april 2024 Art Almanac

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Art Almanac

Est. 1974

AUSTRALIA’S MONTHLY GUIDE TO GALLERIES, NEWS AND AWARDS

April 2024 $8.00

0 years 1974–2024

Nicholas Mangan | Parrtjima – A Festival in Light Yvonne Audette | Laure Prouvost

Art Almanac

April 2024

We acknowledge and pay our respects to the many Aboriginal nations across this land, traditional custodians, Elders past and present; in particular the Gadigal people of the Eora Nation, the traditional owners of the land on which we work.

Subscribe to Art Almanac

Established in 1974, we are Australia’s longest running monthly art guide and the single print destination for artists, galleries and audiences. To subscribe, visit subscribe.art-almanac.com.au Alternatively, you can contact us via [email protected] or call 02 8227 6486. Visit our website to sign-up for our free weekly newsletter. Exhibition dates and opening hours printed were current as at the time of publishing. Please refer to websites, social media platforms or contact the gallery for updates.

Art Almanac Team Contacts

Telephone – 02 8310 2287 Editor – Melissa Peša | [email protected] Deputy Editor – Victoria Hynes | [email protected] Art Director – Paul Saint | [email protected] National Advertising Manager – Sarah Ponton | [email protected] Accounts – Gabrielle Gwyther | [email protected] Distribution | [email protected] Subscriptions | [email protected] | art-almanac.com.au Deadline for May 2024 issue: Tuesday, 2 April 2024 On sale Monday, 29 April 2024

Cover Nicholas Mangan, Termite Economies: Phase 1 (detail), 2018, installation view, Sutton Gallery, Melbourne, 2018, 3D printed polymer powder, cyanoacrylate, dirt, synthetic polymer paint, steel, plywood, custom lighting, Sony Trinitron monitors; video 1: single-channel digital video, colour, silent, video 2: single-channel digital video, colour, silent, video 3: two-channel digital video, colour, silent, four-channel surround sound Buxton International Collection, purchased 2018 © the artist Photograph: Andrew Curtis Courtesy the artist, Sutton Gallery, Melbourne and Museum of Contemporary Art Australia, Sydney Read more on page 22.

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MOROCCO ART TOURS 2024/2025 Photography with TOM GOLDNER 31 August – 14 September 2024 Drawing with RITA LAZAUSKAS 31 August – 14 September 2024 Jewellery with MARCUS FOLEY & DORE STOCKHAUSEN 22 September – 6 October 2024 Textiles with RACHAELDAISY DODD 3 – 17 May 2025 Painting with JUDE RAE 27 September – 11 October 2025 Printmaking with MARTIN KING 18 October – 1 November 2025

[email protected] | amazighculturaltours.com

Contents

Art in Australia Art News – Art Almanac team

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Barbara Tucker: The Art of Being

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Nicholas Mangan, A World Undone – Dr Joseph Brennan Laure Prouvost, Oui Move In You – Tahney Fosdike

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The lyrical abstract vision of Yvonne Audette – Sasha Grishin What’s on near me – Art Almanac team

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Behind the scenes: Amazigh Cultural Tours – Art Almanac team

Art & Industry Artist Opportunities and Awards 47 Art Auction Houses 54 Submissions and Proposals 55 Studio Spaces 55 Materials 56 Services 57 Consultants and Valuers 59 Member Organisations 60 Training 60

What’s On Gallery Index 61 Melbourne 66 Victoria 87 Sydney 96 New South Wales 114 Australian Capital Territory Tasmania 130 South Australia 134 Western Australia 139 Northern Territory 145 Queensland 148 Artist Index 159

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Letter from the Editor When working on this issue, one theme, in particular, stood out. Movement, and by extension, rhythm, motion; dance. From the profound lyricism in Yvonne Audette’s painting, her expressive marks and gestural scrapes inspired by her urban and natural surrounds as well as music, to the slow moving-image installations of Nicholas Mangan, whose exploration into the growth of geological formations immobilised by human impact is vocalised in soundless scapes. In other artists’ works, the poetry and universality of body gestures are emphasised through performance; cycles and the tempo of nature are captured in the permanency of paint, ink or other; and the playlist of an old Wurlitzer jukebox connects shared experiences and histories as our bodies begin to sway. Melissa Peša

