Ongoing since 2012, the Real DMZ Project interrogates the demilitarised zone (DMZ) between North and South Korea through annual, research-based exhibitions that bring together the works of Korean and international artists. Sunjung Kim, the independent curator behind the project, conceived the idea of exploring the DMZ while curating Japanese artist...
The fifth edition of Sydney Contemporary will take place once again at Carriageworks between 12 and 15 September 2019, with Spring 1883 bringing together a cohort of 27 galleries from across Australia and the region to inhabit rooms at the Establishment Hotel from 11 to 14 September 2019, uniquely presenting contemporary works propped up on...
Mark Bradford walks through Mark Bradford: Los Angeles Mark Bradford: Los Angeles at the Long Museum West Bund in Shanghai (27 July–13 October 2019) is the artist's largest solo exhibition to date in China. In this video for Ocula, Bradford and Diana Nawi, curator of the show, walk through selected works that convey the artist's concerns with...
Ai Weiwei, Crystal Ball (2017). Crystal, life jackets. 100 x 100 x 100 cm. Courtesy Ai Weiwei Studio.
When a biennale or a triennial hits the headlines the first statistic to be published is the roll call of artists: '...70 artists and artists collectives from 35 countries presented across 7 exhibition venues'. It is a mantra that celebrates the broadest inclusion, but Mami Kataoka, Artistic Director of the 21st Biennale of Sydney, is more interested in the nuances of the gaps.
Since 1982, Roslyn Oxley9 Gallery has been committed to the advancement of the most serious and innovative forms of contemporary art. Through its exhibition program the gallery has supported work that is challenging and at the forefront of contemporary art practice. The gallery has always featured new work in a range of media, from painting and sculpture to photography, performance, installation, video and other electronic media arts.
The gallery has always followed a policy of nurturing artists through their careers, acting as a primary dealer for their work. Opening with a group of largely unknown artists, the gallery has consistently seen its stable develop into some of Australia’s most renowned practitioners. The gallery currently represents over thirty highly esteemed artists, who have had significant shows and whose works are held in major collections nationally and internationally.
Tolarno Galleries has been at the cutting edge of contemporary Australian art for many years. Four artists have represented Australia at the Venice Biennale and the exhibition program attracts the attention of collectors, curators and critics from around the globe.
‘Currency is the common denominator for all artists represented by Tolarno Galleries,’ Max McLean wrote in 2002. ‘Not currency in the fiscal sense – although Tolarno is a commercial gallery, and a highly successful one at that – but currency understood more in the sense of an electric charge, of contemporaneity, and of cultural and intellectual exchange.’
With a reputation for showing fresh (often young) artists, it may come as some surprise to recent visitors to know that Tolarno Galleries was established in 1967. It has shown some of Australia’s – and the world’s – best known artists, from Bonnard to Sol Le Wit and Jeff Koons.
4A Centre for Contemporary Asian Art (4A) is an independent not-for-profit organisation based in Sydney, Australia. 4A fosters excellence and innovation in contemporary culture through the commissioning, presentation, documentation and research of contemporary art. Our program is presented throughout Australia and Asia , where we ensure that contemporary art plays a central role in understanding and developing the dynamic relationship between Australia and the wider Asian region.
4A’s activities facilitate cultural dialogue between Australia and Asia in the belief that Asian cultural thinking significantly shapes the world today and will have an important impact on the future. In Australia we showcase stories, present a multiplicity of perspectives, and explore contemporary concerns and ideas that influence how we, as a nation, engage with Asia. We have a particular focus on art that addresses Asian-Australian experiences and the contributions that diverse Asian migration has made ⎯ and continues to make ⎯ in shaping Australia. 4A’s focus in Asia is to promote the breadth of Australian artistic talent, seeking to build an image of Australia that is open, progressive and fundamentally connected with our Asian neighbours.
4A has been a leader in Asian contemporary art in Australia since 1996. In the decades since, we have established a highly respected reputation among artists and audiences, and within an expanding network of international art institution peers. Our long history and ongoing work across Asia is recognised as having raised awareness of Asian-Australian art and culture we continue to celebrate Australia’s diverse cultural heritage and growing links throughout the wider Asian region.
Vision and Mission
Ever changing, ever challenging, Artspace is where audiences encounter the artists and the ideas of our times.
Artspace is Australia’s leading interdisciplinary space for the production and presentation of contemporary art. Through exhibitions, performances, artist residencies, and public programs, Artspace is where artists of all generations test new ideas and shape public conversation. Committed to experimentation, collaboration and advocacy, Artspace’s mission is to enhance our culture through a deeper engagement with contemporary art.
