facility Pty Ltd., Snack Syndicate, Shivanjani Lal and Jess Gall.

Curated by Isabella Hone-Saunders and Sebastian Henry-Jones.

VICTORIA

Brunswick Street Gallery 322 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 8596 0173 brunswickstreetgallery.com.au Tue to Sun 10am–6pm, closed Mon. 4 March—17 March Emerge: Eighth Edition Group Exhibition 4 March—17 March an oneiric reality Bianca Billy Raffin, Chelsea Hickman, Gen Townsend, Hannah Potter, Julia Luby, Kim Nguyen, Louisa Weichmann, Luka Buchanan, Nik Ranger, Nyssa Levings, Rose Hartley and Veronica Caven Aldous.

15 April–28 April TWENTY NINE Bernie J Egan, Corrin McNamara, Deb Higgins, Elvira Franceschino, Emma Samin, Eoin Cassidy, Felicity Law, Gabe Freeman, Glenda Clarke, Heidi Tyrrell, Irianna Kanellopoulou, Jaki Gemmell, Jill Newton, Joanne Russell, Joyie Choi, Julia Forte, Julie Crosthwaite, Karen Amos, Katie Banakh, Kerry Brown, Roxane Parmington, Sarah Vandepeer, Sharon Edwards, Steph Briggs, Sue Lyons, Susannah Low, Suzi Blackburn, Tina Wilkins and Tracy Clar.

leading assemblage workshops with our Casey community and initiating discussions around what ‘home’ means and ‘belonging’. During these workshops, hundreds of small cardboard homes were created and have since been added to the major-installation.

4 March—17 March The Book Of Birds Shoshi Jacobs Opening Friday 6 March, 6pm–9pm.

4 March—17 March Eating Wholemeal Bread Is Enough Emma Hearnes 4 March—17 March WONDER WOMEN Marisa Mu

Ruby Bovill, Submerge, acrylic on canvas, 121 x 76 cm.

4 March—17 March Of The Anthropocene Julia Vanderbyl

15 April–28 April Quiet contemplation - a visit to country Ruby Bovill

Openings Friday 6 March, 6pm–9pm.

15 April–28 April Where I Stand Olivia Colja

20 March–5 April Landmarks Kim Passalaqua 20 March–5 April Adam’s Ale David Lindesay 20 March–5 April White Petra Gogos

Kathryn Blumke, Kedron Brook Quilt 2, 2019, watercolour on Arches, 102 x 140 cm.

20 March–5 April Water 6 Kathryn Blumke 20 March–5 April The City Shaped - The city as a machine for cultural production Amy Evans, Conor Todd and Eva Florindo Part of Melbourne Design Week 2020, an initiative of the Victorian Government in collaboration with the NGV. 4 March–5 April healing (my dear living, breathing, beautiful mess) iokzi Openings Friday 20 March, 6pm–9pm.

15 April–28 April Spiritual resilience April Shin Openings Friday 17 April, 6pm–9pm.

Bunjil Place Gallery 2 Patrick Northeast Drive Narre Warren VIC 3805 [Map 4] 03 9709 9700 bunjilplace.com.au Tue to Sun 10am–5pm.

Bunjil Place is the first facility of its kind, bringing together creativity, entertainment and community in a way that is unparalleled in Australia. As the City of Casey’s treasured entertainment precinct, it brings together an unprecedented mix of facilities including an outdoor community plaza, theatre, multipurpose studio, function centre, library, gallery and City of Casey Customer Service Centre all in one place.

14 December 2019–8 March Home/Land: Project Another Country Alfredo and Isabel Aquilizan Created from thousands of handmade houses using recycled cardboard boxes, Home/Land: Project Another Country is international artists Isabel and Alfredo Aquilizan’s latest large-scale installation of imagined habitats. This project is part of an ongoing series of exhibitions designed by the artists to bring people together to share stories and create handmade objects inspired by ideas of home and belonging. Over the past few months, Isabel and Alfredo have been

Campbell Addy, Adut Akech, 2019, © Campbell Addy.

21 March–7 June The New Black Vanguard: Photography between Art and Fashion Presented by Bunjil Place as part of the PHOTO 2020 International Festival of Photography, The New Black Vanguard presents vibrant portraits and conceptual images that fuse the genres of art and fashion photography in ways that break down long-established boundaries.

Photographs by Campbell Addy, Arielle Bobb-Willis, Micaiah Carter, Awol Erizku, Nadine Ijewere, Quil Lemons, Namsa Leuba, Renell Medrano, Tyler Mitchell, Jamal Nxedlana, Daniel Obasi, Ruth Ossai, Adrienne Raquel, Dana Scruggs, and Stephen Tayo.

Exhibition organized by Aperture, New York. Curated by Antwaun Sargent.

Luke Willis Thompson, Autoportrait, 2017, 35mm, b&w, silent, 8min 50sec.

Commissioned by Chisenhale Gallery and produced in partnership with Create. Courtesy of the artist, Hopkinson Mossman, Auckland/Wellington and Galerie Nagel Draxler, Cologne/Berlin.

23 April–10 May Autoportrait Luke Willis Thompson Presented by Bunjil Place as part of the PHOTO 2020 International Festival of Photography.

115

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

Bundoora Homestead → Hanna Tai, Caterpillar, 2019, single channel video, no sound, 1:44 mins, looped (video still). Courtesy of the artist.

Bundoora Homestead Art Centre 7 Prospect Hill Drive, Bundoora VIC 3083 [Map 4] 03 9496 1060 bundoorahomestead.com Thu to Sun 10am–5pm.

Buxton Contemporary Corner Dodds St and Southbank Boulevard, Southbank. [Map 2] 03 9035 9339 buxtoncontemporary.com Wed to Sun 11am–5pm.

Buxton Contemporary opened in 2018 at the University of Melbourne’s art school, the Victorian College of the Arts. Designed by renowned architects Fender Katsalidis, the museum is comprised of four public exhibition galleries, teaching facilities, and the largest outdoor screen in Australia dedicated to the display of moving image art. The museum is located in the heart of the Melbourne arts precinct where it provides a creative forum through which the University engages local, national and international audiences with the best of contemporary Australian and international art.

Mind Fields Adam Knapper Larundel George Mifsud 1 February—5 April Beneath our Feet: The Grounds of Bundoora

116

Part fiction and part documentary, the films and installations of The Otolith Group engage with major contemporary global issues: what we have inherited from colonialism, the way in which humanity has damaged the earth, and the influence of new media on human activities. The Otolith Group derives its name from a structure in the inner ear that plays a decisive role in our sense of balance and orientation.

c3 Contemporary Art Space The Abbotsford Convent, 1 St Heliers Street, Abbotsford, VIC 3067 [Map 2] 03 9416 4300 c3artspace.com.au Wed to Sun, 10am–5pm.

George Mifsud, Larundel No.13 (Seat Under Trees), 2005 , gelatin-silver print, 18 x 18 cm. Darebin Art Collection.

1 February—5 April THIS COULD WORK!/I’M SCARED Hanna Tai

The Otolith Group was founded in London in 2002 by artists and theorists Anjalika Sagar and Kodwo Eshun. Their work draws on science fiction, sound and music, Afrofuturism, colonial and postcolonial histories and many other related bodies of knowledge out of which they forge videos and installations.

The Otolith Group, O Horizon, 2018 (still), original format 4K video, colour, sound, duration 90 min, courtesy of The Otolith Group and LUX, London, © the artists.

4 March—29 March Between Days Ella Dunn Seen Julia Stewart and Cameron Gill.

6 March–21 June The Otolith Group: Xenogenesis Curated by Annie Fletcher

Collision Penny Walker-Keefe and Lewis O’Brien.

This exhibition presents a cross section of work by The Otolith Group, created between 2013 and 2018. The title of the exhibition is derived from the science fiction trilogy Xenogenesis (1987–89) by the African American writer Octavia E. Butler

9cb6974e812095f17197a132554cec23.jpg Lewis Doherty

Reworked Isabella Darcy

Futile Devices Maddy Anderson and Jack Martinich.

VICTORIA

Centre for Contemporary Photography 404 George Street, Fitzroy, VIC 3065 [Map 3] 03 9417 1549 ccp.org.au Wed to Fri 11am–5pm, Sat and Sun noon–5pm.

Guy Grabowsky, The Magical Kingdom.

8 April—3 May Blue sky at night Maddison Kitching The Magical Kingdom Guy Grabowsky 8 April—3 May Stone Music Matt Fairbridge Conversing Constellation Katie Stackhouse

18 January—15 March Index Olga Bennett, Christopher Day, Karl Fritsch and Gavin Hipkins, Sarah Mosca, Saskia Pandji Sakti and Benjamin Sexton Curated by Dan Price.

Apókryphos Cherine Fahd Hi-Vis Dreams Warwick Baker

Platform for Shared Praxis Jesse Hogan

28 April—10 May No True Self Curated by David A. Kerr (AUS) and featuring Arvida Byström (SWE), Thibaut Henz (BEL), Artor Jesus Inkerö (FIN), Hanna Putz (AUT), Jana Schulz (DEU), Andrzej Steinbach (POL) and Thomas Taube (DEU).

No True Self is an exhibition of contemporary European photography, reflecting on the mediation of our performative selves through virtual and physical realities.

Part of PHOTO 2020.

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

The gallery presents regularly changing solo and group exhibitions of modern and contemporary Australian art, with a strong focus on 1960s Australian abstract and alternative art movements – as well as some International art of the period.

New Work Antonia Sellbach

CAVES Room 13, Level 8, 37 Swanston Street, (The Nicholas Building), Melbourne, VIC 3000 [Map 2] cavesgallery.com Wed to Sat, 12noon–5pm.

CAVES is a curated, not for profit art space in Melbourne, Australia. Established as a incorporated organisation in 2014, we commenced operating as a gallery in February 2015. Our art space is located in Room 18 on Level 6, in the iconic Nicholas Building in Melbourne, Australia, on the corner of Swanston Street and Flinders Lane, the building and the gallery is fully wheel chair accessible. It is recommended where possible to use public transport to access the gallery.

6 March—4 April Michael Kennedy, Monique Revell, Yarrow Ruane Opening Friday 6 March, 6pm–8pm.

Guy Stuart, Passing Pretty Boy Hill, 2018, oil on linen, 76.5 x 112 cm.

Georgia Banks, A Four Letter Word, 2019, process image. Courtesy of the artist.

Janet Dawson

18 January—15 March A Four Letter Word Georgia Banks The Sky After Rain Blame the Shadows Collective

Aaron Christopher Rees, Vanishing Point, 2019, 1800 x 1250, chromogenic diptych print, detail. Courtesy of the artist.

10 April—9 May Horizon Aaron Christopher Rees

Jan Murray, Wendy’s Dress (Marimekko), 2019, oil on linen, 107 x 91.5 cm.

Part of PHOTO 2020 International Festival of Photography.

Opening Friday 9 April, 6pm–8pm.

Artist talk/drinks Friday 8 May, from 5pm.

7 March–28 March Guy Stuart

4 April–25 April Inverso Jan Murray Hanna Putz, Untitled, 2019, c-type print.

David Harley 117

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

Chapman & Bailey

Counihan Gallery

Craft Victoria

350 Johnston Street, Abbotsford, VIC 3067 [Map 1] 03 9415 8666 chapmanbailey.com.au Mon to Fri 10am–5pm, Sat 10.30am–4pm.

223 Sydney Road, Brunswick, VIC 3056 [Map 5] 03 9389 8622 moreland.vic.gov.au Wed to Sat 11am–5pm, Sun 1pm–5pm.

Free entry.

Watson Place, Melbourne, VIC 3000 [Map 2] 03 9650 7775 craft.org.au Mon to Fri 11am–6pm, Sat 11am–4pm.

Free entry.

8 February–29 March Histrionic Saffron Newey, Marion Abraham and Tyler Payne.

Craft Victoria is a national leader in the craft and design sector, promoting a cutting-edge vision of hand-crafted practice in the 21st century. For 50 years Craft Victoria has supported the growth of thousands of makers, nurtured hundreds of small creative businesses and challenged the boundaries of craft practice. Craft has built a vibrant and sustainable contemporary craft and design community by supporting, showcasing and celebrating all craft disciplines.

1 February–7 March Fresh!

Emily Raubenheimer, Louise as Mountain, Intaglio ink and oil paint on aluminium composite, 43cm x 36 cm.

7 February–14 March HER-stories Ella Baudinet, Corinna Berndt, Dinusha Joseph, Kathy Landvogt, Yuria Okamura and Emily Raubenheimer.

Chris Bowes, Tessellate (detail), 2019, computer, screens, cables, webcam and code, dimensions variable.

Image courtesy of the artist.

8 February–29 March Screen Time Chris Bowes

Celebrating the next wave of Victorian graduates in contemporary craft and design. Presented annually since 1993, Fresh! showcases the energy, skill and innovation of some of the best graduating students from craft, design and fine art disciplines throughout the state.

This exhibition celebrates a diverse range of womens’ art practices in the lead-up to International Women’s Day, on 8 March.

Installation view of works by David Marpoondin, Garry Namponan, Leigh Namponan, Keith Wikmunea, Roderick Yunkaporta.

20 March–25 April Ku’ - Songline of the Dog Chapman & Bailey Gallery is pleased to present a selection of works in conjunction with Wik Kugu Arts Centre and Gallery.

Rose Nolan, Enough, 2016, screenprint concertina book on BFK Rives 270 gsm, 22 x 14 cm (closed), 22 x 84 cm (open), edition of 100. Image courtesy of the artist and Negative Press, Melbourne.

Vipoo Srivilasa, Wedding Conch Shell, 2008, cobalt pigment on porcelain, 8 x 25 x 16 cm. Private collection. Photo by Andrew Barcham. Image courtesy of Scott Livesey Galleries, Melbourne.

8 February–26 April f_OCUS Hoda Afshar, Wendy Black, Megan Cope, Destiny Deacon, Emily Floyd, Fiona Foley, Marlene Gilson, Helga Groves, Gracia Haby and Louise Jennison, Joy Hester, Deanna Hitti, Regina Karadada, Carmel Louise, Mandy Nicholson, Rose Nolan, Jill Orr, Carol Porter, Nusra Latif Qureshi and Judy Watson.

12 March–13 May Objects of Love Cyrus Tang, Kate Just, Zaiba Kahn, Vipoo Srivilasa and Varuni Kanagasundaram.

Objects of Love presents artworks which reflect or symbolise love of all kinds: romantic, familial and platonic. Working from different cultural perspectives, the artists each explore themes of contemporary and traditional exchanges of love, connection to loved ones, and the strength and fragility of bonds of love.

The Dax Centre → Chudan Peng, The Fault of Minimalism, 2019, acrylic, spray paint and tape on canvas, 40 x 152.5 cm.

118

VICTORIA highlights some of the iconic works from the Collection including rarely seen photographs such as Henri Mallard’s Construction of the Sydney Harbour Bridge (1931); Francis Reiss’ outback images from Belinda’s story (1951); to Geelong photographer Laurie Wilson’s Dog Rock series (1974). Wilson’s images were the only Australian photographs selected for display as part of the major international exhibition The Land held at the Victoria and Albert Museum London, 1975. Curated by James Lynch, Deakin University.

The Dax Centre 30 Royal Parade, Kenneth Myer Building, University of Melbourne, Parkville, VIC 3010 [Map 5] 03 9035 6610 daxcentre.org Wed to Fri 10am–4pm.

Every last Sun of the month 11am–3pm. Free entry.

The Dax Centre is a leader in the use of art to raise awareness and reduce stigma towards mental illness. Through our exhibitions and educational programs we seek to engage, inform and encourage community connections and conversations about mental health.

Eastgate Gallery

13 February—26 April From Heart + Mind This is an exhibition of new works by eleven young, multidisciplinary artists exploring mental health, neuro-diversity, gender and identity. Drawing from personal experiences, the artists challenge ideas about trauma, isolation, stigma, inequality and sense of self. From Heart + Mind seeks to reach the emotional space within and strengthen human connection through feelings and thought.

Deakin University Burwood Library Gallery Space Foyer Building V, 221 Burwood Highway, Burwood VIC 3125 Daily 8.30am–8pm.

Free entry.

Deakin University Art Gallery at Burwood 221 Burwood Highway, Burwood, VIC 3125 03 9244 5344 [Map 4] deakin.edu.au/art-collection/ Tue to Fri 10am–4pm, Closed public holidays.

The Deakin University Art Gallery provides an exciting venue for the university’s program of exhibitions and arts events.

Scott Duncan, Untitled, 2019, glazed earthenware. © and courtesy of the artist.

Exploring the hand and the haptic as sites for digital interface and creative possibilities. This exhibition includes the work of Deakin alumni Scott Duncan and Marta Oktaba, and emerging Melbourne artists Rachel Schenberg, Evan Whittington and Michael Staniak. Curated by James Lynch, Deakin University.

158 Burwood Road, Hawthorn, VIC 3122 [Map 6] 03 9818 1656 eastgatejarman.com.au Mon to Fri 9am–5pm, Sat 10am–4pm.

Deakin University Downtown Gallery Level 12 – Tower 2, Collins Square, 727 Collins Street, Melbourne, VIC 3008 [Map 2] 03 9244 5344 deakin.edu.au/art-collection/ Mon to Fri 9am to 5pm, closed public holidays. Free entry.

5 February–27 March Drawing on the Wall Featuring artist David Harley working directly with students from Deakin’s School of Communication and Creative Arts to realise new and ambitious site based artworks. Curated by James Lynch, Deakin University.

Petra Kleinherne, Maze, 2017, acrylic on canvas, 100 x 150 cm.

2 March—4 April Works from the Stockroom

These include curated exhibitions drawn from the university’s art collection, group and solo exhibitions by significant contemporary Australian artists, travelling exhibitions and selected student, staff and alumni work.

5 February–27 March Drawing On The Wall This exhibition features newly commissioned and rarely seen wall-based and site responsive artworks from artists Julia Gorman, Kerrie Poliness and Kenny Pittock. Extending the usual academic reach of the gallery these artworks have been conceived with direct student participation and collaboration in mind. Curated by James Lynch, Deakin University.

8 April–15 May Holding In The Hand

Laurie Wilson, Dog Rocks, 1974–75, gelatin silver photograph, Deakin University Art Collection, Commissioned by Deakin University, 1974. © and courtesy of the artist’s estate.

8 April–15 May Photography from the Deakin Collection

Asher Bilu, On the Edge of the Unknown 1, Blue Eclipse, 1996 60, 2019, resin, piments and felt on board, 183 x 183 cm.

The Deakin University Art Collection is home to over 450 photographic artworks

by Australian artists. This exhibition

18 April—16 May Bilu Blue Asher Bilu 119

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

East Gippsland Art Gallery 2 Nicholson Street, Bairnsdale, VIC 3875 [Map 4] 03 5153 1988 eastgippslandartgallery.org.au Tue to Fri 10am–4pm, Sat 10am–2pm.

Free entry.

Everywhen Artspace 39 Cook Street, Flinders, VIC 3929 [Map 1] 03 5989 0496 mccullochandmcculloch.com.au Thu to Tue, 10.30am–4pm, Wed by appointment.

Everywhen Artspace features work from more than 40 Aboriginal–owned community art centres gallerists Susan McCulloch and Emily McCulloch Childs represent as well as the work of select non-Indigenous Australian artists.

to life. Join Kaeila artists in a celebration and outpouring of love for Country, as they bring their art from Kaiela/Dungula (Goulburn Murray) Yorta Yorta Country to share with audiences on the Mornington Peninsula.

Opening with Kaeila Artists Saturday 4 April, 2pm–4pm.

Federation University Post Office Gallery, School of Arts, Federation University Australia, Building P, Camp Street Campus, Cnr Sturt & Lydiard Street, Ballarat, VIC 3350 03 5327 8615 Federation.edu.au/pogallery Wed to Sat, 12noon–5pm, other times by appointment.

Bugai Whyoulter, Kalpa, acrylic on linen, 125 x 300 cm. Courtesy of the artist and Martumili Artists.

7 March–30 March The Colour Purple: Aboriginal women’s art

Leigh Hobbs, Old Tom, oil on canvas.

28 February–4 April Mr Chicken goes to Bairnsdale Leigh Hobbs

In celebration of International women’s day, The Colour Purple features a wide variety of new works by leading and emerging Aboriginal women artists from around Australia. Opening with a unique art parade presentation of 40+ works with informative commentary.

Art Parade Opening Saturday 7 March, 2.30pm.

Artist and author best known for humorous children’s books he writes and illustrates, Leigh Hobbs also produces works across a wide range of mediums.

This exhibition features the popular characters of Old Tom, Horrible Harriet and Mr Chicken. Leigh Hobbs was the Australian Children’s Laureate from 2016–17.

Wind & Sky Productions and Chris Hayward, Collections and Climate Change, 2019, video, 9.01 mins. Courtesy of the artists.

Cynthia Hardie, Gum Nuts with Leaves, detail, acrylic on paper. Courtesy of the artist and Kaeila Arts.

4 April–28 April Biyala Bala Kaiela (Red Gum River)

Tracey Johnson, The Source–Pretty Valley Ponds, oil and pastel on canvas.

10 April–9 May Alpine Exposure Great Alpine Gallery artists.

The Great Alpine Gallery in Swifts Creek has been supporting artists from the beautiful Tambo Valley for over twenty years. The exhibition presents rich and diverse work in a variety of mediums, including painting, photography, textiles, basketry and more.

120

New works from Kaiela Arts, Shepparton, Vic. Artists from Shepparton’s Aboriginal art centre, Kaiela Arts, will explore, through a variety of media, the colours, textures and varieties of vegetation that grows along the Kaiela Dungula (Goulburn Murray) River system. Many of the indigenous species have now largely died out, due to agricultural practice. Vegetation which once filled this beautiful riverland country included grasslands rich in wildflowers, herbs, orchids and lilies; grassy woodlands dotted with trees of Grey Box or bulokes and wattles; and floodplains with majestic forests of River Red gums, wattles and sedges. Through the art making process, this exhibition will help to some degree, bring these species back

21 February—7 March SCOPE20 In the Arts Academy’s important annual exhibition, SCOPE presents a diverse selection of works on paper, video, ceramics, printmaking, painting and design, by Visual Arts lecturers, teachers, Research Associates, Associate and Adjunct Professors and Research Fellows, who, as artists, also sustain a rigorous artistic research and/or teaching practice at Federation University’s School of Arts.

14 March—23 May Graeme Drendel: The Messengers In an important solo exhibition, renowned Australian artist Graeme Drendel showcases a new series of oils on canvas with characters set in familiar yet strange landscapes that reflect the dichotomies of life and the many questions and unanswered states of the human condition.

5 April—18 April When You Go Looking For Me, I Am Not There Fiona Crawford Following residencies in Assisi, Italy in 2016 and 2019, inspired by the beauty and intrigue surrounding the medieval embroidery tradition of ‘Punto Assisi’ still practiced today, Fiona Crawford’s contemporary textiles subvert and

VICTORIA transgress conventions and reinterpret the ubiquitous subject of ‘women’s work’.

Opening Sun 5 April, 2.30pm. Artist talk, 3.30pm.

Finkelstein Gallery Basement 2, 1 Victoria Street, Windsor, VIC 3181 [Map 6] 0413 877 401 finkelsteingallery.com Wed to Fri 11am–5pm, Sat 12noon–5pm.

A unique multi-arts venue and cultural incubator, fortyfivedownstairs has a seventeen-year history of supporting the development of independent artists across the visual and performing arts. .

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.

Fox Galleries 79 Langridge Street, Collingwood, VIC 3066 [Map 3] 03 8560 5487 foxgalleries.com.au Tue to Sat 10am–6pm.

26 March–7 May Fresh, 2020

Flinders Lane Gallery Level 1, Nicholas Building, corner Flinders Lane and 37 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9654 3332 flg.com.au Tue to Fri 11am–6pm, Sat 11am–5pm.

Mark Schaller, Botanicus Fantasticus (Diptych), 2019, oil on hardboard, 182 x 244 cm.

4 April–29 April Botanicus Fantasticus Mark Schaller

Alison Percy, Magnolia Denudata, detail, 2019, acrylic on linen, 126 x 126 cm.

3 March–14 March Microcosmographia Group exhibition Between Horizons Jan Learmonth 17 March–28 March Quietude of the Land, the Figure and the Flower Alison Percy Stiff Upper Lip Cally Lotz 31 March–18 April Elemental Joan Blond, Aliki K, Bev Plowman and Jo Carroll

Rachel Linnemeier, It Doesn’t Melt, 2020, oil on aluminium, 50 x 40 cm.

Travels With My Wife: Hong Kong around the Harbour and Airport James Yuncken

3 March–28 March The Flip Side Melinda Schawel Introducing Melissa Boughey Melissa Boughey

Frankston Arts Centre

31 March–24 April Story-Tellers Co-curated international group exhibition

by Dr Elaine Schmidt (USA) of the Bennett Collection of Women Figurative Realists, independent curator Didi Menendez (USA) and FLG Director Claire Harris.

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

Jason Moad, Other Than Human VI, 2019, oil on linen, 50 x 40 cm.

7 March—1 April Two Worlds and In-between Jason Moad

27–37 Davey Street, Frankston, VIC 3199 [Map 4] 03 9768 1361 thefac.com.au Tue to Fri 9am–5pm, Sat 9am–2pm.

27 February–28 March Latin Ventana Arte Nel ten Wolde, Ropas Abandonadas, digital collage, dimensions variable.

21 April – 2 May Ropas Abandonadas Nel ten Wolde Disruption, connection: Protest Melanie Lazarow

Molas, between layers An immersive installation by a collective of Ventana artists.

Building Bridges From Latin American Stories to Victorian History by Latin Stories Yunuen Pérez and Antonio González.

121

ar t g ui d e .c o m . au Frankston Arts Centre continued...

27 February–28 March Queer Latinx Migrating Down Under Navigating layers of identities, hopes and dreams.

State of Grace Laura Cionci Murmurs Steel sculpture by Estela Marina Garber, Casa Bonita Lifestyle ColombianAustralian Social Enterprise.

14 March–4 April When Words Fail A sculpture and painting exhibition by two brothers, Bart and Elio Sanciolo. Each is an established artist whose works are represented in international and national collections. These new artworks present a visual exploration of how meanings are drawn from the relationship between words and images. This exhibition of painting and sculpture will inspire and challenge the viewer to contemplate the artists’ intentions and explore new ways of imagining.

Gallerysmith 170–174 Abbotsford Street, North Melbourne, VIC 3051 [Map 5] 03 9329 1860 or 0425 809 328 gallerysmith.com.au Tue to Sat 11am–5pm 23 January—7 March Interzone Tim Allen Fugitive Geometries Claire Mooney Paula Bronstein, Exodus to Bangladesh, 2017.

Christian Flynn, Unfamiliar Theatre, 2019, synthetic polymer paint on paper, 22 x 16 cm. Photo credit Carl Warner.

23 January—7 March The Dunning-Kruger Effect Annette Allman 12 March–25 April Surface Phenomena Christian Flynn 30 April–June 6 While There Is Still Light Angela Casey

2 April–9 May Cube Gallery + Art After Dark: Changed Forever Legacies Of Conflict In Changed forever, stories of migrants who have resettled in Australia from war-torn countries are presented beside those of recent veterans of overseas service in the Australian Defence Force.

This moving exhibition explores the impacts of global and civil conflict in changing lives and shaping contemporary Australia. A Shrine of Remembrance touring exhibition.

Geelong Gallery 55, Little Malop Street, Geelong, VIC 3220 [Map 1] 03 5229 3645 geelonggallery.org.au Director: Jason Smith Daily 10am–5pm. Free entry.

Opening Thursday 2 April, 5pm–8pm.

Exhibition floor talk 5pm, followed by official Opening 6pm–8pm. RSVP Essential.

Gallery Elysium 440-444 Burwood Road, Hawthorn VIC 3122 [Map 4] 0417 052 621 galleryelysium.com.au Tues 1pm–6pm, Wed to Fri 10.30am –4.15 pm, Sat 1pm–5.30pm, Sun 11am–5.30 pm.

Jennifer Goodman, Opera, oil on linen, 200 x 120 cm.

12 March–25 April Colour Jennifer Goodman 30 April–June 6 Future Memories 2020 Catherine Nelson

Gallerysmith Project Space

Elio Sanciolo, Somnium Magnorum Australia, detail.

122

170–174 Abbotsford Street, North Melbourne, VIC 3051 [Map 5] 03 9329 1860 or 0425 809 328 gallerysmith.com.au

Jacky Redgate, Light Throw (Mirrors) Fold – Food Shop and Knitting, 2016 , silver halide chromogenic photograph handprinted. Courtesy ARC ONE Gallery, Melbourne, © Jacky Redgate.

Until 17 May Jacky Redgate—HOLD ON Redgate has a 40 year practice and is critically acclaimed as one of Australia’s leading contemporary artists. Redgate’s career began in the context of late 1970s feminism, minimalism and conceptual art.

Redgate is well known for her sculptural and photographic works using systems and logic, and particularly for her sustained series of ‘mirror’ works over the past two decades. Jacky Redgate—HOLD ON will present the most recent iteration of her mirror work in its entirety that reflects how, while continuing to make her experimental ‘hybrid’ mirror works over the past ten years. This exhibition will coincide with

VICTORIA PHOTO 2020, the International Festival of Photography (23 April–10 May).

Gertrude Contemporary: 8 February—22 March Fatigue Foster and Berean Weevils in the Flour Joshua Petherick and Lewis Fidock 4 April—24 May Monumental Amrita Hepi The entrance to Paradise lies at your mother’s feet hands Lara Chamas

15 February–15 March Art Aid Gippsland: 2020 Gippsland Bushfire Appeal Exhibition and Auction 15 March Auction: The wedge performing arts centre, 100 Foster Street, Sale Visit the Gallery website for times, details and updates.

Art Aid Gippsland is a major fundraising initiative to benefit those in need following the devastating East Gippsland bushfires.

Gertrude Glasshouse: 6 March—4 April Joseph L. Griffiths 17 April—16 May Georgina Cue presented as part of PHOTO 2020.

Kate Beynon, Graveyard scene/the beauty and sadness of bones, 2014–15, synthetic polymer paint on linen, Geelong Gallery, Geelong contemporary art prize (winner), 2016, © Kate Beynon.

Until 24 May Collection leads: Kate Beynon— kindred spirit Beynon’s Graveyard scene/the beauty and sadness of bones (2014–15) – winner of the 2016 Geelong contemporary art prize – is based on a scene from An-Li: a Chinese ghost tale, the artist’s re-telling of a supernatural story of two young spirits who traverse opposing worlds: one aquatic, the other earthly. This ‘Collection leads’ exhibition includes watercolours, paintings and soft sculptures that expand on the story of An-Li and provide greater insights to Beynon’s practice in which she merges diverse pictorial traditions with personal histories to address issues of hybridity, cultural identity and feminism.

7 March—3 May The Look You don’t have to be beautiful to have it, or young, or famous or notorious. You don’t have to dress on-trend, or even neatly. The Italians have an expression, bella figura, to describe a way of being that’s striking.

The French might call it je ne sais quoi. It’s a quality that makes you look twice, without really knowing why. In English, it might be called cool. In Canberra’s National Portrait Gallery there’s The Look—a collection of photographic portraits of extraordinary Australians. The Look reflects a wonderful range of Australian achievement; and it oozes style too. A National Portrait Gallery touring exhibition.

Gippsland Art Gallery Wellington Centre, 70 Foster Street, Sale VIC 3850 03 5142 3500 [Map 1] gippslandartgallery.com Mon to Fri 9am–5:30pm, Sat, Sun Pub Hols 10am–4pm.

25 January–19 July The Art Of Annemieke Mein A permanent, evolving showcase of works from Australia’s favourite textile wildlife artist.

1 February–15 March The Nature Of Decay Simon Deere A selection of Simon Deere’s botanical drawings, including new work inspired by his connection to South Gippsland.

1 February–26 April Australia Phoenix: A Cosmology Susan Purdy Surveying the cyclical phenomenon of fire over hundreds of thousands of years and documents the role humanity plays in shaping this event. Expanding over twenty-one metres, the work wraps around the gallery and encompasses the viewer in a black and white narrative.

15 February–3 May The Circus Of Life Peter Cole This exhibition invites the viewer to step inside the sacred space of the studio and learn more about the art and creative practice of one of Gippsland’s prominent sculptors.

21 March–19 April The Lost Impressionist Jan Hendrik Scheltema Jan Hendrik Scheltema (1861–1941) returns to Gippsland in The Lost Impressionist, an exhibition of works that have recently been donated to the Gallery.

Glen Eira City Council Gallery Corner Glen Eira and Hawthorn roads, Caulfield, VIC 3162 [Map 4] 03 9524 3402 gleneira.vic.gov.au Mon to Fri 10am–5pm, Sat and Sun 1pm–5pm.

5 March–22 March A community photography exhibition.

International Women’s Day 2020.

26 March–19 April Water Glen Eira Artists Society.

26 March–19 April Perspectives Glen Eira Cheltenham Art Group.

Gertrude Contemporary 21–31 High Street, Preston South, VIC 3072 [Map 5] 03 9419 3406 gertrude.org.au Tue to Fri 11am–5.30pm, Sat 11am–4.30pm.

Gertrude Glasshouse: 44 Glasshouse Road, Collingwood VIC 3066 Thurs to Sat 12pm–5pm.

Peter Cole, Song for the Kimberley, 2009 mixed media, 96 x 87 x 20 cm. Courtesy of the artist.

26 March–19 April Sights Unseen Glen Eira Historical Society.

23 April–10 May Life, devotion and death in Tbilisi Nathan Miller

Yvette Coppersmith, Self-Portrait, Scarlett Wave Motif, 2018, oil and citrine on linen, 56 x 46 cm. Courtesy of the artist.

Photograph by Matthew Stanton.

23 April–10 May Colour and Light Donald Kenner 23 April–10 May Connecting Marriot Support Services.

123

28 March–21 June 2020 artgalleryofballarat.com.au

Anne Wallace: Strange Ways is a QUT Art Museum travelling exhibition

Proudly supported by

Art Gallery of Ballarat

Anne Wallace Eames Chair 2004, oil on canvas.

Collection of Kate Green and Warren Tease, Sydney

Melanie Lazarow Disruption, connection, protest

Exhibition Runs 21 April - 2 May 2020

Image: Melanie Lazarow

124

VICTORIA

Hamilton Gallery → Nicholas Chevalier, Russia/England (1828-1902) Mt Abrupt, The Grampians, 1864, oil on canvas.

Purchased by the Hamilton Gallery Trust Fund – M.L. Foster Bequest, with assistance of the Friends of Hamilton Gallery.

Hamilton Gallery 107 Brown Street, Hamilton, VIC 3300 [Map 4] 03 5573 0460 hamiltongallery.org Mon to Fri 10am–5pm, Sat & Sun 10am–2pm. Free entry.

25 January–26 April In the Eye of the Beholder and Gentle Men Rick Amor, Kevin Lincoln, Allan Mitelman and Fred Williams.

Hatch Contemporary Arts Space 14 Ivanhoe Parade, Ivanhoe, VIC 3079 [Map 4] 03 9490 4370 banyule.vic.gov.au/Hatch Tue to Sat 10am–5pm.

Heide Museum of Modern Art

15 February–15 March Circle of Life: A Hamilton Quilters Exhibition Various

7 Templestowe Road, Bulleen, VIC 3105 [Map 4] 03 9850 1500 heide.com.au Tue to Sun 10am–5pm.

18 April–17 May Stitches in Time: A Hamilton Embroidery Guidance Guild Exhibition Various artists.

Harvey Galleries – BLK Presents The Art of Dr Seuss Collection, The Block Arcade, 18–19/282 Collins Street, Melbourne, VIC 3000 [Map 2] 03 9639 0680 drseuss.harveygalleries.com.au Mon to Sun 10am–5.30pm.

The Art of Dr Seuss Limited editions from the Dr Seuss Estate.

define them as ‘other’. What things should be private and invisible? What is relevant?

What things should be celebrated and highlighted? Come and learn from the experiences of our local LGBTIQ+ community about what is important to them, as we continue to strive for a more inclusive and welcoming society. Opening Thursday 16 April, 6pm–8pm.

Strand By Me, Community Art Weaving, 2019.

17 April—16 May IN/VISIBLE Creative Expressions from Banyule’s LGBTIQ+ Community.

This exhibition and associated performances explore the importance of visibility to the LGBTIQ+ community.

While society may feel it is progressive and inclusive like never before, the LGBTIQ+ community continues the invisible struggles of daily life in a system designed to categorise, alienate and

Heide Museum of Modern Art, or Heide as it is affectionately known, began life in 1934 as the home of art patrons John and Sunday Reed, and has since evolved into one of Australia’s most unique destinations for modern and contemporary art. The Reeds promoted and encouraged successive generations of artists, including Albert Tucker, Sidney Nolan, Joy Hester and Charles Blackman. Today at Heide, the Reeds’ legacy is honoured with a variety of changing exhibitions that draw on the museum’s modernist history and it founders’ philosophy of supporting innovative contemporary art.

125

Roslyn Oxley9 Gallery

David Noonan Untitled 2015 silkscreen on hand dyed linen collage 214 cm x 304 cm © the artist

Exclusive to the Art Gallery of Ballarat artgalleryofballarat.com.au

Trinity College and Artback NT in association with Buku-Larrnggay Mulka arts centre presents

20 February—14 May Balnhdhurr - A Lasting Impression showcases artworks across two decades to provide a privileged insight into the nuanced world of the Yolngu people of North East Arnhem Land.

Dhalmula Burarrwanga, Milkarri (tear), 2012, photographic screenprint. © The artists with Artback NT and Buku-Larrnggay Mulka art centre.

126

Burke Gallery Gateway Building, Trinity College, the University of Melbourne 100 Royal Parade, Parkville 3052 (03) 9348 7527 | events@trinity.unimelb.edu.au Gallery hours: Tues and Thurs 10am–4pm, Sat 10am–1pm.

Free admission.

VICTORIA Heide Museum of Modern Art continued...

16 November 2019—14 March Dark Kitchen Shannon Lyons A multi-disciplinary artist who explores the complex relationships that exist between art and its context. Her works take the form of installations, sculptures, gestures and interventions that critically examine the sites where they are made.

Horsham Regional Art Gallery

practice by providing necessary comparative grounds for her to ponder on the complexities of our modern life.

80 Wilson Street, Horsham, VIC 3400 [Map 1] 03 5382 9575 horshamartgallery.com.au Mon to Fri 10am–5pm, Sat and Sun 12pm–4pm.

Presented as part of PHOTO 2020 International Photography Festival.

15 February—14 June Memory Horizon Carolyn Eskdale Presenting new work that responds to the modernist architecture of Heide Modern – formerly a domestic house commissioned by Heide founders John and Sunday Reed as ‘a gallery to be lived in’—and that activates the house as its own cast object.

Peter Milne, Boys Next Door first photo session after Rowland joined. Nick’s bedroom, Caulfield, 1978. Courtesy of the artist and M33.

Incinerator Gallery 180 Holmes Road, Moonee Ponds, VIC 3039 [Map 4] 03 9243 1750 incineratorgallery.com.au Tue to Sun 11am–4pm. Free entry.

The Incinerator Gallery is the last remaining Walter Burley Griffin designed incinerator left in Victoria and one of only six left in the country. The Royal College of Architects named it as among the 30 most important buildings in the state in 2003, it is listed on the Victorian Heritage Register and was listed on the National Heritage Buildings Register until the register was disbanded in 2012.

7 February–3 May Juvenilia Peter Milne Curated by Helen Frajman and Linsey Gosper.

Albert Tucker, Mourning Disciples, 1955, oil on composition board, 78.5 x 127 cm.

Heide Museum of Modern Art. Donated through the Australian Cultural Gifts Program by Barbara Tucker 2015 © Albert & Barbara Tucker Foundation.

Courtesy of Smith & Singer Fine Art. 29 February—16 August Marking the Past Albert Tucker

Bringing together over 70 astonishing photographs of friends and family taken by renowned Victorian artist Peter Milne when he was a very young man. Warm, intimate, surprising and already displaying the great compositional skills, originality and humour for which Milne is known, these images offer an unprecedented peep into mid 1970s to mid 1980s Melbourne and a milieu of people who would go on to play pivotal roles in Melbourne’s burgeoning cultural scene.

Tama Sharman, Matawai, lino print on paper, 2019.

21 January–22 March Dark Sepia Tama Sharman

Minstrel Kuik, left: The Encounter, right: The Triplets, from the series Mer.rily Mer. rily 2008–12. Courtesy of the artist and Richard Koh Fine Art, Kaula Lumpur.

15 February–10 May She who has no self Minstrel Kuik Joy Hester, Untitled (From the Love series), 1949, brush and ink and mauve pastel on paper, 31.6 x 25.2 cm. National Gallery of Victoria, Melbourne Purchased 1976 ©Joy Hester/Copyright Agency 2019.

21 March—14 June Remember Me Joy Hester 21 March—14 June The New Sun Agnieszka Polska

Curated by Alison Eggleton.

Minstrel Kuik considers and questions the politics of place, family and cultural identity and how this intersects with personal experience. Born in Malaysia of Chinese ancestry, she lives and works in Kajang a suburban neighbourhood on the outskirts of Kuala Lumpur. Negotiating the tensions of different ideologies and social bounds is an everyday occurrence. Not only do these daily experiences position her between the political society and the authorities, they shape her artistic

Simon MacEwan, Waiting Until the Last Minute, detail, 2018.

21 January–22 March Waiting Until the Last Minute Simon MacEwan 31 March–7 June Race, Discipline, Intent An exhibition culturally kept and organised by Moorina Bonini and Tyson Campbell.

I Want to Believe Julia Powles 31 March–17 May Beguiled by Light Ray Wilson 127

VISIT: kingstonarts.com.au and to see the full list of prizes!

128

ENTRIES CLOSE

OPENING

EXHIBITION

Tuesday 10 March, 5pm

Sunday 15 March, 4–6pm

Monday 16 March – Friday 24 April

VICTORIA

Kingston Arts

Lamington Drive

G1 and G2, Kingston Arts Centre, 979 Nepean Highway (corner South Road), Moorabbin, VIC 3189 [Map 4] G3 Artspace, Shirley Burke Theatre, 64 Parkers Road, Parkdale Mon to Fri 9am–5pm and Sat noon–5pm.

52 Budd Street, Collingwood, VIC 3066 [Map 18] 03 8060 9745 lamingtondrive.com Wed to Fri 11am–6pm, Sat 12noon–5pm or by appointment.

6 February—14 March G3 Artspace: A Touch of Salt Presented by Chris Aspland and Christine Lewis.

Chris Aspland and Christine Lewis present their first joint exhibition exploring a nostalgic journey from past to present and celebrating the recreational pleasures of living by the sea. The artists celebrate the natural beauty of the bay, as well as their personal sense of history and connection with the landscape. As residents in the area, they hope to inspire viewers to appreciate the local eco-systems and to respect the need to maintain a clean and safe environment for both people and wildlife to thrive in.

7 February—7 March Kingston Arts Centre Galleries Midsumma 2020: Queer in Kingston Presented by Kingston Arts.

Curated by established projection artist, Yandell Walton, and supported by emerging digital media artist, Willow Franklin, this immersive multimedia exhibition explores queer identity from the perspectives of Queer in Kingston, a social support group for LGBTQIA+ young people aged 14 to 25 years, living in the City of Kingston.

Yandell Walton is a Melbourne-based artist whose work encompasses projection, installation, and interactive digital media. Willow Franklin is an emerging digital media artist who creates through the lens of their queer identity. They work primarily with digital manipulation and archival media.

Paula Lindley, Les Baux-de-Provence detail, 2019, acrylic on canvas, 13 x 20 cm.

20 March–2 May G3 Artspace: After Provence Presented by Tina Blackwell, Stella Greig, Paula Lindley and Gihan Sadek

The gallery exists to simultaneously explore the idea of showcasing commercial artists in a traditional gallery space, and as a venue in which illustrators, cartoonists, photographers and designers can explore this same art/commercial art tension in their practices.

After Provence is a group exhibition inspired by the recent travels of artists, Tina Blackwell, Stella Greig, Paula Lindley and Gihan Sadek through the South of France. Exploring the rich histories of the local region, the artists have wandered in the footsteps of Impressionist Masters: Cezanne, Picasso, Monet and Van Gogh to explore their own sense of colour, technique, and expression.

Distinct in style and approach, each artist represents a unique facet of their shared journey through an exhibition of contemporary paintings.

Koorie Heritage Trust Yarra Building, Federation Square, Melbourne, VIC 3000 [Map 2] 03 8662 6300 www.koorieheritagetrust.com.au Open daily 10am–5pm.

The Koorie Heritage Trust at Federation Square takes Koorie peoples, cultures and communities from the literal and figurative fringes of Melbourne to a place that is a central meeting and gathering place for all Victorians.

Katherine Brickman, Breakfast, 2019.

