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Scoop
4 days ago
- Entertainment
- Scoop
Biennale Of Sydney Announces 2026 Exhibition: Rememory
Press Release – Biennale of Sydney The edition will highlight marginalised narratives, share untold stories, and inspire audiences to rethink how memory shapes identity and belonging, giving voice to stories from Aboriginal communities and the divergent diasporas that shape Australia today. Sydney, Australia: The Biennale of Sydney has announced the curatorial vision, first wave of 37 artists and collectives, and exhibition locations for the 25th edition, titled Rememory. The major international contemporary art festival will be open free to the public from 14 March to 14 June 2026, presented in various locations across Sydney. Led by internationally acclaimed curator Artistic Director Hoor Al Qasimi, the 25th Biennale of Sydney: Rememory takes its title from celebrated author Toni Morrison, exploring the intersection of memory and history as a means of revisiting, reconstructing, and reclaiming histories that have been erased or repressed. By engaging with Rememory, artists from across the world and within Australia reflect on their own roots while engaging with Sydney and its surrounding communities and histories, exploring global themes that connect us. The edition will highlight marginalised narratives, share untold stories, and inspire audiences to rethink how memory shapes identity and belonging, giving voice to stories from Aboriginal communities and the divergent diasporas that shape Australia today. A dedicated program for children and young audiences will provide space and exploration for these stories to be passed on to the next generations. The largest contemporary art event of its kind in Australia, the 25th Biennale of Sydney will be presented at Art Gallery of New South Wales, Campbelltown Arts Centre, Chau Chak Wing Museum at the University of Sydney, Penrith Regional Gallery and the iconic restored White Bay Power Station, with further details to be announced later this year. Artistic Director Hoor Al Qasimi said: ' Rememory connects the delicate space between remembering and forgetting, delving into the fragmented and forgotten parts of history, where recollection becomes an act of reassembling fragments of the past—whether personal, familial, or collective. Through the defiant act of sharing, seeing, and understanding, the artists and cultural practitioners I've invited to participate explore the hidden effects of history and how it continues to shape the present in an evolving and consuming conversation. Rather than focusing on linear storytelling, I hope to highlight how we can become active participants in retelling our collective stories by revisiting and reinterpreting past events.' Of the 37 artists announced today, 15 First Nations artists from around the world have been commissioned by the Biennale of Sydney with Visionary Partner the Fondation Cartier pour l'art contemporain to create new work for the 25th edition. These artists include Ángel Poyón, Angélica Serech, Cannupa Hanska Luger, Carmen Glynn-Braun, Edgar Calel, Fernando Poyón, Frank Young & The Kulata Tjuta Project, Gabriel Chaile, Gunybi Ganambarr, John Harvey & Walter Waia, John Prince Siddon, Nancy Yukuwal McDinny, Rose B. Simpson, Tania Willard and Warraba Weatherall. They will work closely with Bruce Johnson McLean, Fondation Cartier pour l'art contemporain First Nations Curatorial Fellow, to realise their artworks. Johnson McLean is from the Wierdi people of the Birri Gubba Nation. Al Qasimi's curatorial approach centres on the histories of each place and multidisciplinary programming, with a collaborative perspective and emphasis on supporting experimentation and innovation in the arts. Over the past 20+ years, she has worked extensively with various mediums including contemporary art, film, music, dance, talks, publications and more, to bring together all forms of art in conversation. Barbara Moore, Chief Executive Officer, Biennale of Sydney said: 'The Biennale of Sydney is a space for discussion, exploration and sharing ideas, presenting innovative work by some of the most impactful contemporary artists of our time. The 25th Biennale of Sydney celebrates the diverse communities of Sydney and their stories, encouraging audiences to think of new ways to engage with history, coming together to create and share memories. Entry to the Biennale of Sydney is free for everyone, and we can't wait to throw open the doors again next year with an expansive program of art and ideas.' Minister for Jobs and Tourism, Steve Kamper said: 'Biennale of Sydney will be a highlight