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Shaun Gladwell, Approach to Mundi Mundi (production image), 2007, 2-channel digital video, colour, silent, 3:50 minutes (Dawn), 4:40 minutes (Day). John Kaldor Family Collection, image courtesy the artist and Anna Schwartz Gallery, Melbourne © the artist

Shaun Gladwell: Pacific Undertow is a playful exercise in artistic rule-breaking

Shaun Gladwell constantly experiments with technique – from classical oil painting to virtual reality – but he remains the master of playful motion.
Mella Jaarsma, The landscaper 2013, costume: wood, paint, iron and leather, single-channel video: 3:40 minutes, colour, sound. National Gallery of Australia, Canberra. Purchased 2018. Photo by Mie Cornoedus

Indonesian art is fresh, energetic and lively. Why do we not see more of it?

The exhibition Contemporary Worlds: Indonesia has many wonderful works. But it is an exception - despite our close proximity, there are few opportunities for Australians to engage with Indonesian art.
Abdul-Rahman Abdullah, Pretty Beach, 2019, installation view, The National 2019: New Australian Art, Museum of Contemporary Art Australia, Sydney, painted wood, silver plate ball chain, crystals, audio, image courtesy the artist and Museum of Contemporary Art Australia. © the artist, photograph: Jacquie Manning.

In Abdul-Rahman Abdullah’s Pretty Beach, a fever of stingrays becomes a meditation on suffering

Abdul-Rahman Abdullah's installation Pretty Beach tells a story from the artist's childhood to explore mortality and grief.
Installation view: Quilty featuring Pancreatitis (Kenny), The Last Supper (Bottom Feeder) and Farewell virginity by Ben Quilty, Art Gallery of South Australia, Adelaide, 2019. Photo: Grant Handcock.

A noisy, passionate show from an artist in a hurry, Quilty has just one emotional pitch

Ben Quilty is the next big thing in Australian art. Will he be allowed - and will he allow himself - to explore and find his true potential as an artist?
Cherish Violet Blood as Lila in Deer Woman, playing at this year’s Sydney Festival. Prudence Upton

Deer Woman is a work of immense power and artistry

Deer Woman, written, directed, designed, composed, stage managed and performed by First Nations artists from Canada, is anchored by a solo performance of fierce skill, focus and precision.
Soprano Jane Sheldon in La Passion de Simone. Kaija Saariaho’s work had its Australian premiere at the 2019 Sydney Festival, performed by the Sydney Chamber Opera. Victor Frankowski

La Passion de Simone brings Simone Weil’s sufferings to life, but the movements feel static

The Australian premiere of La Passion de Simone uses multiple voices to tell a story about philosopher Simone Weil. But the work lacks the emotional drama of its subject's life.
Anna Breckon and Nat Randall, Rear view 2018 (still), high definition digital video, multi-channel sound, 85:11 mins Courtesy of the artists Photo: Andrew Curtis

Theatre is Lying is a welcome response to fake news and alternative facts

Through animation, video, light and sound, Theatre is Lying exposes how visual art, performance and theatrical devices can interrogate what is real and what is not.
Tokyo design studio nendo responds to the work of M. C. Escher. Sean Fennessy

Escher x nendo will surprise, delight and challenge

There is nothing to prepare us for the shock to the senses in the National Gallery of Victoria's latest exhibition combining the works of M. C. Escher with Japanese design firm nendo.
Tony Tuckson. ‘Four uprights, red and black’ [TP62] c1965 polyvinyl acetate and pigment on hardboard 122 x 183 cm Art Gallery of New South Wales, Sydney, gift of Frank Watters 2018, donated through the Australian Government’s Cultural Gifts Program © The estate of the artist

Passion and beauty: the paintings of Tony Tuckson

Forty-five years after his death, the Art Gallery of New South Wales has mounted a major exhibition of Tony Tuckson, focussing on his intensely personal Abstract Expressionist works

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