Editor’s choice Angela Tiatia The Dark Current Sullivan+Strumpf Until 20 April 2024 Sydney 6SDQQLQJWKUHH\HDUVDQGíOPHGRYHUIRXU countries, Angela Tiatia’s The Dark Current explores migration, femininity, and the intersection of digital and physical realms. Boundaries blur, and perceptions shift as WKHZRUNZHDYHVíOP$,JHQHUDWHGYLVXDO effects, and a mesmeric soundscape to create a dream-like visual poem that carries the audience through moods that shift and swell LQDWLPHSODFHEHORQJLQJWRQRGHíQLWLYHLGHD of here or there, then or now. Tiatia lays bare her own image-making through unscripted scenes. The work captures the dark and chaotic feeling of the current moment while unravelling the artist’s connection to her matrilineage and SāPRDQFXOWXUHDQGîH[LQJ WKHEHDXWLIXO\HWPXUN\VXUIDFHRI3DFLíF myth-making, particularly the representation RI3DVLíNDIHPDOHVWRDUULYHDWDKRSHIXO vision for the future. The Dark Current (Blue Screen 2), 2023, pigment print on cotton rag, ed. of 5 plus 2 artist’s proofs, 42 × 32cm (framed), 40 × 30cm (unframed) Courtesy the artist and Sullivan+ Strumpf, Sydney

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Lisa McKimmie, Untitled, 2023, oil on canvas, 51 × 71cm

13 April to 4 May 2024 Opening Saturday 13 April 4–6pm

Fiona Somerville

FLINDERS STREET GALLERY 61 Flinders Street, Surry Hills NSW 2010 www.flindersstreetgallery.com | info@flindersstreetgallery.com 61 2 9380 5663 | Wed-Sat 11am-6pm or by appointment

Fiona Somerville, A Chain of Gold, 2023, synthetic polymer on canvas, 102 × 85cm

Lisa McKimmie

SANAA EXHIBITION 10 April – 3 May 2024 Opening Saturday 13 April, 2024 Sanaa Exhibition showcases the work of 13 contemporary African visual artists who use their art to foster positive change within their communities and beyond.

72 Barkers Road, Hawthorn 3122 quadrantgallery.com.au | 03 9079 0943 Wed–Fri 11am–5pm, Sat 11am–3pm Image: Charlene Komuntale (Uganda), Pink Dress, digital painting archivally printed on Hahnemuhle paper, 70 × 70cm, edition 1/3

Art in Australia

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Art news

Masterworks by First Nations Artists Lauraine Diggins Fine Art in Melbourne specialises in Australian colonial, impressionist, modern, contemporary and Indigenous painting, sculpture, works on paper and decorative arts. Over the years the gallery has built strong relationships with private, corporate and institutional collectors and cultivated strong relationships with Australian Aboriginal communities. Through April, Lauraine Diggins Fine Art highlights a selection of masterworks by First Nations artists sourced from a private collection – featuring large-scale paintings by leading artists from Central Australia, including Utopia and Western Desert, as well as sculpture by community elder Terry Dhurritjini Yumbulul and an important early painting by Richard Bell. Artists from Utopia are renowned for their lyrical paintings with harmonious colour palette, particularly seen in the painting of Angelina Ngal (Pwerl) through to the more graphic patterning of Cowboy Loy Pwerl and the striking monochrome painting of Kathleen Petyarre, allowing the movement relating to journeys of the Mountain Devil lizard across the sandhills to shine through. The early days of Papunya Tula and the birth of the Western 'HVHUWDUWPRYHPHQWDUHUHîHFWHG in the rare early boards of Ronnie Tjampitjinpa and the ongoing Cowboy Loy Pwerl (c.1941–2022), Bush Turkey Dreaming (detail), synthetic polymer on linen, 298 × 200cm strength of Papunya Tula Artists © the Estate of the artist shown in the strong, textural Courtesy Lauraine Diggins Fine Art, Melbourne paintings by Ningura Napurrurla and Pantjya Nungurrayi. Rambila, a sculpture by Yumbulul, represents the squid but further captures an ancestral spirit being who acts as guardian of the reef of Yumbulul’s country off the coast of North East Arnhem Land. Urban art is represented through the early painting of Bell, whose work has recently shown at the 7DWH0RGHUQLQ/RQGRQDQGUHîHFWVKLVDELOLW\WRERWKSURYRNHDQGFKDOOHQJHWKHYLHZHU diggins.com.au

