An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...
Zoe Butt is the artistic director of The Factory Contemporary Arts Centre in Ho Chi Minh City, the first purpose-built space for contemporary art in Vietnam. Founded in March 2016, the Centre was designed by HTAP Architects in an old steel warehouse, with cargo shipping containers added to its structure. Initiated as a social enterprise...
即将于2019年7月13开幕的第二届 Condo Shanghai，联合上海7座画廊/艺术机构与14 家来自全球11个不同的城市，如东京、首尔、雅加达、巴尔的摩、洛杉矶、伦敦、纽约、危地马拉城、利马和墨西哥城，为实验性展览营造了一个更切实可行的国际环境。以下是Ocula的展览看点。周奥，《景观/对象WA》（2016）。橡木上固化油墨打印，左: 55.88 × 147.32 cm，中: 121.92 × 152.4 cm，右: 55.88 × 147.32 cm，图片提供：马凌画廊，上海。马凌画廊 × 80m2 Livia Benavides × LABOR × Proyectos Ultravioleta马凌画廊 |...
Detail of Maree Cunnington's Loss of Memory From 'Secretions' (1997). Griffith University Art Collection. Courtesy Artshub. Photo Carl Warner.
There is a feeling you sometimes get when you are witness to an important moment - a moment in history, a moment for change, an act of empowered voices. This exhibition captures one such moment.
Dark Rooms: Women Directing the Lens 1978 - 98 has been curated by Naomi Evans for the Griffith University Art Museum, in Brisbane, and surveys a moment in the history of photography and photo media in Australia when women took control of their own voice.
Evans explained: 'Against the backdrop of the feminist movement and activism in arts and politics, many women artists during this periodmade work that refused the male gaze. Acutely aware of the ways in whichthe lens could empower or reduce the subject, they put themselves,friends, and family in the picture, and in doing so, changed thecultural landscape of Australia.'
Destiny Deacon is an artist, performer and political activist. Since 1990, she has exhibited her photographs, videos and installations in numerous solo and group exhibitions, nationally and internationally.
Fiona Hall is a leading contemporary Australian artist. Working across painting, collage, printmaking, photography, sculpture, video, and installation, Hall has exemplified her skill in a diverse range of media in a career spanning over four decades. After initially enrolling for a Diploma of Painting at East Sydney Technical College, Hall became more preoccupied with photography. She exhibited her works for the first time in Thoughts and Images: An Exploratory Exhibition of Australian Student Photography at the Ewing and George Paton Galleries, University of Melbourne, in 1974.
Hall’s choice of material is central to her artistic practice as she attempts to address the relationship between nature and contemporary issues such as globalisation and consumerism. Hall’s fascination with the natural world is an ongoing theme throughout her oeuvre and was explored in Fall Prey, her project for dOCUMENTA (13), in which she constructed the bodies of various threatened species (picked from the International Union for Conservation of Nature and Natural Resources’ Red List) out of the military uniforms of their native countries.
A retrospective of the artist’s work was held at Queensland Art Gallery and the Art Gallery of South Australia in 2005; and a survey of her work was held at the Museum of Contemporary Art in Sydney. This toured to City Gallery in Wellington, New Zealand in 2008.Hall was awarded the prestigious Contempora 5 Art Award in 1997 and the Clemenger Art Award at the National Gallery of Victoria, Melbourne in 1999. Her work is held in collections at all major Australian institutions including: the National Gallery of Australia, Canberra; the National Gallery of Victoria, Melbourne; the Art Gallery of South Australia, Adelaide; and the Queensland Art Gallery, Brisbane.
Tracey Moffatt is an Australian photographer and filmmaker who came to prominence in the late 1980s, producing a robust body of work that strikes a profound, somewhat uncomfortable chord in the viewer, addressing difficult, deeply rooted issues surrounding race, sexuality, history and identity. Her photographs are elaborate, dramatic and almost filmic, driving the subject at hand. This has had an influential effect on her films, which are highly experimental, both formally and stylistically, and echo the non-realism of still photography.
There is a strong narrative through her work, yet this is unstated and non-linear, being implied by portraying the pain and uncertainty that comes with the above issues. Reflecting Moffatt’s own life and experiences—such as the contentious relations between white Australians and Indigenous Australians in her celebrated 1989 series Something More—her use of unwritten narrative allows her to side-step specifics and create more universal observations.
Moffatt studied visual communications at the Queensland College of Art, graduating in 1982, first showcasing her works in a solo exhibition in 1989 at the Australian Centre for Photography in Sydney. She has since exhibited in many major museums and galleries around the world including the Museum of Contemporary Art in Sydney (2003–04); Hasselblad Centre in Gothenburg, Sweden (2004); and the Art Gallery of South Australia, Adelaide (2011), and has works in the collections of Tate, the National Gallery of Australia and the Museum of Contemporary Art, Los Angeles.Moffat’s films have had much international success, including being selected for official competition at the 1990 Cannes Film Festival, and her first feature film, beDevil, being selected in 1993. She has also exhibited at the 1997 Venice Biennale, in the Aperto section, and in 2007 was awarded the 2007 Infinity Award for art by the International Center of Photography.
Julie Rrap has been a major figure in Australian contemporary art for over three decades. Since the mid-1970s, she has worked with photography, painting, sculpture, performance and video in an ongoing project concerned with representations of the body. She has responded to studies on the development of cancer cells by creating moulds of her breasts using frozen milk, and then photographing her breasts and placing the frozen moulds on top of those images. This is an example of her exploration of the relationship between science and art, and how, from her position as an artist, she can bring to our attention serious medical issues.
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