The third NGV Triennial is rich with the possibilities of uplift. From feminist subjectivity to refugee stories extending hospitality in an existing museum space, the pieces featured in this exhibition show how art can take you everywhere, from places inside yourself to parts of the world where you’ve never travelled. These three artists prove that with bold colours, new perspectives and interesting compositions, the past and the present, memory and magic can interact symphonically and enrich our understanding of why art matters. Very volcanic over this green feather . Interestingly, the curat ..read more

Curated by Stella Rosa McDonald, Tulleah Pearce and Patrice Sharkey, is on display at the until 7 April 2024. in the pursuit of healing and repair from ailments and misfortunes. Due to their embodied knowledge of local ecologies, R’sasa has been practiced and sustained by generations of Youssef’s family, despite famine and military occupation. Reprised here, a mobile phone and WhatsApp video call become mediators of hybridity, enabling the ritual with parsley, water, lead and body to be shared, despite being fragmented and altered so as to traverse geographies. An uncannily familiar interactio ..read more

Peggy Kasabad Lane is the First Nations Curator at Court House Gallery and Tanks Arts Centre, Cairns, and attended the Venice Biennale as part of the by Archie Moore continues at the Australia Pavilion, Venice until 24 November 2024 ..read more

Please note macrons in the Te Reo Maori terms do not appear on this webpage. vary according to the sun’s radiation and wind directions: the weather. The noise of cracking infers the movement and melting of the glacier into the lake, which is growing at such a rate that the glacier is expected to disappear within 20 years. Randerson and her collaborators bring us face-to-face with the glacier with all the microbiological contents and ancient breaths encapsulated in the ice over tens of thousands of years, which appear in hues of winter greys and summer blues. While digital manipulation evidence ..read more

Through Shaded Glass: Women and photography in Aotearoa New Zealand 1860–1960 in effect offers a social history of the country in which they worked, at least as one half of the population experienced it. In the process, the book also documents a cavalcade of photographic practices usually ignored by other historians, including those conducted in the darkroom or the office rather than just behind a camera. The end result is an essential supplement to more conventional, more masculine, histories of photography, wherever they have been produced. , made by Elin ‘Elfie’ Ralph in about 1929, and pri ..read more

The rest of the exhibition sees Afshar wandering with characteristic discipline across a disparate field, touching on the secretive desires of gay men in Iran, the dolorous agony of Australian whistle-blowers, and the otherworldly lives of Afro-Iranians in the Strait of Hormuz. The themes are not identical but linked by visual parallels, striking symmetries, and rhyming forms. A seeing guided by an inner attitude is encouraged. Afshar demands, in a most gentle way, audiences to meet and challenge her work on its own terms. It’s a welcome pleasure to be burdened so. In the Exodus, I Love You Mo ..read more

is supported by the Copyright Agency Partnerships Commission and is on display at the Please note macrons in the Te Reo Maori terms do not appear on this webpage. Australian Centre for Contemporary Art (ACCA ..read more

As is typical of Wolfson’s work, ’ is on display at the blends person and object, minimalism and figuration, art and technology, and compels viewers to experience their own bodies and the consciousness it houses. The third in Wolfson’s series of animatronic sculptures after is formally innovative and tonally distinct, squarely engaging with human practices such as introspection, spirituality, and, at times, agonizing cogitation. Not since Callum Morton’s (2016), a sculptural installation featuring a robotic facsimile of Melbourne art dealer Anna Schwartz, has an animatronic artwork exhibited i ..read more

The third NGV Triennial is rich with the possibilities of uplift. From feminist subjectivity to refugee stories extending hospitality in an existing museum space, the pieces featured in this exhibition show how art can take you everywhere, from places inside yourself to parts of the world where you’ve never travelled. These three artists prove that with bold colours, new perspectives and interesting compositions, the past and the present, memory and magic can interact symphonically and enrich our understanding of why art matters. Very volcanic over this green feather . Interestingly, the curat ..read more

Curated by Stella Rosa McDonald, Tulleah Pearce and Patrice Sharkey, is on display at the until 7 April 2024. in the pursuit of healing and repair from ailments and misfortunes. Due to their embodied knowledge of local ecologies, R’sasa has been practiced and sustained by generations of Youssef’s family, despite famine and military occupation. Reprised here, a mobile phone and WhatsApp video call become mediators of hybridity, enabling the ritual with parsley, water, lead and body to be shared, despite being fragmented and altered so as to traverse geographies. An uncannily familiar interactio ..read more