The installation is dynamic and transportational, wrapping the viewer in layers of story and culture. It speaks to the breadth and depth of Pacific experience, offering just a glimpse of what it means to identify as Tagata Moana.
Browsing: art
In the insistence that Edwards and Wolinski placed on pulling apart Dobell’s otherwise unremarkable painting, we see a culture frantically insecure about itself, and needing to define itself within the rigid parameters of history and convention.
In pedestalling the objects on white fabrics and casing them away behind glass, Naqvi brings immense value to objects which are a part of her everyday life, creating them into symbols of her and her community’s strength.
Navigating through our collective grief is non-linear, joy is not the absence of grief nor is it the absence of criticality, and throughout the seven total venues participating in this year’s Biennale, we see how they try to expand on the complexity of celebration.
MILK’s end is a reminder of the constant labour undertaken in the creative scene to ensure its extra-institutional survival.
What it lacks in size, the exhibit deeply makes up for in character. The fifty pieces, picked out from over six-hundred entries, are cloaked in personality, thought, and clear consideration for art as a medium.
As an art exhibition, Atmospheric Memory is cool, edgy, and highly intelligent. As an experience however, it is scary, eye-opening, and prescient.
Honi spoke to the founders of Soft Centre Jemma Cole and Thorsten Hertog who give us a run-down on what the festival has in store for all.
Universalism is often a dangerous concept, but perhaps there’s something in the idea that shapes are a unit, something that we can construct a world of thought out of.
What makes two documentary artists leave Sydney for the frontlines of war time and time again, and how do they make art out of destruction?