Art news 17

Art news

Festival in Light Parrtjima – A Festival in Light showcases the oldest continuous cultures on Earth through the newest technology against the backdrop of the MacDonnell Ranges, Alice Springs/Mparntwe, from 12 to 21 April, with installations and events responding to the theme ‘Interconnectedness’. New large-scale light installations include Arrernte, a series of illuminated cars celebrating a collage of work across Eastern, Western and Central language groups; Honouring, an immersive passageway paying homage to Arrernte leader, the late Dr MK Turner OAM; and Tjoritja Cockatoos, brought to life by Vanessa Inkamala’s evocative art in the style of the Hermannsburg School of watercolour and the sound of calls of black cockatoos. Other highlights include Arelhe Urrperle, a six-metre-tall, 600kg wandering puppet sharing stories and language; a three-night marketplace; and a talks program featuring leading Indigenous voices. parrtjimaaustralia.com.au A render of the Parrtjima 2024 installation Honouring Courtesy Parrtjima – A Festival in Light, Northern Territory

A weekend of body art After nine years, the Australian Body Art Festival returns to Eumundi in Queensland’s Gold Coast region for a weekend-long event centred around body painting in its many and varied forms, using airbrush, brush, sponge, and special effects, at Eumundi Amphitheatre on 20 and 21 April. Watch living canvases transform into walking, talking works of art in line with this year’s theme: ‘Time Travel’. There are competitions with cash prizes in full body painting, face painting and special effects, as well as wearable art where previous winners creatively used discarded materials such as bottle caps, spoons, videotapes, CDs, or plastic bags. Surfboard art will be created and on display throughout the weekend, workshops welcome participants, and the new Gubbi Gubbi Zone will showcase Indigenous dancing, storytelling, body painting and more. australianbodyart.com.au The work of artist Marion Mitchell Courtesy Australian Body Art Festival, Queensland

18 Art news

ADC turns sixty Sydney’s Australian Design Centre (ADC) celebrates sixty years of supporting and showcasing Australia’s best designer makers by inviting everyone to a series of special anniversary exhibitions and events throughout the year. Highlights include the ADC 60th Birthday Party on 16 May featuring ADC’s Living Treasures and six emerging designer makers; 60 Cups Morning Tea on 23 May with sixty bespoke teacups made by Australian ceramicists for sixty guests; the ‘Design Futures 2084’ speaker series looking sixty years ahead on 8, 15, 22 and 29 May; sixty open studios and hands-on workshops all over the city during Sydney Craft Week in October; sixty minutes with artist Vipoo Srivilasa in November, an artist talk and tour of the artist’s solo exhibition Re/JOY, featuring seven 1.5 metre tall ceramic sculptures inspired by broken objects donated by people who have migrated to Australia. australiandesigncentre.com Margaret Djarbalarbal Malibirr, Australia – Blanket, 2021 Photograph: Amy Piddington Courtesy the artist and Australian Design Centre, Sydney

Linton & Kay Galleries Cottesloe Linton & Kay Galleries has expanded with a new 152 square metre gallery space in Perth’s Waterfront Cottesloe development. As one of the longest-serving commercial galleries in Western Australia, Linton & Kay Galleries sees this new venture as an opportunity to deliver something fresh to their valued clients within the coastal suburbs they have served for over twenty years. The space is designed with an entirely new curatorial concept that will give both emerging and established contemporary artists a platform for their work. “Our team is committed to providing visitors with a unique experience that features innovative, exciting and meaningful exhibitions and events. And with an entirely new curatorial concept,” said Linton Partington, Gallery Director, Linton & Kay Galleries. Visit their website for exhibition programs, events and updates. lintonandkay.com.au L–R: Gallery Directors Linton Partington and Gary Kay and General Manager Miranda Brown outside the new Waterfront Cottesloe development Photograph: Jody D’Arcy Courtesy Linton & Kay Galleries Cottesloe, Western Australia