Artspace was established in 1983 as an artist-run gallery, dedicated to the presentation of contemporary and experimental art in a critical context. The function of Artspace was clearly defined at this time in its history as an alternative exhibition space, set up in opposition to venues such as the Art Gallery of NSW and commercial galleries, which were less focused on working with emerging artists. It opened with its first major exhibition ‘A Different Perspective’ curated by Terence Maloon in conjunction with the Multicultural Artists Agency at its temporary location in Surry Hills. Over the next three years, it exhibited work by artists who at this time were in the early stages of their career – Mikala Dwyer, Rosemary Laing, Lindy Lee, Banduk Marika, Tracey Moffatt, John Nixon, Michael Riley, Turkey Tolson Tjupurrula.
In response to ever-increasing demand for space by artists, Artspace relocated in 1992 to the Gunnery, Woolloomooloo — a multi-storey warehouse, which in the 1970s through to the 1980s was principally used as a squat by artists and as a space for studios, performances and exhibitions. To facilitate this relocation, the NSW state government together with Franco Belgiorno-Nettis raised $1.5 million in a ground-breaking collaboration to fund the redevelopment of the Gunnery into a centre for experimentation, innovation and collaboration in the visual arts. For the past 20 years, artists have continued to occupy the building through Artspace’s ongoing commitment to supporting artists and their practices. Artspace has played a significant role in transforming the Gunnery from a disused warehouse to a premier cultural landmark.
Artspace’s vital role in the visual art ecology is evident in the development of many Australian and international artists’ careers with major presentations by Tracey Moffatt (1984), Christian Boltanski, Mikala Dwyer, Annette Messager (1985), Simryn Gill and Callum Morton (1996), Patricia Piccinini (2000), Marco Fusinato (2000/2013), Mike Parr (2002), Shaun Gladwell (2007), Vernon Ah Kee (2011), Brook Andrew (2011) Chicks on Speed (2013), Richard Bell (2013), Khadim Ali (2014) and Justene Williams (2014).
About our Programs
Artspace ensures artistic and cultural vibrancy through its multi-faceted approach to programming, with the core focus of supporting living artists across generational and disciplinary boundaries. Our expanded artistic program positions us as a leading interdisciplinary organisation connecting Australian artistic practices and debates with what is happening in the world right now. Artspace’s vision is to promote investment in living artists, across generations, working in expanded and experimental forms, so that Australian artists, writers, curators and producers can be programmed in direct dialogue with their international peers. Artspace’s program enables ideas to germinate and grow, extending the definition of what art is and what it can become.
Located on one of the world’s most spectacular sites on the edge of Sydney Harbour, the Museum of Contemporary Art opened its doors to the public in November 1991. Established through a bequest by Australian expatriate artist John Power (1881-1943), who left his personal fortune to the University of Sydney to inform and educate Australians about international contemporary visual art, the MCA is dedicated to exhibiting, collecting and interpreting contemporary art.
The vision of the founding Director Leon Paroissien and Chief Curator Bernice Murphy was manifest from its earliest years – a commitment to innovative programming with ground-breaking exhibitions of contemporary art from Australia, the Asia Pacific region and around the world.
In 1998, the first phase of expansion began when the Museum had access to the whole building and created galleries for solo exhibitions by Australian artists.
A strong emphasis on making the MCA a museum that engages artists with audiences led to a program of significant solo shows by Australian and international artists as well as thematic and group exhibitions. The MCA is a major partner of the Biennale of Sydney. Attendances increased to over 580,000 in 2010, leading to the need for further expansion.
In March 2012, following extensive redevelopment a significantly expanded museum was unveiled to the public. Architect Sam Marshall in conjunction with the Governments Architect's Office has created a striking building that responds to its unique location bringing together the old and new and creating a context for engaging artists with audiences for the 21st century. The new museum houses an entire floor dedicated to the MCA Collection, a National Centre for Creative Learning and a series of site specific artists' commissions.
Mami Kataoka has been the chief curator at the Mori Art Museum (MAM) in Tokyo since 2003. Also a writer, lecturer and professor, Kataoka has proven her intimate knowledge for trends within contemporary Asian art, addressing social, cultural and historical themes in the multitude of projects she has curated in the past decades. Exhibitions...
Australian curator Alexie Glass-Kantor has held a range of senior roles in independent art centres across the country. These include Gertrude Contemporary and the Australian Centre for the Moving Image, both in Melbourne. Currently, Glass-Kantor divides her time between working as executive director of Artspace, Sydney, one of Australia’s...
Alexie Glass-Kantor recently took the helm at Artspace, Sydney with her appointment as its Executive Director. One of Australia’s most highly regarded independent cultural centres, Artspace is involved in publishing, public programming, and in-house residencies. Previously Glass-Kantor was the Director and Senior Curator of Gertrude...
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