The National Gallery of Victoria’s Triennial exhibition ended a month ago, in March. It is never to late to look back on an exhibition. It was big, it was rich, it was global, and, it was for the people; free.
Xu Zhen, ‘Eternity-Buddha in Nirvana’
Xu Zhen, ‘Eternity-Buddha in Nirvana’ (detail)
Yayoi Kusama, ‘Flower obsession’, 2017
Oki Sato, ‘Trace sconce’, 2016
Uji Handoko Eko Saputro, AKA Hahana.
Pascale Marthine Tayou, ‘Coloured stones, paves colores’, 2015
Akay Koo’oila Women’s Art Centre Artists, Aurukun, ‘God’s eye installation’, 2017. ‘This installation was made by 45 women of Aurukun who would gather at the centre each day to work and share stories. The creation is a symbol of peace, comfort and healing’.
Akay Koo’oila Women’s Art Centre Artists, Aurukun, ‘God’s eye installation’, 2017 (detail).
Jorge Mendez Blake, ‘Bartlebooth monument’, 2011-15.
Paulina Olowska, ‘Mysteria’, 2016
teamLab, ‘Moving creates vortices and vortices create movement’, 2017
Alexandra Kehayoglou, ‘Santa Cruz River’ 2016–17
Myoung Ho Lee, ‘Tree… #6’ from the Tree abroad series 2006-2013.
Ron Mueck’s ‘Mass’ 2016-17. A gallery filled with 100 large-scale sculptures of the human skull.
Gui Pei, from the ‘Legend collection’, 2017
Ben Quilty, ‘High tide mark’, 2016
Richard Mosse, ‘Incoming’, which included commentary from Iranian refugee and former Manus Island detainee Behrouz Boochani: “It is not acceptable that an organization like NGV has signed a contract with a company whose hands are so bloody”
