In Samuel Beckett’s one-act play Krapp’s Last Tape, the curtain rises to the mise-en-scène: ‘a late evening in the future’. For his exhibition of the same name, Irish artist Gerard Byrne employs a similar sense of drama: transforming ACCA into a theatre, and implicating the audience within an intricate, multi-sensory network of lights, flickering TV monitors, video projections and architectural structures…
Presented in two chapters across ACCA’s four exhibition galleries, Painting. More Painting is a big-picture focus on contemporary Australian painting, featuring the work of over seventy living Australian artists.
Ulla von Brandenburg’s distinct visual language draws on the traditions and tropes of theatre, film and storytelling.
Pat Brassington: Á Rebours is a major survey by one of Australia’s most important and influential photo-based artists.
This is the first extensive tour of Brassington’s 30 years of practice and explores her ongoing aesthetic language derived from surrealism and cinema reinterpreted through photography.
Phone-videos of monumental works by American minimalist Dan Flavin, refashioned into large-scale filmic ‘captures’ by Australian artist Christian Capurro, feature in SLAVE, part of ACCA’s Influential Australian Artists program.
Douglas Gordon appropriates images from popular culture and other sources to create his signature videos and photographic installations. He first came to prominence in 1993 with the work 24 Hour Psycho, a slowed down version of Alfred Hitchcock’s iconic film, and since then he has been at the forefront of contemporary practice worldwide.
Drawing on the spirit of the Australian Opera’s Melbourne performances of Wagner’s Ring Cycle ACCA celebrated the gesamtkunstwerk in the exhibition Crescendo. This multi-media extravaganza featured seven projects with artists that use film and music to create enclosed worlds, each exploring myth, history and human pageantry as metaphors for life.