There’s the usual dog-eat-dog world of politics, with its top dogs, sly dogs and people thrown to the dogs. They have cast their eyes over the whole dog and pony show. The term seems particularly fitting for something so unappealing – a year filled with mess, turmoil and failed attempts.įrom the bushfire summer to the pandemic and global economic woes, Australia’s political cartoonists have had plenty to work with. In a year that some have politely described as ‘a dog’s breakfast’, this year’s theme encompasses 2020’s mix of disruption and uncertainty. This project has been assisted by the Australian Government’s Visions of Australia program. Exhibition organised and toured by the Museum of Contemporary Art Australia. This exhibition will introduce audiences to works from across the artist’s extensive career, from early photocopy artworks, to her research into her family history and recent paintings and sculptures created using fire and water. Key influences are the philosophies of Daoism and Ch’an (Zen) Buddhism, which explore the connections between humanity and nature. Using a spectacular array of processes which include flinging molten bronze, burning paper and allowing the rain to transform surfaces, Lee draws on her Australian and Chinese heritage to develop works that engage with the history of art, cultural authenticity, personal identity and the cosmos. Lee’s shimmering, meditative and thought-provoking works feature in this major national touring exhibition, which draws on her experience of living between two cultures. Moon in a Dew Drop is an exhibition of the work of influential Australian Chinese artist Lindy Lee. O’Callaghan has translated these investigations into an immersive exhibition experience that features a large-scale video work, accompanied by glass forms that entwine a choreography of performance, breathing and sculpture. The footage captures these organisms moving in and out of gases from simultaneously freezing ocean temperatures and superheated hydrothermal vents. Filming deep underwater, the team observed microscopic ‘extremophiles’ – organisms that thrive in extreme environmental conditions. Prepare yourself for a slippage of time and space as your journey propels you through five distinct realms.Ĭentre of the Centre is inspired by a small mineral containing a tiny pocket of water, possibly millions of years old, which was gifted to the artist by her grandfather, renowned Australian mineralogist, Albert Chapman.ĭuring 20 Mel O’Callaghan travelled to two underwater locations, the East Pacific Rise, and the Verde Island Passage in the Philippines – one of the World’s most productive and concentrated ecosystems in the world, dubbed the ‘centre of the centre’.įor this exhibition, O’Callaghan has engaged some of the world’s leading scientists. Terminus presents a quest, a choose-your-own adventure into the technological. Animated by Ward and enriched with input from Smith and Clarke, the result is Terminus: a mysterious universe of alien architecture populated by humanoid clones and cryptic symbols, explored via a network of travellators and gateways. Johnson’s drawings are transformed from analogue into digital, and from solo practice into cross-disciplinary collaboration, forming the basis of this virtual experience. With their pioneering use of virtual reality, artists Jess Johnson and Simon Ward hold a unique position amongst contemporary art practitioners. Inspired by Sci-Fi, comics and fantasy movies, Jess Johnson and Simon Ward: Terminus is a virtual reality (VR) installation that transports the viewer into an imaginary landscape of colour and pattern populated by human clones, moving walkways and gateways to new realms.
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