5 February—7 March Still Life Katherine Brickman Debut solo exhibition of Sydney-based artist Katherine Brickman (Greedy Hen).

A meditation on the unusual beauty in everyday clutter, imagined landscapes, playful surrealist humour, and the joy of breakfast.

Artz Blitz 2019.

Nathan Nankervis, Smile, 2020.

16 March–24 April Kingston Arts Centre Galleries:

20 March—18 April Smile Nathan Nankervis

Artz Blitz 2020 Kingston’s favourite community visual arts and creative writing competition returns this March! The competition begins when the secret theme is announced on Friday 13 March from which artists and writers will have 24 hours to create an artwork or piece of creative writing and deliver it to Kingston Arts Centre for exhibition.

Suzanne Atkinson, Inspiration, Raffia.

29 February—19 April Kaiela Dungala (Goulburn Murray) Suzanne Atkinson, Tammy-Lee Atkinson, Amy Briggs, Eric Brown, Dylan Charles, Cynthia Hardie, Eva Ponting, Norm Stewart and Brett Wilson.

An observation of life through the eyes of Nathan Nankervis. Step into a bold and colourful world where geometric reliefs, shaped canvases, and furniture give life to eclectic characters.

Opening Sunday 15 March, 4pm–6pm.

129

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

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

Hobba is a very significant artist in the development of Australian video art. His work demonstrates a capacity to distil the elements that go to make up our feeling of ‘presence’ and ‘being’. We don’t need to necessarily understand his work; “we just need to experience and to register its effect in our bodies”.

25 January–3 May Small Town Fetish Pezaloom Local Morwell artist, Pezaloom has developed a photographic practice concerned with ghosts of lives lived.

Linden New Art

Specialists in Australian Colonial, Impressionist, Modern, Contemporary Painting, Sculpture and Decorative Arts.

26 Acland Street, St Kilda, VIC 3182 [Map 6] 03 9534 0099 lindenarts.org Tue to Sun, 11am–4pm.

22 February–17 May Mother’s Little Helpers Karla Dickens This exhibition will feature a new series of photographs produced as a result of a collaboration between Karla Dickens and writer Bruce Pascoe. Pascoe is the author of the best-selling book Dark Emu, which challenges the claims that pre-colonial Indigenous Australian communities were hunter-gatherer societies.

Jessie Scarvell, 1862–1950, Sheep Grazing, possibly Pages River, Murrurundi, (Upper Hunter) NSW, 1898, oil on canvas, 50 x 89 cm.

Commencing March Innovative Australian Women Celebrating women artists who led the way by challenging traditions, exploring new ideas and influencing the direction of Australian art.

La Trobe Art Institute 121 View Street, Bendigo, VIC 3550 [Map 1] 03 5444 7272 latrobe.edu.au/art-institute Mon to Fri 10am–5pm, Sat 12noon–5pm.

Louiseann King, But I have to remember that she is still a child, (detail from series), 2002, glass, silver, wood and enamel.

Collection Latrobe Regional Gallery.

7 March–24 May Contemporary Women Rosalind Atkins with Ex De Medici, Anna Carey, Lesley Duxbury, Rosalie Gascoigne, Mandy Gunn, Fiona Hall, Louiseann King and more.

Artworks by Australian women from the collection of Latrobe Regional Gallery.

Jacqui Stockdale, Duel of the Mount I, 2018, C-type print, 130 x 108 cm. Image courtesy of the artist and Olsen Gallery.

22 February–17 May The Long Shot Jacqui Stockdale

Danica Chappell, Glimmer (working title for picturing objects), 2019, daguerreotype, 42 x 49cm. Image courtesy of the artist.

13 April–6 June Collaboratory: PHOTO 2020 Danica Chappell

Tony Albert and Vincent Namatjira, Australia’s Most Wanted Armed with a Paintbrush, 2018, archival pigment print on paper, 100 x 100 cm.

Latrobe Regional Gallery

22 February–17 May Weapons for the Soldier: Protecting Country, Culture and Family Various artists

138 Commercial Road, Morwell, VIC 3840 [Map 1] 03 5128 5700 latroberegionalgallery.com 29 February–17 May Any Which Way Leigh Hobba 130

Weapons for the soldier is an exhibition initiated by the young men of the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands. The young men invited 15 other Australian artists to exhibit alongside the Anangu artists by responding to the theme of weaponry.

This major new series of work extends Stockdale’s fascination with 19th century narratives surrounding Ned Kelly and aims to challenge the dominant narratives of Australian folk history. This exhibition will explore the Kelly matriarchy and will re-examine the Kelly story from a feminist perspective.

22 February–17 May Routes / Roots Robert Fielding Fielding is an artist of Pakistani, Afghan, Western Arrente and Yankunytjatjara descent, who lives in Mimili Community in the remote APY Lands. Led by an enquiry into cultural objects that have been collected and removed from country since the beginning of colonisation, Fielding has been researching the links of his ancestors’ travel and trade routes, reconsidering them in a contemporary context.

VICTORIA

LON Gallery

21 Easey Street, Collingwood, VIC 3066 [Map 3] 0400 983 604 longallery.com Thurs to Sat 12noon–5pm.

Lynn Jaanz at York Street Art Gallery Level 1, 216 York Street, South Melbourne, VIC 3205 [Map 6] lynnjaanzartgallery.com

LON Gallery began as a project space in 2016 based on a unique non-profit model that primarily supported emerging artists. The gallery established a formal program in 2019, which provided the opportunity to work with a select number of artists in depth and to foster the critical development of their practices.

The gallery represents a small number of artists and has a strong curatorial focus on thematic group exhibitions. 

Manningham Art Gallery Manningham City Square (MC²), 687 Doncaster Road, Doncaster, VIC 3108 [Map 4] 03 9840 9367 manningham.vic.gov.au/gallery Tues to Sat 11am–5pm.

Free entry.

12 February–7 March New Landscapes Lynn Jaanz, Limitless, 122 x 116.5 cm.

To arrange a private viewing contact: curator@lynnjaanzartgallery.com

Lyon Housemuseum Galleries

Panayiota Peta Petrakis, Anthemion Recess, 2019, oil on canvas, 122 x 101.5 cm.

11 March—4 April Panayiota Peta Petrakis

217 Cotham Road, Kew, VIC 3101 [Map 6] 03 9817 1725 lyonhousemuseum.com.au @lyonhousemuseum Tuesday to Sunday, 10am–5pm.

Closed Mondays and Public Holidays Admission: $12, $10 Concession, Under 12 free. Curatorial Tours: First Wednesday of each month, 12:30pm (Free with general admission to the Galleries) Private guided tours available upon request.

Holly Macdonald, Fictional Vessel, 2019, terracotta, porcelain slip, ceramic crayon. Image courtesy of the artist.

13 February—1 March Take It Out of the Garden An examination of the distinctive character of terracotta and its use as a ground for expressive slip and terra sigillata decoration in contemporary ceramic work.

Featuring work by Jane Annois, Helen Fuller, John Higgins (UK), Holly Macdonald, Megan Patey, Richard Phethean (UK) and Jane Sawyer.

Matthew Sleeth, A Drone Opera, still, 2019.

14 March–29 March A Drone Opera Matthew Sleeth

Lauren Dunn, Awe and fear of nature, 2019, silver gelatin print, 50 x 75 cm.

15 April—9 May New Romanticism Lauren Dunn As part of PHOTO 2020 Festival.

Sleeth’s A Drone Opera is reimagined from its original live performance as an immersive multi-channel video installation. Capturing the choreography of custom-built drones with an original operatic libretto, the installation drives a narrative of desire, fear and destruction.

Loosely structured around the myth of Icarus, the work is a poetic reflection of contemporary fear surrounding surveillance, and our dangerous love affair with new technologies. The installation will be on show for a limited time only for its first ever cinematic showcase in Melbourne.

Melissa Kent, Different expressions, acrylic on paper on canvas, 84 x 89 cm.

19 March–24 April See Me A group exhibition of work by artists from Araluen’s art program, See Me deals with the identity of people with intellectual disabilities, their representation in society and ongoing issues with social inclusion.

131

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

Margaret Lawrence Gallery → Liam Benson, The Executioner, 2015, inkjet print on cotton rag paper, edition of 5, 90 x 134 cm.

Image courtesy of the artist and Arterial Gallery, Sydney.

Margaret Lawrence Gallery Victorian College of the Arts, 40 Dodds Street, Southbank VIC 3006 [Map 2] 03 9035 9400 mlg.finearts-music.unimelb.edu.au Tue to Sat 12noon–5pm.

Free entry.

6 March–9 April Evocations This exhibition highlights the ways in which Liam Benson, Nicholas Folland, Helen Shelley, Lonnie Hutchinson, and Kellie Wells articulate the invisible realities of Transcendence, Transformation, Manifestation and Dissolution. Readings of the works can be located in the blurry zone between history and memory, experience and language, physical and spiritual. Opening Thursday 5 March, 5.30–7.30pm.

A 38-minute visual essay on the tangential use of photography, the significance of the delay implicit in revisiting any photographic snapshot, and the way one sees more things from further away.

Mario García Torres (b. 1975, Monclova, Mexico) lives and works in Mexico City.

Over the past twenty years, his work has questioned the stability of such concepts as time, memory, image, and the very essence of the artist’s role in society. An artist deeply interested in uncertainty and counter-narratives, his work blurs the space between fact and fiction through research and a wide range of storytelling strategies. Opening Thursday 23 April, 5.30pm–7.30pm.

March Space 5 Waltham Street, Sandringham, VIC 3191 0413 685 488 facebook.com/marchspacegallery Tues to Sun, 10am–5pm.

Sarah crowEST, Testimony of the Joy of Life, 2019, acrylic and pastel on Belgian linen, 271 x 496 cm. Image courtesy of and copyright of the artist. Photo: Ross Coulter.

24 November 2019—15 March Haus Werk: The Bauhaus in contemporary art Peter Atkins (AUS); Anael Berkowitz (USA/ ISR); Katja Brinkmann (DEU); Danica Chappell (AUS); Sarah crowEST (AUS); Elizabeth Day (AUS); Stephan Ehrenhofer (AUT); Assaf Evron (ISR/USA); Anna Farago (AUS); Robert Jacks (AUS); Paul Knight (AUS); Eva-Fiore Kovacovsky (CHE); Paul Klee (CHE); Mafalda Millies and Roya Sachs (USA/DEU); John Nixon (AUS); Laresa Kosloff (AUS); Jordan Marani (AUS); Sam Martin (AUS); Bernd Ribbeck (DEU);

McClelland Sculpture Park + Gallery

Mario García Torres, The Way They Looked at Each Other, 2012, video still, Courtesy of the artist and Jan Mot, Bruxelles, Belgium.

24 April–23 May, The Way They Looked at Each Other 2012 Mario Garcia Torres 132

390 McClelland Drive, Langwarrin, VIC 3910 [Map 4] 03 9789 1671 mcclellandgallery.com Tue to Sun 10am–5pm.

McClelland Sculpture Park+Gallery is the home of Australian sculpture, with a collection of over 100 sculptures in eight hectares of bushland complemented by a gallery exhibition program focusing on various forms of spatial practice.

Anne-Marie May, Making and Undoing, installation view, Monash Art Design and Architecture, Monash University. Image courtesy of the artist and Murray White Room. Photograph by Christo Crocker.

VICTORIA Jacqueline Stojanović (AUS); Esther Stewart (AUS) and Pallavi Sen (IND); Sebastian Stadler (CHE); Tim Tetzner (DEU); Claudia Wieser (DEU).

29 March—19 July Soft Formalism: new and recent works Erwin Fabian and Anne-Marie May

Mildura Arts Centre 199 Cureton Avenue, Mildura, VIC 3500 [Map 1] 03 5018 8330 milduraartscentre.com.au Open Daily 10am–5pm.

I left Australia in 1991 to make Finland my home, however it is not Nordic landscapes that inspire me. It is the eclectic architecture and bustling streets of Melbourne, and the nature and country life of rural Victoria where I grew up, that are depicted in my screenprints. These images are evocative of why Australia, even after decades of living abroad, still feels like home.

My process begins with a scene that catches my eye through the lens of my camera. I then transform the photographic image into a digital illustration by removing colour and tone.

Layer by layer I reveal the hidden details.

Using black ink on white paper my final print is reminiscent of comic book style images. —Michele Hermans, 2019.

My language is paint. I speak through the medium of paint and ink, pencil, acrylic and pastel. This is a language I am always learning, a language of challenge and a language of love, where I try to express my thoughts and responses to the world around me, bear witness to the actions of mankind and the wonder and beauty of the land.

This land speaks to me, speaks of its ancient presence, of the justice and injustice it has witnessed, the rich oasis that was ours to nurture. We ravaged it, murdered and displaced its indigenous peoples, poisoned it with chemicals, tore down the trees and made extinct so many of its animals, plants and insects. The land gave to us so that we would take what we need, not more. Now we face our own extinction. Painting is a passion and a refuge. My hope is that I have something to say and something to give, that I can be heard and can communicate through the language of my paint. — Susan Wald, 2019.

Missing Persons

Alexandra Rosenblum, Hide, 2017.

27 February—10 May Mirror Meditations: Contrasting Tension and Contentment Alexandra Rosenblum Rosenblum is an artist working in a variety of photographic mediums to explore the binaries of self-actualisation.

Yvonne Koolmatrie, Hot Air Balloon, detail, 2004. Cyperus gymnocaulos.

Mildura Arts Centre Collection.

Acquired 2004.

20 February—19 April The Wealth of Women Mildura Arts Centre Collection Sunday 8 March is International Women’s Day for which we are asked to ‘actively choose to challenge stereotypes, fight bias, broaden perceptions, improve situations and celebrate women’s achievements.’

In this exhibition attention is focused on the achievements of women artists whose sculptures have, and continue to, challenge biases in a discipline that traditionally privileged men. All works are drawn from the Mildura Arts Centre Collection and demonstrate how the creative practice of women sculptors have contributed to broadening perceptions of what it means to work in three-dimensional forms.

Using photography to investigate concepts encompassing duality, vulnerability and tension, Alexandra produces photographs that are alluring yet evoke a feeling of anxiety. This project utilises an analogue photographic practice to explore natural light in various environments as a symbol of the duality of anxiety and peace.

Encompassing traditional dark room processing with unconventional forms in order to develop the work into a personal expression. Alexandra Rosenblum’s photography becomes a platform that provides the viewer access to the artist’s fragility and trauma whilst also encouraging self-reflection.

411–12, 37 Swanston Street, (Nicholas Building), [Map 2] Melbourne, VIC 3000 missingpersons.me Sat 12noon–6pm, Sun 12noon–4pm.

Contact gallery for opening times outside of exhibitions.

Monash Gallery of Art 860 Ferntree Gully Road, Wheelers Hill, VIC 3150 [Map 4] 03 8544 0500 mga.org.au Tue to Fri 10am–5pm, Sat and Sun 12noon–5pm. (closed Mondays and public holidays) Gallery, gift shop, licensed café and sculpture park.

5 March—3 May Wonderful Moments Chris Fraser

From Inge King to Yvonne Koolmatrie, Antonia Chaffey to Lorraine ConnellyNorthey, Danielle Hobbs to Judy Holding, The Wealth of Women is a celebration of visual diversity and tactile innovation in sculpture.

Special moments and memories. Whether it be enjoying flowers in the garden or swimming in the ocean. These varied works are largely a celebration of nature – its beauty and intrigue. Whilst I am always playing with rhythm, pattern and colour my quirky girls are often pensive, in awe of nature, or caught up in their own world. Some even fly the art flag, promoting its benefits. Others suggest hope for the future. Their body language is all important in my exploration of the recurring themes of joy, love and hope. — Chris Fraser, 2019.

21 February—19 April Through My Eyes Michele Hermans

5 March—3 May Mungo Susan Wald

Godfrey (United Kingdom – entrepreneur, Friends of MGA committee member and former MGA board member) in a playful moment, at home, Wheelers Hill 2019, from the series From there to here: migrant journeys to Monash, pigment ink-jet print, 100 x 100 cm. Courtesy of the artist.

133

WHEN WORDS FAIL Painting and Sculpture Exhibition

by Elio & Bart Sanciolo 14th March 2020 – 4th April 2020 440-444 Burwood Road, Hawthorn, 3122 galleryelysium.com.au Opening Hours Tuesday Wednesday — Friday Saturday Sunday

By Appointment

by appointment 10:30am – 4:00pm 1:00pm – 5:30pm 11:00am – 5:30pm 0417 052 621 / 0418 698 124

Lunam Quaeruntur Mea, (Detail) — Elio Sanciolo.

Linear Concept: Umbran Landscape, (Detail) — Bart Sanciolo.

VICTORIA Monash Gallery of Art continued...

Monash University MADA Gallery

Monash University Museum of Art – MUMA

Caulfield Campus, Building D, Ground Floor, 900 Dandenong Road, Caulfield East VIC 3145 [Map 4] monash.edu/mada/galleries Opening hours during exhibitions: Weds to Fri, 10am–5pm, Sat, 12noon–5pm.

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

Free admission.

8 February–9 April The Outcome is Certain Agatha Gothe-Snape

Mornington Peninsula Regional Gallery

Lee Grant, Manal Tahir (Saudi Arabia) and her 3-year old son Fouad, Chadstone, Melbourne , 2019. Courtesy of the artist.

Civic Reserve, Dunns Road, Mornington VIC 3931 [Map 4] 03 5950 1580 mprg.mornpen.vic.gov.au Tue to Sun 10am–5pm Entry: $4 adults, $2 concession.

15 February–12 April Portrait of Monash: the ties that bind In celebration of our 30th anniversary, MGA has commissioned four leading Australian artists to explore the City of Monash by responding to key issues facing the community—a reflection of the city as a microcosm of the nation.

Peta Clancy, Lee Grant, Ponch Hawkes and David Rosetzky will shine their own inimitable lens on their chosen topic of interest—local indigenous sites of significance, the migrant experience, homelessness, and the LGBTQI+ community.

Stories of contemporary documents.

29 April–16 May Stories of contemporary documents Urtzi Grau, Guillermo Fernández-Abascal, with Post-Post.

Joy Hester, Reclining floating nude, c.

1945–55, watercolour, MPRG Collection.

Purchased 1982 © Joy Hester. Licensed

by Copyright Agency.

Monash University Museum of Art → Agatha Gothe-Snape, Trailer for Every Act Of Reading Performs The Work, 2018–19 (composite video still). Image courtesy of the artist and The Commercial, Sydney.

135

ar t g ui d e .c o m . au Mornington Peninsula Regional Gallery continued...

6 March–26 April A collection of stranger things, MPRG collection exhibition Curated by Patrick Pound.

6 March–26 April MPRG Annex project space commission Carla McCrae,

1 May—25 October Ivan Durrant: Barrier Draw 9 May—18 April 2021 We Change The World 27 September 2019—29 March Olympia: Photographs By Polixeni Papapetrou 27 September 2019—29 March Petrina Hicks: Bleached Gothic

6 March–26 April The landscape in-between – MPRG local focus exhibition Sophie Perez

22 August 2019—15 March Roger Kemp: Visionary Modernist

National Gallery of Victoria – The Ian Potter Centre NGV Australia

12 September 2019—5 April Black Bamboo: Contemporary Furniture Design from Mer, Torres Strait

Federation Square, corner Russell and Flinders streets, Melbourne, VIC 3000 [Map 2] 03 8620 2222 ngv.vic.gov.au Open daily 10am–5pm.

13 March—12 July Top Arts 2020

17 August 2019—14 June Marking Time: Indigenous Art from the NGV

26 October 2019– 29 March Tammy Kanat: Circles of Life

Shirin Neshat, Installation view of Roja 2016 presented as part of Shirin Neshat: Dreamers at NGV International, Melbourne 14 November–19 April 2020.

Photo © Tom Ross.

15 November 2019—19 April Shirin Neshat: Dreamers 27 November 2019—19 April In Absence | Yhonnie Scarce and Edition Office: 2019 Architecture Commission 8 March 2019—12 July Liquid Light: 500 Years Of Venetian Glass

National Gallery of Victoria – NGV International 180 St Kilda Road, Melbourne VIC 3004 [Map 2] 03 8620 2222 ngv.vic.gov.au Daily 10am–5pm.

Neon Parc City: 1/53 Bourke Street, Melbourne, VIC 3000 [Map 2] Brunswick: 15 Tinning Street, Brunswick VIC 3056 [Map 5] 03 9663 0911 neonparc.com.au

28 February—4 October Japanese Modernism 29 May—4 October Olaf Breuning for Kids: Plans for The Planet 5 June—4 October Pierre Bonnard

Destiny Deacon, (Kuku/Erub/Mer, born 1957), Oz Games – Under the spell of the tall poppies, 1998, printed 2019 Melbourne, lightjet photograph from Polaroid photograph, 80 x 100 cm. Courtesy of the artist © Destiny Deacon.

27 March—9 August DESTINY

Camille Henrot, The Pale Fox, 2014, (installation view), mixed media, dimensions variable, Collection of the artist, New York, © Courtesy of the artist and kamel mennour, Paris/London; König Galerie, Berlin; Metro Pictures, New York, Photographer: Anders Sune Berg.

22 May—11 October Camille Henrot: Splendid Isolation 1 December 2019—13 April Keith Haring | Jean-Michel Basquiat: Crossing Lines 20 September 2019—13 April KAWS: Companionship In The Age Of Loneliness

Pupiya Louisa Napaljarri Lawson, Mala Jukurrpa (hare wallaby Dreaming), 1986 , gouache, earth pigments on cardboard, 58.8 x 83.8 cm.© Louisa Napaljarri Lawson/Licensed by Copyright Agency, Australia.

136

20 September 2019—13 April KAWS: PLAYTIME 14 November 2019—19 April Colin McCahon: Letters and Numbers 31 October 2019—26 July Collecting Comme

Maison Martin Margiela Autumn/Winter 1998.

Neon Parc Brunswick: 13 March–11 April apparel Curated by Matthew Linde.

This exhibition features the work of three fashion designers, H.B. Peace, Jessie Kiely and Tallulah Storm, all graduates from RMIT University over the past 8 years.

These designers are seen alongside the archival work of famed Belgian designer Maison Martin Margiela, specifically his deconstructivist and artisanal garments from 1989–2007. During this period Margiela became known for a highly idiosyncratic design methodology fixating over the strange behaviour of clothing’s own construction. In niche ways, this young designer cohort have extended this trajectory towards neurotic exhaustion,

VICTORIA

Nicholas Thompson Gallery → Virginia Cuppaidge, Vrinda, 1982, acrylic on canvas, 114 x 182 cm. Photograph by Tim Gresham. pursing fashion’s (elegant) Other: the anxiety of archetypal apparel and the malfunctioning of its machinic production.

Nicholas Thompson Gallery

Neon Parc City:

155 Langridge Street, Collingwood, VIC 3066 [Map 1] 03 9415 7882 nicholasthompsongallery.com.au Wed to Fri, 11am–6 pm, Sat and Sun, 12noon–5pm (excluding public holidays).

Stockroom accessible by appointment.

11 March–24 March Melbourne Design Week Curated by Oliver Cotsaftis 27 March–2 May James Lynch

Niagara Galleries 245 Punt Road, Richmond, VIC 3121 [Map 6] 03 9429 3666 niagaragalleries.com.au Tue to Fri 11am–6pm, Sat noon–5pm, or by appointment.

26 February–15 March The Skyspace Paintings 1977–1982 Virginia Cuppaidge 18 March–12 April Five Years: Gallery Anniversary Exhibition 15 April–3 May I Love You More Than Paintings James Drinkwater

Old Treasury Building

Jan Senbergs, Urban Garden 1 (with caretaker), 2019, acrylic on canvas, 120 x 183 cm.

3 March–28 March Not quite the last picture show Jan Senbergs 31 March—2 May Blue Chip XXII: The collectors’ exhibition

20 Spring Street, Melbourne, VIC 3000 [Map 2] 03 9651 2233 oldtreasurybuilding.org.au Sun to Fri 10am–4pm, (last entry 3.45pm).

The Old Treasury Building is widely regarded as one of the finest 19th century buildings in Melbourne.

Sitting at the top end of Collins Street in the Melbourne CBD, The Old Treasury building was designed by nineteenyear-old architect JJ Clark and built between 1858 and 1862.

2019 Cartoonist of the Year Jon Kudelka was commissioned to encapsulate the exhibition theme ‘The Greatest Hits Tour’ in the hero image, showing Prime Minister Scott Morrison rocking out on the roof of the federal tour van.

23 March–26 May Behind the Lines: The Year’s Best Political Cartoons 2019 Celebrating another year in Australia’s unique, vibrant and fearless tradition of political cartooning. No politician, party or policy is safe from the nation’s best cartoonists; witty, powerful or ribald, their images offer an astutely observed journey through twelve months in our political life.

24 June 2019—June 2021 Wayward Women?

This exhibition presents ten stories about individual women’s lives in the past.

All of the women could be described as ‘wayward’. Either intentionally, or through force of circumstance, they transgressed society’s rules in some way. Some prospered, but others paid dearly for their actions. The women and girls featured in this exhibition all lived in Victoria in the decade from 1894–1904. It was a time of great privation for many people, 137

ar t g ui d e .c o m . au Old Treasury Building continued... with the economy in deep depression and unemployment high. There was little in the way of government assistance for those in need and the charitable organisations that tried to help had scant resources.

Many were turned away.

It was also a time when women and men were judged by very different moral standards. While a man’s indiscretions might be ignored, even expected, ‘fallen women’ were often judged harshly, at least by officialdom. Pregnant unmarried women could expect little sympathy and little help. The result was both predictable and tragic—what historians now call ‘reproductive crime’ was extremely common.

OTOMYS CONTEMPORARY 567–569 Victoria Street, Abbotsford, VIC 3067 [Map 6] otomys.com Thur and Fri 10am–5pm, or by appt Mon–Wed 10am–5pm.

structure, spirituality, and ancient history, with a series of monotypes made during her residency at The Art Vault in Mildura.

These black and white prints were inspired by ten days at Lake Mungo, sitting, drawing and writing in solitude among the sand and mud pinnacles. The artist’s aim was to try and capture a sense of the time, spirit and energy of this ancient, powerful land. Experimenting with the space, form and thick black ink, Susan used tools, rags and brushes to wipe, draw and paint the images, trying to penetrate deeper in order to reflect some of the power of this sacred place.

Wayward Women? is presented by Old Treasury Building in partnership with the Public Record Office Victoria.

Old Quad Building 150, The University of Melbourne, Parkville Campus VIC 3010 [Map 5] about.unimelb.edu.au/old-quad Mon to Fri, 10am–4pm.

Phil Day, [...] remember long nights and easy mornings, 29 x 19 cm, lithograph, edition: 1/6. Printer: Sunshine Edition.

5 March—20 March Edited and Illustrated Phil Day

Meg Walters, Buttongras, 60 x 90 cm, oil on canvas.

14 March–16 April Australia Living Land Meg Walters, Harriet Goodall and Zak Tilley.

Group exhibition by emerging Australian artists .

Photographer Unknown, Bryan Dowling conducting MUCS at Tallebudgera campsite, Gold Coast, 1961. Collection of the Australian Intervarsity Choral Societies Association, Melbourne.

23 March–17 July Multivocal Curated by Dr. Heather Gaunt, Multivocal celebrates the creation, performance and experience of music at the University of Melbourne, past and present.

Showcasing the cultural collections of the University that focus on music in its many forms, the objects in the exhibition provide a platform for contemporary responses to a long history of musical activity in this place, in the form of new commissions and performance-based events. This exhibition ranges across a spectrum of engagement in music, including academically-driven formal musical education in performance, therapy, research and innovative compositional practice, to student-led musical societies, and encompassing musical traditions and contemporary practice across Indigenous and international music. Multivocal opens windows onto the great diversity of ways in which music has enriched the lives of people in the University community and beyond.

138

PG Printmaker Gallery 227 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 9417 7087 printmakergallery.com.au Mon by appointment, Tues to Fri 10am–6pm, Sat 10am–5pm.

Recently, Phil Day has turned his attention to literary broadsides: a sheet of paper with a short piece of writing accompanied with an image. For each broadside, Day has chosen and edited lines from writers he has come to cherish, these include, Cassandra Atherton, S. K. Kelen, Paul Hetherington, Xavier Hennekinne, and Julia Leigh; resulting in seven lithographs and one copper engraving. (Edited and Illustrated also includes Day’s recent artist book – Skelington – published by Greg Harrison). Lithographs printed by Adrian Kellett of Sunshine Editions, Engravings printed by Greg Harrison.

QDOS Fine Arts 35 Allenvale Road, Lorne, VIC 3232 [Map 1] 03 5289 1989 qdosarts.com Thurs to Mon 9am–5pm.

Susan Wald, Lake Mungo, Red Top II, black Ink on Hahnmuller Paper, 56 x 67.5 cm.

26 March—9 April Mungo Susan Wald Wald’s upcoming exhibition explores her response to Lake Mungo, the land, its

Carmel Wallace, Trio, 2008–2019.

VICTORIA 8 March—28 March High-Tide Carmel Wallace

together, its purpose is to showcase the individual method for which each artist is recognised and celebrated.

Created largely from fishing-gear amassed over many years of exploring the coastal environment of southwest Victoria, this selection of abstract sculptural and assemblage works is from a number of on-going series addressing issues relating to climate change and our use of resources.

Opening 5 April from 3pm.

Queenscliff Gallery & Workshop 81 Hesse Street, Queenscliff VIC 3225 [Map 1] 03 4202 0942 qgw.com.au Open 6 days, closed Tuesdays and between exhibitions.

ReadingRoom

Red Tree Gallery 420 Main Jindivick Road, Jindivick, VIC 3818 [Map 1] redtreegallery.com.au 03 5628 5224 Open daily 10am–4pm.

37 Swanston Street, Room 4, Level 6, The Nicholas Building, Melbourne, 3000 VIC [Map 2] 0424 627 751 areadingroom.com Weds to Sat, 12noon–5pm, and by appointment.

Wendy Twyerould, Through the Trees.

27 February—25 March True to Nature Wendy Twyerould 26 March—22 April Yvette Stubbs

Clare Longley, Green as in life, as in sick, as in envy, as in green thumb, 2019, oil on canvas, 177 x 155 cm.

Melinda Harper.

14 February–7 March Garden series with boundaries Clare Longley 14 March–9 April Vita Cochran, Violetta DelConte Race and Alana Wilson.

RMIT Gallery 344 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9925 1717 rmitgallery.com Like RMIT Gallery on Facebook.

Follow @RMIT Gallery on Twitter.

Admission free. Lift access.

Mon to Fri 11am–5pm, Thurs 11am–7pm, Sat noon–5pm.

Closed Sun and public holidays.

Adam Nudelman.

27 February–30 March Melinda Harper and Adam Nudelman One of Australia’s leading abstractionists, Melinda Harper continues her 30-year exploration of the relationship between colour and form.

For 25 years Adam Nudelman has been exploring the paradox of belonging in isolation through his cool, realist landscapes.

Opening 1 March from 3pm.

2 April–27 April Rick Amor, Philip Davey and David Moore.

Embracing companionship while engaged in a solitary pursuit is not unique in the world of art but, unlike many other artists, Rick Amor, Philip Davey and David Moore can measure their professional comradeship in decades. While this exhibition sees the three once more gathered

Darcey Bella Arnold, Ed-it con-tin-u-e, 2019, acrylic paint on canvas board, 125 x 95 cm.

30 April–23 May me say edit be Darcey Bella Arnold

Mike Gray, Batu Karas, from the series Corrupt, 2018, archival inkjet print .

Courtesy of the artist.

27 March–16 May The Image Looks Back 139

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

Sarah Scout Presents

In an era of post truth, fake news, and manipulated images, The Image Looks Back explores the reconfiguration of photography, asking how notions of visual truth and human experience are shaped by new technologies of vision. If the photograph has conventionally been understood as a record or memory of the world, what happens when the image looks back? Part of PHOTO 2020 International Festival of Photography.

1st Floor, 12 Collins Street, Melbourne, VIC 3000 [Map 2] 03 9654 4429 sarahscoutpresents.com Wed to Sat 12pm–5pm.

Directors: Kate Barber and Vikki McInnes.

14 September 2019—15 March The Boyd Family: A Legacy of Pottery A SAM curated exhibition showcasing many of the over 140 ceramic works by the extended Boyd family from SAM’s own Collection.

Jacqueline Felstead, Joan Fontcuberta, Forensic Architecture, Generative Photography (Adam Brown, Tabea Iseli, Alan Warburton), Mike Gray, Joe Hamilton, Thomas Hirschhorn, Rhonda Holberton, Fei Jun, Amalia Lindo, Rosa Menkman, Tyler Payne, Queertech.io, Joachim Schmid and Winnie Soon. Curated by Alison Bennett, Shane Hulbert, Rebecca Najdowski and Daniel Palmer.

Public Programs: Thursday 26 March, 6–8 pm. Exhibition opening Friday 27 March, 12.30–1.30 pm. Curators floor talk Thursday 2 April, 2–4 pm. Remix Culture: Photoshop like your life depended on it (Workshop for Year 10–12 students–limited numbers) with Alison Bennett & Xanthe Dobbie Friday 24 April 10 am–6.30 pm.

Truth, Power, Image: Photography in the post-internet age, Symposium at The Capitol ($10–$30) Saturday 9 May 2–3 pm.

Panel discussion What happens when the image looks back?, State Library Victoria Saturday 9 May 3.15–4 pm RMIT Gallery guided exhibition tour with curators.

Greg Creek, Refuge-Guernsey, 2020, acrylic, oil on cut canvas, 198.5 x 198.5 cm.

11 March–11 April Paintings Greg Creek Friday 13 March, 6pm–8pm Remie Cibis Performance (VAMFF)

Margaret Preston, Magnolias, not dated, woodcut print. Shepparton Art Museum collection, Sir Andrew Fairley Bequest, 1975.

18 May 2019—25 October A Finer Grain: Selected Works from the SAM Collection This exhibition presents key and lesserknown works by Australian women artists from the Shepparton Art Museum (SAM) collection.

RMIT PROJECT SPACE / SPARE ROOM RMIT Building 94.2, 23–27 Cardigan Street, Carlton, VIC 3053 [Map 5] 03 9925 4971 intersect.rmit.edu.au Free entry, wheelchair access.

Wed to Fri 10am-5pm, Sat 12noon–4pm.

Emily Ferretti. Photo by Amina Barolli.

1 November 2019—25 March Drawing Wall #37: Emily Ferretti

Kiron Robinson, Tip, Drain, 2019, inkjet prints, aluminium, mirrored dibond, Tasmanian oak, 66 x 47 x 10 cm.

23 April–6 June Not For The Sake Of Something More Janina Green, Tori Lill, Ali McCann, Sanja Pahoki, Aaron Christopher Rees, Kiron Robinson and Emanuel Rodriguez Curated by Kiron Robinson. Part of PHOTO 2020 Festival.

Shepparton Art Museum Paul Yore, It’s All Wrong, But It’s Alright, 2019, installation view at Dark Temple Gallery, Hobart as part of Dark Mofo.

Photographer: Remi Chauvin.

13 March–10 April Pleasures Against Nature Paul Yore 140

70 Welsford Street, Shepparton, VIC 3630 [Map 1] 03 5832 9861 sheppartonartmuseum.com.au Director: Dr Rebecca Coates.

Daily 10am–4pm, public holidays 1pm–4pm. Free entry.

Melbourne based painter Emily Ferretti will be the 37th artist to take on SAM’s drawing wall – an ongoing series of commissioned, temporary wall-based drawings enlivening the foyer space of Riverlinks Eastbank.

7 February—3 May Showcase #25: Sandra Bowkett Bowkett will present a collection of ceramic vessels that explore and make visible the energy of wood-firing on earth materials. As with all SAM showcase exhibitions, Sandra’s pieces are available for purchase during the exhibition dates.

13 March—3 May SAM Local: Best of Friends An open access exhibition and it’s purpose is to open a window onto the creative practice of many artists working in a range of media in the Goulburn Valley.

3 April—27 May Drawing Wall #38: Troy Firebrace An ongoing series of commissioned, temporary wall-based murals, enlivening the foyer space at the entrance to SAM.

VICTORIA

Sofitel Melbourne on Collins 25 Collins Street, Melbourne, 3000 [Map 2] 03 9653 0000 sofitel-melbourne.com Mon to Sun, 24 hours.

5 February—1 April Sofi’s Lounge, Level 1: Framework Sadie Chandler 3 April—29 June Sofi’s, Level 1: Resolution Belinda Reid 3 April—29 June Lobby, Level 1: Holding Time Mali Indigo 1 February—29 April Atrium Gallery, Level 35: Dreams with Open Eyes Max Pollard

State Library Victoria 328 Swanston Street, Melbourne VIC 3000 [Map 2] 03 8664 7000 slv.vic.gov.au

Feuillets d’Art [Art Leaves], no. 1 (Paris, Condé Nast, October–November 1921), Rare Books Collection, State Library Victoria. the history of book design, production and illustration from the Middle Ages to today. See rare medieval manuscripts and sacred texts, magnificent natural history and botanical illustration, stunning modern artist books and fine press editions, as well as pioneering Australian classics, children’s books, graphic novels and comics.

28 March—March 2021 Changing Face of Victoria Discover the people, places and events that have shaped Victoria. Encounter explorers, gain insights into life on the goldfields, and explore life in Victoria in the 20th and 21st centuries from Bells Beach to Black Saturday.

Deborah Klein, Vortex, acrylic on linen, 2019, 40.5 x 30.5 cm.

15 April–2 May Backstory Deborah Klein

Stockroom Kyneton 98 Piper Street, Kyneton, VIC 3444 [Map 4] 03 5422 3215 stockroom.space Thurs and Fri 10.30am–5pm, Sat 11am–6pm, Sun 11am–5pm.

Closed Mon, Tues and Wed.

1 December 2018—April Peter Wille: Out Driving Explore the work of amateur photographer and architectural draftsman, Peter Wille, who amassed a collection of more than 6000 colour photographs of Melbourne’s architectural wonders throughout the 1950s and 1960s. The exhibition includes works that capture a period of experimental design, from the austerity measures of post-World War II to the height of modernism.

Costume made for centenary of Victoria celebrations. Photograph by Broothorn Studios, 1935. State Library Victoria, MS 13268.

25 October 2019—12 July Velvet, Iron, Ashes Discover surprising connections between extraordinary people, events and icons from Victoria’s history. Connect 1930s fashion to fairy floss and Ned Kelly’s armour to Freddo Frog. Showcasing more than 200 treasures from the Library’s collection, this captivating exhibition opens up a new way of seeing our history and reveals as never before how our stories intersect.

16 November 2019—October World of the Book Explore a world of ideas and imagination in this one-of-a-kind exhibition showcasing

Stephen McLaughlan Gallery Level 8, Room 16, Nicholas Building, 37 Swanston Street, Melbourne, VIC 3000 [Map 2] 0407 317 323 stephenmclaughlangallery.com.au Wed to Fri 1pm–5pm, Sat 11am– 5pm and by appointment.

26 February–14 March Bruce Armstrong 18 March–11 April A False Baroque Helen Smith Presented by Gallery There.

Alichia van Rhijn, The Red Queen #2, 2019, Stoneware, earthenware, oxides, felt, timber, acrylic paint, 27 x 15 x 12 cm.

8 February—8 March Scene Afar Greg Wood 8 February—8 March Finding the edge in painting Joel Gailer 8 February—8 March After Them: Scenes from a Rehearsal Freya Pitt 141

Sofi’s Lounge, Level 1

Sadie Chandler Framework 5 February—1 April

Sadie Chandler is a Melbourne based artist who has exhibited her work widely throughout Australia and overseas. Her work has played an important part in the contemporary art scenes of Sydney and Melbourne for more than twenty years and is represented in major public, private and corporate collections.

The Framework series exhibited at Sofitel Melbourne On Collins is an installation of wallpaper (as seen in the archway) and paintings sketched in ink on paper in Sofi's Lounge. The images cover the walls and archway of the Sofitel foyer to become a framework for memories of all the art works from all the museums at once — a massive and immersive collection and experience on walking in to the hotel.

Sadie Chandler, Draft for Recollection, 2019, Ink and acrylic on paper, 200 x 150 cm.

Sofitel Melbourne On Collins The exhibition programme at Sofitel Melbourne On Collins is managed

by Global Art Projects. www.gap.net.au. @globalartprojectsmelbourne.

25 Collins St Melbourne 3000

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

WORK FROM TOP LEFT: MELINDA HARPER, ADAM NUDELMAN, RICK AMOR, PHILIP DAVEY & DAVID MOORE

FEB 27 – MAR 30 MELINDA HARPER / ADAM NUDELMAN | APR 2 – 27 RICK AMOR / PHILIP DAVEY / DAVID MOORE 81 HESSE STREET QUEENSCLIFF VIC 3225 GALLERY@QGW.COM.AU 03 4202 0942 142

qgw.com.au

VICTORIA Stockroom Gallery continued...

8 February—8 March Ground Vanessa Lucas and Courtney King 14 March—5 April The clouds have died Laura Carthew Hear Us Roar Cecilia Fogelberg My Mother Told Me (Never Wear Pink and Red Together) Alichia van Rhijn It is a lover who speaks and who says Tess Landells

30 January–5 March Akio Suzuki – Retrospective Exhibition and Performance with Aki Onda and Guests Suzuki’s compositions are at once playfully irreverent and deeply meditative, provoking his listeners to reconsider their relationships with space and time. For Asia TOPA 2020, The SUBSTATION hosts a retrospective exhibition of work from across his vast career, as well as a series of performances, including his lauded duet work with fellow Japanese sound artist AKI ONDA. Akio Suzuki is part of the SUBSONIC program curated for Asia TOPA by The SUBSTATION. Presented

by The SUBSTATION in association with Room40.

Photo by Comatonse Recordings.

12 March –17 April Survey Exhibition With Performances of Lovebomb and Soulnessless: Cantos I-IV Terre Thaemlitz

Lucy Foster, rotten sun, 2020, video still.

11 April—3 May Silent Raptures Artist Names: Belle Bassin, Jeremy Bakker, Adam Boyd, Mel Dixon, Lucy Foster and Jasper Jacobson. Curated by Angela Connor.

Award-winning multimedia artist, writer, public speaker, educator and record label boss Terre Thaemlitz takes over The SUBSTATION with her uncompromising, confronting and intellectually ignited work.

Thaemlitz’s ouvre resists easy categorisation, spanning the musical spectrum from deep house to neo-expressionist piano solos, glitch to ambient. Presented by The SUBSTATION in association with Room40.

Thursday 12 March, 8pm Performance 1 — Lovebomb Friday 13 March, 8pm Performance 2 — Soulnessless: Cantos I-IV

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

Nicholas Mangan, detail of Termite Economies (endocast), 2019, bronze, steel and ply table and custom lighting, 42 x 37 x 35 cm (bronze only). Photo: Bo Wong.

7 March–4 April Nicholas Mangan Peter Robinson 18 April–16 May David Rosetzky Official PHOTO 2020 Exhibition.

Simon Terrill Official PHOTO 2020 Exhibition.

Swan Hill Regional Art Gallery Horseshoe Bend, Swan Hill, VIC 3585 [Map 1] 03 5036 2430 gallery.swanhill.vic.gov.au Tue to Fri 10am–5pm, Sat and Sun 10am–4pm.

The SUBSTATION 1 Market Street, Newport, VIC 3015 [Map 4] 03 9391 1110 thesubstation.org.au Tue to Sat 11am–5pm.

The SUBSTATION presents an annual curated program of creative development, residencies and presentation.

Engaging with artists from across artistic disciplines, working in non-traditional modes and across art-forms, The SUBSTATION provides the opportunity for artists and audiences to connect with our unique space and the distinctive location of Newport. Reflecting the broader history of Melbourne’s inner west, we encourage artists to engage with our post-industrial space where we foster a culture of interconnectedness, collaboration and independence, and where we value new ideas, imagination and difference.

Amos Gebhardt, Salt #2, Evanescence, detail. 2018. Courtesy of the artist.

23 April–5 June Spooky Action (At A Distance) Amos Gebhardt Gebhardt’s large-scale moving image installations bring a cinematic force to the genre of photography showcasing collaborations with performers, choreographers and sound artists including Melanie Lane, Oren Ambarchi and Jo Lloyd. Presented by The SUBSTATION and PHOTO 2020.

Rhyll Plant, Cod Piece, 2001, wood engraving, 86 x 95 cm.

6 March—10 May Flood Plain Ian Abdullah, Narelle Autio, Nici Cumpston, Suzanne Connelly-Klidomitis, John Davis, Bonita Ely, David Freedman, Thomas Henty, Kenneth Jack , James Trevor, Wendy McDonald , Marilyne Nicholls, Rhyll Plant, George Rathbone, Wouter Van de Voorde and Wayne Viney.

143

VICTORIA Swan Hill Regional Gallery continued...