of the NSW major events calendar next year and a significant visitor drawcard for our city. It will spotlight Sydney as a global cultural hub where art and creativity is celebrated, and a place where locals and visitors can enjoy the most exciting and cutting-edge cultural experiences. As one of the world's longest running biennales, next year's theme of Rememory is an important reflection of Sydney's rich and diverse cultural history and a fantastic opportunity to showcase that history to visitors from across the nation and around the world.' Fondation Cartier pour l'art contemporain First Nations Curatorial Fellow Bruce Johnson Mclean said: 'It's a privilege to work alongside this remarkable group of First Nations artists from across the globe, each bringing powerful, place-based perspectives to the 25th Biennale of Sydney. Together, their practices speak to deep cultural knowledge, ancestral memory and contemporary experience, creating a dynamic dialogue that transcends borders. Through this collaboration, we aim to foster connections between communities here and around the world.' Béatrice Grenier, Director of Strategic Projects and International Programs at Fondation Cartier pour l'art contemporain said: 'The Fondation Cartier pour l'art contemporain is proud to continue its partnership with the Biennale of Sydney. We are honoured to collaborate with Artistic Director Hoor Al Qasimi and the Biennale team for the 25th edition, Rememory to realise bold new commissions that speak powerfully to the interconnectedness of memory, place, and identity.' Arts worker, creative producer, and mentor Claudia Chidiac and writer, educator, cultural worker, and creative producer Paula Abood have been appointed as Community Ambassadors for the 2026 edition. They will provide specialist advice on local community engagement in the Greater Western Sydney area and liaise on behalf of the Biennale of Sydney between different cultural groups and organisations. The first 37 artists and collectives announced today as part of the 25th Biennale of Sydney (2026) are: Abdul Abdullah (Australia / Thailand) Ángel Poyón (Maya Kaqchikel, Guatemala) Angélica Serech (Maya Kaqchikel, Guatemala) Bouchra Khalili (Morocco / Austria) CAMP (India) Cannupa Hanska Luger (Standing Rock Indian Reservation, North Dakota / New Mexico, USA) Carmen Glynn-Braun (Kaytetye, Arrernte, Anmatyerr, Australia) Chang En Man (Paiwan, Taiwan) Chen Chieh-jen (Taiwan R.O.C.) Daisy Quezada Ureña (USA) Decolonizing Art Architecture Project (DAAR) (Palestine) Deirdre O'Mahony (Ireland) Dennis Golding (Kamilaroi/Gamilaraay, Australia) Dread Scott (USA) Edgar Calel (Kaqchikel, Guatemala) Elverina Johnson (Yarrabah, Australia) Ema Shin (Japan / Australia) Fernando Poyón (Maya Kaqchikel, Guatemala) Frank Young & The Kulata Tjuta Project (Aangu Pitjantjatjara Yankunytjatjara (APY) Lands, Australia) Gabriel Chaile (Argentina / Lisbon) Gunybi Ganambarr (Yolŋu (Ŋaymil) people, Australia) John Harvey (Kalaw Kawaw Ya/Saibai Island, Torres Strait, Australia) & Walter Waia (Kalaw Kawaw Ya/Saibai Island, Torres Strait, Australia) John Prince Siddon (Walmajarri, Australia) Kapwani Kiwanga (Canada / France) Lamia Joreige (Lebanon) Marian Abboud (Australia) Maritea Dæhlin (Norway / Mexico) Merilyn Fairskye (Australia) & Michiel Dolk (Netherlands / Australia) Michael Rakowitz (USA) Nancy Yukuwal McDinny (Garrwa / Yanyuwa, Australia) Rose B. Simpson (Santa Clara Pueblo, USA) Tania Willard (Secwepemcúlecw, Canada) Taysir Batniji (Gaza, Palestine / France) Tuan Andrew Nguyen (Vietnam / USA) Warraba Weatherall (Kamilaroi, Australia) Wendy Hubert (Yindjibarndi Country, Australia) Yaritji Young (Aangu Pitjantjatjara Yankunytjatjara (APY) Lands, Australia) The full 25th Biennale of Sydney program, including the full list of participating artists, will be announced later this year. Currently on display at the Sydney Opera House, and marking the second year of a creative collaboration between the Opera House, Biennale of Sydney and the Fondation Cartier pour l'art contemporain, Badu Gili: Healing Spirit illuminates the world-famous Bennelong sails. The dynamic projection displays the works of celebrated First Nations artists, the late Bidjigal Elder Esme Timbery and two of her children, Marilyn Russell and Steven Russell, and artist Joseca Mokahesi Yanomami of the Yanomami people, appearing on the Opera House's Eastern Bennelong sails six times a night from sunset. Key Dates for the 25th Biennale of Sydney (2026) 10 March 2026: Media Preview 11 – 13 March 2026: Vernissage (Professional Preview) 14 March – 14 June 2026: 25th Biennale of Sydney open to the public Admission is free.