Art news 19

Book review

Barbara Tucker: The Art of Being

Edited by Hermina Burns The Miegunyah Press Throughout the annals of Western art history, the wives and muses of renowned artists are often only included as footnotes in monographs and chronicles of their work. The twentieth-century Australian artworld was no different. With Australian modernism, some of the most important advocates and participants in the movement have been neglected because of their gender or marital roles. These include Lyn Williams (wife of Fred), Tess Baldessin (wife of George), and Judith Pugh (wife of Clifton). $QRWKHULPSRUWDQWíJXUHZDV Barbara Tucker, who managed and promoted the legacy of her husband, the celebrated painter Albert Tucker, cofounder of the Angry Penguins art movement. In this multifaceted biographical account, relatives and friends of the couple recollect, honour, and pay homage to Barbara, who passed away in 2015, and her generosity and vision in establishing a charitable art foundation in her and Albert’s name. Editor and poet Hermina Burns was inspired by the speeches given at Barbara’s memorial and consequently compiled an intimate record of a creative life – in speeches, essays, memoirs, and a photographic journal. Godson Justin O’Brien argues against a world in which her life was ignored and misinterpreted; Judith Pugh and Jinx Nolan (daughter of Sidney) give tribute to the life of a vibrant woman and loyal friend. In this fascinating publication, different perspectives are offered by various participants in the modernist art movement of the mid-century, adding up to a moving narrative of a woman who ZDVDUHPDUNDEOHDUWLVWDJHQWDQGIDFLOLWDWRUDQGZKRVHDFWLRQVLQKHURZQULJKWLQîXHQFHGWKH culture of this country. 20 Book review

Featured exhibitions

Nicholas Mangan A World Undone By Dr Joseph Brennan

“. . . humanity’s fraught relationship with the natural world.” Its title “is taken from a key work in the exhibition,” curators Anneke Jaspers and Anna Davis tell me about A World Undone, a survey of Melbourne artist Nicholas Mangan works across two decades. The work in question, dated 2012, “focuses on the mineral zircon, the oldest known PLQHUDORQ(DUWKGDWHGWRDSSUR[LPDWHO\ELOOLRQ\HDUV0DQJDQíOPHGDFUXVKHGXSVSHFLPHQ of zircon rock dispersing through air to evoke an image of the world coming apart. It speaks to many of the ideas explored in the show, related to geology, extractive economies, and deep time – and to Mangan’s practice as a whole, which at a fundamental level considers humanity’s fraught relationship with the natural world. It also calls attention to a sculptural process of undoing materials that is central to Mangan’s work.”

Dowiyogo’s Ancient Coral Coffee Table, 2009–10, coral limestone from the island of Nauru Photograph: Nicholas Mangan © the artist Courtesy the artist and Museum of Contemporary Art Australia, Sydney

22 Featured exhibitions

The exhibition presents eight major Mangan ZRUNVLQDOODQGPDUNVWKHDUWLVWnVíUVW comprehensive survey in a public institution. It is born of a long association between Mangan and the Museum of Contemporary Art Australia (MCA). “He exhibited in Primavera in 2004 and the museum subsequently acquired four of his works – most recently A World Undone, which is jointly owned with Tate, London,” the curators explain. “The exhibition grew out of an active curatorial dialogue sustained over the better part of a decade, which has provided a solid foundation for shaping the show together. The list of ZRUNVZDVíQHVVHGRYHURIDQXPEHURIVLWH YLVLWVLQSDUDOOHOZLWKWKHîRRUSODQrDQGDOVR in dialogue with architect Ying-Lan Dann, who ZRUNHGZLWKXVWRUHíQHKRZWKHSURMHFWVDUH sequenced and spatialised.” Key to the exhibition is a journey along a central axis, visitors weaving in and out. It’s an immersive journey the curators take me RQo7KHRSHQLQJLQVWDOODWLRQHYRNHVD3DFLíF archipelago and foregrounds Nick’s focus on material transformation, in this case by way of ‘coffee tables’ fashioned from coral limestone. Further along, the sources of energy that are powering (or have powered) different works come into view – including a battery banking solar energy from a solar array on the MCA’s roof and a generator powered by coconut biofuel. There’s also the remnants of a Bitcoin mining rig and a video of an endlessly spinning coin, which foreground notions of currency, value, exchange and economies.” Each of Mangan’s eight major works are presented as a “self-contained universe,” the rationale being that visitors gain a unique opportunity to experience the scope and layered narratives embedded in each project – research-based works that are often developed iteratively over long periods. A work like Termite Economies, 2018–20, captures this; evoking non-human labour and social organisation, here “sculptures and video elements from three different phases of the project are brought together as a single LQVWDOODWLRQIRUWKHíUVWWLPHp

Termite Economies: Phase 1 (detail), 2018, installation view, Sutton Gallery, Melbourne, 2018, 3D printed polymer powder, cyanoacrylate, dirt, synthetic polymer paint, steel, plywood, custom lighting, Sony Trinitron monitors; video 1: single-channel digital video, colour, silent, video 2: single-channel digital video, colour, silent, video 3: two-channel digital video, colour, silent, four-channel surround sound Buxton International Collection, purchased 2018 © the artist Photograph: Andrew Curtis Courtesy the artist, Sutton Gallery, Melbourne and Museum of Contemporary Art Australia, Sydney

