Now open across four of Sydney’s major art venues, the biennial exhibition seeks to ‘broaden the idea of what Australian art is’
Gallery of New South Wales is lined with portraits of First Nations women. No explanation is given on the plaque for Brenda L Croft’s Naabami : Barangaroo . It needs none. Hanging beside the entrances to the AGNSW’s Grand Courts – a series of galleries that have long been a home for “high” European and Australian art – Croft’s photographs are striking statements of First Nations presence.
Entering level three of the MCA we are greeted by catastrophe. In Hoda Afshar’s Aura , a kaleidoscopic array of black-and-white found photographs depict moments from the 2019-20 bushfires, Black Lives Matter , US air strikes on Iraq in 2019, and the ongoing pandemic. There is conflict, tragedy and schism here – but for Afshar, these events are connected by the most fundamental of things: breath.
That question – of what to look at, or what to show – is a difficult one for an exhibition with such an all-encompassing title as The National. Rather than shoehorning artists into an exhibition built around a singular theme, the MCA’s senior curator Jane Devery wanted artists to maintain their own diverse points of reference.
In Erika Scott’s The Circadian Cul-de-sac , the familiar is arrested in a state of almost absurd unfamiliarity: a towering, four-metre-high hourglass is sitting in a bubbling pool – yet you wouldn’t immediately know it. A deluge of eclectic items enshrine the structure, including inflatable zorb balls, LED lights, jewellery, computer keyboard keys, car tyres, jumper leads and tampon information leaflets.
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