Scoop
4 days ago
- Entertainment
- Scoop
Biennale Of Sydney Announces 2026 Exhibition: Rememory
Sydney, Australia: The Biennale of Sydney has announced the curatorial vision, first wave of 37 artists and collectives, and exhibition locations for the 25th edition, titled Rememory. The major international contemporary art festival will be open free to the public from 14 March to 14 June 2026, presented in various locations across Sydney. Led by internationally acclaimed curator Artistic Director Hoor Al Qasimi, the 25th Biennale of Sydney: Rememory takes its title from celebrated author Toni Morrison, exploring the intersection of memory and history as a means of revisiting, reconstructing, and reclaiming histories that have been erased or repressed. By engaging with Rememory, artists from across the world and within Australia reflect on their own roots while engaging with Sydney and its surrounding communities and histories, exploring global themes that connect us. The edition will highlight marginalised narratives, share untold stories, and inspire audiences to rethink how memory shapes identity and belonging, giving voice to stories from Aboriginal communities and the divergent diasporas that shape Australia today. A dedicated program for children and young audiences will provide space and exploration for these stories to be passed on to the next generations. The largest contemporary art event of its kind in Australia, the 25th Biennale of Sydney will be presented at Art Gallery of New South Wales, Campbelltown Arts Centre, Chau Chak Wing Museum at the University of Sydney, Penrith Regional Gallery and the iconic restored White Bay Power Station, with further details to be announced later this year. Artistic Director Hoor Al Qasimi said: ' Rememory connects the delicate space between remembering and forgetting, delving into the fragmented and forgotten parts of history, where recollection becomes an act of reassembling fragments of the past—whether personal, familial, or collective. Through the defiant act of sharing, seeing, and understanding, the artists and cultural practitioners I've invited to participate explore the hidden effects of history and how it continues to shape the present in an evolving and consuming conversation. Rather than focusing on linear storytelling, I hope to highlight how we can become active participants in retelling our collective stories by revisiting and reinterpreting past events.' Of the 37 artists announced today, 15 First Nations artists from around the world have been commissioned by the Biennale of Sydney with Visionary Partner the Fondation Cartier pour l'art contemporain to create new work for the 25th edition. These artists include Ángel Poyón, Angélica Serech, Cannupa Hanska Luger, Carmen Glynn-Braun, Edgar Calel, Fernando Poyón, Frank Young & The Kulata Tjuta Project, Gabriel Chaile, Gunybi Ganambarr, John Harvey & Walter Waia, John Prince Siddon, Nancy Yukuwal McDinny, Rose B. Simpson, Tania Willard and Warraba Weatherall. They will work closely with Bruce Johnson McLean, Fondation Cartier pour l'art contemporain First Nations Curatorial Fellow, to realise their artworks. Johnson McLean is from the Wierdi people of the Birri Gubba Nation. Al Qasimi's curatorial approach centres on the histories of each place and multidisciplinary programming, with a collaborative perspective and emphasis on supporting experimentation and innovation in the arts. Over the past 20+ years, she has worked extensively with various mediums including contemporary art, film, music, dance, talks, publications and more, to bring together all forms of art in conversation. Barbara Moore, Chief Executive Officer, Biennale of Sydney said: 'The Biennale of Sydney is a space for discussion, exploration and sharing ideas, presenting innovative work by some of the most impactful contemporary artists of our time. The 25th Biennale of Sydney celebrates the diverse communities of Sydney and their stories, encouraging audiences to think of new ways to engage with history, coming together to create and share memories. Entry to the Biennale of Sydney is free for everyone, and we can't wait to throw open the doors again next year with an expansive program of art and ideas.' Minister for Jobs and Tourism, Steve Kamper said: 'Biennale of Sydney will be a highlight of the NSW major events calendar next year and a significant visitor drawcard for our city. It will spotlight Sydney as a global cultural hub where art and creativity is celebrated, and a place where locals and visitors can enjoy the most exciting and cutting-edge cultural experiences. As one of the world's longest running biennales, next year's theme of Rememory is an important reflection of Sydney's rich and diverse cultural history and a fantastic opportunity to showcase that history to visitors from across the nation and around the world.' Fondation Cartier pour l'art contemporain First Nations Curatorial Fellow Bruce Johnson Mclean said: 'It's a