A Look Inside Sydney Contemporary's Mammoth 2018 Exhibition

Carriageworks is currently filled with Patricia Piccinini's epic field of 3000 flowers.
Marissa Ciampi
Published on September 12, 2018
Updated on September 12, 2018

Since launching four years ago, Sydney Contemporary has really made itself a major part of Sydney's arts calendar. After a great event last year, the art fair and exhibition will return to Carriageworks this week with a lineup is so jam-packed that it's bursting at the finely-designed seams.

The lineup is chock-full with performances, talks and parties (including one hosted by us) that celebrate both homegrown and international art. But the main drawcard is the exhibition at Carriageworks that this year features major installations by Jean Debuffet, Ash Keating, Ronnie van Hout and none other than Patricia Piccinini. She'll take over the Elston Room with The Field, which has been developed from its time at Brisbane's Gallery of Modern Art. Definitely worth a walk-through.

Other notable installations include Abdul Abdullah's imposing tapestry portraits, a collection of modern clay figures by the Girringun Aboriginal Art Centre and Hossein Ghaemi's exploration of the psyche of cats. There's performance art, too, with Taipei-born Parisian artist River Lin cleansing people of their 'imperfections', vanishing art act Emily Parsons-Lord and sonic impulse explorer Michaela Davis.

The whole thing kicks off with an opening bash tomorrow night, but we've got an early look at the exhibition. Take a peek and then head into Carriageworks to see it for yourself — the exhibition will be open from 12–5pm on Thursday, 12–8pm on Friday, and 11am–6pm on Saturday and Sunday.

Patricia Piccinini: The Field

Abdul Abdullah: Call me by my name

Girringun Aboriginal Art Centre

Jean Debuffet: L'Incivil

Hossein Ghaemi: Jumbuck Pishi

Sydney Contemporary runs from September 13–16 at Carriageworks. Tickets to the exhibition are $25 — visit the event website to buy them.

Images: Jacquie Manning. 

Published on September 12, 2018 by Marissa Ciampi
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