For many thousands of years the Murray Darling Basin and this region‘s rivers, tributaries, creeks, billabongs and lakes have provided sustenance for grasslands, forests, native wildlife, birdlife, and people.

An eclectic collection of works that will touch on the many ways that generations of families and individuals engage with the waterways and country of this region, through occupation, culture and recreation. It will also touch on the impact of this engagement with the environment and society.

A new appraisal of the work of women artists held in the collection of TarraWarra Museum of Art. Opening up a nuanced dialogue about image and mark-making, the exhibition explores themes arising from works by women artists—such as personal expressionism, nature and abstraction—and then includes a selection of works by male artists which amplify these images, ideas and styles. Artists include Kate Beynon, Melinda Harper, Louise Hearman, Emily Kame Kngwarreye and Jenny Watson.

Tinning Street Presents 5/29 Tinning Street, Brunswick, VIC 3056 (enter via Ilhan Lane) [Map 5] tinningstreetpresents.com Thur to Sun, 11am–5pm.

Ten Cubed TarraWarra Museum of Art 313 Healesville–Yarra Glen Road, Healesville, VIC 3777 [Map 4] 03 5957 3100 twma.com.au For public programs and events please visit twma.com.au.

Open Tue to Sun, 11am-5pm Admission fees: Adults $10, Seniors $8 and Concession $5.

Free entry for children aged 12 and under.

TarraWarra Museum of Art Limited was established as a company limited by guarantee in October 2000. It is the first privately funded, significant public visual arts museum to be set up under the Australian Government’s philanthropic measures announced in March 1999.

TWMA operates as a not-for-profit institution, with a charter to display Australian art from the second half of the twentieth century to the present day.

1489 Malvern Road, Glen Iris, VIC 3146 [Map 4] 03 9822 0833 tencubed.com.au Tue to Sat 10am–4pm.

Entry free.

10 March–4 April The Symphony of Collection 3: Departure David Rosetzky, Pat Brassington, Clare Milledge, Alasdair Mcluckie, Cyrus Tang and Michael Cook.

To celebrate ten fabulous years of collecting, Ten Cubed presents The Symphony of Collection, a series of five exhibitions that brings together artworks in the Ten Cubed Collection. Viewing the act of collecting as an accumulative journey, each exhibition will be presented metaphorically as a ‘movement’.

Departure is the third movement of The Symphony of Collection which looks at the starting point of many journeys taken by the artists in exploring and expressing their identity in relation to the society.

Touching upon concepts of anomie, alienation, standardization, identity and self-analysis, this exhibition offers a discussion to see how our body physically and psychologically relates to these issues in a post-modern society and how are they reflected in the arts.

Amaya Iturri, Atlas’ Laundry, 2018, acrylic on canvas, 120 x 200 cm.

5 March—22 March Tira del Hilo / Pull the Thread Amaya Iturri Fashion is embedded in our social and political world, implicating us all in issues of identity and ethical practice. I take fashion’s aesthetics and lexicon to comment on a range of subjects that are of my concern: mass production, environmental impact, ethical issues concerning human resources and animal treatment.

5 March—22 March Obscene Anthology Samantha Clark The penultimate chapter in her series ‘Performing Fetishism’, Samantha Clark presents a series of objects and garments that explore the inherently tactile expressions of material fetishes.

Melinda Harper, Untitled, 2002, oil on canvas, 182.7 x 151.8 cm. TarraWarra Museum of Art collection, Gift of Eva Besen AO and Marc Besen AO, Donated through the Australian Government’s Cultural Gifts Program 2012. Image courtesy of the artist and Sutton Gallery.

Until 16 April Making Her Mark: Selected Works from the Collection

Jonathan Delafield Cook, Murray Grey, 2011, charcoal on primed linen, 190 x 295 cm. Image courtesy of the artist and Rex Irwin Gallery.

14 April–9 May The Symphony of Collection 4: Planet A David Wadelton, Lisa Roet, Michael Cook, Noel McKenna, Nicholas Folland, Rosemary Laing and Jonathan Delafield Cook.

Doug Kirwan, Embroidered Insect, 2019, acrylic on canvas, 183 x 91 cm.

26 March—12 April Pattern and Ornament Doug Kirwan This body of works consists of paintings showing how natural forms have been transformed into the stylized motifs often found in lace. The sources of these images 145

ar t g ui d e .c o m . au Tinning Street continued... are varied, maybe Chantilly lace, the design from a table cloth or even a strange insect that sparks a series of transformative possibilities.

26 March—12 April LOOM Hope Lumsden-Barry

pant artists’ works are linked with things outside of themselves and their studios.

Many celebrate the sense of belonging that comes from working with other artists, while others take on wide-ranging issues, such as the landscape and the environment, and the artist’s place in a world beset by environmental, social and cultural upheaval.

LOOM is an ongoing series of ‘weavings’ created using python code. Presented as prints, LOOM explores the dematerialisation of making.

16 April—3 May Two Lines and Three Blocks Geoff Hogg, Nick Blackmore, Alasdair McKinnon and Paul Candy

An Endless Succession of Monsters is a set of drawings that take their impetus from the moment of realisation when a system or language allows its own inner working to embrace the inevitable flaws created by itself; or not.

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

8 February—7 March Ben Quilty

This group exhibition showcases the works of four artists who use painting as their preferred medium for creating art.

Each artist approaches paint application in a unique way, using drawing, composition, brushstrokes and pigment to create a variety of outcomes. Interplay features artworks created in both representational and abstract styles and traverses a broad range of subject matter.

17 March—12 April Untitled Swinburne Senior Secondary College

Beginning in Cuba, around the famous Hershey train line, this exhibition focuses on Melbourne’s Upfield Line and asks: How can the character of the railway line, its communities and the experience of the journey help us understand and contribute to expanded sites of social engagement, dialogue, and creativity?

16 April—3 May An Endless Succession of Monsters Adam Boyd

18 February—15 March Interplay Marina Floreancig, Cassandra Mastoris, Wirat Sukprem and Caroline Thew.

James Tylor, Economics of water #1 (Flood), 2018, photographic print with gold paint, 100 x 100 cm. Image courtesy of the artist and Vivien Anderson Gallery.

21 March—10 May You Are Here Duha Ali and Justine Youssef, Ophelia Bakowski, Miriam Charlie, Club Ate (Bhenji Ra and Justin Shoulder) in collaboration with Tristan Jallah, Nici Cumpston, Tammy Law, James Tylor and Anne Zahalka.

Expanding on the longstanding tradition of landscape photography, this exhibition centres each of the artists’ connection and disconnection to country. The works deconstruct how we occupy the land; exploring ideas of home and identity within the environment informed by cultural, personal and historical narratives.

Town Hall Gallery – Community Exhibitions:

An exhibition of new paintings.

The artistic talent of Year 11 and 12 visual art and design students from Swinburne Senior Secondary College will be showcased in Untitled. Featuring a broad range of mediums, including photography, printmaking, drawing, painting, design and time-based media, Untitled celebrates the emerging practice of the young adults studying in Boroondara.

15 April—10 May Nature in Art Canterbury Neighbourhood Centre Experience the stunning detail of natural history painting in this exhibition from the students of Canterbury Neighbourhood Centre’s ‘Nature in Art’ classes. Created through a many-layered process of complex drawings, magnification and dissection, the works on display are detailed and acutely observed, offering an authentic window to the natural world.

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

12 March—28 March Exquisite Corpse / Cadavre Exquis A&A 4 April—9 May Tachisme Justine Varga

Town Hall Gallery 360 Burwood Road, Hawthorn, VIC 3122 [Map 4] 03 9278 4770 boroondara.vic.gov.au/arts Mon to Fri 10am–5pm, Sat and Sun 11am-4pm, closed public holidays.

1 February—15 March Open House: 3rd Tamworth Textile Triennial GhostNets Australia, Raquel Ormella and John Brooks, among others.

Open House: Tamworth Textile Triennial celebrates the open-ended nature of textiles practice today. All of the partici146

Keith Stevens, Piltati, 2019, synthetic polymer paint on canvas, 200 x 200 cm.

12 February–7 March Piltati Keith Stevens Lily Walzl-Hearity, detail from Untitled, 2019, scanned digital ink jet print from solarised silver gelatin print, 8 x 10cm.

Image courtesy of the artist and Swinburne Senior Secondary College.

11 March—5 April The Women’s Show Our annual exhibition of paintings and sculpture by leading and emerging Australian Indigenous women artists in

VICTORIA 19 February–3 March From this Moment

26 March–30 March Chris Pelchen

An exhibition of recent works by Angela Abbott, Maggie Cowling, Margaret Cowling and Jennifer Fyfe.

Landscape paintings by Chris Pelchen inspired by his recent travels to Africa.

6 March–23 March VAS George Hicks Foundation Contemporary Exhibition.

This vibrant exhibition features over 140 contemporary paintings and digital works created by Victorian Artists Society members. The Contemporary Art Award is a $5,000 non-acquisitive prize.

Opening night and awards function Tuesday 10 March, 7pm.

1 March–31 March Nature Abstracted Robyn Pridham Beryl Jimmy, Nyangatja Watarru, 2019, synthetic polymer paint on canvas, 200 x 168 cm. celebration of their continuing contribution to Australian and international arts and culture.

The Victorian Artists Society 430 Albert Street, East Melbourne, VIC 3002 [Map 5] 03 9662 1484 victorianartistssociety.com.au Mon to Fri 10am–4pm, Sat to Sun 1pm–4pm. Free entry.

Walker Street Gallery and Arts Centre Corner of Walker and Robinson Streets, Dandenong, VIC [Map 4] 03 9706 8441 greaterdandenong.com Tue to Fri, 11am–5pm and Sat, 11am–3pm during exhibitions and events (closed public holidays).

Oils and mixed media works.

5 March–16 March Kristan Oud Landscape paintings by Kristan Oud. 19 March–30 March Protean Vistas Pauline Mathrick Pauline’s sensuous landscapes articulated in oils and arcylics.

26 March–30 March Eleven Judith A. Leman Exhibition of eleven bronze sculptures to pay tribute to the vital role played by our Australian Horses in World War One 1914–1918.

Tiffany Parbs, bake, 2008, sunburn, giclee print, 330 x 470 x 35 mm.

Photography by Terence Bogue.

27 February—4 April SHE

The Victorian Artists Society → David Kaneen, Backyard view, oil.

147

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

Wyndham Art Gallery

Deanne Gilson, Alana Hunt, Vonda Keji, Lily Mae Martin, Kumantjayi Nangala, Tiffany Parbs, Nyaruot Ruth Ruach and Tai Snaith

177 Watton Street, Werribee, VIC 3030 [Map 1] 03 8734 6021 wyndham.vic.gov.au/arts Mon to Fri 9am–5pm, Sat to Sun 11am–4pm. Free admission.

SHE features and celebrates the works of female Australian artists. In this exhibition, set to coincide with International Women’s Day, eight artists from across Australia explore the responsibilities, challenges and joys that come with being a female artist in Australia.

To support the exhibition, the gallery has programmed a series of events and workshops for people to engage further with the works and artists.

For young art fans and families, Walker Street Gallery presents SHE Reads, a free series of storytime sessions and activities at the gallery, facilitated by some of Melbourne’s best female authors – Tuesdays at 11am, 3–24 March.

Wangaratta Art Gallery 56 Ovens Street, Wangaratta, VIC 3677 [Map 1] 03 5722 0865 wangarattaartgallery.com.au Wangaratta Art Gallery is a cultural service of the Rural City of Wangaratta. Tue to Sun 10am–4pm.

Established in 1987 the Rural City of Wangaratta’s unique regional art gallery is housed in a striking heritage building located in the arts precinct, a short walk from the CBD. The Gallery collects textile art, small sculpture, wood, and significant works of art from, and about the north east of Victoria region. It also collects works of art by state and national artists of significance.

29 January—25 March WPACC Foyer Gallery: NAT ORD: RISE! Rise! surveys ten inspirational and forging women, through portrait and story, from our local North East and Border Murray region. Standing tall in vast and varied fields from community service and environment to sport and entertainment, these women have pushed boundaries and paved ways in their quest for voice, recognition and success.

Nat Ord is a local photographer who captures her passions for the environment, place and personal stories, through her self-directed photographic practice.

29 February—5 April Gallery 2: Maker’s Hand: Tricia Flanagan An exclusive showing of Maker’s Hand from artist Tricia Flanagan, this exhibition has never been shown to Australian audiences. A combination of two projects, Flanagan explores the increasingly digitised manufacturing of manual skills and traditional crafts. It invites viewers to pause for reflection, to consider the risks of what might be lost to future generations who are in danger of losing touch with the process of making by hand.

148

Tony Albert, David C Collins and Renisha Ward-Yates, Warakurna Superheroes #3, 2017, archival pigment print on paper, 100 x 150 cm, edition of 3 plus 2 artist’s proofs. Courtesy of the artist and Sullivan & Strumph, Sydney.

22 February—9 April Gallery 1: The Fun Room Tony Albert, Glenn Barkley, Barbara Cleveland, Christina Darras, Ben Frost, Hannah Gartside, Louise Meuwissen, Ariel Ruby.

Our exhibition program is curated to reflect the diverse social and cultural character of Wyndham and invites the viewer to explore new and challenging ideas. We will explore the past, present and future, generational change and intergenerational dialogue from the perspective of a place in constant change.

The Fun Room presents a selection of contemporary practicing Australian artists who create provoking works with a presence of fun. The show is a collection of vibrant contemporary artworks in varied media that initially appear as light hearted, colourful and dynamic works. But, in fact, the artists are often investigating deeper running themes of concern.

Whitehorse Artspace Box Hill Town Hall, 1022 Whitehorse Road, Box Hill, VIC 3128 [Map 4] 03 9262 6250 whitehorseartspace.com.au Tue to Fri 10am–4pm, Sat noon–4pm.

Mary Tonkin Ramble, Kalorama 2017–2019, detail, oil on linen, 21 panels, 180 x 1890 cm.© the artist and courtesy Australian Galleries, Melbourne.

5 March–18 April Ramble Mary Tonkin Bringing together three images; Plunge in, Kalorama 2019, a sensuous response to the memory of swimming; Madre, Kalorama 2008, the embracing form of a single monumental tree; and Ramble, Kalorama 2017–19, an immersive wall painting that is the culmination of ten years of working around the problem of how to convey the somewhat episodic nature of looking, the manner in which the nature of the spaces experienced unfolds over time. All three images were created en plein air in the bush.

Peter Waples Crowe, Self Portrait – ngurran, mixed media on canvas.

6 February–8 March OUT IS OUT Elders, olders and young Queer mob in dialogue about freedom, self and expression. OUT IS OUT examines the generation gap in Queer politics, exhibiting work by people who paved the way for LGBTIQ self-expression and freedom and a new generation of activists; young Queer mob who challenge gender identifying language and norms. Featuring artists Alison Bennett, Susan Maco Forrester, David Sequeira, Peter Waples-Crowe with invited guests Jemi Gale, Anj Odessa, Lee Stain and Nicholas Mullaly.

19 March–19 April REVEAL A peek at our City’s treasures; past, present and future.

REVEAL explores the City’s changing identity through a presentation of the historical, civic and contemporary art collections of Wyndham City. Wyndham City’s Collection has grown over the past 10 years as we have started to collect contemporary art to add to a small collection of heritage paintings and civic collections.

A City’s collection offers insight into the identity of a place, and this exhibition will consider the fast pace of change in our city as we develop our reputation as a cultural place. Works by celebrated Australian artists such as Mirka Mora and Michael Cook will hang alongside photographs and sculptures by emerging local artists as well as paintings of our town from days gone by and objects gifted to the City. Opening event, Thursday 19 March.

VICTORIA

Wyndham Art Gallery → Michael Cook, Giant Birds (Invasion series), inkjet print.

Yering Station Art Gallery

53rd Bass Coast Artists Society Easter Exhibition

38 Melba Highway, Yarra Glen, 3775 [Map 4] 03 9730 0102 yering.com Mon to Fri 10am–5pm, Sat and Sun 10am–6pm.

10 April to 19 April

Opening Good Friday at 6pm

Wonthaggi Town Hall

Dennis Leversha.

Antonio Villella, Fossil, fruitwood, paint, shellac, 140 x 50 cm.

19 February–29 March Harmonious Equilibriums Antonio Villella

Adrian Johnson.

Seeking entries from Victorian artists, further information: basscoastartists.org.au/bcas Best in Show prize $1,000 plus entry to win additional $5,000 Acquisitive Prize + 4 other prizes at $500 each.

149

A–Z Exhibitions

MARCH/APRIL 2020

New South Wales

Trafalgar Street, Soudan Lane,

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

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

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

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

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

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

Old South Head Road

NEW S OUTH WALES

16albermarle 16 Albermarle Street, Newtown, NSW 2017 [Map 7] 02 9550 4180 or 0433 020 237 16albermarle.com Thu to Sat 11am–6pm by appointment only.

16albermarle is a project space showcasing a range of international and Australian art within a domestic space in inner-city Sydney.

Ocean. Wansolwara—a pidgin word from the Solomon Islands meaning ‘one-saltwater’ or ‘one ocean, one people’—reflects not a single ocean, but rather a connected waterscape that holds distinct and diverse cultures and communities. Through art, performance and conversation, the project celebrates the depth and diversity of contemporary visual and material culture throughout these regions, placing customary practices alongside contemporary articulations in art, writing and the moving image.

Emily Parsons-Lord, To Join Us You Must Lose Yours, 2017, high definition digital video, 5:06 mins.

23 April–26 June Artwork Artwork brings together a diverse range of Indigenous and non-indigenous contemporary artists who excavate our societal relationship between art and traditional notions of labour. Curated by Sabrina Baker and Anja Loughhead, Artwork is an outcome of Artbank’s emerging curators program.

Zadie Xa, Child of Magohalmi and the Echos of Creation, live performance as part of Art Night London 2019, devised with and performed by Iris Chan, Jia-Yu Corti, Mary Feliciano, Jihye Kim and Yumino Seki, percussion: Jihye Kim, choreographed by Jia-Yu Corti and Yumino Seki; photograph by Matt Rowe.

Artereal 747 Darling Street, Rozelle , NSW 2039 [Map 7] 02 9818 7473 artereal.com.au Wed to Sat 11am–5pm.

16 April–7 June I am a heart beating in the world Diaspora Pavilion 2, Sydney.

Abdul-Rahman Abdullah, Kashif Nadim Chaudry, Lindy Lee, Leyla Stevens, Zadie Xa and Daniela Yohannes.

Dias Prabu, Dignity behind the sunlight, 2019, batik on silk, 200 x 100 cm.

29 February–28 March 16albermarle and KULTURA Projects present: Myth lines and Memories: new batiks by Dias Prabu

4A Centre for Contemporary Asian Art 181–187 Hay Street, Sydney, NSW 2000 [Map 9] 02 9212 0380 4a.com.au Tue to Fri 11am–5pm, Sat to Sun 11am–4pm, Thurs nights open until 8pm.

17 January–29 March Wansolwara: One Salt Water Exhibited across both 4A (17 January– 29 March) and UNSW Galleries (17 January–18 April).

Exhibiting artists at 4A: Terry Faleono, Rebecca Ann Hobbs, Paula Schaafhausen and Vaimaila Urale. A series of exhibitions, performances and events from across the Pacific and throughout the Great

Artbank 222 Young Street, Waterloo, NSW 2017 [Map 8] 02 9697 6000 artbank.gov.au Showroom: Mon to Fri 9am–5pm Art leasing: Mon to Fri 9am–5pm by appointment.

5 March–27 March With thunder-stroke and rain Noŋgirrŋa Marawili, Roy Ananda, Bininuwuy, Tony Curran, Marley Dawson, Mira Gojak, Newell Harry, Tina Havelock Stevens, Louise Hearman, George Howlett, Lisa Jones, Peter Mondjingu, Joyita Namulu and Anne Neil.

This exhibition centres around artistic expressions of lightning. Lightning is a particularly rich motif that is present in many historical times and cultures. The centrepiece of the exhibition is a diptych

by Noŋgirrŋa Marawili entitled Baratjala, a place connected to the sacred lightning snake. These works were acquired by Artbank in 2019 and represent lightning as a generative yet violent force. The gallery is transformed into a theatrical space of clouds, flashes, and thunder rolls. It provides an experience, through Australian contemporary art, of the power of nature and the inspirational spark of creativity.

Anna Carey, Faraway, 2019, image detail.

4 March—28 March Faraway Anna Carey As part of Art Month Sydney.

1 April—2 May Speculative Alchemy Group Exhibition

Art Gallery of New South Wales Art Gallery Road, The Domain, Sydney, NSW 2000 [Map 8] 02 9225 1700 artgallery.nsw.gov.au Daily 10am–5pm. Late closing every Wednesday until 10pm.

Until 26 April ARTEXPRESS 2020 This popular exhibition features a selection of outstanding student artworks developed for the artmaking component of the HSC examination in Visual Arts 2019.

151

ar t g ui d e .c o m . au Art Gallery of NSW continued...

Until 17 May Shadow catchers Drawn from the Gallery’s collection, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.

14 March– 8 June NIRIN: Biennale of Sydney 2020 The 22nd Biennale of Sydney is an expansive artist- and First Nations-led exhibition of contemporary art that connects local communities and global networks.

Timothy Cook, Kulama, 2009, Art Gallery of New South Wales. © Timothy Cook.

21 March–20 September Under the stars This exhibition presents multiple approaches to stargazing from Indigenous and non-Indigenous artists, highlighting our shared understandings of the night sky.

28 March–21 June John Brack: the austere everyday A collection focus exhibition on this painter of modern urban life. John Brack (1920−99) is an artist of singular originality, his work often bearing witness to the depersonalisation of ritual.

Curated by Gallery director Michael Brand, Some mysterious process presents 50 years of collecting international contemporary art at the Gallery and looks at how a collection evolves through curation and philanthropy.

14 March–8 June NIRIN: Biennale of Sydney 2020 The 22nd Biennale of Sydney is an expansive artist- and First Nations-led exhibition of contemporary art that connects local communities and global networks.

Arthouse Gallery 66 McLachlan Avenue, Rushcutters Bay NSW 2011 [Map 10] 02 9332 1019 arthousegallery.com.au

The Australian Centre for Photography 21 Foley Street, Darlinghurst, NSW 2010 [Map 9] 02 9332 0555 acp.org.au Tue to Fri 10am–5pm, Sat 11am– 4pm, closed pub hols.

Katherine Hattam, Private myths, dreams and dreaming, mixed media on paper, 165 x 128 cm (framed).

6 March–28 March The Landscape of Language Katherine Hattam

Artsite Galleries 165 Salisbury Road, Corner St Marys Street, Camperdown, NSW 2050 02 8095 9678 [Map 7] artsite.com.au Wed to Sun 11am–5pm during exhibitions, or by appointment.

With a strong curatorial approach to current contemporary visual arts practice, Artsite’s diverse and innovative exhibition program places a strong focus on local emerging and early to mid-career artists. Housed in a classic 1940 art deco warehouse, Artsite Galleries offers two large purpose designed, well-lit exhibition galleries , plus a browsing stockroom gallery of selected work from our represented and associate artists.

Martine Gutierrez, Body En Thrall, p.113 from Indigenous woman series, 2018.

Courtesy of the Artist and Ryan Lee Gallery, New York.

7 February–24 April ACP Project Space Gallery: Body En Thrall Martine Gutierrez

Cherine Fahd, #2 from the Camera Gun series, 2019. Courtesy of the artist.

23 April–10 May

Dana Schutz, Breastfeeding, 2015, Art Gallery of New South Wales. © Dana Schutz.

18 April–16 August Some mysterious process: 50 years of collecting international art 152

Artspace

ACP at PHOTO2020, Melbourne Cherine Fahd

43–51 Cowper Wharf Road, Woolloomooloo, NSW 2011 02 9356 0555 [Map 8] artspace.org.au Tue to Fri 11am–5pm, Sat and Sun 11am–6pm.

Centre for Contemporary Photography; Monash Gallery of Art; The Substation; RMIT; Heide Museum of Modern Art; Bus Projects; Linden New Art Gallery; Geelong Gallery; La Trobe Art Institute; Ballarat Art Gallery; Bendigo Art Gallery; Horsham Regional Gallery.

NEW S OUTH WALES features sculptures that repurpose ceiling fans, fluorescent tubes, and overhead projectors. Propelled by electricity and their own kinetic forces, Manning’s work engulfs the entirety of the spaces they exist in, capturing viewers in mesmerising experiences with light and sound.

Art Space on The Concourse 409 Victoria Avenue, Chatswood, NSW 2067 [Map 7] 0401 638 501 willoughby.nsw.gov.au/whats-on/ visual-arts Wed to Fri, 11am–5pm, Sat & Sun, 11am–4pm.

Spanning the past decade of Manning’s practice, Dissonant Rhythms was originally presented at the Institute of Modern Art (IMA) and has now been reconfigured to tour across Australia. Dissonant Rhythms is curated by Aileen Burns, Johan Lundh, and Madeleine King.

26 February—22 March Smart Expressions 2020 Willoughby City Council presents an exhibition of student artworks selected from the 2019 NSW HSC practical examination in Visual Arts. Celebrating the artistic talents and achievements of young people, the exhibition features a selection of artworks from students who attended five local high schools within the Willoughby local government area. The exhibition demonstrates the interests and passions of a new generation of young artists; exploring subject matters such as climate change, cultural identity, health and immigration.

Trinity Morris, Leaf Collector, 2019, pastel on paper.

25 March—5 April Stories of Strangers Trinity Morris An exhibition of artworks brought to life by its audience. The Stories of Strangers exhibition is about humans and our perception. The art is intentionally stripped back and uncomplicated, but revealing of emotion. The exhibition plays with the idea that art is not necessarily what the artist sees, but what others sees in it and with this, asks its audience to tell the story they see when they look at the art. Visitors to the exhibition will have the opportunity to contribute stories and read those of others. To contribute visit trinitymorrisartist.com.

Chris Dolman, All Dried Up, 2019, oil and pencil on cotton.

22 April—17 May Shaping Wit Chris Dolman, Blak Douglas, Tara Marynowsky and Kenny Pittock.

A Willoughby City Council curated group exhibition, presented in partnership with the Sydney Comedy Festival. For centuries, artists have been using their medium to challenge or criticise serious issues. Alternately, artists have broken historical artistic canons to reveal that art objects or visual images can be playful or comedic. Shaping Wit explores the work of artists who use humour and irony to talk about serious or light-hearted things.

Satirical and cynical art can provide a subtle means for compelling its audience to challenge preconceived ideas and social and political conventions.

Bank Art Museum Moree (BAMM) 25 Frome Street, Moree, NSW 2400 [Map 12] bamm.org.au 02 6757 3320 Mon to Fri 10am–5pm, Sat 10am–1pm, Sun closed.

8 April—19 April Towards the Light Paulina Kazarinov From figurative to fanciful, Paulina Kazarinov’s painting and drawing captures romance and the imaginary contained within reality. The exhibition presents a wide range of subject matter imbued with Kazarinov’s wonder at mystery within the every day. Her work is a representational exploration of the world around her and all the mysteries it contains. Where others might see shadows, Kazarinov sees angels in hiding, lorikeets at play within a cat’s eye and the shades of the sunset in a rusty old bucket.

Winner People’s Choice, Archibald Prize, 2019, David Darcy, Tjuparntarri – women's business, oil on linen, 240.5 x 180.5 cm. © the artist. Photo: AGNSW, Jenni Carter.

Sitter: Tjuparntarri (Daisy Ward) – artist, activist, educator, traditional healer.

20 March—2 May Archibald Prize 2019 and Young Archies Regional Tour The Archibald Prize is coming to Moree!

BAMM is one of only six sites chosen to host the 2019 Archibald Prize and Young Archies Regional Tour. With an array of associated evening and weekend events, there are plenty of reasons to visit BAMM this Autumn! Join us for one of these special events, including Cocktail Opening Night with Guest speakers, Packing Room Prize Judge, Brett Cuthbertson and 2019 winner Tony Costa; Artist Talks by David Darcy, and Farewell Garden Luncheon.

Bathurst Regional Art Gallery

Ross Manning, Dissonant Rhythms, installation view, Institute of Modern Art, 2017. Photograph by Carl Warner.

24 January—14 March Ross Manning: Dissonant Rhythms Dissonant Rhythms is Brisbane-based artist and musician Ross Manning’s first-ever survey exhibition. Best known for his use of everyday materials, Manning’s exhibition

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

7 February–22 March Interiors Marion Hall Best Focusing on the professional career of Marion Hall Best (1905–1988), this 153

ar t g ui d e .c o m . au Bathurst Regional Art Gallery continued... exhibition explores one of the first independent interior designers in Australia and ultimately one of the most influential. A travelling exhibition from Sydney Living Museums.

Paul Davies, Everything Loose Will Land in LA Double Golden Gully 2, 2017, UV cured ink and acrylic on canvas, 183 x 122 cm. Private collection, courtesy of the artist and Olsen Gallery.

7 February–22 March The Golden Days Paul Davies Australian-born, Los Angeles-based artist whose work is driven by friction between opposing forces of built and natural environments, design and art, abstraction and figuration. These boundaries and relationships are illustrated through Davies’ process, which combines painting, stencilling, photography and sculpture.

The Golden Days reflects on the connection between Los Angeles, California, and Hill End, NSW, through an exploration of landscape and notions of ‘gold rush’ in the context of historical and present day meaning. A Bathurst Regional Art Gallery exhibition with Olsen Gallery, Sydney.

27 March–10 May CONCRETE: art design architecture This major exhibition explores the innovative ways that concrete is being used by artists, designers and architects in Australia in the 21st century. Curated by JamFactory’s Margaret Hancock Davis (Senior Curator) and Brian Parkes (CEO), the exhibition includes 21 artists, designers and architects from across Australia and brings together products, projects and works of art that reflect many of the current preoccupations with concrete within contemporary art, design and architecture in Australia.

CONCRETE: art design architecture is supported by Visions of Australia funding through Australian Government’s Department of Communications and Arts and the South Australian Government through the Department for Innovation and Skills.

The Principal Sponsor for CONCRETE: art design architecture is Cement Concrete & Aggregates Australia, the peak body for the cement, concrete and quarry industry in Australia.

27 March–10 May In the light of the sun and shadow of the moon Jurgis Miksevicius Lithuanian born artist Jurgis Miksevicius (1923–2014) immigrated to Australia in 1947. The exhibition will chart Miksevicius’ displacement from war torn Europe, his time at Bathurst Migrant Camp, the development of his practice with particular focus on the region and conclude with paintings relating to his In the light of the sun and shadow of the moon paintings.

Paul Yore, Debris Facility, Kate Just, Ramesh Mario Nithiyendran, Penny Byrne, James Tylor, Jemima Wyman, Kate Rohde, Michelle Hamer, Raquel Ormella, Hiromi Tango, Erub Arts, Catherine Bell, Tai Snaith, Karen Black, Starlie Geikie and Deborah Kelly. Curated by Anna Briers and Rebecca Coates.

Presenting the work of 18 contemporary Australian artists who utilise craft based materialities with a political intent. Broadening our understanding of craft-making traditions, the artists in this exhibition subvert and extend these forms into the realm of activism and social change, reflecting on the world in which we live.

While some respond directly to artistic or political movements, others encourage social connection between community members or require participatory activation through collective processes.

Drawing on a long historical lineage, Craftivism. Dissident Objects and Subversive Forms enables viewers to rethink craft in a new light.

A Shepparton Art Museum curated exhibition, touring nationally by NETS Victoria.

This project 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.

A BRAG exhibition.

Blue Mountains City Art Gallery

Bega Valley Regional Gallery

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

Admission fees apply.

7 February–22 March Sarah O’Sullivan Resilience is Lithgow-based ceramic artist Sarah O’Sullivan’s response to the fragility and the strength of the Australian landscape–its capacity to absorb disturbance and maintain its integrity as a functional ecosystem. Many Australian ecosystems have evolved with resilience to regular disturbances such as bushfire, flood and drought cycles. O’Sullivan draws parallels to the ceramic medium in which soft clay is extracted from the earth and transformed into hard, stone-like porcelain after being subjected to the intensive firing process. A Bathurst Regional Art Gallery exhibition.

14 February–8 May Craftivism Dissident Objects and Subversive Forms

Zingel Place, Bega, NSW 2550 [Map 12] 02 6499 2222 gallery.begavalley.nsw.gov.au Mon to Sat 10am–4pm.

25 January–22 March Blue Mountains Portraits A Blue Mountains City Art Gallery exhibition.

25 January–22 March National Photographic Portrait Prize 2019 This year 39 photos were selected from more than 3,000 entries to form the exhibition.

Sanné Mestrom, Untitled (Self Portrait, Underground), 2017, Bronze, concrete, steel 156 x 100 x 83 cm. Photo: Courtesy of the artist and Sullivan+Strumpf.

154

Jemima Wyman, Propaganda textiles – Washington, Pink Bloc protester at Gay Pride in Copacabana, 13th October 2013 (detail) 2016-17, custom made fabric book: Minky, Hot Pink Brazil 10-13, ed.2/6 + 2AP, 40.5 x 45.5 x 2.5 cm. © the artist, courtesy the artist, Sullivan+Strumpf, Sydney / Singapore and Milani Gallery, Brisbane.

Indigo Fraser, Gospers Mountain Fire, 15 December 2019.

NEW S OUTH WALES

Blue Mountains City Art Gallery → Ema Shin and Tamworth Textile Artists, Devoted Body, detail, 2017, linen, silk, muslin, water-based ink, acrylic ink, cotton thread, woodblock print, block print, urauchi (Chine-collé), natural dye, embroidery, 180 x 260 cm.

29 February–15 March Out of the Fire: Resilience in the Face of Natural Disaster A free community exhibition at the Blue Mountains Cultural Centre from.

The exhibition will showcase photographs of the Blue Mountains Bushfires 2019/2020.

Blacktown Arts Centre 78 Flushcombe Road, Blacktown, NSW 2148 [Map 12] blacktownarts.com.au 02 9839 6558 Tues to Sat 10am–5pm

28 March–10 May Open House: Tamworth Textile Triennial Sally Blake, John Brooks, GhostNets Australia, Gomeroi gaaynggal, ArtsHealth Program, Treahna Hamm, Joy Ivill, Carol McGregor, Rebecca Mayo, Noongar Doll Makers, Community Arts Network, Raquel Ormella, Julia Robinson, Ema Shin, Jeanette Stok and Meredith Woolnough.

A Tamworth Regional Gallery Touring exhibition curated by Glenn Barkley.

9 April–10 May Sculpture Otherwise Various artists An exhibition of small sculpture by the exhibiting artists participating in Sculpture at Scenic World in 2020. The indoor exhibition provides a fantastic opportunity for collectors and the public to purchase works by emerging, mid-career and established Australian and international artists from the 2020 Sculpture at Scenic World exhibition.

A Sculpture at Scenic World & Blue Mountains Cultural Centre partnership exhibition.

of knowledge, and beyond the legacy of European expansionism. Central to this are First Nation artists responding to the Cook commemoration as an act of transgression, whilst suggesting that cultural and transnational exchanges predate 1770.

Throughout 2020, we will reveal artistic offerings and provocations across our local landscape venues that include The Leo Kelly Blacktown Arts Centre, historical buildings, and open spaces. Opening Thursday 5 March, 6pm–8pm, Darug Welcome, Smoking and Dance Ceremony.

Saturday 14 March, 10am–4pm Workshop with Kristone Capistrano

Venessa Possum.

5 March–23 May Terra inFirma Jumaadi, Fozia Zahid, Judy Watson, Teivao Tamariki, Kristone Capistrano, Shivanjani Lai, Venessa Possum, Erin Wilkins with community. Julie Vulcan; on-site happenings in Blacktown.

A multiart form project about expansion, exploration, voyage and discovery, with a focus on the experiences of communities represented in Blacktown. 2020 is a time to reflect on the experiences of our First People and the multiple histories at play in constructing our collective identity.

Referencing Cook’s arrival in 1770, the project problematizes the 2020 commemorative year by reframing these ideas as belonging to wider bodies

In conjunction with the exhibition, Terra inFirma, Kristone Capistrano is returning to The Leo Kelly Blacktown Arts Centre.

Local artist Kristone Capistrano will facilitate a community-led drawing workshop that weaves story-telling and mark-making as a means of remembering. Friends, family, and elders from local communities will be invited to share memories of the sea, whilst participants trace these onto works on paper. This will be a series of collaborative drawing workshops, where listening becomes drawing and remembering becomes mark-making to facilitate his popular charcoal drawing workshop. $30 per participant. Children under 12 must be accompanied by an adult.

Saturday 16 May Jumaadi Shadowplay performance and workshop 155

156

NEW S OUTH WALES

Boomalli Aboriginal Artists Cooperative 55-59 Flood Street, Leichhardt, NSW 2040 [Map 7] 02 9560 2541 boomalli.com.au Wed to Sun 11am–4pm.

28 February–3 May 2020 Maari Ma Indigenous Art Awards The Ikona George Raftopoulos Adrift Jesse Boyd-Reid

Casula Powerhouse Arts Centre 1 Powerhouse Road, Casula, NSW 2170 [Map 11] 02 8711 7123 casulapowerhouse.com Mon to Fri, 9am–5pm, weekends, 9am–4pm.

1 February–15 March Fre$h Pair Fre$h Pair investigates self-expression in youth culture through the phenomenon of sneakers. The exhibition documents individuals and communities who showcase the nuances of sneakers worn by Millennials and Generation Z.

Paul White, Fools Gold (Like Life on Mars).

28 February–3 May Dirty Diesel and Dusty Deeds Paul White

Fre$h Pair speaks to critical themes of street culture and its influence on fashion and pop culture at large. Artists Gillian Kayrooz and Kimberley Peel.

1 February–15 March HI VIS Exploring dancing and dressing as fabulous forms of empowerment.

Campbelltown Arts Centre Hayley Pigram, Nature Spirit Weeping.

20 February–19 April Diamonds in the Rough–Visibility Boomalli’s Annual Mardi Gras Show.

1 Art Gallery Road, Campbelltown, NSW 2560 [Map 11] 02 4645 4100 c-a-c.com.au Open daily 10am–4pm.

Curated by Hayley Pigram.

Even when our power and beauty go unseen in plain sight, we shine as jewels.

We are diamonds that hold strength and will not shatter like glass in the face of pressure.

We are diamonds, strong, powerful and fabulous. Shine Bright.

22 February–19 April Pulse of the Dragon The exhibition artists include: Amy Fu (AUS/CHN), Cang Xin (CHN), Guan Wei (AUS/CHN [Glenfield, NSW]), Gu Xiaoping (CHN), Jiang Zhe (CHN), Palla Jeroff (AUS/ CHN), Yang Jinsong (CHN), Yang Xifa (AUS/ CHN), Zhang Jin (CHN), Jin Sha (AUS/CHN).

Curated by Guan Wei and Cang Xin. Guan Wei is a local artist with a Chinese heritage. He has exhibited widely around the world and he was the first Chinese-Australian artist to have a solo show at the MCA in 2019. The participating artists emphasise themes of religious witchcraft, mythology, folk art and folk culture as methods for opening-up understandings and perspectives of Chinese culture.

Broken Hill Regional Art Gallery 404–408 Argent Sreet, Broken Hill, NSW 2880 [Map 12] 08 8080 3440 brokenhill.nsw.gov.au

Jomakhan Jafari and Danny Kennedy, Golshahr, 2012, Indian ink on pigment print, 45 x 65 cm.

21 March–18 May A Familiar Place I’ve Never Seen Adrian Stimson, Buffalo Boy, 2005, B/W photo 35ml, dimensions variable.

Courtesy Ian Grove and Paul Petro Contemporary Art, Toronto.

George Raftopoulos, Rock of Contemplation.

14 March–8 June NIRIN 22nd Biennale of Sydney Aziz Hazara, Barbara McGrady, John Miller and Elisapeta Heta, Adrian Stimson, Noŋgirrŋa Marawili and more.

For the full list visit c-a-c.com.au

Artists Jomakhan Jafari and Danny Kennedy have interviewed Western Sydney residents about their dreams, and have collaborated to interpret the dreams using Persian calligraphy and photography. Each dream ‘interpretation’ is accompanied by excerpts of the interviews, moving statements by the interviewees about their dreams. One of the statements starts with “I dreamt I was an educated man.” Opening Saturday 21 March, 2pm–4pm.

157

FRIDAY 1 MAY – SUNDAY 31 MAY 2020

WESTERN SYDNEY UNIVERSITY

SCULPTURE AWARD Western Sydney University is proud to present its ninth Sculpture Award & Exhibition. The exhibition will be on display to the public 1 - 31 May 2020, in the grounds of the Campbelltown campus, off Narellan Road.

2020 Finalists Mark Booth, Jennifer Cochrane, Chris Edwards, Merran Esson, Harrie Fasher, John Fitzmaurice, Jim Flook, Martin George, Akira Kamada, Bec Litvan, Ludwig Mlcek, Ingrid Morley, Vlasé Nikoleski, Denese Oates, John Petrie, Kirsteen Pieterse, Louis Pratt, Sasha Reid, Samantha Stephenson, Jayanto Tan, and Arthur Wicks.

For more information or group and school bookings contact: Monica McMahon (02) 4620 3450 or monica.mcmahon@westernsydney.edu.au Or visit the website: virtualtours.westernsydney.edu.au Follow us on Facebook and Instagram!

@wsusculpture

Images reproduced courtesy of artists. TOP: Winner of 2018 Western Sydney University Acquisitive Sculpture Award, Dan Lorrimer, Fault Sector, 2016.

MIDDLE: Winner of 2018 Janice Reid Site Specific Sculpture Award, Robert Barnstone, Body Shells, 2016. BOTTOM: Winner of 2018 Lancom People’s Choice Award, Michael Purdy, Gimme Shelter, 2018. Photographs by Monica Pronk.

NEW S OUTH WALES

Cement Fondu 36 Gosbell Street, Paddington, NSW 2021 [Map 10] 02 9331 7775 hello@cementfondu.org cementfondu.org Thur to Sun 11am–5pm.

two distinct lenses. Terri Butterworth’s pure, abstract paintings immerse us in a layered experience of place, including her Glenreagh garden. Spanning the past 20 years of his practice, Guy Gilmour’s sensitive and intimate observations suggest imagined narratives and prompt nostalgic memories.

The Cross Art Projects 8 Llankelly Place, Kings Cross, Sydney, NSW 2011 [Map 8] 02 9357 2058 crossart.com.au Thur to Sat, 11am–6pm.

By appointment .

Tom Polo, I still thought you were looking, 2019, installation view. Courtesy of the artist. Photograph by Luis Power.

7 March—3 May Contact Us Emma Finneran, Tom Polo and Campbelltown Patterson.

Coffs Harbour Regional Gallery Cnr Coff and Duke Streets, Coffs Harbour, NSW 2450 [Map 12] 02 6648 4863 coffsharbour.nsw.gov.au/gallery Tue to Sat 10am–4pm.

Closed Sun and Mon. 14 February—18 April An Artist’s Garden Terri Butterworth and Guy Gilmour Presenting work by two of the Coffs Coast’s most established and respected painters: one abstract, one figurative.

Terri Butterworth and Guy Gilmour have been painting the people and places of the Orara Valley for decades. Strongly connected to place, these artists interpret the Valley’s landscapes through

media, describing both the vast scale and the intimate detail of our diverse natural environment and portraying Australia’s unique and varied geography.

A Blue Mountains City Art Gallery touring exhibition.

Cooee Art Gallery 326 Oxford Street, Paddington, NSW 2021 [Map 10] 02 8057 6789 31 Lamrock Avenue, Bondi Beach, 2026 [Map 7] 02 9300 9233 Paddington:

Cowra Regional Art Gallery 77 Darling Street, Cowra, NSW 2794 [Map 12] 02 6340 2190 cowraartgallery.com.au Admission free. Tue to Sat, 10am–4pm, Sun 2pm–4pm.

9 February—15 March Behind the Lines: The Year’s Best Political Cartoons 2019 Celebrating Australia’s leading political cartoonists The Greatest Hits Tour highlights the power that their drawings have in contributing to our daily political and social discourse. No politician, party or policy is safe from the nation’s best cartoonists; witty, powerful or ribald, their images offer an astutely observed journey through twelve months in our political life.

22 March–26 April As far as the eye can see Through the work of twenty-two Australian artists this exhibition celebrates the contemporary topography of both landscape and printmaking. The artists express their individual relationships to the land through a variety of print

Kitty Simon Napanangka, Mina Mina, 2019, 120 x 60 cm.

6 March–28 March Kitty Simon and the Ladies of Lajamanu Kitty Simon Napanangka

Cowra Regional Art Gallery → Susanna Castleden, Bitumen Landscape (Indian Ocean Drive), 2016, frottage and screen print on gesso paper maps, 210 x 360 cm. Photograph by Silversalt.

159

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

Defiance Gallery → Roy Jackson, Untitled (Ikos), 2011.

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

7 March–4 April Swami’s Gremlin Retreat Fraser Anderson

Speculative Entertainment No. 2.