privilege to work alongside this remarkable group of First Nations artists from across the globe, each bringing powerful, place-based perspectives to the 25th Biennale of Sydney. Together, their practices speak to deep cultural knowledge, ancestral memory and contemporary experience, creating a dynamic dialogue that transcends borders. Through this collaboration, we aim to foster connections between communities here and around the world.' Béatrice Grenier, Director of Strategic Projects and International Programs at Fondation Cartier pour l'art contemporain said: 'The Fondation Cartier pour l'art contemporain is proud to continue its partnership with the Biennale of Sydney. We are honoured to collaborate with Artistic Director Hoor Al Qasimi and the Biennale team for the 25th edition, Rememory to realise bold new commissions that speak powerfully to the interconnectedness of memory, place, and identity.' Arts worker, creative producer, and mentor Claudia Chidiac and writer, educator, cultural worker, and creative producer Paula Abood have been appointed as Community Ambassadors for the 2026 edition. They will provide specialist advice on local community engagement in the Greater Western Sydney area and liaise on behalf of the Biennale of Sydney between different cultural groups and organisations. The first 37 artists and collectives announced today as part of the 25th Biennale of Sydney (2026) are: Abdul Abdullah (Australia / Thailand) Ángel Poyón (Maya Kaqchikel, Guatemala) Angélica Serech (Maya Kaqchikel, Guatemala) Bouchra Khalili (Morocco / Austria) CAMP (India) Cannupa Hanska Luger (Standing Rock Indian Reservation, North Dakota / New Mexico, USA) Carmen Glynn-Braun (Kaytetye, Arrernte, Anmatyerr, Australia) Chang En Man (Paiwan, Taiwan) Chen Chieh-jen (Taiwan R.O.C.) Daisy Quezada Ureña (USA) Decolonizing Art Architecture Project (DAAR) (Palestine) Deirdre O'Mahony (Ireland) Dennis Golding (Kamilaroi/Gamilaraay, Australia) Dread Scott (USA) Edgar Calel (Kaqchikel, Guatemala) Elverina Johnson (Yarrabah, Australia) Ema Shin (Japan / Australia) Fernando Poyón (Maya Kaqchikel, Guatemala) Frank Young & The Kulata Tjuta Project (Aangu Pitjantjatjara Yankunytjatjara (APY) Lands, Australia) Gabriel Chaile (Argentina / Lisbon) Gunybi Ganambarr (Yolŋu (Ŋaymil) people, Australia) John Harvey (Kalaw Kawaw Ya/Saibai Island, Torres Strait, Australia) & Walter Waia (Kalaw Kawaw Ya/Saibai Island, Torres Strait, Australia) John Prince Siddon (Walmajarri, Australia) Kapwani Kiwanga (Canada / France) Lamia Joreige (Lebanon) Marian Abboud (Australia) Maritea Dæhlin (Norway / Mexico) Merilyn Fairskye (Australia) & Michiel Dolk (Netherlands / Australia) Michael Rakowitz (USA) Nancy Yukuwal McDinny (Garrwa / Yanyuwa, Australia) Rose B. Simpson (Santa Clara Pueblo, USA) Tania Willard (Secwepemcúlecw, Canada) Taysir Batniji (Gaza, Palestine / France) Tuan Andrew Nguyen (Vietnam / USA) Warraba Weatherall (Kamilaroi, Australia) Wendy Hubert (Yindjibarndi Country, Australia) Yaritji Young (Aangu Pitjantjatjara Yankunytjatjara (APY) Lands, Australia) The full 25th Biennale of Sydney program, including the full list of participating artists, will be announced later this year. Currently on display at the Sydney Opera House, and marking the second year of a creative collaboration between the Opera House, Biennale of Sydney and the Fondation Cartier pour l'art contemporain, Badu Gili: Healing Spirit illuminates the world-famous Bennelong sails. The dynamic projection displays the works of celebrated First Nations artists, the late Bidjigal Elder Esme Timbery and two of her children, Marilyn Russell and Steven Russell, and artist Joseca Mokahesi Yanomami of the Yanomami people, appearing on the Opera House's Eastern Bennelong sails six times a night from sunset. Key Dates for the 25th Biennale of Sydney (2026) 10 March 2026: Media Preview 11 - 13 March 2026: Vernissage (Professional Preview) 14 March – 14 June 2026: 25th Biennale of Sydney open to the public
The Advertiser
27-05-2025
- Entertainment
- The Advertiser
Never-before-seen Margaret Preston artworks go on show
Two recently discovered paintings by one of Australia's most significant artists are going on show to the public for the first time. Margaret Preston is best known for her distinctively Australian still lifes and printmaking, but while based in Ireland during World War I, she painted two post-Impressionist views of the coast. The oil paintings were held in a private collection in Britain, and even art scholars specialising in Preston's work were unaware the paintings existed, according to Art Gallery of South Australia curator Tracey Lock. The paintings will finally go on public display as part of Dangerously Modern: Australian Women Artists in Europe 1890–1940, currently on at the Art Gallery of South Australia, before opening at the Art Gallery of New South Wales in October. The exhibition is a joint project by both galleries, with art from their collections making up about half