In Meiro Koizumi's three-channel video installation, The Angels of Testimony (2019), the central frame features an interview with Hajime Kondo about his time as a solider of the Imperial Japanese Army during the Second Sino-Japanese War. The conversation centres on war crimes perpetrated in China, including the beheading of Chinese prisoners for...
Diana Campbell Betancourt is a curator working predominantly across South and Southeast Asia. Since 2013 she has been the founding artistic director of the Samdani Art Foundation and chief curator of the Dhaka Art Summit in Dhaka, Bangladesh, a transnational art event that has grown in size and scale ever since its first edition in 2012. Backed by...
China, home to 802 million internet users, is subject to sophisticated online censorship. This shrouded state of affairs, unsurprisingly perhaps, serves to reinforce stereotypes around conformity elsewhere. Any realm, digital or otherwise, subject to such strict scrutiny must necessarily be bland and uncritical, right? I was mulling over such...
'With materials and handling, Marrinon's choices are as discriminating as her decisions about scale. The delicate, friable character of chalky plaster and dry terracotta immediately suggest great fragility, and reinforces the sense of protectiveness established through scale. One walks around her figures on their small plinths, sees each fold in the drapery, each mark made by the artist's hand, every rough edge in the plaster and the various combinations and permutations of these.'
Linda Marrinon has been exhibiting since the early 1980s and has been the subject of major survey shows at The Ian Potter Museum of Art, The University of Melbourne and The Institute of Modern Art, Brisbane. This will be her first exhibition following her receipt of the 2018 Don Macfarlane Prize, and the announcement of her inclusion in The National 2019.
Marrinon has been included in numerous group exhibitions including, Australian Perspecta (1983 and 1999), Word (1999) at the Muttseum of Contemporary Art, Sydney, Lost and Found: the TarraWarra Biennale of Art (2009) and Figurative Sculpture at Monash University of Art (2016). A large group of Marrinon's sculptures were included in the exhibition Making it New: Focus on Contemporary Australian Art at the Museum of Contemporary Art, Sydney in 2009.
In 2001, Marrinon was a recipient of the prestigious Samstag Fellowship which permitted her to study at the New York Academy of Art. Last year in 2018 she was awarded the Don Macfarlane Prize by the Macfarline Foundation.
Marrinon's paintings and sculptures are held by most of the major Australian state galleries and numerous private and corporate collections.
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