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Articles on MONA

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Hrafntinna (Obsidian), 2021, Jónsi. Courtesy of the artist and Tanya Bonakdar Gallery, New York/Los Angeles. Photo Credit: Mona/Jesse Hunniford Image Courtesy Museum of Old and New Art, Hobart, Tasmania, Australia.

In the depths of Hobart’s MONA, a volcano is stirring

Pandemic restrictions prevented Jónsi (frontman of Sigur Rós) from experiencing firsthand the eruption of Fagradalsfjall, Iceland. He made this work in response.
How to entangle the universe in a spider/web?, 2022, Tomás Saraceno. Courtesy the artist with thanks to Arachnophilia, neugerriemschneider, Berlin and Tanya Bonakdar Gallery, New York / Los Angeles. Photo Credit: Mona/Jesse Hunniford Image Courtesy Studio Tomás Saraceno and MONA Museum of Old and New Art, Hobart, Tasmania, Australia

Artist Tomás Saraceno wants to improve our knowledge about atmospheres – and arachnids

This new exhibition at Hobart’s Mona captures Tomás Saraceno’s collaborations with research institutes.
Mona Confessional 2016 – 19. The art unveiled for this year’s Dark Mofo is a disturbing journey into our future. Julie Shiels

Dark Mofo 2019: a journey through the inferno to robots and extinction

Mona’s new subterranean extension adds a compelling dimension to the art of Dark Mofo 2019. Upstairs, a series of interactive sculptures contemplates our automated future.
‘The shape of things to come’, installation view at Buxton Contemporary, the University of Melbourne, March 2018. Photograph by Christian Capurro.

Private collectors are saving Australian art, but they can’t do it on their own

Philanthropists are creating new galleries to share their private collections with the Australian public. But these gifts do not ameliorate the deficit left by declining government arts fundings.
Untitled (all), Hans-Jörg Georgi, 2010–15, Courtesy of The Museum of Everything. Moorilla Gallery, Courtesy of Atelier Goldstein and The Museum of Everything (installation by Lutz Pillong)

The compulsion to create: ‘outsider art’ at MONA’s The Museum of Everything

MONA’s latest exhibition draws on the work of people - patients, housewives, hermits - who were compelled to create, raising age-old questions about how we define art.
Hobart’s Museum of Old and New Art: a must-see tourist destination, but for whom? Lukas Cooch/AAP

Who goes to MONA? Peering behind the ‘flannelette curtain’

The acclaimed Museum of Old and New Art is located in one of Tasmania’s most disadvantaged municipalities. But new research has found that locals have mixed feelings about the gallery.
One of Hermann Nitsch’s previous works, the Orgies Mysteries Theatre in Italy, 2015. AAP/Antonio Melita

Dark Mofo’s slaughtered bull and the ethics of using animals in art

There is a history of mistreatment of animals in the name of art. But isn’t it about time artists made their point about human domination without themselves asserting dominance over beasts?
Visitors take in Cameron Robbins’ Field Lines at the Museum of Old and New Art. Mona/Remi Chauvin

Dark Mofo and the affective power of a creative storm

Hobart’s winter festival explores darkness, storms and the very nature of the universe, with artwork performed in an asylum; echoing the elements and conceived while on a residency at Geneva’s Centre for Nuclear Research.

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