7 March–4 April Speculative Entertainment No. 2 Australian Edition Uji ‘Hahan’ Handoko Eko Saputro

Defiance Gallery

Fraser Anderson, Sponge 5, 2019, sea sponge, polyurethane resin, sawdust, wood glue, pigment, acrylic dye and aluminium, 97 x 42 cm.

160

12 Mary Place, Paddington NSW 2021 [Map 10] 02 9557 8483 defiancegallery.com Directors: Campbell RobertsonSwann and Lauren Harvey.

Wed to Sat 11am–5pm.

David Wilson, In the Same Space Now, 2018, unique bronze painted, 72 x 67 x 52 cm.

12 February—5 March Ground floor: Sanbao Ann Thomson and Joe Furlonger 11 March—2 April Mary Place, First Floor: European Odyssey Roy Jackson Opening Sunday 8 March, 11am–2pm.

11 March—2 April Mary Place, Ground Floor: Messums Wiltshire

NEW S OUTH WALES Important Contemporary British Art and America’s finest Metal worker.

Kurt Jackson, Qu Lei Lei, Antony Williams, Laurence Edwards, Bruce Munro and Albert Paley.

Opening Sunday 8 March, 11am–2pm.

8 April—30 April Mary Place Ground Floor: Fragments From Another Place and Time David Wilson

Firstdraft

Gaffa Gallery

13–17 Riley Street, Woolloomooloo, NSW 2011 02 8970 2999 firstdraft.org.au Wed to Sun, 10am–5.30pm.

281 Clarence Street, Sydney, NSW 2000 [Map 8] 02 9283 4273 gaffa.com.au An independent creative precinct, artist-run in attitude and execution. Mon to Fri, 10am–6pm, Sat 11am–5pm.

Closed Sun and pub hols.

Opening Sunday 5 April, 11am–2pm.

8 April—30 April Mary Place, First Floor: Abstraction 2020 Alun Leach-Jones, Bill Brown, Roy Jackson, Ann Thomson, Ivor Fabok, Jan King, Michael Buzacott, Kevin Norton, Campbell Robertson-Swann, Paul Higgs.

Gaffa’s jewellery workshop level is the largest of its kind in Australia and was the basis of Gaffa’s beginnings. Now, in 2019 in our thirteenth year of operating, Gaffa has grown into a larger entity that prides itself on providing a space to both established and emerging artists to foster their practices and exhibit their works.

Opening Sunday 5 April, 11am–2pm.

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

Paula do Prado, Kalunga, 2020, Wool and acrylic yarn, paper covered wire, plastic netting, plastic beads, 120 x 85 x 5cm.

Photo: Document Photography.

4 March—27 March Kalunga: Under the Sea Paula do Prado and Tomas Marinangeli From Me To You Monisha Chippada, Beryl La, Judith Martinez, James Nguyen, Laura Peacock, Rahda (Shahmen Suku), curated by Loc Nguyen.

White Gilt 2.0 Nathan Beard 4 March—27 March Make It Darker Jodi Woodward

Fox Jensen Gallery Exhibition Space Corner, Hampden Street and Cecil Lane, Paddington, NSW 2021 [Map 10] Chris Clements, Prickly Pear – Midnight, 2019, oil on canvas, 49 x 49 cm.

5 March–21 March Mostly the same Species Chris Clements

Sydney: 23a Roylston Street, Paddington, NSW 2021 02 8084 4298 foxjensengallery.com Wed to Sat, 12noon–5pm.

7 February–21 March Lawrence Carroll

5 March—16 March Indian Aesthetics Nedunchelian Desihan That was then, this is Ephemera Now Missy Dempsey Infatuated by colour, novelty and technology, Missy Dempsey is a graphic artist whose bold compositions aim to evoke a sense of joy and curiosity.

Fool me once Corrie Diamond 19 March—30 March The Dogs of Reason Elizabeth Armanious, Leon Guan, Leighton Richardson and Gabriel Yakoub.

2 April—13 April Less is More Christoph Mueller Conjuring Act Helen Brancatisano Beautiful Bodies David Lindesay and Elise Stanley.

16 April—27 April UNSW Art & Design Exhibition – Master of Art Students Causus Keroshin Govender You Will Never Own Me Emma Rani Hodges and Jacqueline Meng.

Galerie pompom 2/39 Abercrombie Street, Chippendale, NSW 2008 [Map 9] 0430 318 438 galeriepompom.com Weds to Sat 11am–5pm, Sun 1pm–5pm.

4 March–29 March Nancy Constandelia Anna Louise Richardson 1 April–26 April Return to Aus Roni Feldman, Tom Dunn, Dani Dodge, Sean Noyce, Max Presneil

Lucinda Chambers, Cloak, acrylic on linen, 51 x 51 cm.

2 April–25 April Ground Work Lucinda Chambers

Liat Yossifor, Parts II, detail, 2019, oil on linen, 203 x 198 cm.

28 March–2 May Liat Yossifor

James Lieutenant 29 April–24 May Hayley Megan French Tristan Chant 161

TREASURES FROM THE VAULT 3 April — 24 May Celebrating 90 years of Manly Art Gallery & Museum.

Highlights from its extensive collections provide rare insights into the collection history, stories and machinations of one of Sydney’s great art collections.

Manly Art Gallery & Museum West Esplanade Reserve, Manly Open 10am–5pm, Tue–Sun 02 9976 1421 artgallery@northernbeaches. nsw.gov.au magam.com.au

IMAG E

Joan Ross, Please don't pick flowers, 2019, hand coloured pigment print on cotton rag paper, ed. 3/8, 73 x 110 cm.

MAG&M Collection, purchased 2019.

Image courtesy the artist and Michael Reid Sydney + Berlin.

MOSMAN ART GALLERY

MEGAN COPE The Black Napoleon & RE FORMATION I 28 March – 17 May 2020

Megan Cope, The Black Napoleon (Eulope), 2019 Lithograph, Edition of 20, 91 x 70 cm Image courtesy of the Australian Print Workshop and the artist

Cnr Art Gallery Way & Myahgah Road MOSMAN 2088 Open 7 days, 10am - 5pm, 10am - 8pm Wednesdays www.mosmanartgallery.org.au

162

NEW S OUTH WALES

Gallery Lane Cove Upper Level, 164 Longueville Road, Lane Cove, NSW 2066 [Map 7] 02 9428 4898 gallerylanecove.com.au Mon to Fri 10am–4.30pm, Sat 10am–2.30pm.

1 April–25 April In the Shade Sydney Printmakers Sydney Printmakers have been exhibiting and promoting prints as an active group of artists for nearly 60 years.

This exhibition In the Shade explores the theme of moving from the heat into the cool of the shade.

Mid North Coast. The exhibition presents a cross section of artistic practice, including sculpture, painting, drawing, printmaking, ceramics, mosaic and mixed media artworks. The Glasshouse Regional Gallery is very proud of Northern Exposure as it is a cornerstone of the Gallery’s program to support artists within the local community and provide professional development opportunities.

Opening Friday 6 March, 6pm.

Gallery 9 9 Darley Street, Darlinghurst, NSW 2010 [Map 9] 02 9380 9909 gallery9.com.au Wed to Fri 11am–6pm, Sat 11am–5pm, Mon and Tue by appointment.

Laura Jones, Never a Wallflower, 2018, oil on linen, 183 x 152 cm.

7 March–19 April Arcadia Laura Jones

Karen Reithmuller, Superstar.

4 March–28 March No Man’s Land Eleanor Amiradaki, Tamara Pavlovic, Zorica Purlijia, Karen Riethmuller, Patrice Wills.

Five women artists celebrate their lived experience across a variety of mediums to explore the relationships between women, their bodies, society and land.

This exhibition is Gallery Lane Cove’s Art Month Sydney program.

Teelah George, Blu Biro, 2018–19, linen, thread, bronze, 220 x 190 cm. Photograph, Bo Wong.

26 February–21 March Pollyxenia Joannou and Michael GF Prior.

Archibald Prize 2019 finalist, is well known for her still life paintings of flowers and investigative works on the impacts of the changing climate. As a 2019 Artist in Residence, Laura engaged with our landscape to create works largely inspired by Port Macquarie’s flora and fauna. This exhibition is a translation of Port Macquarie’s natural beauty into stimulating still life pieces, exploring our relationship with the environment around us.

25 March–18 April Teelah George 22 April–16 May Eloise Kirk, Simon Gardam and Reece King.

Glasshouse Port Macquarie Patricia Flanagan, Digital Textile Installation.

4 March–28 March Digital Materiality – Coded Textiles Patricia Flanagan An exhibition of hybrid adaptive textile machinery performed as a choreography of processes, it challenges industrial methods of textile mass production and presents an alternative that foregrounds materials and resource scarcity.

This exhibition is Gallery Lane Cove’s Art Month Sydney program.

Corner Clarence and Hay streets, Port Macquarie, NSW 2444 [Map 12] 02 6581 8888 glasshouse.org.au Tue to Fri 10am–5pm, Sat, Sun & Public Holidays 10am–4pm.

Gallery Closed 20 April to 15 May. 29 February–19 April Northern Exposure 6 Bigger, brighter and more inspiring than ever before. Now in its sixth year, Northern Exposure has become renowned for showcasing the vibrant creativity of the

Image credit: Asher Milgate.

7 March–19 April Duality Asher Milgate Milgate’s exhibition, Duality, developed during his time as an Artist in Residence, is his response to the historic ‘Australian’ identity; exploring the dual histories of our region and what it means to be ‘Australian’.

Opening Friday 6 March, 6pm.

163

164

NEW S OUTH WALES 17 April–2 May The 2020 Goulburn Art Award

Grace Cossington Smith Gallery Gate 7, 1666 Pacific Highway, Wahroonga, NSW 2076 [Map 7] 02 9473 7878 gcsgallery.com.au facebook.com/gcsgallery Mon to Fri 10am–5pm, Sat 9am–4pm. Free entry.

Alex Seton, Left Turn at Albuquerque, 2017, duration: 4 minutes, stop motion video.

7 February–4 April The Great Escape Alex Seton

Daniel Sheppard, Sum of, painting, St Leos Catholic College.

26 February–19 March ART NORTH Celebrating works by HSC Visual Arts students from 20 schools in the Ku-ring-gai and Hornsby area. Exhibition to be opened

by Mr Alister Henskens SC MP.

With an inquisitive and critical approach to his medium, its history and tradition at large, this exhibition marks the first major solo showing of Seton’s work in Goulburn, close to his childhood home of Taralga.

Seton’s sculptural practice resonates a profound dedication to the physical and conceptual agency of marble.

The Great Escape presents works that tell of his parents’ escape to create their own idyllic world at Guineacor Creek; of childhood escape into the bush; of escape into the seemingly magical possibilities of the caves; escape into making, to the subsequent teenage desire of escape to the big city. With large-scale installation works within and outside the Gallery space, the exhibition examines what it is to struggle with and find a sense of place; not just in home, but in form and in material.

184 Bourke Street, Goulburn, NSW 2580 [Map 12] 02 4823 4494 goulburnregionalartgallery.com.au Mon to Fri 9am–5pm, Sat 12pm–4pm.

158 Fitzroy Street, Grafton, NSW [Map 12] 02 6642 3177 graftongallery.nsw.gov.au 7 days a week 10am–4pm Closed public holidays.

The Gallery is supported with funding from Create NSW.

7 February—29 March About Grafton Harry Westera

24 March–23 April Visualising Stories

Goulburn Regional Art Gallery

Grafton Regional Gallery

Harry Westera, Old Post office, Grafton, 2019, watercolour. Courtesy of the artist.

Tannya Harricks, Dingo, 2018, oil painting.

Book illustrations from Liz Anelli, Lorena Carrington, Tannya Harricks, Bethany Macdonald and Aura Parker.

Highlighting artists from within a 120km radius of Goulburn working across any medium, The 2020 edition welcomes Karen Quinlan AM, Director of the National Portrait Gallery as judge. Quinlan has been the Director of the National Portrait Gallery since December 2019 after an incredible eighteen years as Director of Bendigo Art Gallery. She is one of the most respected and innovative arts leaders in Australia and will lend an exceptional eye to the Art Award.

Lucinda McDonald, Circus, 2016, welded steel.

7 February–4 April Lucinda McDonald A Southern Highlands based artist born and trained in the United Kingdom, McDonald’s practice is informed by her skill in welding. Constructing sculptures from offcuts and discarded pieces of steel, McDonald reclaims and rejuvenates unwanted materials, creating subconscious yet harmonious tension between movement and stasis, colour, line and weight. Expanding her process to include collage and painting, McDonald utilises a broad aesthetic approach to composition across disciplines and dimensions.

Through keen observation and an appreciation of how light falls on forms to reveal tone and colour, this exhibition presents a selection of new works exploring the Clarence Valley.

7 February—29 March Geometrica Andrew Shillam and Rindi Salomon This exhibition explores the modernist tradition of geometric abstraction.

Andrew explores the rhythm of abstraction in his timber sculptures and Rindi abstracts the everyday experience in her paintings.

165

George Gittoes, Our Koala, 2020, Oil on Canvas, 182x122cm.

166

Works by: C Blackman, D Boyd, P Booth, C Campbell, R Crooke, R Dickerson, D Friend, G Gittoes, J Gleeson, P Griffith, M Luccio, N McKenna, S Paxton, V Rubin, T Storrier, W Sharpe, S West, M Woodward, and many others 2 Moncur Street, Woollahra NSW 2025 Open 7 Days, Tuesday to Saturday 10am – 5pm, Sunday – Monday by appointment only (02) 9363 5616 www.fmelasgallery.com.au e: art@fmelasgallery.com.au

NEW S OUTH WALES

Harvey Galleries – Mosman 842 Military Road, Mosman, NSW 2088 [Map 7] 02 9968 2153 harveygalleries.com.au Mon to Sat 10am–6pm, Sun 10am–5pm.

Mon to Wed 10am-6pm, Thurs 10am–8pm, Fri and Sat 10am–6pm and Sun 11am–5pm.

The Art of Dr. Seuss Limited editions from the Dr Seuss Estate.

Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments. It is supported by the Queensland Government through Arts Queensland and the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

Hawkesbury Regional Gallery 300 George Street, Windsor, NSW 2756 [Map 11] 02 4560 4441 hawkesbury.nsw.gov.au/gallery Mon, Wed–Fri 10am–4pm, Sat to Sun 10am–3pm.

Elioth Gruner, Spring frost, 1919, oil on canvas, Art Gallery of New South Wales.

Gift of FG White 1939, photograph: Mim Stirling.

27 March—17 May Fieldwork This exhibition surveys treasures from the collection of the Art Gallery of NSW, depicting landscapes west of Sydney between the late 19th to the mid-20th centuries. With a focus on plein air painting at artist camps and on excursions organised to areas such as the Hawkesbury River, Blue Mountains and Sydney’s western suburbs, this exhibition reveals how these bucolic images fed into the development of national narratives at the turn of the century, and how this legacy both vexed and was embraced by modern landscape artists.

Heath Wae, Ceremony til Dawn, 2019, raw pigment, oil and charcoal on loom state linen, 130 x 150 cm.

6 March—17 March Heath Wae

Peihong Zhu, My Space 2020–3, 2020, mixed media on canvas, 127 x 160 cm.

3 April—28 April Zhu Peihong

Harvey Galleries – Seaforth 515 Sydney Road, Seaforth, NSW 2092 [Map 7] 02 9907 0595 harveygalleries.com.au Tue to Sat 10am–6pm, Closed Sun and Mon.

Harvey Galleries – QVB Presents The Art of Dr. Seuss Collection. Queen Victoria Building, Level 2, 33-35/455 George Street, Sydney, NSW 2000 [Map 8] 02 9261 0275 drseuss.harveygalleries.com.au

Judy Watson, mabo legacy with resistance pins, 2019, acrylic, graphite and lumocolour pencil on canvas. Photograph: Carl Warner.

7 February—22 March Legacy: Reflections of Mabo Celebrates the man behind the game-changing Native Title Act, Eddie Kioki Mabo, and the ongoing influence and impact he has had on Australian society and culture.

This travelling exhibition brings together 26 Indigenous and non-Indigenous artists in the spirit of reconciliation, 27 years after this historic achievement. Each artist has responded to an aspect of Mabo they were drawn to, whether it was his life, politics, activism or legacy. The artworks come together in surprising ways, with reverence, compassion, anger, sadness and respect, celebrating a man who was both a rebel and a dreamer.

A travelling exhibition presented by Umbrella Studio Contemporary Arts and toured by Museums & Galleries Queensland. It has been generously assisted by the Australian Government’s Visions of Australia Program and the Visual

Fieldwork includes significant and seldom-seen paintings and works on paper from the Gallery’s collection by prominent artists including Hilda Rix Nicholas, Julian Ashton, Elioth Gruner, JJ Hilder, Sydney Long and Charles Meere. A highlight is the inclusion of Gruner’s painting Spring frost 1919, an iconic and much-loved painting that is seldom taken off display. An Art Gallery of NSW touring exhibition.

Hazelhurst Arts Centre 782 Kingsway, Gymea, NSW 2227 [Map 11] 02 8536 5700 hazelhurst.com.au Daily 10am–5pm.

Admission free.

Closed Christmas Day, Boxing Day, New Year’s Day and Good Friday.

Lilly New, Progress Over Perfection (detail), 2019, drawing, graphite pencil, Shire Christian School.

167

KEN DONE 1-5 Hickson Road, The Rocks, Sydney, tel 02 8274 4599, www.kendone.com Detail: Big MASK reef, 2019, oil and acrylic on linen, 200 x 300cm

NEW S OUTH WALES Hazelhurst Arts Centre continued...

The Japan Foundation Gallery

8 February–13 April ARTEXPRESS Curated by Hazelhurst, this annual showcase of outstanding art from 50 students was selected from the 2019 HSC practical examination in Visual Arts and includes a broad range of approaches to art and expressive forms.

Hurstville Museum & Gallery 14 MacMahon Street, Hurstville, NSW 2220 [Map 11] 02 9330 6444 georgesriver.nsw.gov.au/HMG Tue to Sat 10am–4pm, Sun 2pm–5pm.

Pamela Leung, Orbit, 2019, mixed media on rice paper.

Level 4, Central Park, 28 Broadway, Chippendale, NSW 2008 [Map 9] 02 8239 0055 jpf.org.au See website for opening hours.

Admission is free.

25 March–12 April Shades of Red IV, 2020 Pamela Leung An exhibition of installation and painting, Pamela Leung thematically explores the mundane routines of everyday life, relationships, connections, displacement, and the diaspora. She shares her personal migratory experience with the audience, while also allowing them to reflect on the broader ideas of identity and displacement.

The colour red takes on symbolic status in her work, representing the differing emotional perspectives of Western and Eastern cultures. Further, she sees red as the very colour that runs through us, despite what colour skin we are.

Ryuji Mitani, White Lacquer Bowl, 2019, wood. © Image courtesy of the artist.

21 Febuary–23 May Seikatsu Kogei: Objects for Intentional Living 22 Japanese Seikatsu Kogei artists This exhibition explores the Japanese craft movement that began in the 1990s known as Seikatsu Kogei, or lifestyle crafts. See how the works of Seikatsu Kogei artists re-examine our relationship to the objects in our lives, presented together in Australia for the first time.

Included in this exhibition are some 50 works by 22 currently-active Seikatsu Kogei artists. The objects on display are made from a variety of materials, including wood, ceramics, lacquer, glass, metal, bamboo, paper and clay.

Cover illustration, The 13-Storey Treehouse, 2011, written by Andy Griffiths, illustrated by Terry Denton, published by Pan Macmillan.

8 February–3 May The Many Story Treehouse Exhibition: Celebrating Terry Denton’s illustrations for the phenomenal Treehouse series by Andy Griffiths and Terry Denton This exhibition celebrates Terry Denton’s illustrations and his role in the creation of the phenomenal Treehouse series written

by Andy Griffiths and published by Pan Macmillan. Terry’s original illustrations, sketches and layouts reveal the development of their crazy ideas, characters and stories for the series. A Books Illustrated touring exhibition.

Incinerator Art Space 2 Small Street, Willoughby, NSW 2068 [Map 7] 0401 638 501 willoughby.nsw.gov.au/ whats-on/visual-arts Wed to Sun 10am–4pm.

4 March–22 March Water Paper Reid Butler Reid Butler asks the important question, “With water in crisis, will another plan on paper make any impact?” His cross-disciplinary exhibition explores the point of strategic planning on emerging and ever present water crises by placing the pages directly in the way of the thing they are trying to effect. With a background in sustainable water and environment management, Reid uses art to provoke thought on sustainability in creative ways.

The Ken Done Gallery

Steven Durbach (aka Sid Sledge), Chaotic Self Portrait, 2019–20, ink on paper.

1 Hickson Road, The Rocks, NSW 2000 [Map 8] 02 8274 4599 kendone.com Open daily 10am–5.30pm.

15 April–3 May Wobbly Machine Steven Durbach Steven Durbach (aka Sid Sledge) is interested in the inherent chaos of everyday life, and the beauty which can be found in its unpredictability and ephemerality.

These ideas are expressed in his drawings which reveal the chaotic, and allude to the uncertainty associated with certain processes. Steven Durbach (aka Sid Sledge) has created a series of self-portraits through the attachment of a machine to his drawing arm which manipulates his movements, bringing a sense of unpredictability to his work. His kinetic sculptures capture these processes in time. As a scientist, Durbach draws on the physical processes that give rise to the phenomena that he explores as an artist.

Ken Done, Big mask reef, 2019, oil and acrylic on linen, 200 x 300 cm.

13 February–7 April New Works Ken Done

169

20 March—2 May Archibald Prize 2019 and Young Archies Regional Tour The Archibald Prize is coming to Moree!

BAMM is one of only six sites chosen to host the 2019 Archibald Prize and Young Archies Regional Tour. With an array of associated evening and weekend events, there are plenty of reasons to visit BAMM this Autumn! Join us for one of these special events, including Cocktail Opening Night with Guest speakers, Packing Room Prize Judge, Brett Cuthbertson and winner Tony Costa; Artist Talks by David Darcy, and Farewell Garden Luncheon.

Winner Peoples Choice, Archibald Prize, 2019, David Darcy, Tjuparntarri – women's business, oil on linen, 240.5 x 180.5 cm. © the artist. Photo: AGNSW, Jenni Carter. Sitter: Tjuparntarri (Daisy Ward) - artist, activist, educator, traditional healer.

Australian modern, contemporary and Indigenous works of art.

Approved valuer for the Australian Government’s Cultural Gifts Program.

Jorna Newberry b.1959- Angus Downs NT, Pitjantjatjara, Nintaka Dreaming, 2019, acrylic on Belgian linen, 112 x 102 cm.

78B Charles Street, Putney, NSW 2112 02 9808 2118 Open Monday-Friday 9am-4pm; Saturday 9am-3pm, Wednesday and Sunday by appointment. brendacolahanfineart.com 170

NEW S OUTH WALES

Kate Owen Gallery 680 Darling Street, Rozelle, NSW 2039 [Map 7] 02 9555 5283 kateowengallery.com Daily 10am–6pm.

Kate Owen Gallery is a multiple award winning gallery in Sydney’s Inner West and specialises in contemporary Australian Indigenous art for modern interiors. Just 10 minutes by bus or taxi from the CBD, the Gallery is Sydney’s go-to art space for everyone from new buyers to established collectors. The Gallery Owner and Director is also the President of The Aboriginal Art Association of Australia (AAAA), an Association that binds members to a strict code of conduct, so visitors can be assured that artists are dealt with fairly, transparently and with respect. The gallery coordinates roughly eight exhibitions, including one artist in residence programme each year.

of Australia’s history and culture. The paintings on display at Kate Owen Gallery are a unique and often humorous record of a long life lived deep within traditional Aboriginal law and yet also in the dangerous ‘whitefella’ world at the frontier of Kimberley life. This exhibition challenges the viewer to consider our shared history at one of Australia’s frontiers.

11am–4pm or by appointment.

Closed public holidays.

13 March–19 April The Annual Autumn Exhibition Opening Friday 13 March, 6pm–8pm.

King Street Gallery 177–185 William Street, Darlinghurst, NSW 2010 [Map 9] 02 9360 9727 kingstreetgallery.com.au Tues to Sat, 10am–6pm. 18 February–14 March Dark beautiful John Bartley

Trevor Chamberlain, Squally Weather, Woodbridge, 1967.

24 April–31 May Celebrating 140 years exhibition 1880–2020 Opening Friday 24 April, 6pm–8pm.

The Lock-Up 90 Hunter Street, Newcastle, NSW 2300 [Map 12] thelockup.org.au Wed to Sat 10am–4pm, Sun 11am–3pm.

Rosella Namok, Stinging Rain Ya Fall Down, acrylic on linen, 111 x 110 cm.

29 February—22 March Lockhart River Art Gang

Peter O’Doherty, Darwin Airport, 2020, acrylic on canvas, 71 x 71 cm.

17 March—11 April The distance between us Peter O’Doherty

An exciting new body of work courtesy of Lockhart River Artists include “The Old Girls”– a respected group of elders who have taken the art world by storm with their vibrant art works—as well as younger contemporary artists who have been the recipients of prizes and awards, and whose work is included in major public and private collections. Rosella Namok, Fiona Omeenyo, Silas Hobson, Patrick Butcher and many more.

Lucas Davidson, Living with Uncertainty, 2020, translucent acrylic panels, dimensions variable.

1 February–29 March Uncertain Paths Lucas Davidson A solo exhibition by artist Lucas Davidson featuring a series of new installations that aim to disrupt the traditional subjectobject relationship within the viewing experience.

Leo Robba, Split View with Redhot Pokers, 2019, oil on canvas.

17 March—11 April Leo Robba 14 April—9 May Ross Laurie

Jack Dale, Missionary in Country, ochre on canvas, 89 x 142 cm.

11 April—3 May Jack Dale: a remarkable life that bridged two cultures Jack Dale was and remains an important and significant man as he is part of the history of the Kimberley region and its Indigenous people. His paintings are a doorway to a greater understanding

14 April—9 May Guy Warren

Lavendar Bay Gallery Royal Art Society NSW 25–27 Walker Street, North Sydney, NSW 2060 [Map 7] 02 9955 5752 royalart.com.au Mon to Fri 10 am–4pm, Sat and Sun

1 February–29 March Natural Causes Gavin Vitullo Examining the physical relationships of form and surface, of action and consequence, Gavin Vitullo’s solo exhibition Natural Causes questions the perpetual nature of co-existence of man and environment.

5 April–31 May Dancing with the Dead Khadim Ali, Soojin Chang, Dr. Fiona Foley, Dr Mojgan Habibi, Pieter Hugo, Lindy Lee, Pierre Mukeba, Sarker Protick, Stanislava Pinchuk, Jemima Wyman.

Curated by Grace Partridge (Antidote), Dancing with the Dead is a group exhibition that aims to illuminate the 171

SEIKATSU KOGEI Objects for Intentional Living

FREE ADMISSION

Japanese artists re-examine our relationship to the objects in our lives in the first Seikatsu Kogei, or lifestyle crafts, exhibition held in Australia.

FEBRUARY 21 - MAY 23

JAPAN FOUNDATION GALLERY The Japan Foundation, Sydney Level 4, Central Park (access via lifts) 28 Broadway Chippendale NSW 2008 jpf.org.au

Ryuji Mitani, Pitcher “HAKUBOKU”, cherry tree, lacquer, 2019 © Image courtesy of Ryuji Mitani

Presented by

Part of

In partnership with

Supported by

CALL FOR ENTRIES

$20,000 Acquisitive Painting Prize : Entries close 22 July 2020 Enter online: www.cowraartgallery.com.au/calleen2020 or contact the Cowra Regional Art Gallery for an entry form

EXHIBITION DATES: 4 October to 15 November 2020 Cowra Regional Art Gallery, 77 Darling Street, Cowra NSW 2794

2020

172

20 years

ADMISSION FREE Hours: Tuesday–Saturday 10am–4pm, Sunday 2pm–4pm (Mondays closed) T: (02) 6340 2190 E: cowraartgallery@cowra.nsw.gov.au

The Cowra Regional Art Gallery is a cultural facility of the Cowra Shire Council

NEW S OUTH WALES The Lock-Up continued...

Craig Waddell, Sacred Passage 11– Macdonell Ranges, 2013, oil on linen, 183 x 315 cm. Collection of the artist.

Photography Effy Alexakis, Photowrite © Craig Waddell.

Khadim Ali, Untitled 2, from Fragmented Memories series, 2017, cotton and nylon thread and ink on fabric, 180 x 318 cm. convergence of memory and corporeality within a larger context of ‘deaths’, and the multiplicity of experiences that fall within it, whether that be physical death, spiritual death or cultural death.

award-winning contemporary artist Craig Waddell. The exhibition spans two decades exploring the processes, overlaps and interconnections between his earlier works to his current and diverse practice.

Engaged with art historical references and legacies of the past, Waddell recapitulates some of those moments that brings new affinities to the landscape and still life genres within an Australian context.

M2 Gallery Shop 4/450 Elizabeth Street, Surry Hills, NSW 2010 [Map 9] 0416 209 567 m2gallery.com.au Daily 12noon–7pm.

Our exhibitions support an array of work from both established and emerging artists in all fields of art including painting, photography, illustration, sculpture and performance.

With an emphasis on allowing each artists personal style to breathe we encourage a wide range of expression whilst creating a flexible working environment that aims at fulfilling the vision of each potential show.

Museum of Art and Culture, Lake Macquarie (MAC) First Street, Booragul, NSW 2284 [Map 12] 02 4921 0382 mac.lakemac.com.au Tue to Sun 10am–4.30pm.

Admission free.

Opening Wednesday 18 March, 6pm.

Tristan Deeg, In the Best Interests of the Public, Callaghan College Jesmond Senior Campus, photomedia dimensions variable. © the artist.

15 February—5 April First Class 19 Now in its twelfth year, First Class is a much-anticipated annual exhibition project celebrating the high calibre of work produced by students from the Hunter and Central Coast regions.

A MAC project curated by Helen Willis in consultation with Courtney Novak.

15 February—5 April Guan Wei: a case study The sixth exhibition in the annual case study series, Guan Wei: a case study follows on from the successful previous projects. This year the museum has drawn together influential works by leading Australian-Chinese contemporary artist Guan Wei. With the focus on the HSC curriculum, art educator Carol Carter curates a thought-provoking exhibition with an accompanying case-study publication specifically for senior school students.

A MAC project curated by Carol Carter in consultation with Meryl Ryan.

Mervyn Bishop, Cousins, Ralph and Jim, Brewarrina 1966, printed 2008, gelatin silver photograph. Art Gallery of New South Wales, purchased under the terms of the Florence Turner Blake Bequest 2008 © Mervyn Bishop.

1 February—12 April Mervyn Bishop This exhibition celebrates a central figure in Australian photography and his contribution to art and photojournalism over half a century, and includes photographs from the Art Gallery of New South Wales collection and material from the artist’s archive. An Art Gallery of New South Wales touring exhibition.

Maitland Regional Art Gallery 230 High Street, Maitland, NSW, 2320 [Map 12] 02 4934 9859 artgallery@maitland.nsw.gov.au Tue to Sat 10am–5pm (café open from 8am) Free entry, donations always welcomed.

8 February–3 May Let all the birds fly: The hybrid print Alison Alder, Jan Davis, Jan Hogan, Therese Kenyon, Ben Rak, Olga Sankey, Heather Shimmen, Glen Skien, Sandra Winkworth, Linda Swinfield and Patricia Wilson-Adams.

Curated by Patricia Wilson-Adams and Therese Kenyon.

How can it be recovered?

Kei Takemura 8 February–10 May Masters and Apprentices Featuring the Lake View Collection of Old Masters with responses from local school students.

Unravelling To Recognition Jaime Pritchard

Macquarie University Art Gallery The Chancellery, 19 Eastern Road, Macquarie University [Map 5] artgallery.mq.edu.au 02 9850 7437 Mon to Fri 10am–5pm.

5 March–24 April Where the Wild things Grow: Craig Waddell Survey The first autumn survey exhibition restarts the year examining the practice of

22 February–3 May Maitland International Salon of Photography 22 February–17 May Long Story Short Lucas Grogan Grogan’s work spans multiple disciplines including quilts, murals and painting.

As the title suggests, Grogan’s sense of humour has permeated his bold, fastidiously patterned, highly graphic, punfilled artworks that reflect his personal experiences in a range of media. This exhibition will include painting, embroidery, quilts and a large immersive wall 173

ULAN & RACHEL Forces of Nature

ARO GALLERY Opening drinks with the artists Tuesday 3rd March 6–8pm 4–15 March 2020 Tues–Sun 10.30am–6pm 51 WILLIAM STREET, DARLINGHURST NSW 0428 600 230 PLEASE CONTACT US TO PREVIEW THE EXHIBITION. ULANANDRACHEL.COM

FINE ARTS & CRAFTS by the region’s finest Artists & Artisans

60 Caves Beach Road, Caves Beach, NSW FiniteGallery.com 0419 471 660 Friday to Sunday & Public Holidays 10am–4pm

174

NEW S OUTH WALES

Manning Regional Art Gallery

Maitland Regional continued...

12 Macquarie Street, Taree, NSW 2430 [Map 9] 02 6592 5455 manningregionalartgallery.com.au Weds to Sat, 10am–4pm, Sun 1pm–4pm.

Closed on Mon and Tue. George Cox, The Philatelist, 2019, Northern Beaches Christian School student.

Lucas Grogan, The Wrestlers, detail, 2016, ink, acrylic and enamel on archival mount board, 182 x 120.5 cm. Purchased

by Maitland Regional Art Gallery, 2017. installation including a mural to be created by the artist during the installation of the exhibition.

from the high schools across Sydney’s Northern Beaches. Represented are diverse bodies of work including multi-media, digital, sculpture and drawing. In conjunction with Express Yourself, awards are granted annually to students featured in the exhibition: the MAG&M Society Youth Art Award, the Theo Batten Youth Art Award are awarded to a student continuing tertiary study in the arts, and the KALOF People’s Choice Award.

23 January—8 March The Forgotten work of Pixie O’Harris During the 1950s Pixie O’Harris painted panels featuring fairy stories and childhood dreams and donated them to public hospitals. This exhibition features works formerly shown in the Manning Hospital in Taree, providing a nostalgic trip back in time for many visitors.

28 February–28 March Life Drawing Bill Leak The artwork of Bill Leak returns to MAG&M in the form of this unique and previously unseen collection of life drawings created over a 40 year period.

Best known as a leading portrait artist, cartoonist, larrikin and raconteur, Bill Leak (1956–2017) is also remembered as one of the Northern Beaches’ favourite cultural exports to the nation. Curated

by Ross Heathcote and Johannes Leak, featuring works drawn exclusively from the Bill Leak Estate.

Simone Paterson, Magnum Mandala, 2014, digital print on satin, 101 x 95.5 cm.

Purchased by Maitland Reigonal Art Gallery, 2019.

29 February–9 August Guns To Roses – From The Maitland Regional Art Gallery Collection Guns to Roses brings together artworks from the MRAG Collection, and selected works on loan, that illustrate how artists respond to the precariousness of our times. Within this exhibition we find symbols of weaponry transformed into visually seductive motifs, the daily news transformed into a giant scroll and the beauty of our native flora used as a disguise to impart a much deeper message about our Nation’s history.

3 April–24 May Treasures from the Vault MAG&M kicks off the celebrations of its 90th year with an exhibition featuring key highlights from its extensive collections, providing rare insights into the collection history, stories and machinations of one of Sydney’s great art collections. It features paintings and photographs acquired through MAG&M Society, the Theo Batten Bequest, Northern Beaches Council, the Australian Government’s Cultural Gifts Program, private donors and the artists themselves which has enabled this great collection to continue to grow and to represent the work by some of Australia’s great artists.

28 February–28 March Express Yourself 2020 A significant annual curated exhibition of artworks by HSC Visual Arts students

12 March–26 April Doug Moran National Portrait Prize For over 30 years the Doug Moran National Portrait Prize (DMNPP) has encouraged both excellence and creativity in contemporary Australian portraiture by asking artists to interpret the look and personality of a chosen sitter, either unknown or well known.

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

Free entry. Closed Mon and public holidays.

Robert Forster, What, oil. Image courtesy of the artist.

Nick Hollo, Irrawong Waterfall, pastel on paper, 42 x 89.5 cm.

3 April–24 May Waterways Nick Hollo This exhibition of new oil pastel drawings conveys the beauty, diversity and significance of waterways throughout the Northern Beaches, including lagoons, marshes, creeks, waterfalls.

12 March–26 April Barely Wearable: body adornment for the age of over-consumption Ruth Downes This body of work is a continuation of Ruth Downes’ passion for reappropriating everyday materials and objects to celebrate their intrinsic beauty. Materials for these thirty ‘wearable’ artworks have been gleaned from a diverse range of sources—from aircraft headsets to coffee capsules.

175

176

NEW S OUTH WALES

Martin Browne Contemporary

5 March–29 March On Country Marlene Gilson

15 Hampden Street, Paddington, NSW 2021 [Map 10] 02 9331 7997 martinbrownecontemporary.com Tue to Sun 10.30am–6pm.

Space for Time Monika Behrens

Mosman Art Gallery Corner Art Gallery Way and Myahgah Road, Mosman, NSW 2088 [Map 7] 02 9978 4178 mosmanartgallery.org.au Open daily 10am–5pm, closed public holidays.

22 February—22 March Artists of Mosman: 2088

Ildiko Kovacs, Swivel in light, 2019, oil paint on board, 160 x 122 cm.

This annual exhibition is an excellent survey of the region’s thriving artistic community and includes works created

by Mosman residents as well as Friends and volunteers of Mosman Art Gallery.

The resulting large group exhibition shows contemporary artworks across the mediums of painting, drawing, printmaking, textiles, photography, sculpture and ceramics. Inevitably many of the artists draw inspiration from Mosman’s natural beauty: its beaches, harbour bays, coves, headlands and beautiful bushlands.

6 February–1 March Two Grounds Ildiko Kovacs

Bungaree’s Farm An exhibition of contemporary Aboriginal audio, video, performance and installation art exploring the legacy of Bungaree and the establishment of Bungaree’s Farm, the first land grant by colonial authorities to an Aboriginal person in Australia. Originally staged in the Camouflage Fuel Tanks at Georges Heights, Mosman in 2015, the exhibition features work by emerging and established First Nations artists.

Murray Art Museum Albury (MAMA) 546 Dean Street, Albury, NSW 2640 [Map 12] 02 6043 5800 mamalbury.com.au

28 March–17 May The Black Napoleon Megan Cope

29 November 2019—29 March Summer Place An annual experiment connecting art and architecture, Summer Place 2019 has been designed by architect Joshua Zoeller of CHROFI. The design responds to the increasing heat and dryness in the region, transforms the public gardens in front of the museum into a vast outdoor room that can be enjoyed by the whole community.

In 2017, Quandamooka artist Megan Cope was one of four Australian artists selected by the Australian Print Workshop to undertake an international artist residency in the United Kingdom and France exploring the theses of early French exploration of Australia and the Pacific as

Economics of Water maps the damage that has occurred to the Murray Darling river system in a series of photographs documenting the severely drought-

Megan Cope, Nyanba tahbiyilbanjara nganany (he knew his saltwater country), 2019, lithograph, 55 x 229.5 cm. Image courtesy of Australian Print Workshop and the artist.

Marlene Gilson, Out and About on the Goldfields, 2019, acrylic on linen, 75 x 100 cm.

well as other French /Australian connections. The artist had privileged access to important collections of archives, cultural and historical materials relating to early exploration of Australia and the Pacific, which allowed research opportunities to reflect on the interplay of natural history, the history of science, empire, art and anthropology. The resulting suite of new works was created in response to the people who defied the expanding Empire, in particular the story of ‘The Black Napoleon’.

6 February—17 May Economics of Water James Tylor

Mosman Art Gallery → Travelling Bungaree, 2015, Performed by (BLAK) Douglas, Karla Dickens, Amala Groom, Warwick Keen, Peter McKenzie, Djon Mundine, Caroline Oakley, Bjorn Stewart, Leanne Tobin and Jason Wing. Developed with the assistance of Andrea James. Video 5:46 min.

177

178

NEW S OUTH WALES Murray Art Museum continued...

James Tylor, Economics Of Water, detail, 2018, digital photograph. Image courtesy of the artist. affected Menindee Lakes region, as well as new photographs taken near Tallangatta, Victoria, near the Hume Dam.

21 February—31 May National Photography Prize 2020

14 March–8 June 22nd Biennale of Sydney: NIRIN

Australia’s oldest acquisitive photography prize returns with a showcase of the most innovative photo-based practices from across Australia. The 12 finalists will each present a small body of work in pursuit of the $30,000 first prize. One emerging artist will be selected from among the finalists to receive the $5000 John and Margaret Baker Memorial Fellowship, and visitors will be able to vote for their favourite in the People’s Choice Award.

The National Photography Prize is generously supported by the MAMA Art Foundation, and presented in partnership with PHOTO 2020.

Level 1 Galleries:

6 February—22 March Detritus: A Journey Through Memory and Loss Glenda Mackay Detritus is an exploration of grief and loss through collage, sculpture and installation

by Rutherglen-based artist Glenda Mackay.

2 April—17 May A Country Life Olive Odewahn A charming collection of photographs by a pioneering female photographer that capture life in rural Australia in the early-mid twentieth century. Curated by Dr. Catherine Rogers.

Museum of Contemporary Art Australia Danica Chappell, Thickness of Time #5, 2018, chromogenic photograph, framed, 1270 x 1620 mm. Image courtesy of the artist.

140 George Street, The Rocks, Sydney, NSW 2000 [Map 8] 02 9245 2400 mca.com.au Daily 10am–5pm, Wed 10am–9pm.

Denilson Baniwa (Brazil), Victoria Santa Cruz (Peru), Mayunkiki (Japan), Noŋgirrŋa Marawili (Darrpirra/Yirrkala, Australia, Elicura Chihuailaf Nahuelpán (Chile), Erkan Özgen (Turkey), Ahmed Umar (Sudan/ Norway) Level 3 Galleries: Joël Andrianomearisoa (Madagascar/ France), Huma Bhabha (Pakistan/USA), Jes Fan (Canada/USA/China), Aziz Hazara (Afghanistan), Tarek Lakhrissi (France), Misheck Masamvu (Zimbabwe), Prof Zanele Muholi (South Africa), Pedro Wonaeamirri (Andranangruwu (Melville Island), Paluwiyanga (Australia). Tribe: Milipurrulla (White Cockatoo). Dance: Jilarti (Brolga).

Muswellbrook Regional Arts Centre Corner Bridge and William streets, Muswellbrook, NSW 2333 [Map 12] 02 6549 3800 muswellbrookartscentre.com.au Tue to Fri 10am–5pm, Sat and Sun 10am–1pm, Mon by appointment only.

Closed public holidays.

26 January–8 March 2019 Archibald Prize Awarded to the best painting of a notable Australian, the Archibald Prize is a who’s who of Australian culture, from politicians to celebrities and from sporting heroes to artists. Prestigious and controversial, the Archibald Prize is Australia’s foremost portraiture prize. The Archibald Prize awards $100,000 prize money for the

MCA → Aziz Hazara, Bow Echo (still), 2019, produced by the Han Nefkens Foundation, image courtesy and © the artist.

179

Outback Art Prize $20,000 acquisitive prize.

Entries close 29th may. bhartgallery.com.au exhibition 10th July 13th September 2020

NEW S OUTH WALES Muswellbrook Regional Arts continued... winning artist. In its 98th year, the Archibald Prize has been held annually since 1921. An open competition, the Archibald Prize is judged by the trustees of the Art Gallery of NSW. Entries to the Archibald Prize must be painted in the past year from at least one live sitting. Finalists are exhibited at the Art Gallery of New South Wales before embarking on a year-long regional tour. In the early years, all entries were hung.

The 2019 Archibald is proudly presented

by ANZ. This year is the 10th anniversary of ANZ’s partnership with Australia’s most extraordinary art event.

15 March—10 May 47th Muswellbrook Art Prize 2020 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 47th Muswellbrook Art Prize in 2020 vie for a total of $71,000 prize money across four prize categories: Painting ($50,000 acquisitive), Works on Paper ($10,000 acquisitive), Ceramics ($10,000 acquisitive) and People’s Choice ($1,000 non-acquisitive).

Astute adjudication of the Muswellbrook Art 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 Upper Hunter Region is also well represented with a number of local artist being successful in winning the Prize including Peter Atkins, Dale Frank, Lyn Nash and Hanna Kay. 15 March–10 May Art Tracks III: Grey Sky, Blackened Earth

Dagmar Cyrulla, Timing, 2008, oil on linen, 210 x 240 cm. Muswellbrook Shire Art Collection, Donated through the Australian Government’s Cultural Gifts Program by Tom Armstrong.

