culture

The National successfully unites three cultural institutions in an exhibition interrogating inequality, colonisation and racism.

As Rosslynd Piggott prepares for I Sense You But I Cannot See You – the second retrospective of her career at the National Gallery of Victoria – she reflects on her childhood in Frankston, her ambition as a young artist and her life’s work. “I did a year of teaching in 1981 in the remote Victorian country at Werrimull. I’d just come out of post-punk Melbourne, thrust up there in the middle of nowhere. I was never going to do three years up there. After that, I just ran away, basically, to St Kilda, doing dishwashing and waitressing. I knew I wanted to be an artist.”

While father and daughter Hans and Nora Heysen both became renowned Australian artists – he for bush landscapes, she for portraits and still lifes – their work had become, until recently, somewhat overlooked.

Displayed in a historic homestead built on the cusp of Federation, Those Monuments Don’t Know Us examines colonisation and cultural expression and challenges ingrained assumptions of what fits where.

Curated with an eye for slogans and messaging, the new Artspace exhibition Just Not Australian interrogates the mythic language of nationalism that continues to permeate the art world.

Christian Marclay’s hypnotic 24-hour film installation The Clock, comprising a film or video clip for each minute of the day, compels us to consider our mortality.

In The Theatre Is Lying, curated by Max Delany and Annika Kristensen for ACCA, artists interrogate the meaning of theatre and performance.

Bursting with colour, overwrought with emotion and rich in symbolism – the grandiloquent works of the Pre-Raphaelite Brotherhood leave the Tate to enliven the walls of the NGA in an exhibition powerful enough to convert even a non-fan.

Surprisingly, proximity to Patricia Piccinini’s unsettling hybrid forms brings the darker themes of painter Joy Hester’s work to the fore, in the joint exhibition Through love... at TarraWarra.