Currently running at the Perth Institute of Contemporary Arts (PICA) are two exhibitions exploring different aspects of the human condition in contemporary times. Remedial Works examines materiality in a globalised age, exploring how new and emerging materials and the meanings that derive with them and from them influence the human body and the environment around it. From rare minerals to cosmetics to the additives used in engineering our daily food, the show explores how substances can structure the broader social, environmental and economic relationships of the world in which we live. Featuring work by Korean-born conceptual artist Anicka Yi, Lithuanian duo Pakui Hardware, New York-based media artist Shana Moulton, local artist and writer Sophie Cassar, Perth-born artist Jess Tan and and New South Wales based Clare Milledge who works mainly in installation. Presented in partnership with 4A Centre for Contemporary Asian Art, I don’t want to be there when it happens is a reflection upon the psychology of trauma through the lens of the ongoing conflict between India and Pakistan. Presenting the work of artists from both sides of the border, the show confronts the deep and complex state of unease that characterises life in the present moment, as evidenced in a work by Karachi-born artist Adeela Suleman whose chandelier hand-formed with the motifs of dead birds recall the suicide bombings in Pakistan. Other participating artists include Abdullah Syed, David Chesworth and Sonia Leber, Raqs Media Collective, Reena Saini Kallat, Raj Kumar, and Mithu Sen.
Main image: Adeela Suleman, After all it’s always someone else who dies, 2017. Hanging steel, dimensions variable, installation view. This artwork has been commissioned by 4A Centre for Contemporary Asian Art, Sydney and supported by The Keir Foundation. Photo: Kai Wasikowski.
China’s nightclub scene emerged in the early 1990s as a crucial place for collective gathering, quickly becoming a new meeting place for intellectuals and artists where radical ideas and thoughts could be freely exchanged.
Today, Chen Wei has painstakingly researched, recreated and photographed a visual archive of '90s Chinese club culture in an effort to document these revolutionary settings
Critic, curator, editor and provocateur Mimi Zeiger has written three books on tiny houses. Now, she turns to utopia: how do speculative fictions and futurisms drive architecture? Her hometown of Los Angeles is a case in point, a depository of radical dreams, be it Afro-Futurism or a promise of downtown walkability
Carine Thévenau documents and examines deserted playground relics of the Japanese 1980s financial boom (and bust). The abandoned structures create a visual silence, allowing room for curiosity and critical thought. This interval, referred to as “Ma” in Japanese philosophy, is defined as a space between, or a pause that enables space for emotion, thought and life to pass through it