26 January—10 May Reflection: Contemporary Portraiture from the Collections Drawn entirely from the Collections held at the Muswellbrook Regional Arts Centre, Reflection: Contemporary portraiture from the Collections expounds an intimate human expression—a reflection of the sentiments held by each artist for their subject, be it mother, wife, child, friend or mentor. Works by artists including Charles Blackman, Judy Cassab, Roy Jackson, Richard Larter, Euan Macleod and Suzie Marston elucidate the contemporary approach taken to portraiture of this most fundamental of disciplines in the art world.

27 February–14 March The Pale Horse Comes Jason Benjamin

The Art Tracks exhibition series accompanying the annual Muswellbrook Art Prize showcases the works acquired via the Prize forming the nucleus of the Muswellbrook Shire Art Collection.

Art Tracks III: Grey Skies, Blackened Earth offers a commentary on the current status of the Australia landscape – our towns and cities shrouded in smoke (Michael Shannon, Summer Landscape 1969), the land ravaged by drought and fire (Elwyn Lynn, Across the Black Soil Plains 1960 and David Harrex, Black Landscape, Tasmania 1968). The destruction is palpable.

Art Tracks III calls the viewer to pause, to contemplate, to action.

Chen Ping, Blue Flowers Ink, 2019, oil on linen, 182.8 x 152.5 cm.

19 March–28 March Chen Ping

National Art School Gallery Forbes Street, Darlinghurst, Sydney, 2010 [Map 9] 02 9339 8686 nas.edu.au Mon to Sun 10am–5pm.

The Gallery aims to enhance the National Art School’s role as a leading centre for visual arts education in the Asia-Pacific, with ambitious group and solo exhibitions

by Australian and international artists that foster critical appreciation of art and innovative art practice.

Nanda\Hobbs 12–14 Meagher Street, Chippendale, Sydney, NSW 2008 [Map 8] 02 8599 8000 nandahobbs.com #nandahobbs 

Hannah Catherine Jones, Owed to Diaspora(s), (video still), 2019. Courtesy of the artist.

14 March—8 June NIRIN 22nd Biennale of Sydney Under the artistic direction of Brook Andrew, NIRIN is an artist- and First Nations-led endeavour, presenting an expansive exhibition of contemporary art and events that connect local communities and global networks.

Martin King, Recess I, 2018, graphite on drafting film, watercolour and pigment on paper, 144.5 x 189 cm. Winner 46th Muswellbrook Art Prize 2019, Works on Paper, Muswellbrook Shire Art Collection.

Jason Benjamin, Untitled, 2020, oil on paper, 25.5 x 33.5cm.

Artists: Adrift Lab (Canada/Australia/ United Kingdom), Tony Albert (Australia), Randy Lee Cutler (Canada), Hannah Catherine Jones (United Kingdom), Teresa Margolles (Mexico), Iltja Ntjarra / Namatjira School of Art (Australia), Andrew Rewald (Australia/Germany).

181

Pennie Steel, Sleeping Muse.

Brian Reid, Untitled.

STEELREID STUDIO

www.SteelReid Studio.com.au by appointment only 0414 369 696

182

NEW S OUTH WALES

Newcastle Art Gallery

OLSEN

1 Laman Street, Newcastle, NSW 2300 [Map 12] 02 4974 5100 nag.org.au Tue to Sun 10am–5pm.

63 Jersey Road, Woollahra, NSW 2025 [Map 10] and OLSEN Annex: 74 Queen Street, Woollahra, 02 9327 3922 olsengallery.com Director: Tim Olsen Mon noon–5pm, Tue to Fri, 10am–6pm, Sat 10am–5pm, Sun 11am–5pm.

Nationally recognised as one of the finest public collections in Australia, Newcastle Art Gallery holds over 6,700 works of art and the quality and breadth of its collection makes it a significant cultural asset for the city.

New England Regional Art Museum 106–114 Kentucky Street, Armidale, NSW 2350 [Map 12] 02 6772 5255 neram.com.au Tue to Sun, 10am–4pm.

OLSEN, known previously as Olsen Irwin and Tim Olsen Gallery, was established in 1993 and exhibits a broad spectrum of Australian and international art, in the gallery, online, and at art fairs.

Gallery founder and director Tim Olsen has cultivated a stable of artists that he feels presents a comprehensive and poignant view of the contemporary arts in Australia. With a continually changing exhibition calendar we showcase the work of both emerging and established artists.

Del Kathryn Barton, Wilder grew her song, 2011–12, acrylic, gouache, watercolour and ink on polyester canvas.

Collection of Del Kathryn Barton.

7 February–3 May The Nightingale and the Rose Del Kathryn Barton and Brendan Fletcher

George Gittoes, Our house, 1989–90, (detail) oil on canvas 168 x 220 cm.

Donated through the Australian Government’s Cultural Gifts Program by George Gittoes 2015. Newcastle Art Gallery Collection. Courtesy of the artist.

USE 21 March–3 May Makings Michelle Hungerford

8 February—26 April George Gittoes: on being there George Gittoes AM is a highly recognised Australian artist, photographer and filmmaker. For over four decades he has documented some of the world’s worst conflicts. George Gittoes: on being there, gives unprecedented access to the artist’s personal visual diaries, field drawings, photography and film in a journey that holds out the hopeful power of creativity in the face of prejudice and fear.

Parramatta Artists’ Studios Level 1 & 2, 68 Macquarie Street, Parramatta, NSW 2150 [Map 11] 02 9806 5230 parramattastudios.com.au Louise Olsen, Peachy Cloud, 2019, oil on linen, approx 200 x 180 cm.

4 March—28 March Pollination Louise Olsen 1 April—26 April Jonathan Delafield Cook and William Delafield Cook

Parramatta Artists’ Studios Rydalmere: 22 Mary Parade, Rydalmere, NSW 2116 Open during events only.

Studios by appointment.

Admission free.

John Coburn, The 6th day: God created Man, 1977, screenprint on paper, 52.0 x 72cm. Purchased with assistance from the Visual Arts Board, Australia Council 1978 Newcastle Art Gallery collection Courtesy the artist’s estate.

Tully Arnot in his studio at Parramatta Artists’ Studios, 2019. Courtesy of Parramatta Artists’ Studios. Photo by Andrew Vincent Photography.

29 February—10 May Stopping Time: Material Prints 3000 BCE to Now Stopping Time: Material Prints 3000 BCE to Now expands on the definition of printmaking by bringing works of art together in thematic clusters, regardless of their period or place of production, collapsing the temporal distances between them and emphasising the dual power of material prints to embed or stop time as we engage with them.

Philjames, Before Anything was Cool in the World (Berry Swirl), 2019, oil on 4 coat polyester, 160 x 160 cm.

29 April—23 May One fine day...

Philjames

1 March–30 April 2020 Parramatta Studio Artists Akil Ahamat, Tully Arnot, Cindy Yuen-Zhe Chen, Liam Colgan, Dacchi Dang, Kalanjay Dhir, Sabella D’Souza, Kirtika Kain, Gillian Kayrooz, Shivanjani Lal, Sarah Rodigari, Sofiyah Ruqayah, Yana Taylor and Justine Youssef.

183

ar t g ui d e .c o m . au Parramatta Artists continued...

1 March–30 April 2020 Rydalmere Studio Artists Liam Benson, Emma Fielden, Mehwish Iqbal, Ramesh Mario Nithiyendran, Tom Polo and Yasmin Smith.

father’s memory and photos, working collaboratively with him. We will explore our family photos of the gardens and create new photo based works that consider the role of public spaces in creating ties to community outside of the home.

Rochfort Gallery 317 Pacific Highway, North Sydney, NSW 2060 [Map 7] 0438 700 712 rochfortgallery.com Open Tue to Fri 9am–5.30pm, Sat & Sun 10am–4pm.

Peacock Gallery and Auburn Arts Studio Auburn Botanic Gardens, Corner Chisholm and Chiswick Roads, Auburn, NSW 2144 [Map 11] 02 8757 9029 cumberland.nsw.gov.au/arts Tue to Sun 11am–4pm.

8 February–15 March Echoes in Soft Spaces: A Residency Reflection Gillian Kayrooz A workshop series and outcomes exhibition of Kayrooz’s ‘Professional Development Program in the Asia Pacific’ which included a series of residencies, artist talks and exhibitions completed from mid to late 2019. This was supported by the Create NSW’s Young Creative Leaders Fellowship which she received in late 2018.

8 February–15 March Bhulano Nahi [forget me not] Shivanjani Lal An exhibition which looks at the Auburn Botanic Gardens through the lens of my

Mehrdad Mehareen, Water, Soil, Wind., 2019 winner of Cumberland Art Awards.

4 April–10 May Cumberland City Council Art Awards An initiative of Cumberland Council.

This opportunity supports local artists in showcasing their arts, culture and creative work in an exhibition at the Peacock Gallery in the Auburn Botanic Gardens. The differing awards across artforms honour local artists and their creative contributions to the local community.

Barbara Campbell-Allen, Flow.

12 February–29 March Group exhibition In this exhibition Sally Stokes chooses a sensuous palette to celebrate the bush.

Parramatta Artists’ Studios → Yasmin Smith in her studio at Parramatta Artists’ Studios Rydalmere, 2019. Courtesy of Parramatta Artists’ Studios. Photo by Jacquie Manning.

184

NEW S OUTH WALES Her use of blushing pinks are offset with mustard yellows and the tea stained mid tones of Bonnard and the Nabis.

STACKS Projects 191 Victoria Street, Potts Point, NSW 2011 [Map 8] stacksprojects.com Thurs to Sat 11am–6pm, Sun 11am–4pm.

1 April—17 May Barbara Campbell-Allen (OAM) Rochfort Gallery has published a book celebrating Campbell-Allen’s work.

Presales are now being accepted for the limited edition of 300 copies.

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

6 March—28 March Afraid Cascade Fiona Hall 3 April—2 May Callum Morton

S.H. Ervin Gallery National Trust of Australia (NSW), Watson Road, (off Argyle Street), Observatory Hill, The Rocks, Sydney, NSW 2000 [Map 8] 02 9258 0173 shervingallery.com.au Tue to Sun 11am–5pm.

Peter Kingston, Lady Heron II, 2004, oil on canvas, 111 x 114 cm. Private Collection, courtesy of Australian Galleries.

28 March–3 May First Light: The art of Peter Kingston Curated by Emeritus Curator of Australian Art at the AGNSW, Barry Pearce, First Light will comprise paintings and drawings from both public and private collections throughout Australia, along with Peter Kingston’s artist books, memorabilia and nostalgic relics.

The exhibition arose from a recently pub­lished book by The Beagle Press on the artist Peter Kingston. The exhibition focuses on works from the early 1990s, when Kingston mastered his pictorial language, and over the next three decades when he has produced his most impressive work.

Saint Cloche 37 MacDonald Street, Paddington, NSW 2021 [Map 10] 0434 274 251 saintcloche.com Wed to Sat 10am–5pm, Sun 11am–4pm.

Alex Karaconji, Animation still from Night Works, 2019, digital animation, edition 1 of 5. Image courtesy of the artist.

5 March–22 March Shadow Palette ​ Alex Karaconji, Lisa Pang, Laura Sutton, Shannon Smith and Simon Wheeldon.

This exhibition draws together a diverse group of artists who have agreed to abandon colour in order to pursue light and shadow as drivers of form. Engaging with modes of textural expression as a means of investigating light and space, the artists’ works oscillate between image, object, and installation.

Opening Wednesday 4 March, 6pm–8pm.

Friday 13 March Art Month Art at Night 23 March–5 April STACKS Project Space

26 February—8 March The Shifting Forest Ochre Lawson

Cressida Campbell, White Waratah, 2000, carved woodblock, hand painted in watercolour pigment, 51.5 x 57 cm.

Art Gallery of New South Wales, Gift of the Margaret Hannah Olley Art Trust 2002 © Cressida Campbell.

11 March—22 March Take Me There Emily Imeson

Until 22 March Margaret’s Gift An exhibition that acknowledges and celebrates the generous legacy of Australia’s beloved artist Margaret Olley AC (19232011). Regarded as an accomplished painter of still life and interiors, Olley was also a generous donor giving over 380 works to galleries. Margaret Olley made her first donation of four eating bowls from the Middle Sepik River to the Art Gallery of New South Wales in 1984 and she continued to give generously up until the time of her death in 2011 and following through bequests. Presented with the support of the Margaret Olley Art Trust and is the second in the series celebrating the important contribution that Margaret had to so many aspects of Australian cultural life.

Image courtesy of the artist.

16 April–3 May Unintended Consequences Suzie Idiens This exhibition explores the variable outcomes derived from introducing simple adjustments to surface colour and perimeters of a predetermined geometric form.

Julia Trybala, Room.

Opening Wednesday 15 April, 6pm–8pm.

25 March—19 April Room Julia Trybala 185

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

Steel Reid Studio 148 Lurline Street, Katoomba, Blue Mountains, NSW 2780 [Map 11] 0414 369 696 or 02 478 26267 SteelReid Studio.com.au View the collection by appointment.

The heartland of accepted practice is well defined, but new insights take place at the periphery. This exhibition is an invitation to design and make at the edge of accepted practice.

Grant Stevens, The Mountain, 2018, real-time computer graphics with sound.

8 April—25 April Grant Stevens

Nettie Sumner, Bell pods.

Brian Reid, Blue Mountains, NSW, digital image.

Permanent studio exhibition.

Collections by Pennie Steel, Brian Reid, Kaya Sulc.

Stanley Street Gallery 1/52–54 Stanley Street, Darlinghurst, NSW 2010 [Map 8] 02 9368 1142 stanleystreetgallery.com.au Wed to Fri 11am–6pm, Sat 11am–5pm or by appointment.

18 February—14 March Séance Group exhibition curated by Sean Morris.

18 March—9 April Embrace Julie Blyfield

Tamworth Regional Gallery

Mothers and daughters explore their shared and separate creativity through ceramics, textiles and paintings: Mercy Jo Sumner and Nettie Sumner, Libby Hobbs and Dimity Kidstone.

466 Peel Street, Tamworth, NSW 2340 [Map 12] 02 6767 5248 tamworthregionalgallery.com.au Tue to Fri 10am–5pm, Sat 10am –4pm, Sun 10am–4pm.

Closed Public Holidays.

Sullivan+Strumpf

Thienny Lee Gallery

799 Elizabeth Street, Zetland, NSW 2017 [Map 7] 02 9698 4696 sullivanstrumpf.com Tue to Sat 10am–5pm or by appointment.

176 New South Head Road, Edgecliff, NSW 2027 [Map 10] (Opposite Edgecliff Station) 02 8057 1769 thiennyleegallery.com Tue to Fri 10am to 4pm, Sat 11am–4pm.

We are currently taking exhibition proposals for 2020, apply now.

5 April—24 May Bio Genesis – From living beings come similar living beings

14 March—4 April It’s Not Real Karen Black

27 February–17 March Take 6 for International Womens Day Angela Alcock, Phillipa Butters, Jenny Hall, Julie Johnstone, Sue McRoberts and Catherine Stewart.

18 March—9 April Ceramics Helen Fuller 29 April—16 May Headon Photo Festival

In honour of International Women’s Day on the 8th of March, this exhibition invites the viewer to experience the individual responses of six female artists to the landscape, to nature and to their experience of place – the intimate and familiar, the harsh and remote, and where land meets water. The diverse landscape is captured through the changing light and colour, tones and textures, mark-making and motifs, layering and scraping, and the revealing and concealing. An impression, a feeling, an abstraction ... a moment that is seized on canvas.

Sturt Gallery & Studios Corner Range Rd and Waverley Parade, Mittagong, NSW 2575 [Map 7] 02 4860 2083 sturt.nsw.edu.au Daily 10am–5pm.

19 March–7 April Connexion Beverley Woollett

Richard Lewer, Wangari Maathai born 1st April 1940 died September 25 2011, 2019, earthenware, 40 x 38 cm.

Alby Johnston, Table detail.

14 March—4 April Richard Lewer

16 February–29 March Edge – Studio Woodworkers Australia

8 April—25 April Glenn Barkley

186

Woollett explores the complex relationship between people and place by rendering human figure and landscape inseparable in her artwork. In this series of work, using mixed media and collages, Woollett superimposes human physical form onto the landscape, as if they were part of the hills and mountains, validating an intimate connection with the Earth. Through her mastery of both the landscape and

NEW S OUTH WALES

Beverley Woollett, Against Bald Rock, mixed media on canvas, 61 x 51 cm. life drawing tradition, Woollett inspires passion and heightens senses in her artwork as she interconnects narratives of human and landscape, as well as human in landscape.

events features more than 20 artists, writers and creatives connected by the Great Ocean. ‘Wansolwara’—a pidgin word from the Solomon Islands meaning ‘one salt water’—reflects not a single ocean, but rather a connected waterscape that holds distinct and diverse cultures and communities.

This special project features ngatu created in Tonga, Aotearoa New Zealand and New Caledonia by artist and curator Ruha Fifita with friends and family. The works represent the critical role of fibre arts in Pacific culture, ceremony and community life, as well as honouring intergenerational learning.

17 January–18 April ‘O le ūa na fua mai Manu‘a asinnajaq, Sarah Biscarra Dilley, Sebastián Calfuqueo Aliste, Mariquita Davis, Amrita Hepi, Caroline Monnet, Faye Mullen, Shannon Te Ao, Angela Tiatia, and Gutiŋarra Yunupiŋu. Curated by Dr Léuli Eshrāghi.

17 January–14 March Shivanjani Lal: Beta, ek story bathao

In an endeavour to embody and awaken Indigenous sensual and spoken languages, this major exhibition draws together fresh international perspectives through film and video works. Exhibiting artists invite consideration of chosen genealogies and bloodlines meeting through language, movement, body and kinship.

UNSW Galleries Corner Oxford Street and Greens Road, Paddington, NSW 2021 [Map 10] 02 8936 0888 artdesign.unsw.edu.au/unsw-galleries Tue to Sat 10am–5pm.

Closed public holidays.

Shivanjani Lal is a twice-removed Fijian Indian Australian artist who works with photography, video, performance and ritual. Lal presents new works exploring the indentured labour diaspora of the Indian and Pacific Oceans and the histories that brought her family from India to Fiji and now to Australia.

Wagga Wagga Art Gallery Civic Centre, corner Baylis and Morrow streets, Wagga Wagga, NSW 2650 [Map 12] 02 6926 9660 waggaartgallery.com.au Tue to Sat 10am–4pm, Sun 10am–2pm. Free admission.

20 April 2019—5 April Perceptual Reversal Madisyn Zabel

17 January–18 April Wansolwara: One Salt Water

Ruha Fifita, Lototō 1, 2016 (process image), earth pigments, natural dyes and tuitui (candlenut soot) on ngatu (barkcloth). Image courtesy of the artist, photograph: Arnaud Elissalde.

Presented in partnership with 4A Centre for Contemporary Asian Art and in association with Sydney Festival 2020, this series of exhibitions, performances and

17 January–18 April OFO HAKE: Koe Ngatu Teuteu ‘o ‘Akesa mo ‘Isileli Fifita Ruha Fifita

This exhibition builds on Zabel’s current rationale, which explores the relationships between three-dimensional objects and their two-dimensional interpretations in glass and mixed media.

29 June 2019–31 May Fun Foam Fantastical Fabulous Fun! Rosie Deacon Deacon was gifted a truck load of Fun Foam from a studio neighbour. She was

UNSW Galleries → Shannon Te Ao, my life as a tunnel, 2018 (still). Image courtesy of the artist and Mossman, Wellington.

187

ar t g ui d e .c o m . au Wagga Wagga Art Gallery continued... tasked with repurposing the left over foam which started the artist’s obsession with this dynamic and versatile material.

14 March–21 June National Emerging Art Glass Prize 2020 Wagga Wagga Art Gallery’s acclaimed National Emerging Art Glass Prize returns in 2020, promoting innovation and excellence in contemporary glass within the emerging sector. The biennial competition is open to students from universities across Australia and artists that are within five years of emerging from their studies.

Wagner Contemporary Michael Agzarian, Darnel: London, 2016, digital print. Image courtesy of the artist.

1 February–22 March Global Melody Project Michael Agzarian

Wallarobba Arts and Cultural Centre 25 Edgeworth David Avenue, Hornsby, NSW 2077 [Map 11] hornsby.nsw.gov.au/culture 02 9847 6572 Daily 10am–4pm.

2 Hampden Street, Paddington, NSW 2021 [Map 10] 02 360 6069 wagnercontemporary.com.au Tues to Sun 10.30am–6pm.

Global Melody Project is a catalyst for understanding, an opportunity for us to communicate with strangers, and most importantly shift our expectations, as well as discover new music to enjoy.

Nicole Matthews, Mother of Millions takes to the waves.

5 May–17 May Deerubbin at dawn: river lives on the Hawkesbury Nicole Matthews

Eleanor Millard, Sailor’s Hut, acrylic on paper on canvas, 40 x 40 cm.

17 March–25 March 40/40 Project Group Show

Freya Jobbins, David’s Mask, detail, 2017, pigment print on cotton rag paper. Image courtesy of the artist.

tionally slows the process of making and looking. Hislop’s first solo show at Wagner Contemporary follows a successful exhibition at Cross Art Projects in 2019.

There is something intimate and alluring about a small work of art. Contained by size, the energy and immediacy of an artist’s mark-making is almost like a snap shot, where the senses are heightened for a brief moment and the essence of an idea is captured to form a unique ‘little gem’.

The 40/40 Project will be an exhibition of such gems, by gallery and invited guest artists, presenting a dynamic sequence of works each emphasizing a different subject, technique and medium.

8 February–3 May Tree Conversations: networking with the wood wide web Networks Australia

Join Sydney photographer and academic, Nicole Matthews for a journey on Deerubbin—otherwise known as the Hawkesbury River. The images presented in this exhibition have been taken over five years from a vintage wooden kayak.

They show the beauty of the river, tracing the connections between the humans that love and utilise it and the other living things that dwell there. Opening Friday 8 May, 6.30pm–8.30pm.

Western Sydney University Art Galleries Australia – China Institute for Arts and Culture Gallery, Western Sydney University (Parramatta Campus) Ground floor, EA Building, Room EA.G.13, Corner of James Ruse Drive and Victoria Road, Rydalmere 2216 02 9685 9943 westernsydney.edu. au/aciac/exhibitions Mon to Thur 10am–3pm.

Can trees talk? Are you listening? In Tree Conversations: networking with the wood wide web, Networks Australia share fresh insights into the world of trees. Providing audiences with thought provoking exhibitions since 2010, this group of artists from regional NSW and ACT present unique works in a diversity of mediums that will share secrets from the mysterious lives of our leafy companions.

15 February–17 May Return Freya Jobbins Multi-disciplinary artist Freya Jobbins brings together a series of works that explore a deeply personal response to having a son going to war, waiting for his safe return and coping with inevitable aftermath.

188

Mark Hislop, Untitled 3, acrylic on perspex, 100 x 122 cm.

28 March–15 April Ghost Flowers and Zombie Plants Mark Hislop Hislop’s works are developed slowly, using drawing and painting, and, more recently, spray paint on perspex, in a way that inten-

Heli Yang, I Am A Mermaid.

NEW S OUTH WALES 25 February—16 April A New Life Heli Yang

Margaret Whitlam Galleries, Female Orphan School, Western Sydney University (Parramatta Campus). First Level, West Wing, EZ Building, Parramatta Campus, Corner of James Ruse Drive and Victoria Road, Rydalmere NSW 2116 02 9685 9210 virtualtours.westernsydney.edu.au Wed to Fri 10am–4pm and the first Saturday of each month.

14 February—24 April Marriage, Love and Law A NSW State Archives exhibition that explores the laws, beliefs and social attitudes that have shaped and reshaped marriage in Australia over three centuries.

Margot Hardy Gallery, Western Sydney University Foyer, Building 23, Bankstown Campus, Bullecourt Avenue, Milperra NSW 2214 02 4620 3450 virtualtours.westernsydney.edu.au Mon to Fri 9am–5pm.

1 February—12 March The Road Less Travelled Rafat Yacoub 17 March—15 May Access Printmedia Studio – Revisited This exhibition features works from Western Sydney University’s Art Collection, by artists who produced works at this printmaking studio, based at the University’s Bankstown campus during the1990s.

White Rabbit Contemporary Chinese Art Collection 30 Balfour Street, Chippendale, NSW 2008 [Map 9]

02 8399 2867 whiterabbitcollection.org Wed to Sun 10am–5pm.

ancient myth and legend coated with a sheen oozing with pop-culture references and contemporary street smart cred.

eX de Medici, Cleavin’ Clint Eastwood, 2014, watercolour and gouache on paper, 114 x 245 cm. Photograph: Rob Little RLDI, Collection of the artist.

Zhu Jinshi, The Ship of Time, 2018, rice paper, bamboo, cotton thread dimensions variable, approximately 300 x 300 x 1500 cm.

12 March–2 August AND NOW Group Show Continuing the 10th Anniversary celebrations of the White Rabbit Gallery, AND NOW focusses on the second decade of Judith Neilson’s world-renowned White Rabbit Collection of 21st Century Chinese art. Works from leading artists including Yu Hong, Zhu Jinshi and Zhang Peili reveal the technical virtuosity and conceptual richness which places Chinese art firmly at the forefront of the contemporary art world today.

7 March–17 May Ex De Medici: From The Room Of Dorian Gray Works from the artist’s superannuation collection made and exhibited between 2013–2019.

Black Bob’s Creek Halinka Orszulok Night-time paintings that explore the history and identity written on the landscape and attitudes towards the land that are in a state of flux.

Wollongong Art Gallery Cnr Kembla and Burelli streets, Wollongong, NSW 2500 [Map 12] 02 4227 8500 wollongongartgallery.com Mon to Fri 10am–5pm, Sat to Sun noon–4pm.

29 February–17 May Thousands Amazing The Great Anthony Lister Paintings that capture the spirit of the immortal Heroes and Villains from

Pamela Griffith, Wongawilli Colliery, 2019, acrylic, 41 x 51 cm.

21 March–14 June Wollongong Then And Now Pamela Griffith Illawarra landscapes painted by Pamela Griffith in 2019, and photographs from the collec­tion by Charles Kerry depicting the same locations some 130 years apart.

White Rabbit → Patty Chang, Invocation for a Wandering Lake.

189

A–Z Exhibitions

MARCH/APRIL 2020

Queensland

Brookes Street, Macalister Street, Brunswick Street, Doggett Street,

Hasking Street, Russell Street, Bundall Road, Fernberg Road,

Fortescue Street, Abbott Street,

Jacaranda Avenue, Maud Street,

Arthur Street, Pelican Street,

Village Boulevard, George Street,

Oxley Avenue, Bloomfield Street, Victoria Parade, Stanley Place,

Ruthven Street, Flinders Street, Wembley Road

21 February–3 June Art of Collection

Art from the Margins Gallery and Studios 136 Brunswick Street, Fortitude Valley, QLD 4006 artfromthemargins.org.au 07 3151 6655 Mon to Fri 10am–4pm.​​

Christus Nóbrega, The Three Sisters | As Três Irmãs, 2017, print on linen lace, Impressão sobre linho rendado, 110 x 110 cm.

15 February—28 March Labirinto Christus Nóbrega

Felicity Clarke, Baby Brain from Victorian Psychology Drawing, 2019.

An exhibition by Brazilian artist and academic Christus Nóbrega, and refers to a technique of lace-making traditionally practiced by the women of Paraíba. The exhibition re­f lects Nóbrega’s heritage and records the artist’s personal history invoked through artifacts traditional to the popular culture of his homeland.

Elysha Rei, Poinsettia tiles (detail), handcut paper study, 2017, paper, 18 x 18 cm.

Image courtesy of the artist.

6 March–3 June Elysha Rei: The CQUniversity Wall

Still Lyfe Leah Emery Working with traditional cross-stitch techniques, Emery chooses imagery that achieves maximum contrast to the restrained, traditional female craft she employs. Emery’s works can be seen as points of collision, where social history and material culture meet to investigate and reflect social conditions. Through its reclamation and use of the domestic-private sphere, Emery’s practice takes female experiences as a subject with political and subversive implications.

4 April—23 May Unleashed 2020: Emerging Craft and Design Katka Adams, Travelling Light, 2016.

7 March–9 April Coinciding with International Women’s Day, Art from the Margins brings together two exhibitions featuring three amazing female artists.

Lifting the Veil on the Unseen–A Textile Interpretation of the Mind Felicity Clarke Clarke aims to spark conversations on mental health.

Pandora’s Box Katka and Sophie Adams Touching on difficult feelings and painful memories, reflecting on challenging times while contemplating life. Opening event Saturday 7 March, 2pm–4pm.

Artisan 45 King Street, Bowen Hills, QLD 4006 [Map 15] 07 3215 0800 artisan.org.au Tue to Fri 10am–5pm, Sat 10am–4pm. Free admission.

Drawing together a small cohort of early-career practitioners, the biennial exhibition explores the convergence between visual art, craft, and design. With the abundant virtuosity evident in our emerging practitioners in Queensland, Unleashed celebrates not only the continuing importance of legacy skills, but also their contemporary application.

Selected artists for 2020 are: Adam Anderson, Peta Berghofer, Minqi Gu, Emily McGuire, Bridgette Shepherd and Joash Teo.

Artspace Mackay Civic Precinct, corner Gordon and Macalister Streets, Mackay, QLD 4740 [Map 14] 07 4961 9722 artspacemackay.com.au Tue to Fri 10am–5pm, Sat to Sun 10am–3pm. Free entry.

24 January—5 April Disquiet: Ecological Anxieties and Transformations

Catherine Truman, Ongoing Being, detail, 2010, ongoing, multimedia, dimensions variable. Photograph by Grant Hancock.

6 March–7 June JamFactory ICON: Catherine Truman No surface holds 14 April–7 June Contested Biography Michelle Vine

Butter Factory Arts Centre 11a Maple Street, Cooroy, QLD 4563 [Map 13] 07 5442 6665 butterfactoryartscentre.com.au Tue to Sun 10am–3pm.

21 February–24 March Marks And Memories Carol Watkins & Pam Miller Ceramicist Carol Watkins joins with painter Pam Miller to create Marks and Memories. The marks on the paintings and the ceramics evoke memories of times and events past. The pieces are designed to challenge the viewer to envisage our memories.

Windows Of Nature Entwined Threads Six independent mixed media artists will be telling stories of the environment, loss of habitat, seasons, regeneration, cycles of life, connection of people and nature.

191

20 20

biennial

bie

20

NORTH QUEENSLAND ceramic awards Call for entries MAJOR ACQUISITIVE PRIZE $10,000

NORTH QUEENSLAND ENTRIES CLOSE Monday 20 April 2020

ENTRY FORMS AVAILABLE townsville.qld.gov.au/pinnacles EXHIBITION DATES 17 July – 13 September 2020

ceramic awards Call for entries PINNACLES GALLERY

(07) 4773 8871 pinnacles@townsville.qld.gov.au whatson.townsville.qld.gov.au Townsville City Galleries townsvillecitygalleries

www.townsville.qld.gov.au/pinnacles

Image: Simone FRASER Landscape Series (single) 2017 Clay and dry glazes 63 x 27 cm Major acquisitive prize winner of the City of Townsville Art Collection Award, 2018 Biennial North Queensland Ceramic Awards, Townsville.

City of Townsville Art Collection

192

QUEENSLAND Butter Factory continued...

Passage: Into The Heart Of Resilience Lorissa Manners This exhibition by humanitarian artist Lorissa Manners, is a collection of contemporary portraits and keepsakes that represent the journey of displacement of six refugee women.

Simon Degroot, Cove Dupont, 2014, oil on canvas. Winner Moreton Bay Region Art Awards 2015, Moreton Bay Regional Council Art Collection.

Lew Brennan, N’Orlin’s Nightcap, oil on canvas.

27 March–5 May A Day In a Life Lew Brennan Reality in art is an individual’s perspective and is indeed as much of an abstraction as any art form. Despite transgressing in its purpose from ritual to social commentary, realism as an art form is singularly capable of returning our attention to those simple pleasures in our daily life from where we were otherwise busy making other plans.

The suites of art in this exhibition are offered as a conduit to that paradox.

contemporary life, playfully exploring our everyday surroundings. Constructive traces Degroot’s exploration of abstract forms through painting, collage and public murals. Degroot is a two-time winner of the Moreton Bay Region Art Awards and several of his works are held in the Moreton Bay Regional Council Art Collection.

Exhibition developed by Moreton Bay Regional Council.

54 Currumbin Creek Road, Currumbin Waters, QLD 4223 0401 727 433 dusttemple.com.au Mon to Sun 10am–4pm.

1 February–20 March Stockroom Show Featuring Anthony Short, Peter Ceredig-Evans, McLean and others.

An exhibition featuring examples of performance and theatricality in video art from the 1970s to the present day. Many of the video works demonstrate the resurgence of direct-to-camera performance.

Sculptor Greg Kinman and potters Paula Bowie and Melissa McCullagh come together in a joint exhibition that explores the dynamic rhythms of nature and time.

Stories are shared by these artists in a bold use of clay, bamboo, wire and natural materials from the coastal dunes.

22 February—2 May Simon Degroot: Constructive Degroot uses painting to make sense of the world, translating forms from the digital realm, magazines and architecture. He creates abstract works tied to

26 March–2 May Pat Hoffie

GALA Gallery Level 1/35-37 Macaree St, Berserker QLD 4701 [Map 14] 07 4921 0241 Mon to Thurs 8am–6pm or by appointment.

29 February–26 March Botanics Erin Dunne, Julie Poulsen, Karen Stephens, Miri Badger, Ingrid Bartkowiak, Gina Kalabishis, Emma Ward and Veronika Zeil.

Botanics brings together a group of Australian contemporary artists to showcase their various perspectives and representations of nature, landscape and the world around us. These works are a vessel of inspiration, compelling us to admire, take care and inject our own beauty into the world in which we live, and the spaces which we inhabit.

Echoed Rhythms Greg Kinman, Paula Bowie and Melissa McCullagh.

4 Hasking Street, Caboolture, QLD 4510 [Map 13] 07 5433 3710 moretonbay.qld.gov.au/ caboolture-gallery Mon to Sat 10am–4pm.

14 February–21 March One Day at a Time and Tribute Collection Laurie Nilsen and Paddy Carroll

Dust Temple

Physical Video art QAGOMA Artists

Caboolture Regional Art Gallery

Laurie Nilsen, Running the gauntlet, 2007, pastel and acrylic on canvas, 152 x 168 cm.

Irene Messia.

28 March–28 April Irene Messia Artist in Residence.

FireWorks Gallery 9/31 Thompson Street, Bowen Hills, QLD 4006 [Map 15] 07 3216 1250 fireworksgallery.com.au Tue to Fri 10am–6pm, Sat 10am–4pm.

Belynda Waugh, Fenced In – Fenced Out, 2019.

3 April–8 May Nugu Guwan (Black Rain) Belynda Waugh (Bindi) In a poignant representation and reflection of the ravaging aftermath of Australian bushfires, Belynda Waugh (Bindi), has created a collection that will serve as a vital backdrop to our Australian art landscape for generations to come.

Entitled Nugu Guwan, (translated from Bundjalung language to Black Rain), Bindi explores the way our land lives, suffers and recovers.

193

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

Gallery 48

Institute of Modern Art

Jan Murphy Gallery

2/48 The Strand, Townsville, QLD 4810 gallery48thestrandtownsville.com Wed, Fri and Sat 12noon–5pm.

420 Brunswick Street (corner Berwick Street), Fortitude Valley, QLD 4006 [Map 15] 07 3252 5750 ima.org.au Tue to Sat, 11am–6pm.

First Thursday of the month, 11am–9pm. Free entry.

486 Brunswick Street, Fortitude Valley, QLD 4006 [Map 18] 07 3254 1855 janmurphygallery.com.au Tue to Sat 10am–5pm or by appointment.

Gallery closed for renovation until end of March.

Stockroom by appointment.

3 March–10 March Jason Fitzgerald Online exhibition.

Anne Lord, Post Deluge, 2019, digital image on paper, 29 x 42 cm.

1 March–30 April wet ~ damp Anne Lord

Griffith University Art Museum 226 Grey Street, South Bank, QLD 4101 [Map 15] 07 3735 3140 griffith.edu.au/art-museum Tues to Sat 11am–4pm Admission is always free.

Griffith University Art Museum is committed to innovative research and experimentation to encourage appreciation and understanding of art and its role in society. The Museum organises exhibitions, educational and public programs to offer enjoyment and encourage inquiry, research and experimentation, while building and maintaining the University’s art collection for future generations.

Sancintya Mohini Simpson, Remnants, 2019, watercolour on archival inkjet print.

22 February–18 April IMA Belltower: Sancintya Mohini Simpson Kulī nãm dharãyã / they’ve given you the name ‘coolie’ is a solo exhibition by Brisbane based artist and researcher Sancintya Mohini Simpson. Informed by her heritage as a bi-racial first-generation Australian of Indian-Anglo descent, this exhibition continues Simpson’s tracing of her maternal stories of indentured labour. She focuses on the lived experiences of Indian women taken from South India to the Natal region of South Africa to work on sugar plantations during the late 1800s and early 1900s. To be accompanied by a new projection work developed in collaboration with Sai Karlen for the façade of the Judith Wright Centre of Contemporary Arts.

20 February–9 April Cognitive Dissidents: Reasons to be Cheerful

Sylvia Ken, Seven Sisters, 2019, acrylic on canvas, 197 x 198 cm.

14 April–2 May Sylvia Ken and Tjungkara Ken 5 May–23 May Celia Gullett

Lethbridge Gallery 136 Latrobe Terrace, Paddington, QLD 4064 [Map 15] 07 3265 7330 lethbridgegallery.com Tues 12noon–6pm, Thur and Fri 9am–6pm, Sat 10am–5pm or by appointment.

Curated by Stephen Jones.

Marianna Simnett, still from Blood In My Milk, 2018. Courtesy of the artist.

22 February–18 April CREATURE Marianna Simnett

Elizabeth Newman, an extreme openness, 1989, oil on canvas, 75 x 85 cm. Image courtesy of the artist, Darren Knight Gallery, Sydney, and Neon Parc, Melbourne.

23 April–4 July Is that a No? Elizabeth Newman 194

CREATURE is the first exhibition in Australia by London-based artist Marianna Simnett. Surveying the last six years of Simnett’s practice, the exhibition presents three of her most significant film and installation works. Simnett has gained global attention for her visceral and theatrical works, which draw upon conventions of storytelling and folklore to explore the body as a site of transition.

Often featuring the artist performing alongside a cast of non-actors, Simnett’s work speaks to the relationships we develop with our bodies—shifting between control and violence, phobia, and dysmorphia—as they undergo intervention and transformation.

Jan Jorgensen, Gone Places Paddington, oil on canvas, 60 x 90 cm.

8 May—27 May Brisbane Images Jan Jorgensen Definitive painter of Brisbane, Jorgensen, over a 30 year career still has a thrill of

QUEENSLAND discovery in the buildings and nature of Brisbane’s inner suburbs.

With an apparently artless profusion of colour, faultless perspective, and strong composition there is also a subtle exploration of journeys, past and present – of regeneration and hope.

Stairways, verandahs and roads become spiritual and physical symbols of the struggles, ambitions and side roads of life.

The Maud Street Photo Gallery Queensland Centre for Photography 6 Maud Street, Newstead, QLD 4006 [Map 15] maud-creative.com This exhibition: Thur to Fri 1pm–6pm, Sat and Sun 11am–4pm.

Logan Art Gallery Corner Wembley Road and Jacaranda Avenue, Logan Central, QLD 4114 [Map 13] 07 3412 5519 logan.qld.gov.au/artgallery Tues to Sat 10am–5pm.

Free entry.

26 March—1 April Scan Jeff Moorfoot

24 January–7 March The Beenleigh line Ian Smith Coral impression Mei Mei Liu New York rambling Miriam Innes Tales around a tea cosy and Somebody yarn bombed my tea pots!

Adele Spain

photography, Duncan strives to deliver unique and creative images. All of the work in this collection has been meticulously thought-out before Duncan hit the shutter. Duncan’s international professional career has spanned more than 50 years, from commercial and press photography and more recently to art exhibitions.

During his days as a press photographer, he covered events ranging from Royal wedding of Prince Charles and Diana in St Paul’s Cathedral to America’s Cup yacht races in Rhode Island, test cricket and other big-time sports.

Duncan has been a finalist in the Moran Prize, the NSW Parliamentary Plein Air Photography Prize, and The Head On Portrait Prize. The National Portrait Gallery and the National Archives hold some of Duncan’s photography.

Jeff Moorfoot, Artichokes from the series, Bountiful Harvest Redux, pigment print on 100% cotton rag paper, 40 x 53 cm.

Miriam Innes, NY meandering, detail, 2017, charcoal on Fabriano paper.

Neil Duncan, Chariot of Fire, 2010.

Scan is a collection of images made over the past decade, and includes a selection of images from each of seven bodies of work. The unifying factor is that all of these works are made not with a camera, but instead via a flatbed scanner. The process somewhat contemporises and pays respect to one of the earliest photographic processes, the photogram. The works featured in the exhibition come, in chronological order, from ‘Codomonium’ 2007, ‘The Elephant Stamp’ 2012. ‘Parsimony’ 2012, ‘Twenty Carat Love’ 2014, ‘Bountiful Harvest’ 2015, ‘Rodents Mort’ 2016 and ‘Bountiful Harvest Redux’ 2018.

3 April Project 7.30 Street – Exhibition and charity auction Shoot, edit, print, exhibit 1 image shot on the same day. 7 hours, 30 photographers, one exhibition. All for fun and all for a local charity. For registrations: www.projectstreet.com.au.

Metro Arts Norman Park Substation, 97 Wynnum Road, Norman Park, QLD 4000 [Map 18] 66 Hope Street, South Brisbane, QLD 4000 [Map 18] 07 3002 7100 metroarts.com.au Mon to Sat 12noon–8.30pm.

14 April—17 April John Gollings

Annelise Howes, Desert suitor, 2017, pastel and acrylic on paper.

13 March–24 April International wildlife in art Queensland wildlife artists Society Inc. Survival way – Outback connections Ruby Purple Workshop wonders XVIII

Gollings is one of Australia’s leading photographers, with a career built over decades. From iconic contemporary architecture, ancient sites of spiritual significance, to the ruins of abandoned cities, Gollings has spent a career revisiting modern and ancient sites to document the built environment. It is rare that we have the opportunity to showcase and profile an internationally renowned and respected artist with such a depth and diversity of practice.

30 April—3 May Hey Sport Neil Duncan The body of work Hey Sport by Neil Duncan is a simply stunning series of impressionistic images of a range of sports, shot at slow shutter speeds. As always, be it in his commercial or art

Image by Tina Stefanou.

April 2020 Metro Arts @ Norman Park: My Father The Piano: A History of Father and Son James Hazel An installation which meditates on the social class re(dis)sonances of an aspirational-artist and their working-class father, through their shared act of deconstructing the edifice of a piano. Visit Metro Arts website for workshop and performance times.

195

ar t g ui d e .c o m . au Metro Arts continued...

Joanne Choueiri, Views from the Brisbane library, 2019.

April 2020 Metro Arts @ Hope Street: Beyond the Surface: Brisbane’s Political Holes Joanne Choueiri The project aims at collecting the narratives of the demolished buildings under Premiere Sir Joh Bielke Petersen in Brisbane city to uncover the memory and history of these buildings. Visit Metro Arts website for Open Studio details.

Museum of Brisbane Level 3, City Hall, Brisbane, QLD 07 07 3339 0800 [Map 15] museumofbrisbane.com.au Daily 10am–5pm daily, Fri 10am–7pm. Free entry.

30 August 2019—19 April High Rotation

legends, including Kev Carmody, Powderfinger, Custard, Regurgitator and Savage Garden as well as rising stars including WAAX, Thelma Plum and Confidence Man.

High Rotation exhibition at Museum of Brisbane, 2019. Photo: Dylan Evans.

Image courtesy of Museum of Brisbane.

Get a backstage pass to three epic decades of Brisbane’s incredible music scene from 1989 – 2019. Showcasing some of Brisbane’s most memorable musicians, High Rotation is set to take music lovers down memory lane, while introducing a new generation to this iconic musical era through film clips, photographs, instruments, souvenirs, and ephemera, as well as an immersive digital component to enhance the experience.

Experience a thirty-year catalogue of rare, remastered film clips, and hear from music labels, managers, artists, producers, and venue managers, as they share the stories, influences and highlights from Brisbane’s past, present and future of Australian music.

Tune in to the musical prowess of artists including pop and rock heavyweights Keith Urban, The Veronicas, Sheppard, George, and Kate Miller-Heidke, as well as indie darlings The Grates, Violent Soho, Emma Louise and Ball Park Music. High Rotation also pays homage to heritage

New Woman exhibition at Museum of Brisbane, 2019. Photo: David Kelly. Image courtesy of Museum of Brisbane.

