In A World of Wounds, Curated by Talia Smith


Soo-Min Shim is an arts writer based in Sydney. She has written for several Australian and international publications including Art & The Public Sphere, The Artling, Art Almanac, Runway Conversations, un Extended and Running Dog.

THE PUBLIC BODY .03, Curated by Talia Linz and Alexie Glass-Kantor

What a pleasure it would be to relinquish the body.

‘Is the art pretty?’ asks Susan.

‘No’ says Mummy

‘Pretty is not important’ [1]

To be untethered from corporeality and its constraints, from the axes of privilege that are enacted differently according to the differences of bodies. To be read as an essential entity per se (in and of itself), without any referential trace in the real.

Warm Bodies, Curated by Megan Monte and Josephine Skinner

The glitch narrative frames the exhibition, as I walk up the stairs into Cement Fondu. Previously, an old tyre factory, the urban environment remains, and on a grey rainy day in Sydney it’s easy to feel as though you have walked into a dystopian, abandoned art gallery. The glitchy TV screens sit perched on top of the hefty concrete stairs as I pull my body up, I turn the corner and face the horror show within. It’s hot in the gallery, but I’m not sure whether this is because of my temperature rising as the anxiety of the room thickens.

MICRO: little things mean a lot

As soon as you drive down the long dirt road to the gate, the atmosphere at Bundanon Trust’s 2018 Siteworks becomes anticipatory. Rocking from side to side across the wombat-infested grassy paddock in my tiny Fiat 500 brings me to the main entrance. Overnight camping tents festoon the hillside and behind the main historic homestead are multiple food trucks and a bar. The audience will soon discover new artworks, performances and video installations. People smile broadly.

Sanné Mestrom: Black Paintings

Over the past seven years, Sanné Mestrom has mined the Euro-American art historical canon, turning to the big names of Modernism and their iconic works as a catalyst for remaking and reinterpreting recognisable 20th-century motifs. This approach began during Mestrom’s studio residency at Gertrude Contemporary in 2011, with her exhibition The Reclining Nude in the now non-existent Gertrude Studio 12.

Anthony White is an art historian specialising in the history of modern and contemporary art. He is the author of Lucio Fontana: Between Utopia and Kitsch (MIT Press, 2011) and, with Grace McQuilten, of Art as Enterprise: Social and Economic Engagement in Contemporary Art (IB Tauris, 2016). He has written many articles for peer-reviewed journals including Grey Room, October and The Australian and New Zealand Journal of Art. From 2000 to 2002 he curated several exhibitions of American art, including Jackson Pollock’s Blue Poles, at the National Gallery of Australia, Canberra.

The system may have got you but it won't get me—Constellations, Marco Fusinato

Marco Fusinato’s, Constellations, 2015, thunders within and without of Carriageworks, one of the key venues of this year’s Biennale of Sydney curated by Mami Kataoka titled Superposition: Equilibrium & Engagement. In simple terms the Superposition Principle is a theory in quantum physics that argues that particles can exist across all possible states at the same time, continuously shifting from one state to another—like (sound) waves lapping over each other.