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...
Michael Parekowhai, Putto (2015–2016). Courtesy the artist and Roslyn Oxley9 Gallery, Sydney.
From 23 to 25 March, the 5th edition of Art Basel, Hong Kong will showcase 242 premier galleries from 34 countries and territories—including Australia—presenting works of the highest quality, ranging from the Modern period of the early 20th century to today's most contemporary artists in three specific categories: Galleries, Discoveries, and Encounters.
Art, for Danie Mellor, is a reflective medium that mirrors not only the personal values, attitudes and beliefs of its creator, but also the society from which it comes. His work speaks both of his sense of his own ancestry and the diversity of the cultural milieu from which it emerges.
Across a variety of forms, from printmaking and drawing to sculpture and installation, Mellor addresses the fact of Australia's shared history, often through the lens provided by his spiritual connection with his mother's country in the Atherton Tablelands of North Queensland. Quietly exploring the way in which the imposition of colonial settlement has transformed Australia's landscape and its people, Mellor's work provokes the viewer through its restrained frission - inviting us to delight in its charm, while challenging us to acknowledge the process of its evolution.
Mellor divides his time between his Canberra studio and Sydney, where he lectures in Art Theory at Sydney College of the Arts, having completed an MA (Fine Art) at the Birmingham Institute of Art and Design, UK, and a PhD from the National Institute of the Arts, ANU. Numerous awards and commissions over the past decade are testament to the increasing critical acclaim for this artist's varied oeuvre.
His work is held in prestigious collections across Australia - including the National Gallery of Australia, State, Regional and University collections, and many private collections.
Patricia Piccinini is known for her confronting, unsettling sculptures and installations made from fibreglass and silicone and human hair. Her 2002 work The Young Family, deals with the issues surrounding using genetically modified pig organs as replacements for humans to alleviate shortages. She wants her audience to wonder how her apparently grotesque, transgenic, hyperrealist creatures came to be, how they relate to real, current contexts, and if they can be considered ‘beautiful’ and are ‘good’ or ‘bad’. This allows for the creation of an indefinite number of narratives. Despite its shocking impact, Piccinini’s art has an air of familiarity about it, forcing the viewer to consider why they feel some deeper connection to these creatures. Her sculptures, installations, drawings, and video, require a certain degree of imaginative input from the viewer. They invite them to confront the increasingly significant role of biotechnology, consumerism and digital technologies in modern life, as well as the intricacies and complexities of social relationships.
In her piece The Stags (2009), Piccinini gives life to machines. This is perhaps her most consistently underlying theme: blurring the lines between the real and the fantastic; asking whether each viewer’s version of reality can be subjected to radical change.Piccinini has exhibited across Australia, New Zealand, Peru, the United States, Europe and Brazil. Noteworthy exhibitions include her 2005 show, Patricia Piccinini: Relativity, at the Art Gallery of Western Australia in Perth, and a major retrospective Patricia Piccinini: Once Upon a Time at the Art Gallery of South Australia, Adelaide in 2011. She also represented Australia at the 2003 Venice Biennale and has recently made The Skywhale in 2013 to mark the centenary year of the city of Canberra. More recently, Graham was made in 2016, commissioned by the Transport Accident Commission (TAC) to highlight the vulnerability of the human body in road accidents.
Ben Quilty is a prominent Australian artist. His paintings are recognisable for their richly impastoed surfaces and extremely expressive forms. Quilty subverts traditional notions of portraiture to create works that explore the relationship between the personal and the cultural. In doing so, Quilty’s multi-dimensional paintings address confronting and unsettling subject matter that at once challenges the viewer and the limits of the artist’s chosen medium.
In 2011, Quilty was appointed Australia’s official war artist. He observed the activities of the Australian Defence Force in Kabul, Kandahar, and Tarin Kowt and subsequently spent six months producing work for the Australian War Memorial’s National Collection. In 2016 Quilty travelled to Lebanon, Greece, and Serbia as a guest of World Vision alongside author Richard Flanagan to document the plight of Syrian refugees. Works both by the artist and by the refugee children that he encountered were exhibited in a solo exhibition titled The Stain at Tolarno Galleries, Melbourne.
Ben Quilty has been the recipient of numerous awards including the 2014 Prudential Eye Award, the 2011 Archibald Prize, the 2009 Doug Moran National Portrait Prize, and the National Artists Self Portrait Prize in 2007. Quilty received an Honorary Doctorate of Creative Arts from the Western Sydney University in 2015.Quilty’s work is held in collections at the Art Gallery of New South Wales, the Museum of Contemporary Art in Sydney, and the Queensland University of Technology Art Collection. The artist’s recent exhibitions have included Straight White Male at Pearl Lam Galleries, Hong Kong (2015); Drawing at Tolarno Galleries, Melbourne (2014); After Afghanistan at the National Art School Sydney (2013); and The Fiji Wedding at Tolarno Galleries, Melbourne (2013).
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