the works on show - what's more, the galleries have acquired one of the Preston paintings each. With 50 artists and 220 artworks, Dangerously Modern is billed as the first major exhibition to explore the role of Australian women in modernism internationally. At the turn of the 20th century, waves of women artists left Australia to work overseas, in defiance of social expectations at the time. Not only did these artists contribute to the development of modernism in Europe, they returned home with fresh ideas that helped modernise Australia too. The exhibition title comes from an article by artist Thea Proctor, who returned from London to Sydney in 1921 to find her art described as "dangerously modern". The show also includes work from the likes of Nora Heysen and Grace Cossington Smith, but there are names that are less well known, such as Justine Kong Sing and Stella Marks. Many trailblazing women artists were successful during their lifetimes, only to find themselves written out of art history in the postwar period, said Lock. "Almost overnight - bam! They are erased from the record," she said. Dangerously Modern is no less than an effort to bring these artists back into the historical narrative - and a 65,000-word catalogue with essays from 29 art scholars should help. Lock believes part of the reason women have been left out is that Australian art history (and those writing it) did not value the themes these artists were exploring at the time. Rather than the usual tenets of light, landscape and national identity, women artists such as Anne Dangar were exploring notions of spiritualism, for example. "Our women get lost, they get a bit stuck in some blind spot in Australian art, we don't know what to do with them," said Lock. "Frankly, it's time to change, and show the power of this work." While Australia's state galleries regularly loan works, they do not often collaborate on the design and concept of a show. But when AGNSW and AGSA realised they were preparing similar exhibitions, they decided to work together. There are Sydney artists such Proctor, Dangar and Cossington Smith, as well as Grace Crowley, while South Australian names include Dorrit Black along with Heysen and Preston. "Maybe it's in the water or something, but it turns out Adelaide has produced a number of very talented modern women artists," said Lock. Dangerously Modern is on at the Art Gallery of South Australia until September 7 and will show at the Art Gallery of New South Wales from October 11 until February 2026. Two recently discovered paintings by one of Australia's most significant artists are going on show to the public for the first time. Margaret Preston is best known for her distinctively Australian still lifes and printmaking, but while based in Ireland during World War I, she painted two post-Impressionist views of the coast. The oil paintings were held in a private collection in Britain, and even art scholars specialising in Preston's work were unaware the paintings existed, according to Art Gallery of South Australia curator Tracey Lock. The paintings will finally go on public display as part of Dangerously Modern: Australian Women Artists in Europe 1890–1940, currently on at the Art Gallery of South Australia, before opening at the Art Gallery of New South Wales in October. The exhibition is a joint project by both galleries, with art from their collections making up about half the works on show - what's more, the galleries have acquired one of the Preston paintings each. With 50 artists and 220 artworks, Dangerously Modern is billed as the first major exhibition to explore the role of Australian women in modernism internationally. At the turn of the 20th century, waves of women artists left Australia to work overseas, in defiance of social expectations at the time. Not only did these artists contribute to the development of modernism in Europe, they returned home with fresh ideas that helped modernise Australia too. The exhibition title comes from an article by artist Thea Proctor, who returned from London to Sydney in 1921 to find her art described as "dangerously modern". The show also includes work from the likes of Nora Heysen and Grace Cossington Smith, but there are names that are less well known, such as Justine Kong Sing and Stella Marks. Many trailblazing women artists were successful during their lifetimes, only to find themselves written out of art history in the postwar period, said Lock. "Almost overnight - bam! They are erased from the record," she said. Dangerously Modern is no less than an effort to bring these artists back into the historical narrative - and a 65,000-word catalogue with essays from 29 art scholars should help. Lock believes part of the reason women have been left out is that Australian art history (and those writing it) did not value the themes these artists were exploring at the time. Rather than the usual tenets of light, landscape and national identity, women artists such as Anne Dangar