13 September 2019—15 March New Woman This exhibition recognises the lives of Brisbane women artists over the past 100 years from the independent and adventurous, to the often overlooked, exploring the trailblazing women who have continued to take the lead in Brisbane art.

The exhibition presents a snapshot of the art, personal stories and enduring legacies of Brisbane’s most significant and ground-breaking women artists between 1920-2019 reflected in painting, photography, sculpture, performance and installation works on a scale never before seen.

Featuring artworks from more than 80 artists following each decade from Brisbane’s decreasing isolation, the introduction of new ideas of modernism and

NorthSite Contemporary Arts → Tracey Moffatt and Gary Hillberg, Montages: The Full Cut, 1999–2015, 2016, installation view, Artspace, Sydney. Courtesy of the artists, Roslyn Oxley9 Gallery, Sydney and Tyler Rollins Fine Art, New York. Photo: Zan Wimberley.

196

QUEENSLAND abstraction to internationally regarded contemporary works in a range of media.

Brisbane’s unique geographic location has always provided its own idiosyncrasies due to its climate and distance from major world cultural centres and so necessitated a resourceful and close-knit arts community that fostered teachers, advocates and leaders in their fields, leaving in their wake a strong legacy for future generations. Free entry.

13 January–30 March LED Digital Façade Public Artwork Bernard Lee Singleton

Noosa Regional Gallery

25 February–18 April Folk Stories Tim Ellis

Riverside, 9 Pelican Street, Tewantin, QLD 4565 [Map 13] 07 5329 6145 noosaregionalgallery.com.au Tue to Fri 10am–4pm Sat and Sun 10am–3pm.

LED Digital Façade Public Artwork Carl Marun Fourmile

exploring through their most current works. Each artists’ practice encompasses an entirely different focus and non-identical processes, are brought together to celebrate our exciting new space.

25 February–9 April The M E R I Project Wendy Mocke 25 February–9 April Montages: The Full Cut 1999–2015 Tracey Moffatt and Gary Hillberg

31 January—8 March Wallace House Quilt Project Group exhibition featuring artists of Noosa Shire Arts & Crafts Association Inc. Davida Allen (from the McCrea Collection) Works from the private collection of Australian art collector Mr. John McCrea.

Jo Lankester, Basaltic Waters, 2018, Multi-colour plate Intaglio, 100 x 58.5 cm, unframed. Image courtesy of the artist.

Darren Blackman, Say it Enough Times, detail, 2020, acrylic and ochre on paper, 106 x 78 cm. Image courtesy of the artist.

25 February–18 April Expose the Gap Darren Blackman 25 February–4 April Function Paralysis Olivia Azzopardi

Rosie Lloyd-Giblett, Hush 2, acrylic on board, 121 x 91 cm. Courtesy of the artist.

13 March–26 April A Retrospective Mary Macqueen The Spaces Between The Trees Rosie Lloyd-Giblett CASUISTRY Yanni Van Zijl

NorthSite Contemporary Arts Bulmba-ja Arts Centre, 96 Abbott Street, Cairns, QLD 4870 [Map 14] 07 4050 9494 NorthSite.org.au Mon to Fri 10am–5pm, Sat 10am–1pm.

Onespace Gallery 349 Montague Road, West End, QLD 4101 [Map 15] 07 3846 0642 onespacegallery.com.au Wed to Fri 10am–5pm, Sat 10am–4pm or by appointment.

Onespace is a Brisbane gallery that presents and sells contemporary art, including work by Aboriginal and Torres Strait Islander artists. We curate an exhibition program exploring diverse themes and media. We show emerging, mid-career and established artists whose works inform, stimulate and challenge.

5 February–14 March rightNOW This second iteration of rightNOW brings recently completed works are brought straight from artists’ studios to our gallery walls. rightNOW 2020 highlights recent concerns, directions and preoccupations that these artists are

20 March —25 April Mind’s Eye: Mapping the Landscape Jo Lankester Mind’s Eye: Mapping the Landscape is an exhibition of contemporary Australian Prints by Townsville-based printmaker Jo Lankester. These prints are of mental images created from memories associated with the physicality of experience in the landscape, telling stories of the journey both in the landscape and through the act of printmaking in the studio, employing a range of techniques in intaglio and relief combined with collage and hand stiching to create a suite of unique state prints.

Perc Tucker Regional Gallery Cnr Flinders and Denham streets, Townsville, QLD 4810 [Map 14] 07 4727 9011 townsville.qld.gov.au Mon to Fri 10am–5pm, Sat and Sun 10am–2pm.

14 February–29 March I’m Neither Here Nor There Jim Paterson Produced in partnership with Broken Hill Regional Gallery, I’m Neither Here Nor There showcases a selection of recent works by talented draftsman and artist Jim Paterson. With a visionary style that is grounded as much in his own imagination as the recurring industrialised sites of Broken Hill and the Port of Melbourne, Paterson’s work is in turn profoundly 197

ar t g ui d e .c o m . au Perc Tucker Regional Gallery continued...

Contemporary idols—Americans, Edward Hopper, Fairfield Porter, and Alex Katz, his figurative influence and vision has remained constant. As the dialogue of the art world has gradually become narrower and politically driven, MacFarlane prefers to remain on the outside looking in; a figurative, narrative painter from an earlier time.

Pine Rivers Art Gallery Unit 7/199 Gympie Road, Strathpine, QLD 4500 [Map 13] 07 3480 6941 moretonbay.qld.gov.au/ pinerivers-gallery Mon to Sat 10am–4pm.

Philip Bacon Galleries Stanley Wany, Ice Cream Truck, 2019, markers and ink on Strathmore paper, 76.2 x 51.2 cm. personal, universal, political, and fantastic, cut with understated humour, mechanical, biological and geographic hybrids, and an eye for the strangeness of the everyday.

14 February–29 March Inwards Stanley Wany Wany’s stunning, intricately rendered images create profound tales reflecting the ironies, the contractions, and the oddity of life. Unravelling on the page, memories of a journey originating from the depths of the unconscious combine to create Inwards, a series of pen and ink presenting tales from the mind as tapestries of symbolic, mythological, and contemporary images.

2 Arthur Street Fortitude Valley QLD 4006 [Map 15] 07 3358 3555 philipbacongalleries.com.au Tues to Sat 10am–5pm.

Philip Bacon Galleries is one of Australia’s leading art galleries. It plays a pivotal commercial and educational role in the thriving Brisbane art scene. The gallery is renowned for the depth of its stockroom and for exhibiting many of the country’s most celebrated, established and contemporary artists.

3 March–28 March The Unseen Monotypes–Paris 1952 Margaret Olley Davida Allen

3 April–17 May Reflections: The TNQ7 Film Archive Project Neil Binnie, Elijah Clarke, Rob Douma, Kathy Cornwall, Sheree Kinlyside, Gail Mabo, Hannah Murray, Nicky Bidju Pryor, Anneke Silver and Kellie Williams.

This biennial exhibition will continue to document the shifts of the Moreton Bay region, providing a snapshot of a moment in time that can be revisited and reflected upon in years to come.

Pinnacles Gallery Riverway Art Centre, 20 Village Boulevard, Thuringowa Central, QLD 4817 [Map 17] 07 4773 8871 townsville.qld.gov.au Tue to Sun 10am–5pm.

3 April–17 May Outside Looking In Stewart MacFarlane

198

28 April—25 July Fresh eyes Our landscape is continually changing.

Four invited artists bring fresh eyes to capture what the region looks like in 2020, commenting on the surroundings as experienced today. The exhibition explores what draws artists to specific landscapes and the connections they hold to them.

Exhibition developed by Moreton Bay Regional Council.

A partnership between Townsville City Council Galleries and Libraries and is comprised of ten local artists who, facilitated by the Libraries team, have been given access to the historic TNQ7 Film Archive in order to find and respond to footage that is of significance to the artist and our city.

Outside Looking In spans the decades of exploration, reflecting Stewart MacFarlane’s consistent fascination with the world, with people and places, and how light falls on it all. Inspired by his heroes of the Modern Art world—Van Gogh, Picasso, Drysdale, Nolan, and Boyd—as well as his

7 February—18 April Know your neighbour Do you know your neighbour? Who are the people we live our lives alongside? What does it mean to be a good neighbour— both locally and further abroad?

Our communities are ever changing and as globalisation reduces the distance between one another, our understanding of being a ‘good’ neighbour is shifting. In Know your neighbour, participating artists examine ideas of friendship, community and civic responsibility.

Margaret Olley, Versailles gates, 1952, monotype and watercolour on paper, 42 x 53.5 cm.

Historical still of Flinders Street, Townsville CBD. Image courtesy of Townsville City Council Libraries Archive.

Jamie Congdon, My neighbourhood, 2016, acrylic and charcoal on canvas.

Moreton Bay Regional Council Art Collection.

Arthur Boyd, Bride and dog, 1980s, oil on board, 120 x 90 cm.

31 March–24 April Important Australian Paintings

Pinnacles Gallery and Riverway Art Centre are currently closed until further notice due to the recent extreme weather event. These facilities will be undergoing repair until it is safe for residents to use.

QUEENSLAND

QUT Art Museum QUT Gardens Point Campus, 2 George Street, Brisbane, QLD 4000 [Map 15] 07 3138 5370 artmuseum.qut.edu.au Tues to Fri 10am–5pm, Sat and Sun noon–4pm.

7 December 2019–26 April Gallery of Modern Art (GOMA): Water Ticketed

Redland Art Gallery, Cleveland Corner Middle and Bloomfield steets, Cleveland, QLD 4163 [Map 16] 07 3829 8899 artgallery.redland.qld.gov.au Mon to Fri 9am–4pm, Sun 9am–2pm. Admission free.

2 February—8 March Adaption Miles Allen, Helena Jackson Lloyd and Nicola Moss.

Mandy Quadrio, Timmarerer, 2019, steel wool, ochre. Courtesy of the artist.

7 March–10 May Rite of Passage Glennys Briggs, Megan Cope, Nici Cumpston, Karla Dickens, Lola Greeno, Julie Gough, Leah King-Smith, Jenna Lee, Carol McGregor, Mandy Quadrio and Judy Watson.

Queensland Art Gallery | Gallery of Modern Art Stanley Place, South Brisbane, QLD 4101 [Map 10] 07 3840 7303 qagoma.qld.gov.au Daily 10am–5pm. Free entry.

Mavis Ngallametta,Pamp (Swamp), 2009, synthetic polymer paint on linen, 116 x 111 cm. Gift of the artist through the Queensland Art Gallery | Gallery of Modern Art Foundation 2015. Donated through the Australian Government’s Cultural Gifts Program.

21 March–2 August Queensland Art Gallery (QAG): Mavis Ngallametta: Show Me the Way to Go Home

Adaption is an exhibition that reflects on the many values of healthy environments, ones we create for ourselves as communities and those larger forces beyond our control. Featuring work by Queensland artists Miles Allen, Helena Jackson-Lloyd and Nicola Moss, each artist brings a dialogue in response to their contemporary relationship with the Australian landscape and time spent in the Redlands Coast.

2 February—8 March Drawn by a Whisper Rachael Lee In Drawn by a Whisper Rachael Lee presents a series of multilayered linocuts, collagraphs and stencils to highlight rhythms of the natural environment in response to her exploration of Hilliards Creek at Ormiston.

Free entry.

Redcliffe Art Gallery 470–476 Oxley Avenue, Redcliffe, QLD 4020 [Map 15] 07 5433 3811 moretonbay.qld.gov.au/ redcliffe-art-gallery Mon to Sat 10am–4pm.

Prue Venables, Tall Black Oval, Hairbrush, White Sieve and Tea Caddy, 2017. Image: Terence Bogue.

15 March—26 April Living Treasures: Masters of Australian Craft Prue Venables

Olafur Eliasson, Denmark, b.1967, Riverbed (detail), 2014, site specific installation. Pictured: Gallery of Modern Art, Brisbane, Australia. Courtesy: The artist; neugerriemschneider, Berlin; Tanya Bonakdar Gallery, New York / Los Angeles. Photograph: Natasha Harth, QAGOMA.

Marc Clark, Presence, 2016, marble, gold leaf, acrylic. Courtesy of the artist.

Redcliffe Art Gallery is moving to a new location in early 2020. Please visit the Moreton Bay Regional website to stay up to date with upcoming exhibitions and programs.

Acclaimed ceramicist Prue Venables is the ninth artist in the Australian Design Centre series Living Treasures: Masters of Australian Craft, which celebrates the achievements of Australia’s most iconic crafts practitioners. The works of Prue Venables show a true mastery of materials.

They demonstrate a profound understanding of porcelain, the most precious and temperamental of clays, whose finegrain and opaque qualities are expressed in rigorous works of refined detail.

15 March—26 April Wildish Emma Gardner Wildish by Brisbane-based artist Emma Gardner questions the human condition.

199

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

ton Art Gallery is offering an exclusive opportunity for visitors to experience the ‘behind the scenes’ action of collection management and witness firsthand the operations of our dedicated team.

25 January–30 March Reflected

Emma Gardner, She followed her intuition and the initiation began, detail, 2019, cyanotype, hand stitched silver thread and trace-monotype oil stick on silk.

Courtesy of the artist. Photography by Thomas Oliver.

She uses drawing, trace-monotype and stitch, referencing historical folklore tales for their enduring narratives that link journey through natural landscapes. In her exhibition, visitors will walk through Gardner’s hand embroidered and machine stitched imagery with life-size cyanotype monogram prints of her posed body.

Redland Art Gallery, Capalaba Capalaba Place, Noeleen Street, Capalaba, QLD 4157 [Map 16] 07 3829 8899 artgallery.redland.qld.gov.au

Karla Marchesi, Time keeper, 2011, oil on board. Redland Art Gallery Collection.

Acquired in 2018 with Redland Art Gallery Acquisition Funds Courtesy of the artist. emotions related to the experience of family and the notion of ‘place’. It also demonstrates how the RAG Collection across a variety of artists and mediums can be utilised to share a diverse range of stories. Visitors are encouraged to add to The Family Home by contributing their stories in the exhibition space. Curated by Lizzie Riek.

Rockhampton Art Gallery 62 Victoria Parade, Rockhampton, QLD 4700 [Map 17] 07 4936 8248 rockhamptonartgallery.com.au Find us on Facebook Mon to Fri 9am–4pm, Sat to Sun 10am–4pm.

Chrys Zantis, Neuron, detail, 2018, chiffon fabric, bias binding, wool and sewing threads. Courtesy of the artist.

15 January—17 March Beneath the surface Chrys Zantis Beneath the Surface visually represents the unseen, inner workings of the body, while referencing the complimentary and compelling relationship between visual art and medical science. Chrys Zantis’ heat manipulated fabric pieces ‘hold the memory’ of objects used to shape the medium and leave pockets of air in their wake.

Also poetically referencing the ephemeral brain-body connection and representing the breath as central to mindfulness.

21 March—19 May The Family Home: Works from the Redland Art Gallery Collection Drawing on the diversity of the RAG Collection this exhibition explores the concept of the ‘family home’ as a space that universally holds memories and 200

Rockhampton Art Gallery over time has amassed an eclectic collection of delicately rendered glass objects. Featuring international makers, in addition to artists from the region, the pieces acquired span over 150 years of manufacturing and draw upon glass as a malleable medium, from which both practical and ornamental vessels can be crafted. Reflective and colourful vases, bowls, perfume bottles, brooches, signet rings and conceptual artistic sculptures will be brought together to showcase the Gallery’s fine array of glass.

Mirdidingkingathi Juwarnda Sally Gabori, Dibirdibi country, 2011, synthetic polymer paint on linen. Gift of Patrick Corrigan AM under the Australian Government’s Cultural Gifts Program, 2013.

14 September 2019—14 March Inside Out As Rockhampton Art Gallery prepares for its exciting $31.5M relocation and redevelopment along Quay Street, we are opening our doors wide open to visitors and flipping our collection ‘inside out’.

Over the next few months, Rockhamp-

Deborah Paauwe, Entwined strands, 2013. Donated by the Queensland Centre for Photography, 2019, image courtesy of GAGPROJECTS, Adelaide.

16 November 2019–19 April Exposed The Queensland Centre for Photography (QCP) was an artist-run photographic institution that operated from 2004 until 2014, showcasing local, national and international photo-media artists in Brisbane. On 17 April 2014, the QCP Board decided unanimously to close its Brisbane exhibition venue, following the withdrawal of core government funding.

Recently, 112 photographs held in the QCP collection have been loaned to Rockhampton Art Gallery’s nationally significant collection. As it stands, Rockhampton Art Gallery is home to a modest collection of photo-media art, including works by: Polexini Papapetrou, Petrina Hicks, John Gollings, Patricia Piccinini, Tracey Moffatt and Michael Cook.

These QCP works include photographs

by Peter Annand, Svetlana Bailey, Di Ball, Kate Bernauer, Camilla Birkland, Jeremy Blincoe, Magdalena Bors, Eric Bridgeman, Renata Buziak, Keith Carey, Ray Cook, Nathan Corum and Gordon Craig.

This showcase of photographs is diverse in nature and forms a well-rounded snapshot of 10 years of Queensland contemporary photography.

QUEENSLAND

Side Gallery The Garden Studio, 7 Emma Street, Red Hill, QLD 4059 sidegallery.com.au Wed to Fri 10am–5pm, Sat 10am–1pm (during exhibition period).

21 March–27 March 43 Minutes KACA projects An experimental project that attempts to demonstrate, oppose and manipulate some of the major characteristics and effects of neoliberal capitalism, such as the metaphorical acceleration of time, the overproduction of objects, the economic rationalisation of social life, the emphasis on the individual, and the promotion of personal responsibility.

The 43 Minutes exhibition invites members of the public to participate in painting a wall “1000 times” for an arbitrary 43 minutes. Following, the opening night performance will acknowledge and question the group’s complicity in neoliberal capitalism, and also (sadly), the impossibility (even futility) of their intention.

Toowoomba Regional Art Gallery 531 Ruthven Street, Toowoomba, QLD 4350 [Map 16] 07 4688 6652 tr.qld.gov.au/trag Tue to Sat 10am–4pm, Sun 1pm–4pm. Closed Mon.

the marginalised, the underrepresented and the silenced. The exhibition discusses issues surrounding racism and discrimination against First Nations peoples and minority groups as well as the lack of respect for, and desecration of culture and the natural environment. Violent Salt invites artists to speak their truths about these experiences and offers an opportunity for understanding and connection, whilst seeking to celebrate and honour Australia’s unique multiculturalism and landscape. Violent Salt is an Artspace Mackay Touring Exhibition co-curated by Yhonnie Scarce and Claire Watson.

20 March–26 April Brumbies Robert Crispe, Michael Smith and Jack Ziesing.

Jac Hawthorn, Afternoon Rose, 2007, watercolour on paper, 15 x 23 cm.

20 March–26 April Translation Jac Hawthorn

UQ Art Museum 2018 Jada Winner: Todd Fuller, Ode to Clarence, 2017–18, still detail, mixed media animation on paper, 6:42 mins.

Courtesy Grafton Gallery Collection and May Space, Reproduced by kind permission.

28 March–24 May 2018 Jacaranda Acquisitive Drawing Award The 2018 Jacaranda Acquisitive Drawing Award (JADA) celebrates drawing in all its splendour; from hyper-realism that is beyond belief to expressive and the abstract, evoking the poetic and emotional response to the human condition and our environment. Many of the works selected question and challenge the notion of the traditional drawing; while others provide a contemporary perspective and reinvigorate those traditions. The Jacaranda Acquisitive Drawing Award (JADA) is the Gallery’s flagship biennial art prize graciously sponsored by the Friends of Grafton Gallery.

Building 11, University Drive, The University of Queensland, St Lucia, QLD 4067 [Map 15] 07 3365 3046 art-museum.uq.edu.au Mon to Sat 10am–4pm, Wed 10am–8pm. Closed Sunday and public holidays.

24 January—18 March SMASH IT Brook Andrew Brook Andrew’s iconoclastic video work challenges the usefulness of Western laws and structures for Indigenous Australians.

Umbrella Studio Jemima Wyman, Pairabeenee People / Aggregate Icon (from centre to periphery: Free-Gaza protester, Palestine, 5th May 2012 (Che Guevara t-shirt), Anti-government protester, Milan, 14th December 2010 (screaming skull), Union member protester against labour and fiscal reform, Madrid, 31st March 2012 (striped t-shirt), Indigenous land rights protester, Caledonia, 28th February 2006 (camo hoodie)…..) 2016, hand-cut digital photographs, collage, 173cm diameter.

Mackay Regional Council Art Collection, Reproduced by kind permission.

408 Flinders Street, Townsville, QLD 4810 07 4772 7109 umbrella.org.au Mon to Fri 9am–5pm Sat and Sun 9am–1pm.

31 January–15 March overThink Nick Drake Pandanas in the Desert Emily Donaldson

Mel O’Callaghan, Respire, Respire, 2019, performance and installation at Confort Moderne, France, courtesy the artist and KRONENBERG MAIS WRIGHT, Sydney; Galerie Allen, Paris; Belo-Galsterer, Lisbon. Photo: Clemens Habicht.

22 February—4 July Centre of the Centre Mel O’Callaghan This new body of work traces the origins of life and its regenerative forces and captures the circulatory motion of breath in response to extreme environments.

8 February–22 March Violent Salt

22 February—4 July To Speak of Cities Sam Cranstoun

Bringing together contemporary artists from across Australia representing diverse cultural heritage. Co-curated by Yhonnie Scarce and Claire Watson, the exhibition reflects on the experiences of

Large-scale, text-based window commission and exhibition considers future cities, their inhabitants and the legacy we’re leaving as communities. Front window commission 22 January–18 July.

Robert Crispe, Brumbies (Jack Zeising), 2018, digital photograph.

201

A–Z Exhibitions

MARCH/APRIL 2020

Australian Capital Territory

Federation Square, Kingsley Street,

Rosevear Place, Treloar Crescent, Ainsle Avenue, Wentworth Avenue,

London Circuit, Blaxland Crescent,

Wentworth Avenue, Kennedy Street,

Parkes Place, King Avenue,

King Edward Terrace, Anzac Parade,

Kendall Lane, Reed Street,

Manuka Circle, Aspinall Street

Aarwun Gallery 11 Federation Square, Gold Creek, Nicholls, ACT 2914 [Map 16] 02 6230 2055 aarwungallery.com Daily 10am–5pm and by appointment in the evening.

We represent some of Australia’s finest classical landscape and portrait artists as well as carrying a wide portfolio of contemporary works. Norman Lindsay, Pro Hart and David Boyd sit alongside exquisite works from the indigenous community. Paintings, printmaking, ceramics, glass, bronze and sculpture; we embrace the endless diversity of the best which Australia has to offer.

for other artists to exhibit. Artistic Vision Gallery section is for rescued,revamped and reloved art. Bohemian Coffee And Winebar is now operational and performances are also a part of the ‘Shed’. The whole place is anti-establishment and resourceful in its creation within the light industrial area of Canberra.

Australian National Capital Artists (ANCA) Gallery 1 Rosevear Place (corner Antill street), Dickson, ACT 2602 [Map 16] 02 6247 8736 anca.net.au Wed to Sun noon–5pm.

Lucy Culliton, Hellebores, green jar, oil on board, 60 x 60 cm.

5 March—22 March Lucy Culliton Paintings 5 March—22 March Nicole Ayliffe Studio glass 26 March—12 April Jörg Schmeisser Rare prints

Chris Burton, Transition One and Transition Two, 2020, installation shot. Image courtesy of the artist.

4 March—23 March Pencil On Chris Burton

Ebony Bennett, Grace, oil on canvas, 78 x 102 cm.

Canberra Glassworks 11 Wentworth Avenue, Kingston ACT 2604 [Map 16] 02 6260 7005 canberraglassworks.com Wed to Sun 10am–4pm Entry by donation.

27 March–19 April Hommage

Artists Shed 1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 artistsshed.com.au Mon to Sat 10am–5pm, Sun 10am–4pm.

Canberra’s largest private gallery.

Marilou Chagnaud, Open form 1,2 & 3, 2019, silkscreen prints. Image courtesy of the artist.

1 April—19 April Common Threads Marilou Chagnaud, Lucia Dohmann and Kate Little. Curated by Saskia Scott.

Beaver Galleries 81 Denison Street, Deakin, Canberra, ACT 2600 [Map 16] 02 6282 5294 beavergalleries.com.au Tue to Sun 10am–5pm.

A developing place of arts in many practices. It is the work space and gallery of Margaret Hadfield-Zorgdrager and friends. Our art school provides daily classes, quality art supplies and spaces

Canberra’s largest private gallery featuring regular exhibitions of contemporary paintings, prints, sculpture, glass and ceramics by established and emerging Australian artists.

Brendan Van Hek, Turquoise and Orange, 2019, neon. Courtesy of the artist and Sarah Cottier Gallery, Sydney.

30 January–15 March Pattern and Effect Brendan Van Hek 26 March–10 May Duty of Care Tony Albert 203

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

Humble House Gallery 93 Wollongong Street, Fyshwick, ACT 2609 [Map 16] 02 6228 1988 humblehouse.com.au Weds to Sun 10am–4pm.

27 February—15 March David Reid Trajectories Justin Wasserman Cease and desist Caroline Ambrus and Annette Schneider.

19 March—5 April The Cosmos Domenic Mico There’s Nothing to See Here Sally O’Neill After The Fire Madeline Young 9 April—26 April Magnificent Futures Paul Summerfield Cherylynn Holmes Brenton Mcgeachie

collection, ASSEMBLY will be presented at the Gallery in Canberra before touring Australia. Free.

13 December 2019—13 April Matisse and Picasso The relationship of Matisse and Picasso is one of the most important stories in modern art. Between them, they set the course of western art history in the first half of the twentieth century. The exhibition features more than sixty paintings and sculptures and many drawings, prints and costumes.

30 November 2019—29 March Hugh Ramsay This major retrospective, the first in more than twenty-five years, celebrates the legacy of Australian artist Hugh Ramsay (1877–1906), whose portrait paintings achieved success here and in France before his untimely death at the age of twenty-eight. The exhibition brings together paintings, drawings, sketchbooks and letters from collections around the country to celebrate his achievements.

Kayannie Denigan, Bush tomatoes, acrylic on canvas.

7 April–30 April Humble House family artists The gallery will have a short break from formal exhibitions. However there is still plenty of interesting art to see by the gallery’s family of artists including Kayannie Denigan, Valentyna Crane, Michaela Laurie, Kylie Fogarty and Roger Beale.

M16 Artspace Blaxland Centre, 21 Blaxland Crescent, Griffith ACT 2603 [Map 16] 02 6295 9438 m16artspace.com Wed to Sun noon–5pm.

Michele England, Watch and Act, 2019, oil on board. Courtesy of the artist.

30 April—17 May Ephemera Michele England, Dash Kossmann, Fran Meatheringham Exordia Ellen Shields Framework of Injustice Melissa Beowulf Colony meets Colony Karynne Ledger

National Gallery of Australia Parkes Place, Canberra, ACT 2600 [Map 16] 02 6240 6411 nga.gov.au Daily 10am–5pm.

29 February—13 November Angelica Mesiti: ASSEMBLY

Justin Wasserman, Trajectory-33.1, 2019, oil pastel and graphite on paper, 35 x 45 cm. Courtesy of the artist.

204

Mesiti’s videos are portraits that consider how communities are formed through shared movement and communication.

The artist recently represented Australia at the 58th Venice Biennale with the three-channel video installation ASSEMBLY 2019. Acquired for the national

Urs Fischer, Francesco, detail, 2017 sculptures, paraffin wax, microcrystalline wax, encaustic pigment, stainless steel, wicks, aluminium powder, steel, stainless steel hardware, bronze hardware, electrical wiring, LED light, AAA batteries, overall 391.4 h x 80.3 w x 103.6 d cm. © Urs Fischer, courtesy of Sadie Coles HQ, London.

December 2019–26 April Urs Fischer: Francesco Swiss artist Urs Fischer’s Francesco, 2017, is a larger than life-sized wax sculpture of Italian art curator, Francesco Bonami, standing on a refrigerator while looking down at his smartphone, a pose that may come to symbolise our contemporary era.

Alight during gallery hours, Fischer’s ‘candle’ slowly melts and breaks down, before being recast by the artist’s studio and ignited for another slow-burn performance.

6 March—30 May Skywhales: Every heart sings The Balnaves Contemporary Series Patricia Piccinini

AUSTRALIAN CAPITAL TERRITORY Skywhalepapa is the new companion piece to Skywhale 2013, which returns to Canberra after six years touring Australia and the world. Together they form a skywhale family that will be launched near the Gallery and take flight over Canberra eight times during the exhibition period.

The sculptures will then float across the skies of Australia as a National Gallery travelling exhibition. Piccinini is an acclaimed Australian artist who uses hyperreal sculpture, photography, video and installation work to explore the relationship between humanity, nature and technology.

Cheryl Donegan examining clichés of women’s sexuality. The images in this exhibition show how sex, love and loss are an animating part of the human experience.

The Body Electric includes works by Claire Lamb (Aus), Francesca Woodman (USA), Christine Godden (Aus), Carolee Schneemann (USA), Cheryl Donegan (USA), Collier Schorr (USA), Jo Ann Callis (USA), Petrina Hicks (Aus), Annette Messager (France), Lyndal Walker (Aus).

Ongoing Belonging: Stories of Australian Art

the National Library’s amazing collections on display in the Treasures Gallery.

With displays changing regularly, there are always new stories to share. This summer, see exquisite eighteenth-century watercolours of Australian birds by Sarah Stone, important watercolours of rural New South Wales by Augustus Earle dating to c.1826 and displays about the 2008 Apology to the Stolen Generations and Germaine Greer’s landmark book The Female Eunuch (1970).

This major collection presentation recasts the story of nineteenth-century Australian art. Informed by the many voices of Indigenous and non-Indigenous cultures and communities, the display reconsiders Australia’s history of colonisation. It draws together historical and contemporary work created by more than 170 artists from across Australia.

Ongoing Devotion Nature Time People: Asian Art From Indonesia to Turkey and from 2,500 BCE to now, this collection display explores Asian art across geography, time, religion and culture. Structured by theme, the 174 works on display include Indian paintings and textiles, Chinese funerary goods, Indonesian ancestor figures and Japanese woodblock prints.

Ongoing Yayoi Kusama: Infinity Room

XU ZHEN®, European Thousand-Armed Classical Sculpture, 2014, glass-fibrereinforced concrete, marble grains, marble, metal. White Rabbit Collection, Sydney. Image courtesy of White Rabbit Gallery, Sydney.

14 March—13 September XU ZHEN® XU ZHEN® is one of China’s most significant artists and activists. In 2009, he founded MadeIn Company, and later established himself as the brand XU ZHEN®. His recent work centres on sculptural installations, video and performances that challenge cultural assumptions, question social taboos and comment on the idea of art as a commodity. This is the artist’s first solo exhibition in Australia. The show includes the performance work In Just a Blink of an Eye 2005/2020, which features four performers impossibly ‘frozen’ in the act of falling over, as well as European Thousand-Armed Classical Sculpture 2014 and other monumental sculptures. 28 March—20 September The Body Electric The Body Electric presents the work of women-identifying artists on the subjects of sex, pleasure and desire. The exhibition features key works by some of the pioneers of photography and video, including Polly Borland’s bodies wrapped in stockings, Nan Goldin’s personal and candid images of friends and a video by

This installation by Yayoi Kusama comprises a vibrant yellow room overrun with black polka dots of various sizes. A mirrored box at its centre houses a dozen illuminated pumpkin sculptures, which are endlessly reflected in the room’s internal mirrors. The combination of dots, pumpkins and mirrors creates an optical illusion of infinite space and colour. This infinity room was made possible with the support of Andrew and Hiroko Gwinnett.

National Library of Australia Parkes Place, Canberra, ACT 2600 [Map 16] 0 2 6262 1111 nla.gov.au Open daily 9am–5pm.

Augustus Earle, (1793–1838), King’s Table Land, Blue Mountains, New South Wales the appearance of the new road, c.1826.

1 March–30 April Treasures Gallery

Harold Cazneaux (1878–1953), Going Home, Doohat Lane, North Sydney, 1910.

28 March–19 July Australian Dreams: Picturing Our Built World For over 200 years, Australia’s greatest painters, printmakers and photographers have been in a creative conversation with our built environment. Reflecting our progress, social ideas, our understanding of the world and how we have changed over time, the exhibition Australian Dreams: Picturing our Built World shows how, through images, these artists have documented, interpreted, and celebrated a variety of buildings from the Opera House and Flinders Street Station to the inner city terrace and the humble bush cottage.

These buildings are both are the backdrops and central stages where we live our lives, irrelevant of whether they are considered beautiful or otherwise, unappealing. They reflect our sense of identity, our hopes and dreams, rendered in bricks and mortar.

Drawing exclusively from the collections of the National Library, the exhibition features photographs, prints, drawings and paintings by Augustus Earle, Conrad Martens, S T Gill, Eugene von Guérard, Lionel Lindsay, Harold Cazneaux, Olive Cotton, Mark Strizic, David Moore, Max Dupain, Jeff Carter, Ruth Maddison, Wolfgang Sievers and John Gollings.

Delve into Australia’s colourful history and come face-to-face with highlights from 205

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

National Portrait Gallery

PhotoAccess Huw Davies Gallery

Tuggeranong Arts Centre

King Edward Terrace, Parkes, ACT 2600 [Map 16] 02 6102 7000 portrait.gov.au Daily 10am–5pm.

Disabled access.

Manuka Arts Centre, 30 Manuka Circle, Griffith ACT 2603 [Map 16] www.photoaccess.org.au 02 6295 7810 Tues to Sat, 10–4pm.

137 Reed Street, Greenway, ACT 2901 [Map 16] 02 6293 1443 tuggeranongarts.com Mon to Fri 10am–6pm, Sat 10am–4pm.

14 September 2019–9 March Primed: Some Prime Ministers

PhotoAccess, the ACT and region’s centre for photography, film and media arts, presents a dynamic program of exhibitions showcasing local, Australian and international artists practicing across diverse forms of contemporary photomedia.

This is the first time in the Gallery’s 20-year history that the esteemed prime ministers’ portraits have been shown as a group.

5 March–4 April Re-Generations Suellen Cook, Tricia King, Helga Salwe, Elise Searson and Tamara White Drawing together five female artist photographers from around Australia, Re-Generations investigates experiences of personal growth, self-making and metamorphosis. Exposing inheritances of trauma, the possibilities of family and the legacies of inter-generational memory, the exhibition presents a nuanced look at the possibilities of female lives today.

Tony Curran, Here, to be there (Parklife), 2019, oil on linen, 51 x 41 cm.

8 February–8 March Fake Nature Tony Curran and Waratah Lahy 8 February–14 March Umma’s Tongue; Molten at 6000° Hannah Brontë

Kate Beynon, Self-portrait with studio spirits, 2019.

6 March–10 May Darling Portrait Prize The National Portrait Gallery’s Darling Portrait Prize aspires to be the most prestigious portrait painting prize in the country, held at the home of Australian portraiture.

The Burning Nick Moir

Greg Stoodley, Suchi, 2019, c-print.

16 April–16 May Slow Greg Stoodley Using traditional analogue photography, Stoodley creates portraits that seek insight into the depth and complexity of his subjects’ personalities.

Grand Tour Stephen Best Best revisits his archive of negatives and prints to explore the traditions, cultures and arts he encountered in his series of personal ‘grand tours’ through Europe.

Close Karen Coombes and Ian Skinner

Dr Christian Thompson AO, Writing on the Wall, 2019.

6 March–10 May National Photographic Portrait Prize The National Photographic Portrait Prize exhibition is selected from a national field of entries, reflecting the distinctive vision of Australia’s aspiring and professional portrait photographers and the unique nature of their subjects.

206

Two artists present intimate responses to people’s relationships with Nature in and around Canberra.

The Salon PhotoAccess’ annual Members exhibition highlighting the diversity and talent of the ACT and region’s photographic community.

Image courtesy of the artists.

21 March–25 April Agency By Design: Expressive Design for Disability Artificial Eyes Australia, Bravery Co, Technology for Ageing and Disability Queensland, Vivien Bedwell, Leah Heiss, Carol Taylor and Janice Rieger and Megan Strickfaden.

Chiname XIAO KE x ZI HAN

Watson Arts Centre 1 Aspinall Street, Watson, ACT 2602 [Map 16] 02 6241 1670 watsonartscentre.com.au Tues to Sun 10am–4pm.

A–Z Exhibitions

MARCH/APRIL 2020

Tasmania

Albert Road, Hunter Street,

Wilmot Street, Elizabeth Street,

Tasma Street, Salamanca Place, Harrington Street, Davey Street,

Main Road, Maquarie Street,

Castray Esplanade, Stewart Street,

Liverpool Street, George Street, Dunn Place, Murray Street

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

Burnie Regional Art Gallery → Yvonne Rees-Pagh, Selva Oscura, 2019, woodblock, mixed media.

Bett Gallery Level 1, 65 Murray Street, Hobart, 7000, TAS 03 6231 6511 bettgallery.com.au Mon to Fri, 10am–5.30pm Sat, 10am–4pm.

14 February—7 March Watersong Troy Ruffels

Burnie Regional Art Gallery Burnie Arts and Function Centre, Wilmot Street, Burnie TAS 7320 03 6430 5875 burniearts.net Mon to Fri 10am–4.30pm, Sat, Sun and public holidays 1.30pm–4pm. Free admission.

relationship. The artistic responses to the theme offer a wide range of interpretations, visions, styles and disciplines—from printmaking, digital, drawing, video, sound and installation, enriching and challenging our perceptions of our relationship with nature. In Tasmania there are many forests but the one that stands out as the most mysterious and inaccessible is the Tarkine or Takayna forest wilderness situated in the North West of the state. This rain forest is unique in that many of the flora and fauna species are ancient and don’t exist in other places in the world; it is also recognised as being a living remnant of prehistoric forest. It is this amazing forest that has inspired the artists in the creation of their art for this exhibition.

1 February–15 March Yet to live in a place without house sparrows Fernando do Campo

Patrick Grieve, View across to Moriarty, late Spring sunshine, 2019, oil on linen, 122 x 122 cm.

Milan Milojevic, T1, 2019, archival inkjet with woodblock overlay.

13 March—4 April Patrick Grieve

1 February–15 March Forest Obscura Leigh Hobba, Jennifer Marshall, Milan Milojevic and Yvonne Rees-Pagh.

9 April—2 May Ingo kleinert Jane Burton

The exhibition Forest Obscura brings together four multidisciplinary artists all inspired by the theme of nature-human

208

A series of paintings about notions of migration aboard convict ships and introduced species and maritime history.

An exhibition including an installation of small text paintings Yet to live in a place without house sparrows and the diptych about Spotted turtle-doves ,You are my new infatuation. Tasmanian-specific experiences of introduced bird species and the colonial/nationalistic/migratory effect they produce. The exhibition will also include new works specific to Burnie, sparrows or other introduced birds to Tasmania including the kookaburra— introduced in 1902.

20 March–26 April Travellers’ Cloaks – Handweavers, Spinners and Dyers Guild of Tasmania Inc. A series of glorious travellers’ cloaks created by members of the talented HWSD Guild of Tasmania Inc. who aim to bring together everyone who practises textile and fibre crafts for discussion, demonstration and exhibition. The Guild has been running since 1971 and continues to provide community, companionship and resources to practitioners of the fibre arts and crafts.

20 March–26 April Claudio Polles Italian/Australian artist and resident, Claudio Polles, presents an exhibition of new works. A special Jazz Concert (with Viktor Zappner and Sandy Evans) will be held as a fundraiser for the Friends of the Burnie Regional Art Gallery on Sunday, 22 March.

Eden Menta and Janelle Low, Eden And The Gorge, 2019, inkjet print.

Anna Sabadini, Watteau Underpainting, oil on board, 180 x 180 cm.

25 February–9 March The Colourists Julia Castiglioni-Bradshaw, Anna Sabadini and Al Young.

Contemporary Art Tasmania 27 Tasma Street, North Hobart TAS 7000 [Map 17] 03 6231 0445 contemporaryarttasmania.org Wed to Sun, noon–5pm.

15 February–15 March Beyond Sight Katrin Terton

7 March–5 April Reserved for Healing

Marco Luccio, Postcards #8, mixed media 80 x 90 cm.

24 March–6 April NY Postcards Marco Luccio

Selena de Carvalho, Readymade (Dead End), 2020. Image Courtesy of the artist.

14 April–24 May Re-member Selena de Carvalho, Takani Clark and Georgia Morgan.

Curated by Caitlin Fargher for the 2020 CAT Curatorial Mentorship.

Colville Gallery 91 Salamanca Place, Hobart TAS 7000 [Map 17] 03 6224 4088 colvillegallery.com.au Daily 10am–5pm.

Colville Gallery specialises 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.

10 February–23 March Drawn From Nature Katherine Perrott

FEM-aFFINITY brings together female artists from Arts Project Australia and wider Victoria whose work shares an affinity of subject and process. Curated by Dr Catherine Bell this exhibition uncovers shared perspectives on female identity by drawing upon interdisciplinary and collaborative approaches. FEM-aFFINITY reveals how feminism materialises in distinctive and uncanny ways. This exhibition is NETS Victoria and Arts Project Australia touring exhibition.

7 April–20 April Land Ian Parry and Van Dieman’s 21 April–4 May New Works Paul Gundry

Devonport Regional Gallery paranaple arts centre, 145 Rooke Street, Devonport, TAS 7310 03 6420 2900 devonportgallery.com Mon to Fri 7.30am–4.45pm, Weekends and public holidays 7.30am–2pm.

24 January–15 March FEM-aFFINITY Andrinopoulos, Jane Trengove Dorothy Berry, Jill Orr, Wendy Dawson, Helga Groves, Bronwyn Hack, Heather Shimmen, Eden Menta, Janelle Low, Cathy Staughton, Prudence Flint, Lisa Reid, Yvette Coppersmith.

Curated by Associate Professor Dr. Catherine Bell, Australian Catholic University.

A multi-sensory exhibition in which visitors can explore the artworks through touch, sound, smell, sight and imagination.

Katrin Terton’s evocative, interactive and immersive experience contemplates inclusion of the broadest audience by making her works meaningfully accessible to people of all ages and abilities with particular regard to people with low or no vision. The exhibition challenges the prevailing paradigm of inclusion by revealing that the experience of those with impairments is both valid and rich, then including other members of the audience in that appreciation. This not only levels the playing field for participation, it also reminds the whole audience of the benefit of using all of their available senses to understand their world.

29 February–31 May Portrait of a Place Curated by Erin Wilson This exhibition features works by Tasmanian photographers, including portraiture, landscape photography and photographs of urban spaces. These works exploring the natural Tasmanian environment, the urban spaces built within this environment, and how create our own places within it. The exhibition also includes works by Tasmanian photographers whose interests and experiences have drawn them overseas, these contrasting images highlighting the uniquely Tasmanian experience of place.

21 March–19 April North West Arts Circle The NWAC is a group made up of about 60 members from the North West Coast of Tasmania. They share a passion for art and their goal to promote and further develop their arts practice. A series of workshops are presented alongside the exhibition as well as the popular event Artists in Action, where members demon209

ar t g ui d e .c o m . au Devonport Regional Art Gallery continued... strate their processes and answer your questions about their practice.

Handmark 77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6223 7895 handmark.com.au Mon to Fri 10am–5pm, Sat and Sun 10am–4pm.

2 Russell Street, Evandale, TAS 7212 03 6391 8193 Mon to Sun 10am–4.30pm.

13 March–30 March New paintings Faridah Cameron 3 April–27 April New paintings Jock Young Evandale: 8 March–1 April Landscape Exhibition 5 April–29 April New works Julie Payne

Museum of Old and New Art (Mona) 655 Main Road, Berridale, Hobart, TAS 7000 03 6277 9900 mona.net.au Wed to Mon 10am—6pm.

Composite of life drawings with Ned Kelly helmet, (left) Asha Sutton-Eustace and (right) Carla Egger.

20 March–10 April This is Us Curated by Debbie Qadri Local young people of Devonport explore Australian cultural identity using imagery and text. Artworks in a range of media investigate personal symbolism and language to communicate self-identity, cultural concerns, attitudes, values and beliefs.

John Lendis, Breathe, 2019, oil on canvas, 120 x 150 cm.

Hobart: 14 February–9 March New paintings John Lendis

Handmark → Adrian Barber, Holding the Valley, 2019, acrylic on canvas, 107 x 137 cm.

210

8 June 2019—ongoing Siloam Alfredo Jaar, Ai Weiwei, Oliver Beer and Christopher Townen.

8 April—10 August Crone Sally Rees Rees is the Mona recipient of Suspended Moment: The Katthy Cavaliere Fellowship, a partnership with Carriageworks, Sydney

TASMANIA

Rona Green, No questions asked.

17 April—13 May No questions asked Rona Green

Sally Rees, Katthy Cavaliere Suspending Moment Fellowship recipient 2019, Mona.