Mined Over Matter (For A World Undone), 2012, C-type print © the artist Courtesy the artist, Sutton Gallery, Melbourne, LABOR, Mexico and Museum of Contemporary Art Australia, Sydney

Featured exhibitions 23

Featured exhibitions

When asked what aspects of Mangan’s oeuvre hold ground today, Jaspers and Davis say many facets “feel relevant” to the current moment: “his focus on Australia’s place in the region; the way he thinks across eras and disciplines; and his engagement with current affairs, from the rise of generative AI to warming sea temperatures.” And I would have to agree; struck specially by the artist’s own view of his practice as a form of “material storytelling,” where the material in question becomes an active collaborator in the narratives he seeks to unfold. By weaving through Mangan’s works, we become collaborators, too, seeing something of our own deep implication in its stories. Mangan’s latest project – Core-Coralations, 2021–ongoing – about the challenges facing our Great Barrier Reef sails close to my own lived narratives and material stories in my beach suburb on the Coral Sea, for instance. A World Undone brings Core-CoralationsVWLOO rVLQJOHFKDQQHOGLJLWDOYLGHRKLJKGHíQLWLRQFRORXUVRXQG into clarity and immersive © the artist Courtesy the artist, Sutton Gallery, Melbourne and Museum of Contemporary Art Australia, relation what the curators Sydney call “an incredibly agile, expansive practice” – one that resonates in complex ways with our own doing and undoing of the world, natural or otherwise. Dr Joseph Brennan is a Lambda Literary Award-nominated author based in Tropical North Queensland. Museum of Contemporary Art Australia 5 April to 30 June 2024 Sydney

24 Featured exhibitions

Laure Prouvost Oui Move In You By Tahney Fosdike

“. . . leaps of imagination.” )UHQFKDUWLVW/DXUH3URXYRVWnVíUVW$XVWUDOLDQVRORH[KLELWLRQOui Move In YouVKRZLQJDWWKH $XVWUDOLDQ&HQWUHIRU&RQWHPSRUDU\$UW$&&$ LQ0HOERXUQHUHQGHUVVXEFRQVFLRXVIDPLO\WLHV ZLWKLQVHQVDWLRQVRIPRYHPHQWPHPRU\DQGODQJXDJH 3URXYRVWERUQLQWKHVLQQRUWKHUQ)UDQFHKDVVSHQWPRVWRIKHUFDUHHURXWVLGHKHUFRXQWU\ 6KHJUDGXDWHGIURP&HQWUDO6DLQW0DUWLQVLQWKHQHZPLOOHQQLXPWKHQZRUNHGIRUDUWLVW-RKQ /DWKDPZKRVKHGHVFULEHGDVoPRUHOLNHDJUDQGIDWKHUWKDQP\UHDOJUDQGIDWKHUp DQGIURP *ROGVPLWKV&ROOHJHLQ$IWHUZLQQLQJWKH7XUQHU3UL]HDQGUHSUHVHQWLQJ)UDQFHDWWKH 9HQLFH%LHQQDOHVKHVHFXUHGDQLQYLWHWRWKH%LHQQDOHRI6\GQH\LQLOOIDWHG)RXU\HDUV RQWKHFXUUHQWO\%UXVVHOVEDVHGDUWLVWKDVíQDOO\FRPHWR$XVWUDOLDYLD0HOERXUQH 3URXYRVWLVOHVVD(XURSHWR$XVWUDOLDWUDQVSODQWIRUJHRJUDSKLFDODFFHVVWRDELJLQWHUQDWLRQDO DUWLVWWKDQVRPHRQHFUHDWLQJZRUOGVZKHUHYHUVKHJRHV:LWKQHZFRPPLVVLRQVDQGSDVWZRUNV WKHDUWLVWnVPHGLXPVrPL[HGPHGLDLQVWDOODWLRQYLGHRVFXOSWXUHDQGSHUIRUPDQFHrFUHDWH DUHSUHVHQWDWLRQDODQGVXUUHDODUFKLWHFWXUDOMRXUQH\$V$&&$SXWVLWOui Move In You is a oODE\ULQWKLQHDQGRWKHUZRUOGO\HQYLURQPHQWp