were exploring notions of spiritualism, for example. "Our women get lost, they get a bit stuck in some blind spot in Australian art, we don't know what to do with them," said Lock. "Frankly, it's time to change, and show the power of this work." While Australia's state galleries regularly loan works, they do not often collaborate on the design and concept of a show. But when AGNSW and AGSA realised they were preparing similar exhibitions, they decided to work together. There are Sydney artists such Proctor, Dangar and Cossington Smith, as well as Grace Crowley, while South Australian names include Dorrit Black along with Heysen and Preston. "Maybe it's in the water or something, but it turns out Adelaide has produced a number of very talented modern women artists," said Lock. Dangerously Modern is on at the Art Gallery of South Australia until September 7 and will show at the Art Gallery of New South Wales from October 11 until February 2026. Two recently discovered paintings by one of Australia's most significant artists are going on show to the public for the first time. Margaret Preston is best known for her distinctively Australian still lifes and printmaking, but while based in Ireland during World War I, she painted two post-Impressionist views of the coast. The oil paintings were held in a private collection in Britain, and even art scholars specialising in Preston's work were unaware the paintings existed, according to Art Gallery of South Australia curator Tracey Lock. The paintings will finally go on public display as part of Dangerously Modern: Australian Women Artists in Europe 1890–1940, currently on at the Art Gallery of South Australia, before opening at the Art Gallery of New South Wales in October. The exhibition is a joint project by both galleries, with art from their collections making up about half the works on show - what's more, the galleries have acquired one of the Preston paintings each. With 50 artists and 220 artworks, Dangerously Modern is billed as the first major exhibition to explore the role of Australian women in modernism internationally. At the turn of the 20th century, waves of women artists left Australia to work overseas, in defiance of social expectations at the time. Not only did these artists contribute to the development of modernism in Europe, they returned home with fresh ideas that helped modernise Australia too. The exhibition title comes from an article by artist Thea Proctor, who returned from London to Sydney in 1921 to find her art described as "dangerously modern". The show also includes work from the likes of Nora Heysen and Grace Cossington Smith, but there are names that are less well known, such as Justine Kong Sing and Stella Marks. Many trailblazing women artists were successful during their lifetimes, only to find themselves written out of art history in the postwar period, said Lock. "Almost overnight - bam! They are erased from the record," she said. Dangerously Modern is no less than an effort to bring these artists back into the historical narrative - and a 65,000-word catalogue with essays from 29 art scholars should help. Lock believes part of the reason women have been left out is that Australian art history (and those writing it) did not value the themes these artists were exploring at the time. Rather than the usual tenets of light, landscape and national identity, women artists such as Anne Dangar were exploring notions of spiritualism, for example. "Our women get lost, they get a bit stuck in some blind spot in Australian art, we don't know what to do with them," said Lock. "Frankly, it's time to change, and show the power of this work." While Australia's state galleries regularly loan works, they do not often collaborate on the design and concept of a show. But when AGNSW and AGSA realised they were preparing similar exhibitions, they decided to work together. There are Sydney artists such Proctor, Dangar and Cossington Smith, as well as Grace Crowley, while South Australian names include Dorrit Black along with Heysen and Preston. "Maybe it's in the water or something, but it turns out Adelaide has produced a number of very talented modern women artists," said Lock. Dangerously Modern is on at the Art Gallery of South Australia until September 7 and will show at the Art Gallery of New South Wales from October 11 until February 2026. Two recently discovered paintings by one of Australia's most significant artists are going on show to the public for the first time. Margaret Preston is best known for her distinctively Australian still lifes and printmaking, but while based in Ireland during World War I, she painted two post-Impressionist views of the coast. The oil paintings were held in a private collection in Britain, and even art scholars specialising in Preston's work were unaware the paintings existed, according to Art Gallery of South Australia curator Tracey Lock. The paintings will finally go on public display as part of Dangerously Modern: Australian Women Artists in Europe 1890–1940, currently on at the Art Gallery of South Australia, before opening at the Art Gallery of New South Wales in October. The exhibition is a joint project by both galleries, with art from their collections making up about half the works on show - what's more, the galleries have acquired one of the Preston paintings each. With 50 artists and 220 artworks, Dangerously Modern is billed as the first major exhibition to explore the role of Australian women in modernism internationally. At the turn of the 20th century, waves of women artists left Australia to work overseas, in defiance of social expectations at the time. Not only did these artists contribute to the development of modernism in Europe, they returned home with fresh ideas that helped modernise Australia too. The exhibition title comes from an article by artist Thea Proctor, who returned from London to Sydney in 1921 to find her art described as "dangerously modern". The show also includes work from the likes of Nora Heysen and Grace Cossington Smith, but there are names that are less well known, such as Justine Kong Sing and Stella Marks. Many trailblazing women artists were successful during their lifetimes, only to find themselves written out of art history in the postwar period, said Lock. "Almost overnight - bam! They are erased from the record," she said. Dangerously Modern is no less than an effort to bring these artists back into the historical narrative - and a 65,000-word catalogue with essays from 29 art scholars should help. Lock believes part of the reason women have been left out is that Australian art history (and those writing it) did not value the themes these artists were exploring at the time. Rather than the usual tenets of light, landscape and national identity, women artists such as Anne Dangar were exploring notions of spiritualism, for example. "Our women get lost, they get a bit stuck in some blind spot in Australian art, we don't know what to do with them," said Lock. "Frankly, it's time to change, and show the power of this work." While Australia's state galleries regularly loan works, they do not often collaborate on the design and concept of a show. But when AGNSW and AGSA realised they were preparing similar exhibitions, they decided to work together. There are Sydney artists such Proctor, Dangar and Cossington Smith, as well as Grace Crowley, while South Australian names include Dorrit Black along with Heysen and Preston. "Maybe it's in the water or something, but it turns out Adelaide has produced a number of very talented modern women artists," said Lock. Dangerously Modern is on at the Art Gallery of South Australia until September 7 and will show at the Art Gallery of New South Wales from October 11 until February 2026.
Time Out
27-05-2025
- Entertainment
- Time Out
The Biennale of Sydney is expanding out west, but a major Sydney gallery is missing out
The Biennale of Sydney has today announced the curatorial vision, first wave of 37 artists and collectives, and exhibition locations for the 25th edition, which will be titled Rememory. The largest contemporary art event of its kind in Australia, the festival will be open free to the public from March 14 to June 14 in 2026, presented in various locations across Sydney. The Biennale will be heading to Penrith for the first time in the new year, with Penrith Regional Gallery joining the fold amid a fresh push to reach new audiences in Sydney's west. The gallery will be featured alongside returning venues including the Art Gallery of New South Wales, Campbelltown Arts Centre, the Chau Chak Wing Museum at the University of Sydney (which was recently named in Time Out's list of the world's most underrated museums), and the iconic restored White Bay Power Station, which the Biennale launched as the city's new major arts venue for it's 2024 edition. However, one major gallery has been passed over as an exhibition venue, with the Museum of Contemporary Art missing out for the first time since 1998. Speaking to the Sydney Morning Herald, the Biennale's new Artistic Director, Hoor Al Qasimi, said that the decision came down to curatorial priorities. She told the SMH's Linda Morris: 'The MCA is a great space, but it's not location wise. It's not something that fits into what I want to do. I'm always interested in people who maybe don't realise that the Biennale is free, and it's for them.' Outside the main exhibitions, the MCA will be delivering the Biennale's public programs. (And in the meantime, the MCA is gearing up to open its major winter exhibition, Cerith Wyn Evans .... in light of the visible from June 6, 2025.) With more than 20 years experience, Al Qasimi's curatorial approach centres on the histories of each place and multidisciplinary programming, with a collaborative perspective and emphasis on supporting experimentation and innovation in the arts. Speaking on the 2026 theme, Al Qasimi said: ' Rememory connects the delicate space