Image: Daniel Boud.

Queen Victoria Museum & Art Gallery

and the Australian Centre for Contemporary Art (ACCA), Melbourne. Hobart-based Rees will create a new body of work centred around the Crone, through which the artist will challenge perceived invisibility of ageing women in contemporary society. Through the Crone, the artist seeks to redefine the female elder as a powerful and transgressive figure.

The exhibition will include a series of animations, prints and actions. Curated by Nicole Durling.

Museum: 2 Invermay Road, Launceston, TAS 7248

Penny Contemporary

Art Gallery: 2 Wellington Street, Launceston, TAS 7250 03 6323 3777 qvmag.tas.gov.au QVMAG Inveresk: 13 April 2019–29 March Domestic Goddess: Domestic Goddess

Tasmanian bark canoe, detail, built by Rex Greeno.

Aboriginal people. The exhibition features rarely seen original objects and examines climate change, astronomy and stories of creation, craft, technology and architecture.

Salamanca Arts Centre 65–77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6234 8414 salarts.org.au 7 March—29 March Top Gallery: Organised Chaos Freya Flavell

Bligh is a Tasmanian icon, well-known for her advice on household management, craft, cooking, gardening, and even relationships. This exhibition looks at Marjorie’s life, from her early years in Ross and home-making in Campbell Town, to her later celebrity in Devonport.

187 Liverpool Street, Hobart, TAS 7000 [Map 17] 0438 292 673 pennycontemporary.com.au Wed to Sat 11am–4pm, or by appointment.

14 February–2 March Paul Zika

Josh Foley.

QVMAG Royal Park: Until December Calculating Infinity Josh Foley An uncanny live art project of multdimensional proportions.

14 December 2019–14 April ArtRage

Dan Withey and Kate Mccarthy, Panpsychism.

13 March—8 April Panpsychism Dan Withey and Kate Mccarthy

An annual, touring exhibition that showcases work by Tasmanian students studying pre-tertiary visual arts. The exhibition is a unique and inspiring snapshot into the creative minds of young artists.

Ongoing The First Tasmanians: Our Story This exhibition presents and explores the history and culture of the Tasmanian

Slippage, Drunken Swine, triptych, detail.

20 March—19 April Long Gallery, Founders Room, Sidespace Gallery, Lightbox, Studio Gallery and Peacock Theatre: Older Than Language Elizabeth Day (SYD), Hoda Afshar (MEL), Jenna Lee (BRIS/UK), Justine Youssef (SYD), Eugenia Lim (MEL), Khadim Ali (BRIS), Khaled Sabsabi (BRIS), Zanny Begg (SYD), Slippage (Phuong Ngo and Hwafern Quach) (MEL), Tintin Wulia (BRIS), Shireen Taweel (SYD/HOB).

Curated by Nina Miall and Jiva Parthipan.

1 April—29 April Top Gallery: Placement Undecided v.2 Emily-Rose Wills 211

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

Tasmanian Museum and Art Gallery → James Gleeson (1915–2008), Nest of premonitions, 1987, oil on canvas, 183 x 274 cm.

Sawtooth ARI 160 Cimitiere Street, Launceston, TAS 7250 sawtoothari.com Weds to Fri, 12noon –5pm, Sat 10am– 2pm.

Patrick Rose, Untitled.

3 April—23 May Intersectionality: how identity is formed by many things; gender, ancestry, culture and society Leila Lois and Patrick Rose Thomas José Field Melanie Cobham

Tasmanian Museum and Art Gallery Dunn Place, Hobart, TAS 7000 [Map 17] 03 6165 7000 tmag.tas.gov.au Open Tues to Sun, 10am–4pm, Tours Wed to Sun 1pm and 2pm.

Free entry.

212

Tasmanian Museum and Art Gallery (TMAG) is Tasmania’s leading natural, cultural and heritage organisation. It is a combined museum, art gallery and herbarium which safeguards the physical evidence of Tasmania’s natural and cultural heritage, and the cultural identity of Tasmanians.

Extinction Studies Lucienne Rickard

TMAG is Australia’s second-oldest museum and has its origins in the collections of Australia’s oldest scientific society, the Royal Society of Tasmania, established in 1843. The first permanent home of the museum opened on the corner of Argyle and Macquarie streets in 1863 and the museum has gradually expanded from this corner to occupy the entire city block.

6 December 2019–10 May Argyle Galleries 1–4: West: Out on the Edge A captivating multidisciplinary exhibition that showcases the state’s distinctive, complex and compelling west, exploring how people have shaped this unique region and, in turn, been shaped by it.

Visitors will learn about the west’s defining natural elements and discover the stories of the people who have made their home in this rugged environment. They’ll also be able to delve into the west’s industrial history and be inspired by the region’s landscapes like countless artists past and present.

7 February– 29 March 2020 The Change Room Bond Store Basement The Change Room celebrates the contribution and achievements of Tasmanian sporting women and girls, and brings to light the lesser known stories of sporting excellence and the people behind the games. It is presented with the support of Events Tasmania as part of the (ICC) Women’s T20 World Cup program.

20 December 2019–Ongoing Henry Hunter Gallery 6: This Too Shall Pass Showcasing portraits and self-portraits, along with still-life paintings and artefacts from TMAG’s Art Collection that reflect on impermanence and the inevitable transience of life, beauty and material things.

6 September 2019–1 September Link Foyer:

Extinction Studies is a twelve-month daily durational performance by Tasmanian artist Lucienne Rickard who seeks to bring attention to the critical issue of species extinction through the act of drawing and erasure.

6 December 2019–26 April Salon Gallery: Captured Moments: Photographs by Jackie Robinson (1883–1953) At a time when mining towns were booming, amateur photographer John (Jackie) Robinson captured moments of life on the West Coast—particularly around Waratah—that have encapsulated daily life in the early 20th century.

This display invites you to look closely into these photos and discover the hardships, the joy and unique nature of living in this rugged environment.

A–Z Exhibitions

MARCH/APRIL 2020

South Australia

Mulberry Road, North Terrace, South Road, Porter Street,

Diagonal Road, Melbourne Street, Rundle Street, Pirie Street,

Portrush Road, Morphett Street, Sixth Street, Gibson Street,

Thomas Street, Kintore Avenue,

King William Road, Grenfell Street

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

Art Gallery of South Australia → Abdul Abdullah, Understudy, 2019. Courtesy of the artist and Yavuz Gallery, Sydney.

ACE Open

Adelaide Central Gallery

Lion Arts Centre, North Terrace (West End) Kaurna Yarta, Adelaide, SA 5000 [Map 18] 08 8211 7505 aceopen.art Tue to Sat 11am–4pm.

7 Mulberry Road, Glenside, SA 5065 [Map 18] 08 8299 7300 acsa.sa.edu.au Mon, Tues, Thurs & Fri 9am to 5pm, Wed 9am to 6.45pm, after hours by appointment.

Curator Leigh Robb puts the spotlight on the monsters of today. They are not what you might imagine. Titled Monster Theatres, the 2020 Adelaide Biennial wrestles with the ideas of our times, grappling with both hope and horror. Celebrating 30 years, the Adelaide Biennial of Australian Art is the country’s longest running survey of contemporary Australian art.

Baboa Gallery 5 Denning Street, The Gap, Brisbane, QLD 4061 0401 309 694 omietapaartpng.com By appointment only.

Carly Snoswell, Since 1989, detail, 201718, sequins, cotton. Photo Steph Fuller.

11 February–21 March Drastic Fabric Elizabeth Jenner, Carly Snoswell, Sera Waters and Henry Jock Walker.

31 March–16 May On Elegance While Sleeping An exhibition of artists who use sleep as a process or material in the fabrication of their work.

Mariana Castillo Deball, Replaying Life’s Tape, 2019, digital collage, production process. Courtesy of Mariana Castillo Deball, 2019. © Studio Castillo Deball.

29 February—25 April Replaying Life’s Tape Mariana Castillo Deball

Art Gallery of South Australia North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7000 agsa.sa.gov.au Daily 10am–5pm.

Free entry unless specified.

29 February–8 June 2020 Adelaide Biennial of Australian Art: Monster Theatres

214

Ilma Ugibari, Sun and Sunrays.

February to May New Tapa Art from Omie Territory PNG Sons and Daughters of former seni or women master artists Ilma and Honestmus Ugibari, Sirimi, Kesi and Savari families.

BMGArt 444 South Road, Marleston, SA 5033 [Map 18] 08 8297 2440 or 0421 311 680 bmgart.com.au Wed to Fri 12noon–5pm, Sat 2pm–5pm or by appointment.

GAGPROJECTS / Greenaway Art Gallery 39 Rundle Street, Kent Town SA 5067 [Map 18] 08 8362 6354 gagprojects.com Director: Paul Greenaway Tue to Fri 11am–6pm, Sat and Sun 12noon–4pm, closed Mon.

the stars are blanketed how will you still sing when there’s nothing but smoke to whom will you turn when there’s no-one but youthese are the burning questions of our time.

Sculptures and Images Ian Hamilton, John Hayward, Rebecca Lloyd, Karl Meyer, Deborah Sleeman, Clancy Warner and Elizabeth Close Artists selected from the Heysen Sculpture Biennial are exhibiting their works in Hahndorf Academy’s galleries and gardens.

Anna Glynn, Colonial Hybrid Reimagined from Joseph Lycett – View of the Female Orphan School near Parramatta.

21 March–26 April Promiscuous Provenance Anna Glynn

Hossein Valamanesh, Tokamachi Samue, 2019, maps on cotton backing, 125 x 95 cm, framed. Courtesy GAGPROJECTS, Adelaide.

Mark Thompson, Gilt Epaulettes and Top Hat, Earthenware, height 70 cm.

21 February–14 March Adelaide Festival Exhibition: Mark Thompson Paintings and porcelain.

26 February—22 March Angela and Hossein Valamanesh 2020 Angela Valamanesh and Hossein Valamanesh

Hahndorf Academy 68 Main Street, Hahndorf, SA 5155 08 8388 7250 hahndorfacademy.org.au Open 7 Days 10am–5pm.

Lindsay Nicholson, Tulips for Max, oil on canvas, 100 x 100 cm.

20 March–18 April Still Life Still Lives Lindsay Nicholson, Don Rankin, Nona Burden, Dan Withey, Margaret Ambridge, Nicholas Mount, Jason Cordero and Jeff Mincham.

This exhibition will interrogate the strangeness of the early colonial artists’ first encounters with the Australian landscape. Using a range of different media, artist Anna Glynn will populate her own antipodean world with strange hybrid manifestations to invoke curiosity and wonder.

Promiscuous Provenance encourages a re-examining of our relationship with our colonial past. Glynn is drawn to the work of the early colonial artists, including John Hunter, the Port Jackson Painter, and George Raper.

Hugo Michell Gallery 260 Portrush Road, Beulah Park, SA 5067 [Map 18] 08 8331 8000 hugomichellgallery.com Tue to Fri 10am–5pm, Sat 11am–4pm.

Karl Meyer, Transition.

7 February–15 March Adelaide Fringe Exhibition: Travelling Blind India Flint What will you drink when the river runs dry what will you eat when the fields have been blown into the sea where will you shelter when the last forest has been felled how will you find your way when

Paul Yore, Jesus Loves You, 2018, wool needlepoint, 50 x 24 cm irreg.

6 February–7 March Crown of Thorns Paul Yore 215

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

6 February–7 March In Between Days Clara Adolphs

Seppeltsfield Road, Seppeltsfield, SA, 5355 08 8562 8149 jamfactory.com.au Open daily 11am–5pm.

Korban Flaubert, Maquette for Involute, 2009, stainless steel, 50 x 55 x 55 cm.

Photo: Stephanie Flaubert.

Nadine Christensen, Paper Cut, 2019, acrylic on board.

12 March–8 April Outside Painting Nadine Christensen, Katrina Dobbs and Bill Hawkins.

A three-person group exhibition looking at how creative influences sustain and expand contemporary painting practices.

The exhibition features the work of two emerging Melbourne artists; Katrina Dobbs and Bill Hawkins and the work of Nadine Christensen a mid-career artist with an extensive exhibition history committed to painting practice.

Daniel Emma 16 April–16 May New Collectors Various Artists Introducing a new generation to collecting contemporary art.

JamFactory 19 Morphett Street, Adelaide, SA 5000 [Map 18] 08 8410 0727 jamfactory.com.au Open daily 10am–5pm.

Jon Goulder, Broached Goulder Chaise lounge, 2019. Photo courtesy of the artist.

Adelaide:

Australian Government program supporting touring exhibitions by providing funding assistance for the development and touring of Australian cultural material across Australia.

28 February—3 May 2020 Broached Goulder Seppeltsfield: 15 February—26 April JamFactory Icon 2019 Angela Valamanesh: About Being Here Angela Valamanesh

Murray Bridge Regional Gallery 27 Sixth Street, Murray Bridge, SA 5253 08 8539 1420 murraybridgegallery.com.au Tue to Sat 10am–4pm, Sun 11am– 4pm.

Closed Mon and pub hols.

29 February–26 April STEEL: art design architecture A JamFactory touring exhibition that is supported by Visions of Australia, an

Nathan Modra, Untitled, 2019, recycled and welded found objects, 31 x 25 x 10 cm.

29 February–26 April Beyond the Horizon Nathan Modra

Jamfactory → Angela Valamanesh, Animal, vegetable, mineral 3D, 2007. Photograph by Michal Kluvanek.

216

S OUTH AUSTRALIA Sculptures made by upcycling scrap metal and tools found on local farmlands, as well as vibrant and expressive paintings by emerging artist and young Rockleigh farmer Nathan Modra.

Newmarch Gallery ‘Payinthi’ City of Prospect, 128 Prospect Road, Prospect, SA 5082 08 8269 5355 prospect.sa.gov.au/ProspectGallery facebook.com/ProspectGallery Mon, Wed and Fri 9am–5pm, Tue and Thu 9am–7pm, Sat 11am–4pm, Sun 2pm–5pm.

praxis ARTSPACE 68–72 Gibson Street, Bowden, SA 5007 [Map 18] 0872 311 974 or 0411 649 231 praxisartspace.com.au Wed to Sat 11am–4pm or by appointment.

A collaborative exhibition showcasing new work by visual artists Kate Bohunnis, Sam Gold, and Anna Gore. Focused on material experimentation and new processes, Material Girls is the culmination of an eight-month, Adelaide Fringe-funded collaborative project held at George Street Studios in Thebarton, South Australia.

Janine Dello, Fraught, oil on linen, 40 x 40 cm.

6 March—9 April Dark Places Janine Dello, Sharyn Louise Ingham and Kate Dowling Hamilton View, Still image from Island to Outback documentary. Courtesy of the artists.

12 March–9 April Island to Outback Ria Byass, Quentin Chester, Gethin Creagh, Prue Coulls, David Foreman, Ruth de la Lande, Wendy Haylock, Janine Mackintosh, Nick Pike, Deb Sleeman, Maggie Welz and Kenita Williamson.

In 2018 a group of Kangaroo Island artists travelled to Coward Springs in the Flinders Ranges, a desert landscape on the edge of the mound spring system and the Old Ghan Line. Island to Outback is the creative outcome of this artist-led residency. The works in this exhibition are reflective of the collaboration and experimentation within the context of a unique and immersive environment; one that is both vastly different and strikingly similar to the artists’ home of Kangaroo Island.

17 April—17 May 1000 Ways to Rainbow Eleanor Zecchin

This inaugural exhibition dedicated to Senior High School students in the Limestone Coast will award a major prize of $1000 to the winning entry.

Showcasing the most creative and innovative work from young people in the region, students are nominated by teachers and will encompass visual art, design, photography, performing art, media or creative art.

Sam Gold, Works In Progress. Photography by Sam Roberts.

6 February–6 March Material Girls Kate Bohunnis, Sam Gold and Anna Gore

Eleanor Zecchin, #413-1000 Ways to Rainbow, water colour on cotton rag, 11.4 x 16.2 cm.

1 February–15 March Calibre

Riddoch Art Gallery 1 Bay Road, Mount Gambier, SA 5290 08 8721 2563 riddochartgallery.org.au Mon to Fri 10am–5pm, Sat to Sun 10am–3pm, open most public holidays.

The Partnershipping Project exhibition at Burnie Regional Gallery showing works

by David mangenner Gough (foreground) and Selena de Carvalho (background).

Photo: Rick Eaves, 2018.

7 March—24 May The Partnershipping Project David mangenner Gough, Selena de Carvalho, Gail Mabo, Vanghoua Anthony Vue, Aris Prabawa, Penny Evans, Damien Shen and Sera Waters.

A nationally touring exhibition, The Partnershipping Project was conceived to link regional artists, regional galleries and regional audiences to ask: ‘Does Place Matter’? The result is an exhibition that is redeveloped in each regional location as new artists join. The project has become a series of iterations that explore the effects of ‘globalised’ thinking and the impact on changing relationships to ‘place’.

The artists come from a broad range of cultural backgrounds and experiences and their works challenge stereotypes about what living in the regions of Australia might mean.

The Partnershipping Project is a Burnie Regional Art Gallery exhibition toured by Contemporary Art Tasmania.

Anne Miles, Carp, 2019, two plate etching.

21 March—24 May Beautiful Enemies Thumb Print Inc. A printmaking exhibition exploring our day to day competition with introduced species of flora and fauna.

217

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

Royal South Australian Society of Arts → GarySauer-Thompson, Adelaide-Glenelg, 1981, gelatin-silver.

26 April—17 May “Trailblazers” Pioneers Association and RSASA Members RSASA Members’ and posters of pioneers of the first 10 years in SA.

Royal South Australian Society of Arts (RSASA) Level 1, Institute Building, Corner North Terrace and Kintore Avenue, Adelaide, SA 5000 [Map 18] 08 8232 0450 rsasarts.com.au Mon to Fri 10.30am–4.30pm, Sat and Sun 1pm–4pm.

Closed on public holidays.

Opening event 26 April, 2pm.

Sauerbier House culture exchange 21 Wearing Street, Port Noarlunga, SA 5167 [Map 18] 08 8186 1393 onkaparingacity.com/sauerbierhouse Wed to Fri 10am–4pm, Sat noon–4pm.

16 February—15 March On the edge of the day RSASA Members’ Fringe Autumn Exhibition.

22 March—5 April Adelaide Art Photographers Exhibition C1970-2000 Opening event 22 March, 2pm.

Eliezer Levi Montefiore, 1842, detail, pen and wash .

218

1 February–14 March IV Voyages: The Odyssey Revisited The IV print Collective: Lucy Timbrell, Nicola Rowlands, Angelica Harris-Faull and Hanah Williams.

S OUTH AUSTRALIA Investigating ancient Greek myths and stories, the artists navigate themes of journey, self-discovery and the representation of women.

Urban Cow Studio Shop 6, 10 Vaughan Place, Adelaide, SA 5000 08 8232 6126 [Map 18] urbancow.com.au Mon to Thurs, 10am–5pm, Fri 10am– 9pm, Sat 10am–5pm, Sun 12noon–5pm.

Cynthia Schwertsik, Seated in an unsettling position (work in progress), 2019, performance still. Image courtesy of the artist.

Rosina Possingham and Brianna Speight, Fizzy, 2020, digital photograph.

21 March–2 May Artist in Residence exhibitions: Zinc Brianna Speight and Rosina Poissingham.

A collaborative underwater photography project generated by Rosina Possingham and Brianna Speight. The project explores everyday activities at the beach responding to themes of protection, visibility and heat.

21 March–2 May Seated in an unsettled position Cynthia Schwertsik Following Joan Tronto’s political notion of care, considering everything we do to maintain and repair ourselves and our environment, Schwertsik is on a mission and asks what does it mean to care and how do we actively care without causing damage elsewhere?

Seated in an unsettled position is a continuation of Schwertsik’s performative practice, as she observes the absurd in the everyday life and for all apparent seriousness offers the opportunity to laugh at our complicity without making us feel guilty.

Samstag Museum of Art University of South Australia, 55 North Terrace, Adelaide SA 5000 [Map 18] 08 8302 0870 unisa.edu.au/samstagmuseum Tue to Sat 10am–5pm.

28 February–12 June 2020 Adelaide//International John Wardle with Natasha JohnsMessenger, Zoe Croggon, Helen Grogan and Georgia Saxelby, David Claerbout, Brad Darkson and Matthew Bird.

Gavan Card, The Botanist Returns, 80 x 101 cm.

4 March–28 March Peace and Tranquility Gavan Card This exhibition will take you to a place that is both unfamiliar and peaceful in nature.

Explore lands where Australian creatures such as the cassowary, crocodile, kookaburra, and the mythical bunyip, take the place of humans for a tongue in cheek look at society.

Samstag Museum of Art → John Wardle Architects (with Natasha Johns-Messenger), Somewhere Other, 2018, installation view 16th International Biennale Architecture 2018. Photography by Peter Bennetts.

219

A–Z Exhibitions

MARCH/APRIL 2020

Western Australia

Elder Place, Perth Cultural Centre,

Wittenoom Street, High Street,

Finnerty Street, Aberdeen Street,

Glyde Street, Bussell Highway, Kent Street , Stirling Highway,

St Georges Terrace, Railway Road, Henry Street, Colin Street,

Captains Lane, James Street

220

Art Collective WA 2/565 Hay Street, Cathedral Square, Perth, WA 6000 [Map 19] 08 9325 7237 artcollectivewa.com.au Wed to Fri 11am–4pm, Sat noon–4pm.

Joanna Lamb, Industrial Streetscape, 2019, acrylic on board, 46 x 61 cm.

7 March–4 April Things Past Joanna Lamb Joanna Lamb’s new work observes some of the ignored spaces in our lives and asks if everything can be illuminating if we stop and pay attention. A fragmentary moment, plucked from the continuum of time, is created from a multi-layering of photographs, memory and imagination.

Geography is captured in incidental moments as the artist travels through suburban Perth, Hobart, Launceston, Sydney and Melbourne, reflecting the ordinary scenes that form the backdrop of our everyday life.

7 March–4 April From the Shadows Jennifer Cochrane Jennifer Cochrane considers how shadows reveal information that define a moment in time and place. By repeatedly removing shadows from her existing sculptures and reinterpreting them in

new surroundings, new shadows emerge as they evolve and progress through varied dimensions, from 2D to tape installations to large sculpture. Viewpoints determine their interpretation.

18 April–16 May Untethered Giles Hohnen and Andre Lipscombe New paintings by Giles Hohnen and Andre Lipscombe find common ground through an evolving collaboration. Hohnen’s instinctive abstractions are a truthful distillation of form and colour, saturated with sweeps of paint screened across textured supports, creating multiple vibrating edges and gradated overlays to induce emotive meditations in the viewer of things alive. Lipscombe’s paint ‘skins’ are thinly applied using an assortment of found ‘palettes’ and techniques over long periods of time, creating tactile forms that both conceal and reveal the narrative of time.

Art Gallery of Western Australia Perth Cultural Centre, Perth, WA 6000 [Map 19] 08 9492 6600 Infoline 08 9492 6622 artgallery.wa.gov.au Wed to Mon 10am–5pm.

Until 9 March That Seventies Feeling...the Late Modern This exhibition showcases some of the Gallery’s best works from the 1970s. Full of surprises and rarely seen works, the exhibition examines a transformative decade for Western Australia, the Gallery and the world at large.

An acquisitive prize, each year’s winning entrant is awarded $15,000 while their work becomes a part of the WA State Art Collection, playing an integral role in the Gallery’s acquisition of works by Australia’s most inspiring, innovative and accomplished artists in this medium. Now in its 18th year, the Tom Malone Prize continues with the support of Ms Sheryl Grimwood, AGWA Foundation Benefactor.

7 March—29 June Pulse Perspectives WA’s talented young artists are celebrated in this yearly showcase, gauging the pulse of young people who will influence, empower and shape the world we live in.

The selected works provide a window into young people’s private, social and artistic concerns. It is in turns an inspiring, rewarding and insightful look at the world through the minds of our most talented young artists.

7 March—1 June WA Now – Tom Muller Multi-disciplinary WA artist Tom Muller presents objects, interventions and a staged performance exploring historical, alchemic and anthopocentric connections to the present. The performance forms one component of this very cinematic, staged installation by bringing together seemingly disparate materials and disciplines to activate various sites and spaces of the Gallery. Responding to the built form of the building, the work also interrogates the function and role of the State Gallery.

Giles Hohnen, #7, 2019, oil on masonite, 93 x 63 cm.

Nick Mount, Noble Fruit with Antigua, 2019, blown glass, murrini, Zanfirico cane, surface worked, carved, polished, assembled, Huon stem, two units: 32 x 17 x 17 cm; 13 x 40 x 17 cm. Courtesy of the artist. © Nick Mount. Photo: Pippy Mount.

14 March—29 June Tom Malone Prize 2020 The Tom Malone Prize is a highly respected national event within the Australian glass art community.

Eddie Zammit. Photo: Nicole Reed.

18 April—24 August Culture Juice – T-shirts Right Now Led by Melbourne-based curator Eddie Zammit, founder of T-world, whose globally-relevant collection takes centre stage in this exhibition, which tells the story of the T-shirt from underwear to outerwear design icon. Co-curated by local T-shirt (and sneaker) collector Lee Ingram, the show brings to Perth hundreds of the most significant expressions of T-shirt culture showcasing key artists, brands and designers from the past thirty years.

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

Artitja Fine Art Gallery South Fremantle, WA 6162 08 9336 7787 0418 900 954 artitja.com.au Wed to Fri 11am–4pm, Sat & Sun 10am–4pm. Viewing by appointment outside of the exhibition program.

Artitja Fine Art Gallery is based in South Fremantle. Specialising in Aboriginal art from remote art centre communities from Western Australia, Northern Territory and the South Australian APY Lands.

Recipients Fremantle Business Awards: Outstanding Cultural Enterprise in 2017; Corporate Social Responsibility in 2016.

Making Cultural Connections Through Art.

established and emerging artists, this dynamic exhibition emphasises the artists’ intimate knowledge of their country through colour, shape and form.

Venue: Earlywork, 330 South Terrace, South Fremantle WA.

Bunbury Regional Art Gallery 64 Wittenoom Street, Bunbury, WA 6230 08 9792 7323 brag.org.au Daily 10am–4pm.

13 March—5 April I Know My Country A display of new paintings from remote Indigenous community art centres including

Seeking iconographic descriptions of Western Australia, concentrating on enduring elements—the land, rock formations, the river—this work explores, extracts and reconstructs those elements, stunning, visually fascinating, evoking memory, to confirm that images strongly present are, at once, real and abstract.

Susan Ecker been exhibited widely and received well in the United States and Australia. She continues to work in East Hampton, NY and her studio in Donnybrook, WA. 22 February–5 April Big Wide Land Joel Smoker

Amanda Bell, Everything is Funny (The Love Song of Emjay and Princess Dark Clouds), 2019, mixed media.

Nyarapayi Giles, Warmurrungu, 147 x 122 cm.

29 February–17 May Elements Form Susan Ecker

This exhibition comprises of large pastel drawings by Western Australian artist Joel Smoker. The drawings are sketched on location, then completed in the artist’s studio at Binningup in the southwest.

Smoker’s work is represented in major collections including the Art Gallery of WA, Fremantle City Art Collection, City Mundaring Art Collection, City of Geraldton Art Collection and The National Gallery of Victoria.

15 February–26 April South Western Times Art 2020

7 March–10 May Whose name was writ in water Stormie Mills

The survey exhibition has a long history of showcasing the creative talent from the South West region and is a significant event in BRAG’s calendar. The year 2020 is a time in which we assessing the past and consider issues affecting us now and in the future. This exhibition presents a snapshot of artists currently practicing in the South West of Western Australia, providing the opportunity to reflect on our place and times. Curated by WA writer and curator Lee Kinsella.

Mills has been giving voice to the lost souls of the cityscape since 1984. This new exhibition presents a fascinating body of work from a veteran Australian artist.

“Ever conscious of my own youth spent making works in and on the streets and its inherent lack of permanence this exhibition has been inspired by my exploration of John Keats and the mythology of youth.

There is a memory in a repeated action, there is a whisper in a line.” Opening night Friday 6 March, 6pm.

Fremantle Arts Centre → John Prince Siddon, Mix it All Up, 2019, acrylic on canvas, 240 x 120 cm. Image courtesy and copyright the artist.

222

WESTERN AUSTRALIA

Fremantle Arts Centre 1 Finnerty Street, Fremantle, WA 6160 [Map 20] 08 9432 9555 fac.org.au Daily 10am–5pm. Free admission.

6 February–22 March All Mixed Up John Prince Siddon Major solo exhibition featuring newly commissioned paintings, sculpture and installation from John Prince Siddon.

A Walmajarri man based in Fitzroy Crossing in the West Kimberley, Prince spent his early years working on cattle stations until losing a leg in a riding accident. His art combines diverse influences drawn from television, the traditional Kimberley craft of boab nut carving, desert iconography and the epic characters of the Narrangkarni (Dreamtime).

Surreal and kaleidoscopic at first glance, these works offer an incisive commentary on the political and social issues of today, and on Western Australia’s dark and mostly undocumented history. All Mixed Up is curated by Emilia Galatis and presented in association with Perth Festival and Mangkaja Arts.

Bricolage is accompanied by a visual text by acclaimed WA writer Josephine Wilson exploring the concept of ‘bricolage’ and the relationship between art and science.

Presented in association with Perth Festival and SymbioticA.

Gallery Central North Metropolitan TAFE, 12 Aberdeen Street, Perth, WA 6000 [Map 19] 08 9427 1318 gallerycentral.com.au Mon to Fri 10am–4.45pm, Sat noon–4pm.

Veta Holmes, Apron, performative work.

27 March–17 April Overhouse Mark Parfitt

Butcher Cherel Janangoo was a key elder of the Gooniyandi language group in the Kimberley and was instrumental in the retention of men’s law ceremony at Muludja Community. Janangoo features a selection of Butcher’s paintings from the early 2000s, which he made to preserve and transmit this significant body of cultural knowledge to the younger generation.

These works have never been shown outside of Fitzroy Crossing. Curated by Lynley Nargoodah and presented in association with Perth Festival and Mangkaja Arts.

6 February–22 March Bricolage Art meets science in an ambitious new installation from WA’s Nathan Thompson, Guy Ben-Ary and Sebastian Diecke that brings microscopic ‘biobots’ to life inside a custom-built incubator. From blood, silk and heart muscle the artists bio-engineer individual cellular units, which self-assemble into living, kinetic sculptural forms large enough to see with the naked eye.

This thought-provoking exhibition invites us to consider the human body in a world beyond its control.

At Vasse Felix: Corner Tom Cullity Drive and Caves Road, Cowaramup, WA 6284 At No. 10, Douglas Street, West Perth, WA 6005 holmesacourtgallery.com.au

1 February–14 March Holmes à Court Gallery @ no.10:

Showing off the achievements of our students—Visual Art, Photography, 3D Product Design and Object Jewellery Design, Fashion and Textile Design, Graphic Design, Interior Design, Screen and Media, Animation and Games.

6 February–22 March Janangoo

Holmes à Court Gallery

Carmela Corvaia, Horizon, 2015, Janet Holmes à Court Collection. Image courtesy of the artist.

3 March–20 March Shine–best grads of 2019

Butcher Cherel Janangoo, Untitled (Self Portrait), gouache on cotton rag paper, 28 x 38 cm. Image courtesy of Mangkaja Arts Resource Agency.

of these children only see their parents once a year or once every few years.

An examination of the home as a site for sculpture. Combining DIY construction, audience participation and the artist’s own house, the project contributes to conversations seeking new understandings of homemaking beyond the expectations of ordinary living in the suburbs of Perth.

FIBRE Lindsay Mpetyane Bird, Tjingapa Davies, Mark Dustin, Olga Cironis, Marjorie Coleman, Sujora Conrad, Carmela Corvaia, Angela Ferolla, Anisa Hirte, Jean Hoijo, Emily Kame Kngwarreye, Eveline Kotai, Holly Story, Kate Thompson, Anne Walmsley, Lesley Parker, John Parkes, Sue Poggioli, Susan Roux, Nalda Searles, Helen Seiver, Curtis Taylor, Debra West.

FIBRE is an unwrapping, unrolling and unfolding of fibre and textile artworks from the Janet Holmes à Court collection together with works from local and national artists. FIBRE features stitched, threaded, strung, rubbed, ripped, folded and pressed fibre textile art. From luminous to opaque, delicate to robust, the works speak of processes of material manipulation. They present ritualistic gestures of folding and the repetition of stitching, rubbing and patterning. The natural world is a deep source of inspiration and its richness and fragility is conveyed alongside ideas about mortality, intimacy and cultural belonging.

Tami Xiang, Peasantography Family Portrait, 2018, woven laminated digital print, 90 x 130 cm.

24 April–16 May Peasantography Tami Xiang Perth based Chinese-Australian artist and graduate of NMTAFE now undertaking a PhD at UWA. The exhibition brings together conceptual documentary works that look at conditions for Chinese families in the countryside. 61 million ‘Left Behind Children’ are raised by their grandparents or great grandparents while their own parents work in cities sometimes thousands of miles away. Most

Lesley Meaney, Desert Odyssey, 2014, front view, image courtesy of the artist.

17 February–24 May Holmes à Court Gallery @ Vasse Felix: Becoming Australian Lesley Meaney 223

ar t g ui d e .c o m . au Holmes á Court Gallery continued...

Presented anew for the Holmes à Court Gallery at Vasse Felix, Lesley Meaney | Becoming Australian is a culmination of five decades of the art work of Lesley Meaney. This solo exhibition unfolds as a sensorial experience of fiery sunburnt colours, luminous greens and deep earthy tones. The works evoke a sense of place and belonging, as a sustained, experimental and unique response to the Australian landscape. For Lesley Meaney, each new body of work is another journey, another discovery, another set of artistic challenges to resolve along the way towards becoming Australian. The exhibition will coincide with a book featuring Lesley’s work, Lesley Meaney Becoming Australian an Artist’s Journey. All proceeds from the sale of the book will be donated to support a brighter future for children with brain cancer.

John Curtin Gallery Curtin University Kent Street, Bentley WA 6102 [Map 19] 08 9266 4155 jcg.curtin.edu.au Mon to Fri 11am–5pm, Sun 12–4pm.

Closed public holidays.

Admission is free.

A Perth Festival event supported by Visual Arts Program Partner Wesfarmers Arts.

The John Curtin Gallery presents Western Australian artist Ian Strange as a highlight of the visual arts program of the 2020 Perth Festival. Ian Strange: Suburban Interventions 2008 – 2020, is the first ever large-scale survey of the artist’s photographic and film work. It represents a comprehensive overview of the past 12 years of his thought-provoking practice, featuring full suites of the most iconic photographic work as well as three rarely seen films that collectively explore the enigma of the suburban.

Sandra Hill: Mia Kurrum Maun [Far from Home] A Perth Festival event supported by Visual Arts Program Partner Wesfarmers Arts.

The John Curtin Gallery and the 2020 Perth Festival will present Mia Kurrum Maun (Far from Home), a powerful exhibition by acclaimed Bibbulmun artist Sandra Hill which includes new work created especially for the Festival.

Sandra Hill’s work examines the spectre of Aboriginal cultural annihilation through her own lived experience as a Bibbulmun woman of the Stolen Generations. Mia Kurrum Maun (Far from Home), reveals the far-reaching and profound impact that government policies and widespread racial discrimination have had upon generations of Aboriginal women. Hill, who lives and works in the South West of Western Australia, uses a diverse range of media including painting, printmaking, installation, mixed-media collage and natural resins in her studio practice.

Lawrence Wilson Art Gallery & Berndt Museum Ian Strange, Number Twelve, 2013, archival digital print, documentation of site-specific intervention, 112cm x 162 cm.

Image courtesy of the artist.

Until 24 April Ian Strange: Suburban Interventions 2008–2020

The University of Western Australia 35 Stirling Highway (corner Fairway), Crawley, Perth, WA 6009 [Map 19] 08 6488 3707 lwag.uwa.

Sarah Contos, Sarah Contos Presents: The Long Kiss Goodbye (installation view), 2016, screen-print on linen, canvas and lamé, digital printed fabrics and various found fabrics, PVC, poly-fil, glass, ceramic and plastic beads, thread, artists’ gloves, 330 x 610 x 25 cm, Gift of the James & Diana Ramsey Foundation for the Ramsay Art Prize 2017, Art Gallery of South Australia. Photograph courtesy the artist and Roslyn Oxley9 Gallery, Sydney.

Sarah Contos (NSW), Penny Coss (WA), Iain Dean (WA), Brent Harris (VIC), Clare Peake (NT) and Michele Elliot with Tender Funerals (NSW).

This exhibition explores how artists transform familiar materials and symbols into complex meditations on love, loss, attraction and repulsion: the ashes of visual diaries become ceremonial jewellery, fragments and studio scraps become an epic patchwork of memories, and simple actions become poignant rituals. This evocative exhibition features a group of artists from around the nation, each with a unique connection to Western Australia. It is presented in association with Perth Festival.

8 February–27 June Boomerang–A National Symbol Australia as a nation is recognised around the world by symbols of Aboriginal culture.

Presented by the Berndt Museum of Anthropology, this exhibition explores the idea of the boomerang—beyond a symbol of ‘Australia’—to highlight its many uses and meanings. The exhibition asks audiences: “How much do you know about boomerangs?”

8 February–9 May The Long Kiss Goodbye

Lawrence Wilson Art Gallery → Mowanjum, Western Australia. Carved wood with natural pigments. Gift of P. Lucich, Berndt Museum of Anthropology [1976/0517].

224

Linton & Kay Galleries → Peter Coad, Then Came the Evening, 2020, mixed media on canvas, 60 x 90 cm.

Linton & Kay Galleries Mandoon Estate Gallery: 10 Harris Road, Caversham, WA, 6055 08 9388 3300 Fri to Sun and public holidays 11am–5pm or by appointment.

Located in Perth, Linton & Kay Galleries hosts an impressive collection of quality fine art, complemented by a range of exhibitions, events and art services.

Directors Linton Partington and Gary Kay have established extensive networks enabling them to produce exhibitions and projects with established and emerging artists from around Australia and the world. Following the opening of the original Subiaco Gallery in 1998, Linton & Kay Galleries has had a gallery at Mandoon Estate Winery in the Swan Valley since 2015 and now has an exciting new arts precinct in West Perth.

29 February—29 March Visible Silence Peter Coad ‘My works are not meant to represent nature in its exact form, what I want to portray or depict is my own distinctive view as a painter, and to convey the essence of the landscape, exposing much that is invisible such as the Indigenous spirituality and mystery of the earth.’

— Peter Coad, February 2020.

Linton & Kay Galleries Subiaco Gallery: 299 Railway Road (corner Nicholson Road), Subiaco, WA 6008 [Map 16] 08 9388 3300 lintonandkay.com.au Mon to Sat 10–5pm, Sun 11am–4pm.

to mimic the landform construction: sedimentation, erosion, deposition and fluvial processes, using layer upon layer of raw, ground pigments until an image is formed.

Johnny Romeo, Rage Squad, 2020, acrylic and oil on canvas, 122 x 122 cm.

21 March—12 April Burn Down The Disco Johnny Romeo Bec Juniper, Inland Sea III, 2019, collection of Ritz Carlton Hotel Perth, mixed media on canvas, 200 x 200 cm.

5 March—19 March Rangelands Bec Juniper “The West Australian landscape is layered; always moving and changing in finely stratified layers and time-lapsed events.” Bec Juniper, like her late father Robert, mostly looks at the landscape from an aerial perspective, attempting

A revolutionary call to arms amidst the chaos of contemporary life, Burn Down the Disco sees Australia’s King of Pop at his most provocative and confrontational, as he injects a healthy dose of venom into his inimitable Kitsch Pop style. Romeo’s latest exhibition is an adrenaline-fuelled romp through the lawless wastelands of the Pop dystopia.

18 April—10 May Derbarl Yerrigan Swan River: Paintings 2010–2020 and New River Drawings Alan Muller 225

ar t g ui d e .c o m . au Linton & Kay Galleries continued...

Midland Junction Arts Centre 276 Great Eastern Highway, Midland, WA 6056 08 9250 8062 midlandjunctionartscentre.com.au Wed to Fri 10am–5pm, Sat 11am–3pm.

15 February–11 April Show Your Working Saleheh Gholami, Chloe Henderson, Veta Holmes and Ailsa Waddell Ruminating on the documentation of bodies in artmaking; Show Your Working presents a selection of work from the 2019 graduating classes of Perth’s tertiary art schools. Responding to their surrounding environments; natural, built, social, political or imagined, the artists present industrious creative research practices that reveal the structures that shape their making.

Alan Muller, River VII, 2020, graphite on Arches paper, 40 x 41 cm.

Muller’s work portrays the spiritual significance of place and references the complete history of the Swan and Canning Rivers and surrounding landscapes prior to Western settlement and acknowledges the region’s traditional owners. Muller consults with an Aboriginal Elder and Traditional Owner regarding his use of Noongar language in titles. Muller’s practice is driven by a deep respect for Aboriginal culture and traditions and a yearning for a more honest and comprehensive representation of the West Australian landscape.

factory, Emma Jolley repurposes old plates and dies from the factory, in a new body of printed works. Sheridan’s considers the importance of local production, skill sharing and community connection fostered by longstanding local businesses.

Mundaring Arts Centre 7190 Great Eastern Highway, Mundaring, WA 6073 08 9295 3991 mundaringartscentre.com.au Tue to Fri 10am–5pm Sat and Sun 11am–3pm.

Emma Jolley, The Trots, 2019, four colour screen print, 42 x 29.7 cm.

15 February–11 April Sheridan’s Emma Jolley Reflecting on the recent closure of the original Sheridan’s Badges & Engraving

1 February–22 March Retrospective: Hans Arkeveld Hans Arkeveld is one of WA’s foremost artists and sculptors. This retrospective exhibition documents his 50-plus year multi-disciplinary practice and long-term engagement with the University of Western Australia Anatomy Department, and

PICA → Laurie Anderson and Hsin-Chien Huang, Chalkroom, 2017, fluorescent paint on slate walls. Courtesy of the artists.

226

4 April—17 May Jewellery Pop-Up Small-scale sculptures and wearables

by Western Australian-based jewellers will be showcased as a celebration of the labour and skill of these artists as they manipulate precious metals and transform every-day materials into valued personal objects.

Perth Institute of Contemporary Arts (PICA)

made of words, drawings and stories.

Once you enter this interactive installation you are free to roam and fly. Words sail through the air as emails. They fall into dust. They form and reform.

Created by pioneering artist and musician Laurie Anderson and Taiwanese new media artist Hsin-Chien Huang, Chalkroom is a Virtual Reality work unlike any other.

Instead of the brightly-lit gaming world of most VR, everything is hand drawn, dusty and dark, creating a shadowy, atmospheric world to explore. Presented in association with Perth Festival.

Perth Cultural Centre, 51 James Street, Northbridge, WA 6000 [Map 19] 08 9228 6300 pica.org.au Tue to Sun 10am–5pm.

Hans Arkeveld, cardinal figure with hat, cement fondu, 29 x 59 x 28 cm. draws on his passion for the machinations and form of the human body as well as social justice issues.

4 April—17 May Tributaries Tineke van der Eecken Exploring the fibres of Western Australian flora and fauna systems, Tineke van der Eecken presents jewellery and small fine metal sculptures, alongside arresting nature photography that represent the pulse of life (and death) through fragile root systems, veins and tributaries.

Housed in a large and striking heritage building in the heart of Perth, PICA is the city’s focal point for those wishing to experience the best of Australian and international visual, performance and interdisciplinary art. PICA is both a producing and presenting institution that runs a year round program of changing exhibitions, seasons in contemporary dance, theatre and performance and a range of interdisciplinary projects.

9 February—19 April Chalkroom Laurie Anderson and Hsin-Chien Huang Step inside an immersive world and take a journey through an enormous structure

Tina Havelock Stevens, Thunderhead, (video still), 2016. Courtesy of the artist.

9 February—19 April Thunderhead Tina Havelock Stevens Depicting landscapes and dwellings on sites that are often empty or abandoned, Havelock Stevens’ sensibilities as a film-maker and a musician create suspended moments that speak of survival and fragility and draw connections between environmental and emotional

FORM PRESENTS

FEATURING LEEROY NEW, YU FANG CHI, EKO NUGROHO AND ANGELA YUEN Upcycled plastic transformed through creative approaches 12 MARCH - JUNE 2020 W: form.net.au/plasticology T: 08 9385 2200 E: mail@form.net.au The Goods Shed, 4 Shenton Road, Perth, Western Australia

Image Credit: Alien Mask by Leeroy New, 2020, upcycled plastic. Image courtesy of the artist.

227

ar t g ui d e .c o m . au PICA continued... spaces. This exhibition offers a series of video works accompanied by improvised sound scores—sometimes recorded, sometimes performed live. Visceral and immersive, her installations act as a channel for emotions and histories that reside in built and natural landscapes. Presented in association with Perth Festival.

anxiety and a sense of unease,’ says Healy.