Four For See BeautiesLQVWDOODWLRQYLHZ.LDVPD0XVHXP+HOVLQNL 3KRWRJUDSK3LUMH0\NN½QHQ

Featured exhibitions 25

Featured exhibitions

Thinking back, Artistic Director and CEO Max Delany, the exhibition’s co-curator with Annika .ULVWHQVHQDOVRVKDUHGo7KHWKLQJ,UHPHPEHUPRVWYLYLGO\ZKHQ,íUVWHQFRXQWHUHG/DXUHnV work was its sensory intensity, its fecundity, and the leaps of imagination.” This intensity is more DWPRVSKHULFWKDQíHUFHWKRXJK3URXYRVWLVWHQGHUDQGDOOXVLYHDWRQFH)RULQVWDQFHWDNHWKH WLWOHRIKHU7XUQHU3UL]HZRUNWantee, 2023 (also in the exhibition), imitating the friendly sound RIo:DQWWHD"p7KHPXOWLOLQJXDODUWLVWDOVRRIWHQîXLGO\WZLVWV$QJORDQG)UDQFRSKRQHZRUGVDQG meanings, like in the exhibition’s title, Oui Move In You. An artist of play, she just loves puns, too. Errors seep into her visuals as well. In Wantee, a video about her grandfather and exiled artist Kurt Schwitters, a home appears lived-in but abandoned. The artwork’s narrative feels misconstrued as if seen through the corporeal muddiness of childhood memory. With similar multisensory storytelling, the exhibition’s Every Sunday, Grand Ma, 2022, shows an older woman growing ZLQJV+HUOHJNLFNVEDFNDVVKHJRHVDERYHWKHFORXGVVPLOLQJDJDLQVWDSDVWHOEOXHVN\/RYH DQGUHOLHIIRUKHUUHOHDVHDVZHVHHKHUî\2XUVHQVHVWKHQSOXQJHWRKXPRXUDQGVRUURZDVZH UHPHPEHUWKDW3URXYRVWEOXUVP\WKZLWKUHDOLW\PDWULDUFKVDUHVWLOOYLFWLPVRIJUDYLW\ 3URXYRVWVOLSSLQJEHWZHHQRXUNLQDQGXVSULHVRXWWKHVHSDOSDEOHIHHOLQJV%XWIDPLOLDOOHJDFLHV in her work stay speculative rather than sentimental. Some themes – like displacement – require

Above Front Tears Oui Float, 2022, installation view, Nasjonalmuseet, Oslo 3KRWRJUDSK$QQDU%MÑUJOL

26 Featured exhibitions

XQVHWWOLQJPHDVXUHVOLNHWKHTXLFNFXWVLQKHUíOPPDNLQJ,QWKH$&&$H[KLELWLRQFour For See BeautiesZHWKXPDQERGLHVPHUJHZLWKVHDOLIH5HGOLJKWVJURZRXUDQ[LHW\%XWGRPHVWLF FRPIRUWVVWD\FORVHZLWKWKHLQVWDOODWLRQRIFXUWDLQVFDUSHWVDQGFXVKLRQV ,QDQLQWHUYLHZ0RRG\&HQWHUIRUWKH$UWV86$ 3URXYRVWVDLGoWKHYLVLWRUZHDUHWKH SURWDJRQLVWZHEHFRPHWKHZRUNpDQGLQDQRWKHULQWHUYLHZ/RXLVLDQD0XVHXPRI 0RGHUQ$UW'HQPDUN WKDWoPLVXQGHUVWDQGLQJPDNHV\RXXVHWKHLPDJLQDWLRQPRUHp$OZD\V 3URXYRVWUHPDLQVJHQWOHEXWHQLJPDWLFDQGZLWKOui Move In YouZHVWD\FXULRXVLQWKHKD]HRI RXUHOGHUVnSUHVHQFH 7DKQH\)RVGLNHLVDZULWHUIURPWKH0XUUD\ODQGVQRZOLYLQJLQDWLQ\3DULVDSDUWPHQW Australian Centre for Contemporary Art (ACCA) Until 10 June 2024 Melbourne ,PDJHVFRXUWHV\WKHDUWLVW*DOHULH1DWKDOLH2EDGLD3DULV%UXVVHOVFDUOLHU_JHEDXHU%HUOLQ0DGULG/LVVRQ*DOOHU\/RQGRQ1HZ