between remembering and forgetting, delving into the fragmented and forgotten parts of history, where recollection becomes an act of reassembling fragments of the past – whether personal, familial or collective.' She added: 'Through the defiant act of sharing, seeing, and understanding, the artists and cultural practitioners I've invited to participate explore the hidden effects of history and how it continues to shape the present in an evolving and consuming conversation.' The first batch of participating artists and collectives announced today is a diverse bunch of creatives from across Australia and the globe, including Sydney-based artist Abdul Abdullah, who just won the esteemed Packing Room Prize for the 2025 Archibald Prize (which you can visit now at the Art Gallery of NSW). Of the 37 artists announced today, 15 First Nations artists from around the world have been commissioned to create new work for the 25th Biennale of Sydney. You can find all of the participating artists and collectives listed on the Biennale's website. Additionally, the Biennale has appointed two Community Ambassadors for the 2026 edition with arts worker, creative producer, and mentor Claudia Chidiac and writer, educator, cultural worker, and creative producer Paula Abood. They will provide specialist advice on local community engagement in the Greater Western Sydney area and liaise on behalf of the Biennale of Sydney between different cultural groups and organisations.
Perth Now
27-05-2025
- Entertainment
- Perth Now
Never-before-seen Margaret Preston artworks go on show
Two recently discovered paintings by one of Australia's most significant artists are going on show to the public for the first time. Margaret Preston is best known for her distinctively Australian still lifes and printmaking, but while based in Ireland during World War I, she painted two post-Impressionist views of the coast. The oil paintings were held in a private collection in Britain, and even art scholars specialising in Preston's work were unaware the paintings existed, according to Art Gallery of South Australia curator Tracey Lock. The paintings will finally go on public display as part of Dangerously Modern: Australian Women Artists in Europe 1890–1940, currently on at the Art Gallery of South Australia, before opening at the Art Gallery of New South Wales in October. The exhibition is a joint project by both galleries, with art from their collections making up about half the works on show - what's more, the galleries have acquired one of the Preston paintings each. With 50 artists and 220 artworks, Dangerously Modern is billed as the first major exhibition to explore the role of Australian women in modernism internationally. At the turn of the 20th century, waves of women artists left Australia to work overseas, in defiance of social expectations at the time. Not only did these artists contribute to the development of modernism in Europe, they returned home with fresh ideas that helped modernise Australia too. The exhibition title comes from an article by artist Thea Proctor, who returned from London to Sydney in 1921 to find her art described as "dangerously modern". The show also includes work from the likes of Nora Heysen and Grace Cossington Smith, but there are names that are less well known, such as Justine Kong Sing and Stella Marks. Many trailblazing women artists were successful during their lifetimes, only to find themselves written out of art history in the postwar period, said Lock. "Almost overnight - bam! They are erased from the record," she said. Dangerously Modern is no less than an effort to bring these artists back into the historical narrative - and a 65,000-word catalogue with essays from 29 art scholars should help. Lock believes part of the reason women have been left out is that Australian art history (and those writing it) did not value the themes these artists were exploring at the time. Rather than the usual tenets of light, landscape and national identity, women artists such as Anne Dangar were exploring notions of spiritualism, for example. "Our women get lost, they get a bit stuck in some blind spot in Australian art, we don't know what to do with them," said Lock. "Frankly, it's time to change, and show the power of this work." While Australia's state galleries regularly loan works, they do not often collaborate on the design and concept of a show. But when AGNSW and AGSA realised they were preparing similar exhibitions, they decided to work together. There are Sydney artists such Proctor, Dangar and Cossington Smith, as well as Grace Crowley, while South Australian names include Dorrit Black along with Heysen and Preston. "Maybe it's in the water or something, but it turns out Adelaide has produced a number of very talented modern women artists," said Lock. Dangerously Modern is on at the Art Gallery of South Australia until September 7 and will show at the Art Gallery of New South Wales from October 11 until February 2026.