‘These painted images are constructed and deconstructed allowing them to toe the line somewhere between figuration and abstraction, reality and fiction’.

9 February—19 April Hudson Valley Ruins Jacky Connolly

ZigZag Gallery 50 Railway Road, Kalamunda, WA 6076 08 9257 9998 zzcc.com.au Weekdays 9am–4pm, Weekends and public holidays 10am–4pm.

The Zig Zag Gallery seeks to provide a diverse range of cultural activities in a boutique-style gallery environment.

The purpose of the space is to encourage, stimulate and promote local and regional cultural activities through an active and diverse exhibition programme.

Hudson Valley Ruins is a short narrative film produced entirely in the computer game The Sims 3. Using the conventions of the game, in which players simulate the lives of a modern family, Jacky Connolly has created a complete set, narrative and cast of characters.

We welcome proposals from emerging and professional artists who are interested in exhibiting in our gallery in 2021.

Hudson Valley Ruins tracks the unsettling experiences of two young female characters as they navigate the banal, tense and quietly disturbing world of suburban Upstate New York. Presented in association with Perth Festival.

In addition to exhibitions generated through the application process, the Zig Zag Gallery actively develops exhibitions and partnership projects to enable broader engagement with communities in the region.

Alana McVeigh, The Edge of Light series 2019, dimensions variable.

STALA CONTEMPORARY 12 Cleaver Street, West Perth, WA 6005 [Map 19] 0417 184 638 stalacontemporary.com.au Wed to Sat, 10am–4pm during exhibitions and by appointment.

Free admission.

Karen Frankel, Snowgums.

12 February—6 March It is not down in any map; true places never are Jarrad Martyn

6 March—29 March Speaking for Ourselves Karen Frankel and Group.

5 April–19 April Pat & Anna Explore Colour Pat Hartley and Anna Poplawska.

The current conversation around global warming has encouraged a politicised and loaded representation of nature.

The body of work explores, and reflects on how humanity is presently engaging with the natural environment.

Martyn employs the process of bricolage, ‘something constructed from a diverse range of things’, to bring together research and imagery, concerning themes of evolution, weather patterns, core samples, colonialism, and ‘zoochosis’, amongst others, to create narrative spaces that unpack his own thoughts and observations surrounding humanity’s relationship with nature.

12 February—6 March Exit Wounds Richard Healy The exhibition will include a succinct collection of the artist’s paintings, depicting scenes of figures and bodies, in the midst of movement or action. In each work, the subjects appear obstructed and broken, intending to, in his own words, ‘create tension and ambiguity on the canvas’.

Using digital collage, Healy has re-contextualised sourced material (a combination of collected images, and the artist’s own photography) to create new narratives.

‘I have built images that aim to evoke

228

Mardi Crocker, Aveeno, 2019, oil on panel, 40.5 x 30cm.

18 March–17 April Shimmering in a Transformed Light Alana McVeigh and Mardi Crocker Sharing an affinity for the overlooked and the genre of the still life, Crocker’s painted works and McVeigh’s ceramics pay quiet attention to the ubiquitous forms populating much of our daily lives. Gesturing toward the potential and affects such awareness can uncover, the artists enact careful attention to form, light and the materiality of their mediums. In borrowing from Rosemary Lloyd’s Shimmering in a Transformed Light: Writing the Still Life in which Lloyd assembles an anthology of painted and written objects, here the title is used to assemble and describe painted and ceramic works that respond to each other, informing their making, and transforming the ubiquitous and the overlooked.

Pressing matters, Printmakers Association of Western Australia (PAWA).

26 April–10 May PAWA Members Exhibition Printmakers Association of Western Australia (PAWA).

A–Z Exhibitions

MARCH/APRIL 2020

Northern Territory

Lapinta Drive, McMinn Street,

Casuarina Campus, Melville Island, Darwin Convention Centre,

Mitchell Street, Cavanagh Street, Garden Point, Conacher Street,

Vimy Lane, George Crescent

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

Museum and Art Gallery of the Northern Territory 19 Conacher Street, The Gardens, Darwin, NT 0820 08 8999 8264 magnt.net.au Mon to Sun 10am–5pm.

Free entry.

EX!T ART is a celebration of the talents and creativity of the next generation of artists and designers, presenting the very best contemporary art and design from Northern Territory Year 12 students. ​ roudly supported by the Museum and P Art Gallery Northern Territory in partnership with the Northern Territory Department of Education, EX!T ART reflects the diversity of NT artistic practice and practitioners, expressing universal themes of identity, place and environment.

21 March 2019—22 March Between the Moon and the Stars

30 June 2019—17 May Unruly Days

Marking the 50th anniversary of the first lunar landing by NASA’s Apollo 11.

Get up close to a lunar meteorite and discover the connection between sea-worms and lunar phases when you embark on this stellar journey through the exhibition Between the Moon and the Stars.

The Northern Territory has always been an impossible land to master. From its monsoonal Top End to its arid Centre, it promises bountiful resources, but almost every attempt to exploit them has failed. It is too immense, too remote, its resources too inaccessible.

14 March—12 July EX!T ART: 2019 Year 12 Student Exhibition

30 November 2019—28 June Therese Ritchie: burning hearts

Therese Ritchie is renowned for her provocative prints that make fearless political and social commentary. This exhibition situates these prints within her practice more broadly and considers the fundamental role photography has played in her development as an artist.

NCCA – Northern Centre for Contemporary Art Vimy Lane, Parap Shopping Village, Parap, NT 0820 08 8981 5368 nccart.com.au Wed to Fri 10am–4pm, Sat 9am–2pm, closed public hols.

NCCA is the leading centre for contemporary visual art in the Northern Territory—bringing together diverse communities of artists and audiences to engage with contemporary ideas and practices. NCCA brokers opportunities for artists locally, nationally and internationally and connects communities through its dynamic program.

Bill Davies, Untitled One & Two, VR drawing, Images courtesy of the artist.

7 February—7 March Off The Walls Off The Walls is a group exhibition curated

by Rita Macarounas. Six local Artists using VR as their medium to create art.

NCCA is leading the way with this new medium in screen culture.

13 March—28 March priNT 2020 Printing group exhibition by contemporary local and national artists. This group show will highlight the important role printmaking techniques play in many visual artists’ practices. The aim is to create a nationally (and internationally) recognized annual print exhibition, while generating support towards establishing an openaccess print workshop in the Top End.

RAFT artspace 8 Hele Crescent, Alice Springs, NT 0870 0428 410 811 raftartspace.com.au Open during exhibitions Tues to Fri 10am–5pm, Sat 11am–2pm.

230

MAP 1 VI CTO RI A

20 MILDURA

4

SWA N H I L L

29

Victoria

26

3

WO D O N G A

32 S H E P PA RTO N BENDIGO

HORSHAM

17

15

27

WA N G A R AT TA

5

6

C A ST L E M A I N E

9 A R A R AT

1

8

DAY L E S FO R D

H E A L E SV I L L E

B A L L A R AT

H A M I LTO N

24 18

14

34

WA R R N A M B O O L

G E E LO N G

33 LO R N E

1 2 3 4 5 6 7 8 9 10 11 12

28

2

Ararat Gallery TAMA Art Gallery of Ballarat Arts Space Wodonga The Art Vault Benalla Art Gallery Bendigo Art Gallery Boom Gallery Castlemaine Art Gallery Central Goldfields Art Gallery East Gippsland Art Gallery Everywhen Artspace Geelong Gallery

13 14 15 16 17 18 19 20 21 22 23 24

21 12 7

4

B A I R N S DA L E

19

25 31

23 11

16

13

MORWELL

30

22

Gippsland Art Gallery Hamilton Art Gallery Horsham Regional Gallery Latrobe Regional Gallery La Trobe Art Institute The Lost Ones Gallery Maffra Exhibition Space Mildura Arts Centre National Wool Museum QDOS Art Gallery Queenscliff Gallery Post Office Gallery Art Academy

10

SALE

25 26 27 28 29 30 31 32 33 34

Red Tree Gallery Rutherglen Art Gallery Shepparton Art Museum Stockroom Gallery Swan Hill Regional Gallery Switchback Gallery Town & Country Gallery Wangaratta Art Gallery Warrnambool Art Gallery Wyndham Art Gallery

231

MAP 2 MELBOURNE CBD

LA

29

TR

32

OB

T ES

LO LT

28

NS

DA

LE

ST

25 LO

NS

DA

ST

LE

UR

KE

ST

RIN

24

SP

BO LT

ST

CO

NS LLI

S TO T NS

ZA

LLI

BE TH

AM

ST

LLI

FLI

10

ST

26

31

CO

9

30

ST

ELL

AN

ELI

WI

NS

N

13

ST

5

LN RS 19 DE

4

ST

< 11

34

ON

SS LT

15

ST

ST

ITI

KE

HIB

UR

G

EX

RU

SW

Melbourne CBD

BO

14

33

6 27 21 8

FLI

12

3

< 17

ND

ER

T SS

22

18 16

ST

20

<

1

RD

7

DA

RT S T

23

KIL

ST U

2

1 2 3 4 5 6 7 8 9 10 11 12 232

Australian Centre for Contemporary Art (ACCA) Arts Centre Melbourne Australian Centre for the Moving Image (ACMI) Anna Schwartz Gallery ARC ONE Gallery Blindside ARI Buxton Contemporary CAVES City Gallery Craft Victoria Deakin Downtown Gallery Flinders Lane Gallery

13 14 15 16 17 18 19 20 21 22

fortyfivedownstairs Gallery @ City Library Harvey Galleries Immigration Museum Kings ARI Koorie Heritage Trust Lesley Kehoe Gallery Margaret Lawrence Gallery Missing Persons National Gallery of Victoria – The Ian Potter Centre 23 National Gallery of Victoria – NGV International 24 Neon Parc

25 26 27 28 29 30 31 32 33 34

No Vacancy Gallery The Old Treasury Building ReadingRoom RMIT First Site Gallery RMIT Gallery Sarah Scout Presents Sofitel Melbourne on Collins State Library of Victoria Stephen Mclaughlan Gallery Tolarno Galleries

MAP 3 FI TZ R OY /C O L LI NGWO O D

A LE X A W E S TG

ARTH

NDRA P DE

ST M AT E R

ST

14 10

6

24 ST

ST

4

S M IT H

20

11

Collingwood

18

G TO N S T

Fitzroy U D E ST

22

26

3

15

1 V IC TO

ID G E S T

2

12

9

19

5

R IA P D E

A LB E R

21 13

LANGR

26

W E LL IN

13 GERTR

28 ST

7

H O D D LE

C A R LT ON GARDE NS

8 27

18

N A P IE R

ST

W IC K S T

Y ST FI T Z R O

N IC H O MOOR

16

TO N S T

BRUNS

LS O N S T

JO H N S

23

T ST

FI T Z R O Y GARDE NS

1 2 3 4 5 6 7 8 9 10

Alcaston Gallery Australian Galleries Australian Print Workshop Artbank Art Echo Brunswick Street Gallery BSIDE Gallery BUS Projects Cambridge Studio Gallery Centre for Contemporary Photography

11 12 13 14 15 16 17 18 19 20 21

Daine Singer Fox Galleries James Makin Gallery Lamington Drive Little Woods Gallery LON Gallery Modern Times Melbourne Museum Nicholas Thompson Gallery PG Printmaker Gallery Port Jackson Press Australia

22 23 24 25 26

Seventh Gallery Slow Clay Centre Sutton Gallery Tacit Galleries This Is No Fantasy + Dianne Tanzer Gallery 27 West Space 28 Yarra Sculpture Gallery

233

MAP 4 G R E AT E R M E L B O U R N E

SOUTH MORANG YA R R A G L E N

2 H E A L E SV I L L E

36

7

BUNDOORA

29

E LT H A M

19 M A R I BY R N O N G

8

Melbourne

W I L L I A M STOW N

32

S EV I L L E

23

10

28

12

L I LY DA L E

18

17

4

R I N GWO O D

3 22

34

1 9

15

30

31

G L E N WAV E R LY WHEELERS HILL

M A LV E R N E A ST

25

16 26 21

5 14 20

EMERALD

35 13

DA N D E N O N G M O R D I A L LO C

33

6

PAKENHAM CRANBOURNE

24 11 F R A N KSTO N

M O R N I N GTO N

27

1 2 3 4 5 6 7 8 9 10 11 12

234

ACAE Gallery Art at Linden Gate ArtSpace Realm Black Cat Gallery Bundoora Homestead Bunjil Place Burrinja Cultural Centre Colour Factory Deakin University Art Gallery East and West Art Frankston Arts Centre Footscray Community Arts Centre

13 14 15 16 17 18 19 20 21 22 23 24

Gallery Alpha Bayside Gallery Gallery Elysium Glen Eira City Council Gallery Hatch Contemporary Heide Museum of Modern Art Incinerator Gallery Kingston Arts Centre MARCH SPACE Maroondah Federation Estate Manningham Art Gallery McClelland Sculpture Park & Gallery

25 26 27 28 29 30 31 32 33 34 35 36

Monash Gallery of Art Monash University Museum of Art Mornington Peninsula Regional Gallery Quadrant Gallery TarraWarra Museum of Art Ten Cubed The Substation Town Hall Gallery Walker Street Gallery Whitehorse Arts Centre Without Pier Gallery Yering Station Art Gallery

MAP 5 & 6 N O RT H E R N M E L B O U R N E A N D SOUTHERN MELBOURNE

<

14 Arts Project Australia beinArt Gallery Blak Dot Gallery Burke Gallery c3 Contemporary Art Space Chapman & Bailey Counihan Gallery In Brunswick The Dax Centre The Fox Darkroom & Gallery Gertrude Contemporary Gallerysmith and Gallerysmith Project Space 12 George Paton Gallery 13 Ian Potter Museum of Art 14 Islamic Museum of Australia 15 Langford 120 16 Neon Parc Brunswick 17 Otomys Contemporary 18 Red Gallery 19 RMIT Project Space / Spare Room 20 Shirazi Art Gallery 21 Tinning Street Presents 22 Victorian Artists Society 23 West End Art Space

21 16

<

10

1 2 3 4 5 6 7 8 9 10 11

20

2 B R U N SW I C K

3 7

N O RT H C OT E B R U N SW I C K E A ST

1 18 PA R KV I L L E C A R LTO N N O RT H

8 9

15

12 4

N O RT H MELBOURNE

13

F I TZ R OY

3

C A R LTO N

11

6 5

C O L L I N GWO O D

19 22

23

17

MELBOURNE CBD

2

26

8

25

5

10

RICHMOND

22 CREMORNE

SOUTHBANK

18

H AW T H O R N

27

19

B U R N L EY

20

1

<

ACAE Gallery Alliance Franรงaise de Melbourne Alternating Current Artspace Anna Pappas Gallery Arts Centre Melbourne Australian Tapestry Workshop Brightspace Charles Nodrum Gallery E + Hive Gallery Eastgate & Holst Gallery Finkelstein Gallery Firestation Print Studio Gould Galleries Jewish Museum of Australia Justin Art House Museum (JAHM) Lauraine Diggins Fine Art Linden New Art Lynn Jaanz at York Street Lyon House Museum LUMAS Galleries Manyung Gallery Malvern Margaret Lawrence Gallery MARS Gallery Metro Gallery Niagara Galleries OTOMYS Sophie Gannon Gallery STATION gallery TooT Gallery Vernissage Vivien Anderson Gallery

<

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31

6 SOUTH YA R R A

13

TO O R A K

KO OYO N G

28

9

4 PRAHRAN

M I D D L E PA R K

WINDSOR

23 ST K I L DA W E ST

17

11 30

3

14

15

A R M A DA L E

24 12

31

2

ST K I L DA

29

7

21 16

B A L AC L AVA

235

MAP 7 SY D N EY

< 16 34 GORDON

25 M AC Q UA R I E PA R K

LINDFIELD

8

S E A FO RT H

FA I R L I G H T

17

26

C H ATSWO O D

M A N LY

LANE C OV E

19

N O RT H B R I D G E

15 ST 29 L EO N A R D S

G L A D E SV I L L E

27 N O RT H SY D N EY

10

MOSMAN

18

30

28

24

11

BALMAIN

23 33 5

THE R O C KS

21

Sydney

R OZ E L L E

C R OY D O N

HABERFIELD

20 U LT I M O 31

2

9 6

7

14

DA R L I N G H U R ST

3

S U R R EY H I L LS

1 22

4

BONDI B E AC H

12

13 N E W TOW N ALEXANDRIA M A R R I C KV I L L E

1 2 3 4 5 6 7 8 9 10 11

236

16albermarle Annandale Galleries Annette Larkin Fine Art Art Atrium Artereal Gallery Articulate project space Artsite Gallery Art Space on the Concourse Boomalli Aboriginal Artists Co-operative Brenda Colahan Fine Art Cockatoo Island

12 13 14 15 16 17 18 19 20 21 22 23

32

Cooee Art Gallery Defiance Gallery Frances Keevil Gallery Gallery Lane Cove Grace Cossington Smith Gallery Harvey Galleries Seaforth Harvey Galleries Mosman Incinerator Art Space Interlude Gallery Kate Owen Gallery Kerrie Lowe Gallery Lara Scolari Gallery

24 25 26 27 28 29 30 31 32 33 34

Lavender Bay Gallery Macquarie University Art Gallery Manly Art Gallery & Museum Mosman Art Gallery mu ceramics studio gallery Project [504] Rochfort Gallery The Shop Gallery Sullivan & Strumpf Sydney College of the Arts Gallery Wallarobba Arts and Cultural Centre

MAP 8 SY D N EY C I T Y

10

11

14

CA HI LL ES PY

20 19

WH WP

ER

AR IE ST

AR

T

G

AL

LE

RY

RD

CO

2

M AC Q U

H ST EL IZ AB ET

K IN G ST

AR

M1

4

15

PA R K

C R OW

DR UIT T ST

ST

18

1 2 3 4 5 6 7 8 9 10

Alaska Projects Art Gallery of New South Wales The Art of Dr. Seuss presented by Harvey Galleries Artspace The Cross Art Projects Fine Arts Firstdraft Gaffa Gallery Harvey Galleries The Ken Done Gallery

ST

5

IT IO N

7

E X H IB

3

N ST

8

E AY S T

MAR KET ST

9

W IL L

M AC L

16

FR D

ER

12

ST

Sydney CBD

WE

ST

BR ID GE

YO RK ST

ND I

ST

RIB

UT

OR

13

1

17

IA M

6 ST

11

Museum of Contemporary Art Australia (MCA) 12 Museum of Sydney 13 The Sculptors Society 14 S. H. Ervin Gallery 15 SOHO Galleries Sydney 16 The SPACE Gallery 17 Stacks Projects 18 Stanley Street Gallery 19 State Library of New South Wales 20 Wentworth Gallery

237

MAP 9 DA R L I N G H U R ST / R E D F E R N / WAT E R LO O

PA R K

ST

7

HA RR

29

17

Darlinghurst

IS ST

20

O X FO

15

4

R

26

9

D S T

11

TT WA

24

1

LE

Ultimo Chippendale 3 14

ELAN

28

29

D ST

RD

ST

MO

ORE

PA R K

EV

6

EL

AN

DS T

16

Redfern

ST

OM

FO

5

8

ST BIE

OX

P H IL L

RA GL AN ST

BOU

RKE

AB

XS T

Surry Hills

21

CL

R ERC

E AU

13

17

23 CLEV

F OV

18

C R OW

27

BRO ADWAY

12 N ST

ST

25

IP S T

2 L AC H

LAN

ST

10 22

1 2 3 4 5 6 7 8 9 10

238

4A Centre for Contemporary Asian Art Artbank Sydney ArtSHINE Gallery Australian Centre for Photography Brett Whiteley Studio Carriageworks Chalk Horse The Commercial Conny Dietzschold Gallery Darren Knight Gallery

11 12 13 14 15 16 17 18 19 20 21

Dominik Mersch Gallery -f-i-l-t-e-rFlinders Street Gallery Galerie pompom Gallery 9 Home@735 Art Gallery The Japan Foundation King Street Gallery Kudos Gallery Liverpool Street Gallery m2 Gallery

22 23 24 25 26 27 28 29

May Space Nanda/Hobbs National Art School New Standard Gallery Powerhouse Museum UTS Gallery Verge Gallery White Rabbit Gallery

RD

M A P 10 PA D D I N GTO N

TH H EA

D RD

ING

HU

RS

SOU

RL

1 9

Y

ST

5 EI

19

AV

21

OR

B

O

E

U

N

D

A

R

N

LD

RD

DA

FORB

ES ST

TS T

WILLIAM ST

18

3

2

12 16

ST

GL

EN

M

17

8

FI

ST

TZ

RO

YS

T

OX

FO

RD

ST

U

N

ADE CAS C

Paddington

20 IO N

GR EE NS RD

ALB

SU

H

6 D

ER

7

W

W

15 O

O

D

PA

ST

G

11

C

4

A

LE

D

D

D

O

IN

IN

N

G

O

IA

D

A

SO

TO

R D

ST

R

N

TH

G

R

R

ER

AV

LA

E

N

D

AV

ST

ST

ST

O N ST

M1 MOO

1 2 3 4 5 6 7 8 9 10 11

Arthouse Gallery Australian Galleries Barometer Blender Gallery Cement Fondu Christopher Day Gallery Cooee Art Gallery Defiance Gallery at Mary Place Dominik Mersch Gallery Fellia Melas Art Gallery Fox Jensen

10 13

12 13 14 15 16 17 18 19 20 21

14

RE P ARK RD

Martin Browne Contemporary OLSEN Piermarq Roslyn Oxley9 Gallery Sabbia Gallery Sarah Cottier Gallery Savill Galleries Thienny Lee Gallery UNSW Galleries Wagner Contemporary

239

M A P 11 & 12 G R E AT E R SY D N EY A N D N E W S O U T H WA L E S

13 RICHMOND

1 2 3 4 5 6

Leo Kelly Blacktown Arts Centre Blue Mountains City Art Gallery Campbelltown Arts Centre Casula Powerhouse Arts Centre Creative Space Harvey House Gallery and Sculpture Park 7 Hawkesbury Regional Gallery 8 Hazelhurst Regional Gallery & Arts Centre 9 Hurstville Museum & Gallery 10 Parramatta Artists Studios 11 Peacock Gallery and Auburn Arts Studio 12 Penrith Regional Gallery 13 Purple Noon Gallery 14 Rex-Livingston Gallery 15 Steel Reid Studio 16 Sturt Gallery 17 UWS Art Gallery 18 Wallarobba Arts and Cultural Centre 19 Wild Valley Art Park 20 Wollongong Art Gallery

14 2

240

Bank Art Museum Moree Bathurst Regional Art Gallery Bega Valley Regional Gallery Broken Hill Regional Art Gallery Coffs Harbour Regional Gallery Cowra Regional Art Gallery Finite Gallery Fyre Gallery Glasshouse Port Macquarie Goulburn Regional Art Gallery Grafton Regional Gallery Griffith Regional Art Gallery Jayes Gallery Lake Macquarie City Art Gallery Lismore Regional Gallery The Lock-Up Maitland Regional Art Gallery Manning Regional Art Gallery Murray Art Museum Albury (MAMA) Muswellbrook Regional Arts Centre Newcastle Art Gallery New England Regional Art Museum Orange Regional Gallery The University Gallery Shoalhaven Art Gallery Suki & Hugh Gallery Tamworth Regional Gallery Tweed Regional Gallery Wagga Wagga Art Gallery Western Plains Cultural Centre

6

18

19 12

K ATO O M B A

C A ST L E H I L L

17

5

1 10 11 LIVERPOOL

B A N KSTOW N

4

9 8

C A M P B E L LTOW N

3

CRONULLA

BARGO

20 WO L LO N G O N G

16

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30

7

15

BY R O N 28 B AY 15

1 C O F FS HARBOUR

MOREE

BOURKE

11 5

22 27 COBAR

30

4 BROKEN HILL

DUBBO

New South Wales

MILDURA

7

WO L LO N G O N G

29

10 26 8

19 EC H U C A

20 17 16 7 24 14 21

13 23 2 C E N T R A L C OA ST 6

12

KO S C I U S Z KO N AT PA R K

9 18

3

25

M A P 13 & 1 4 G R E AT E R B R I S B A N E & Q U E E N S L A N D

H E RV EY B AY

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17

19 Karen Contemporary Artspace Caboolture Regional Gallery Caloundra Regional Gallery Cooroy Butter Factory Arts Centre Dust Temple Gallery at HOTA Hervey Bay Regional Gallery Honey Ant Gallery Ipswich Regional Gallery Logan Art Gallery Mavrick Art Space Noosa Regional Gallery Pine Rivers Regional Gallery Redcliffe Regional Gallery Redland Art Gallery Stanthorpe Regional Gallery Toowoomba Regional Gallery

7

4 SUNSHINE C OA ST

Brisbane 17

TO OWO O M B A

12 8 3 2 13

9

14 15 10

5

6 1 GOLD 9

C OA ST

16 STA N T H O R P E

5 CAIRNS

2

7 TOW N SV I L L E

1 2 3 4 5 6 7 8 9

Artspace Mackay Cairns Regional Gallery Gala Gallery Gladstone Regional Gallery Northsite Contemporary Arts Perc Tucker Regional Gallery Pinnacles Gallery Rockhampton Art Gallery Umbrella Studio

6

9

M AC K AY

1

Queensland R O C K H A M P TO N

8

3

G L A D STO N E

4

241

M A P 15 BRISBANE

2

1

13

T

ST

R

4

RE ST

R

B

A

N

N

R ST

N

SW

IC

EN

D

U

K

A

T EE

R

ST

O

O

T

R

EE

T

M

TU

R

T

S

EE

Fortitude Valley R

B TR

T

ST

3

K

23

T

24

26

7

YR

ST R E E

15

TH

DA R Y

18 10

ER

BOUN

EE

AR

G O D

8 9

T

TH

UR

25

G

12

ET

W

T

IC

ST

K

R

H

A

EE

M

11

ET

E

ET

21

ED W A

16

R D ST EE T

17

5

14

R

19

22

M ER

20

E

RE

ET

ST

RE

EY

ST

GR

AL IV

South Bank

Brisbane CBD

ET

6

1 2 3 4 5 6 7 8 9 10 11

242

Andrew Baker Art Dealer Artisan Gallery Edwina Corlette Gallery Fireworks Gallery Graydon Gallery Griffith University Art Gallery Heiser Gallery Institute of Modern Art Jan Manton Art Jan Murphy Gallery Jugglers Artspace

12 13 14 15 16 17 18 19

Lethbridge Gallery Maud Street Photo Gallery Metro Arts Mitchell Fine Art Gallery Museum of Brisbane Onespace Gallery Phillip Bacon Galleries Queensland Art Gallery/ Gallery of Modern Art 20 QUT Art Museum 21 Side Gallery

22 23 24 25 26

State Library of Queensland Suzanne Oâ&#x20AC;&#x2122;Connell Gallery The Third Quarter Gallery TW Fine Art UQ Art Museum

M A P 16 CANBERRA

BA

RR

YD R

4

25

IVE

2 ST

1

SS

7

S

RO

10 9

5

CL

UN

IE

3 22 PA R K E

CO

N

S WAY

ST

IT

U

TI

O

N

AV E

20

Russell

19 21

18

15 17 KIN

L A ID

E AV

8

E E AV

14

W

ADE

GS

EN E AV

U

12

TH

M

OR

6

16

TW

23

Deakin G

G

A

CAN W

AY

BER

RA A VE

13

11

24

1 2 3 4 5 6 7 8 9 10

Aarwun Gallery ANU Drill Hall Gallery ANU School of Art Gallery Australian National Capital Artists (ANCA) Gallery Australian War Memorial Beaver Galleries Belconnen Arts Centre Canberra Glassworks Canberra Museum and Gallery Craft ACT

11 12 13 14 15 16 17 18 19 20 21

Hadfield Gallery Humble House Gallery M16 Artspace Megalo Print Studio Museum of Democracy Nancy Sever Gallery National Archives of Australia National Gallery of Australia National Library of Australia National Museum of Australia National Portrait Gallery

22 23 24 25

Nishi Gallery PhotoAccess Tuggeranong Arts Centre Watson Arts Centre

243

M A P 17 & 18 H O B A RT & A D E L A I D E

1 3

Bett Gallery Colville Gallery Contemporary Art Tasmania Despard Gallery Entrepot Gallery Freehand Gallery Handmark Gallery Inka Gallery Penny Contemporary Plimsoll Gallery Salamanca Arts Centre Tasmanian Museum and Art Gallery

A

M

P

B

E

LL

ST

R

D AV

A G Y E

T EY S

L

6

A

R

R

IN

G

TO

T

H

S

1 2 3 4 5 6 7 8 9 10 11 12

C

N

Hobart EL

ST

9

M

UR

RA Y

IZ

AB

12

ET

H

5

10

ST

ST

11

8

7

2

4

SAL AM ANC A PL

13

12

FRO

11

3

NORTH TCE

17 6

20 19 9

EAST TCE

4 7

244

18

Y RD

16

14

HA CK NE

1

RD

15

ME

Adelaide

PULTENEY ST

ACE Open Adelaide Central Gallery Art Gallery of South Australia BMGArt Collective Haunt Flinders University Art Museum Gallery M Greenaway Art Gallery Hill Smith Gallery Hugo Michell Gallery JamFactory Praxis Artspace Prospect Gallery Royal SA Society of Arts Samstag Museum of Art SA School of Art Gallery Sauerbier House Cultural Exchange South Australia Museum Tandanya National Aboriginal Cultural Institute 20 Urban Cow

KING WILLIAM RD

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19

2

8

10 5

M A P 19 & 2 0 P E RT H & F R E M A N T L E

BU

LW

ER

11

12 NE

1 2 3 4 5 6 7 8 9 10 11 12

Art Collective WA Art Gallery of Western Australia FORM Gallery Gallery Central John Curtin Gallery Lawrence Wilson Art Gallery Linton & Kay Gallery @ Fridays Studio Linton & Kay Subiaco Perth Centre for Photography Perth Institute of Contemporary Arts STALA Contemporary Turner Galleries

ST

RO

WE

LL

W

CA

ST

LE

ST

ES T

ING

TO

NS T

4

Perth

9

10 2

3

7

8 TH

EE SPL

AD

AN

AD

1 EL

E

AID

ET E

5 RR

AC

E

6

4 5 OR

EL

D

ER

PL

T DS

Aboriginart Indigenous Fine Art Artitja Fine Art David Giles Gallery / Studio Eleven Fremantle Arts Centre Gallows Gallery Japingka Moores Building Contemporary Art PS Art Space

Fremantle

1 MA ST

3

ET

8 6

RK

1 2 3 4 5 6 7 8

HIG

T HS

7

2 245

193

151

Brenda Colahan Fine Art (NSW)

4A Centre (NSW)

151

Broken Hill Regional Gallery (NSW) 40, 157

Galerie pompom (NSW)

Brunswick Street Gallery (VIC)

115

Gallery Central (WA)

223

222

Gallery Elysium (VIC)

122, 134

A Aarwun Gallery (ACT)

203

170

GALA Gallery (QLD)

16albermarle (NSW)

Bunbury Regional Art Gallery (WA)

ACE Open (SA)

214

Bundoora Homestead (VIC)

116

Adelaide Central Gallery (SA)

214

Bunjil Place (VIC)

Alcaston Gallery (VIC)

108

Burnie Regional Art Gallery (TAS)

16, 115 208

Gallery Lane Cove (NSW)

122

Gallerysmith Project Space (VIC)

122 194

Alliance Française Eildon Gallery (VIC) 108

Butter Factory Arts Centre (QLD)

191

Gallery 48 (QLD)

Buxton Contemporary (VIC)

116

Gallery 9 (NSW)

Ararat Gallery TAMA (VIC) ARC ONE Gallery (VIC)

108

Artbank (VIC, NSW)

109, 151

Art from the Margins Gallery

C

108

and Studios (NSW)

Arthouse Gallery (NSW) Artereal (NSW)

163

Geelong Gallery (VIC)

c3 Contemporary Artspace (VIC)

116

Gertrude Contemporary (VIC)

Caboolture Regional Art Gallery (QLD) 193

Gippsland Art Gallery (VIC)

Campbelltown Art Centre (NSW)

Glasshouse Port

157

22, 122

123 38, 123

Macquarie (NSW)

163

191

Canberra Glassworks (ACT)

152

Casula Powerhouse (NSW)

157

Glen Eira City Council Gallery (VIC)

123

CAVES (VIC)

116

Goulburn Regional Gallery (NSW)

165

Cement Fondu (NSW)

159

Grace Cossington Smith (NSW)

165

43, 151

Artisan (QLD)

163

Gallerysmith (VIC)

Anna Schwartz Gallery (VIC)

1, 108

161

191

Artitja (WA)

222

Centre for Contemporary

Artists Shed (ACT)

203

26, 203

Grafton Regional Art Gallery (NSW) 164, 165

Photography (VIC)

116

Artsite Gallery (NSW)

152

Chapman & Bailey (VIC)

118

Artspace (NSW)

152

Charles Nodrum Gallery (VIC)

116

Artspace Mackay (QLD)

191

Coffs Harbour Regional

Art Echo Gallery (VIC)

108

Gallery (NSW)

159

Art Collective WA (WA)

221

Colville Gallery (TAS)

209

Griffith University Art Museum (QLD) 194

H Hahndorf Academy (SA)

125

Handmark Gallery (TAS)

210

Harvey Galleries (VIC, NSW)

Art Space on The Concourse (NSW) 153

Contemporary Art Tasmania (TAS) 209

Hatch Contemporary Arts

ArtSpace REALM/Maroondah (VIC)

110

Conners Conners (VIC)

Art at Linden Gate (VIC)

108

Cooee Art (NSW)

19 159, 166

215

Hamilton Gallery (VIC)

125, 167

Space (VIC)

125

Hawkesbury Regional Gallery (NSW) 167

Art Gallery of Ballarat (VIC) 108, 124, 126

Counihan Gallery (VIC)

Art Gallery of New South

Cowra Regional Art Gallery (NSW) 159, 172

Heide Museum of Modern Art (VIC) 3 4, 125

151

Craft Victoria (VIC)

118

Hugo Michell Gallery (SA)

214

The Cross Art Projects (NSW)

159

Holmes à Court Gallery

Wales (NSW)

Art Gallery of South Australia (SA)

D

Art Gallery of Western Australia (WA) 221 Arts Project Australia (VIC)

32, 110

118

Hazelhurst Regional Gallery (NSW)

Darren Knight Gallery (NSW)

160

at Vasse Felix (WA)

The Dax Centre (VIC)

119

Humble House Gallery (ACT)

Deakin University Art Gallery (VIC)

119

Hurstville Museum (NSW)

2, 111

Australian Centre for Photography

(ACP) (NSW)

9

Australian National Capital Artists

(ANCA) Gallery (ACT)

203

Australian Print Workshop (VIC)

111

Australian Tapestry Workshop (VIC) 113

B Baboa Gallery (SA)

214

(BAMM) (NSW)

153, 170

Bathurst Regional Art Gallery (NSW)

153

Gallery (VIC)

119

Incinerator Art Space (NSW)

127

Devonport Regional Gallery (TAS)

209

Institute of Modern Art (QLD)

194

Dust Temple (QLD)

193

E

J JamFactory (SA)

216 194

Eastgate Gallery (VIC)

119

Jan Murphy Gallery (QLD)

East Gippsland Art Gallery (VIC)

120

The Japan Foundation Gallery (NSW) 169, 172

Everywhen Artspace (VIC)

120

John Curtin Gallery (WA)

Federation University (VIC)

21, 120

Kate Owen Gallery (NSW)

Fireworks Gallery (QLD)

193

Kingston Arts (VIC)

Firstdraft (NSW)

161

King Street Gallery (VIC)

Bega Valley Regional Gallery (NSW) 14, 154

Finkelstein Gallery (VIC)

120

Koorie Heritage Trust (VIC)

Benalla Art Gallery (VIC)

113

Flinders Lane Gallery (VIC)

120

114

Flinders Street Gallery (VIC)

203

Bendigo Art Gallery (VIC) Bett Gallery (TAS)

208

fortyfivedownstairs (VIC)

224

K Ken Done Gallery (NSW)

18, 113

169

Incinerator Gallery (VIC)

166

Beaver Gallery (ACT)

169

160

Fellia Melas (NSW)

Bayside Gallery (VIC)

204

Defiance Gallery (NSW)

F

Bank Art Museum Mortee

223

I

Deakin University Art Downtown 152

Australian Design Centre (NSW)

215

Horsham Regional Art Gallery (VIC) 24, 127

Australian Centre for Contemporary Art (ACCA) (VIC)

167

161 34, 120, 124

171 168, 169 44, 129 31, 171 129

L Lamington Drive (VIC)

129

Latrobe Regional Art Gallery (VIC)

130

Blacktown Arts (NSW)

155

Fox Galleries (VIC)

121

La Trobe Art Institute (VIC)

BLINDSIDE (VIC)

114

Fox Jensen Gallery (NSW)

161

Lauraine Diggins Fine Art (VIC)

35, 130

Frankston Arts Centre (VIC)

121

Lawrence Wilson Gallery (WA)

224

Fremantle Arts Centre (WA)

223

Blue Mountains City

Art Gallery (NSW)

154

BMGArt (SA)

215

Boomalli Aboriginal Artists (NSW)

157

246

G Gaffa Gallery (NSW)

156, 161

Lavendar Bay Gallery (NSW)

41, 130

171

Lethbridge Gallery (QLD)

194

Linden New Art (VIC)

130

INDEX

Linton & Kay Galleries (WA)

42, 225

The Lock-Up (NSW)

171

National Portrait Gallery (ACT)

8, 206

Neon Parc (VIC)

136

Sauerbier House

Culture Exchange (SA)

218

Logan Art Gallery (QLD)

195

New England Art Museum (NSW) 25, 183

Sawtooth ARI (TAS)

212

LON Gallery (VIC)

131

Newcastle Art Gallery (NSW)

S.H. Ervin Gallery (NSW)

185

Lyon Housemuseum Galleries (VIC)

131

Newmarch Gallery (SA)

217

Shepparton Art Museum (VIC)

Lynn Jaanz Art Gallery (VIC)

131

Niagara Galleries (VIC)

137

Side Gallery (QLD)

Nicholas Thompson Gallery (VIC)

137

Sofitel Melbourne on Collins (VIC) 141, 142

Noosa Regional Gallery (QLD)

197

M M2 Gallery (NSW)

173

M16 (ACT)

204

MAC Museum of Art and Culture

Northern Centre of Contemporary

Lake Macquarie (NSW)

173

Art (NCCA) (NT)

230

NorthSite Contemporary Arts (QLD) 197

Macquarie University Art

12, 183

O

Gallery (NSW)

173

39, 140 201

STACKS Projects (NSW)

185

STALA Contemporary (WA)

228

Stanley Street Gallery (NSW)

186

State Library Victoria (VIC) SteelReid Studio (NSW)

141 182, 186

Old Treasury Building (VIC)

137

Stephen McLaughlan Gallery (VIC)

Maitland Regional Art Gallery (NSW) 173

Old Quad (VIC)

138

Stockroom Gallery (VIC)

Manly Art Gallery (NSW)

OLSEN (NSW)

183

Sturt Gallery (NSW)

162, 175

141 141 186

Manning Regional Gallery (NSW) 169, 175

Onespace (QLD)

197

The Substation (VIC)

143

Manningham Art Gallery (VIC)

OTOMYS CONTEMPORARY (VIC)

138

Sullivan & Strumpf (NSW)

186

Sutton Gallery (VIC)

143

Swan Hill Regional Gallery (VIC)

143

131

Mars Gallery (VIC)

4

March Space (VIC)

132

P Parramatta Artists Studios (NSW)

183

Martin Browne Contemporary (NSW) 177

Peacock Gallery (NSW)

184

Margaret Lawrence Gallery (VIC)

Penny Contemporary (TAS)

211

Tamworth Regional Gallery (NSW)

Perc Tucker Regional Gallery (QLD)

197

TarraWarra Museum of Art (VIC)

132

The Maud Street

Photo Gallery (QLD)

195

McClelland Sculpture

Perth Instiutute of Contemporary

Park + Gallery (VIC)

Arts (PICA) (WA)

T 186 11, 145

Tasmanian Museum (TAS)

212

227

Ten Cubed (VIC)

145 186

29, 132

PG Printmaker Gallery (VIC)

138

Thienny Lee Gallery (NSW)

Metro Arts (QLD)

195

Philip Bacon Galleries (QLD)

198

Tinning Street Presents (VIC)

145

Midland Junction (WA)

226

PhotoAccess Huw Davies

Tolarno Galleries (VIC)

146

Mildura Arts Centre (VIC)

133

Missing Persons (VIC)

133

Pine Rivers Art Gallery (QLD)

198

Town Hall Gallery (VIC)

The Mission to Seafarers (VIC)

112

Pinnacles Gallery (QLD)

198

Tuggeranong Arts Centre (ACT)

Monash Gallery of Art (VIC)

133

praxis ARTSPACE (SA)

217

135

QDOS Arts (VIC)

Monash University MADA

of Art (VIC)

135

Gallery (VIC)

135 162, 177

Mundaring Arts Centre (WA)

226

Murray Art Museum Albury (MAMA) (NSW)

Territory (NT)

230 192, 196

Museum of Contemporary

& Workshop (VIC)

Art (NSW)

6, 179

(MONA) (TAS)

Muswellbrook Regional (NSW)

RAFT artspace (NT)

219

UQ Art Museum (QLD)

201

W

139, 142 198 230

Wagner Contemporary (NSW)

188

Walker Street Gallery (VIC)

147

Wallarobba Arts

Wagga Wagga Art Gallery (NSW) 30, 187

Red Tree (VIC) Riddoch Art Gallery (SA)

139

and Cultural Centre(VIC)

Wangaratta Art Gallery (VIC)

200

Watson Arts Centre (ACT)

217

Western Sydney University

17, 139

Art Galleries (NSW)

RMIT Project Space Gallery (VIC)

140

Whitehorse Artspace (VIC)

178

Rochfort Gallery (NSW)

184

White Rabbit Collection (NSW)

Rockhampton Art Gallery (QLD) 181

Royal South Australian

National Gallery of Australia (ACT)

204

Society of Arts (SA)

200

136 136 205

Wyndham Art Gallery (VIC)

218

Yering Station Gallery (VIC)

148 306 158, 188 148 7, 189 189 36, 148 149

Z 185

Salamanca Arts Centre (TAS)

211

Sarah Scout Presents (VIC)

188

Y

Saint Cloche (NSW) Samstag Museum of Art (SA)

Wollongong Art Gallery (NSW)

185

S

National Gallery of Victoria - NGV International (VIC)

146

139

National Art School Gallery (NSW)

National Library of Australia (ACT)

147

Vivien Anderson Gallery (VIC)

199

Roslyn Oxley9 Gallery (NSW)

Potter Centre (VIC)

Victorian Artists’ Society (VIC)

ReadingRoom (VIC)

181

187

Urban Cow Studio (SA)

210

National Gallery of Victoria - The Ian

201

UNSW Galleries (NSW)

Redcliffe City Gallery (QLD)

RMIT Gallery (VIC)

N Nanda\Hobbs (NSW)

211

R

Redland Art Gallery (QLD)

Museum of Old and New Art

Art Gallery (TAS)

206

V

Queenscliff Gallery

13, 177

Museum & Art Gallery of Northern Museum of Brisbane (QLD)

QUT Art Museum (QLD)

Murray Bridge Regional Gallery (SA) 216

199

45, 146

U

Queen Victoria Museum and

Mosman Art Gallery (NSW)

of Modern Art (GOMA) (QLD)

Toowoomba Regional Gallery (QLD) 201

Umbrella Studio (QLD) 138, 146

Queensland Art Gallery/Gallery

Mornington Peninsula Regional

206

Q

Gallery (VIC)

Monash University Museum

Gallery (ACT)

ZigZag Gallery (WA)

228

20, 219 140 247

“When people are exiled they are pushed to the edge, regardless of colour, breed or territory.”

— ANNA BOGHIGUIAN, ARTIST P. 62

“Plastics is a symbol for something larger, isn’t it?”

— KIM WILLIAMS, ARTIST P. 76

“I’m not trying to say this is what a real family looks like, but I am trying to show what caring looks like.”

— PATRICIA PICCININI, ARTIST P.52

FESTIVAL PARTNER

Destiny Deacon Kuku/Erub/Mer born 1957 Being there 1998 (detail). National Gallery of Victoria, Melbourne. Purchased, Victorian Foundation for Living Australian Artists, 2016. Š Destiny Deacon, courtesy Roslyn Oxley9 Gallery, Sydney

48

“I think dance has always been the answer for me.”

— Bhenji Ra

+ E XCLUSI V E C OV E R AGE OF T H E 22 N D BI EN N A LE OF S Y DN E Y: N I R I N

AUD $6 (incl GST)

artguide.com.au