EXHIBITION: MCA NEW SEASON

PRIMAVERA 2010

This year’s annual Primavera exhibition showcasing the works of Australian artists under 35 brings together seven artists and their many methods and materials; exploring watercolours to Powerpoint, sculpture to film. Akira Akira’s black automotive paint on resin Spillberg is the paint that never dries, Emma White’s polymer clay reproductions of her belongings celebrate the untouched, and Alisdair McLuckie’s epic biro scribbles on panels express so much through their delicate details. What really connects all these artists though is their ability to breathe new life into traditional forms of art and the finite precision of their craft, from the stirring and strange to the everyday.
Until Nov 21

RUNA ISLAM
British artist Runa Islam’s first solo project in Australia is a captivating experience; her 16mm and 35mm films are hypnotic and eerie, and the sweeping urban landscapes and emotionally charged close-ups of faces are an exploration of the power of cinematic techniques. Sound is crucial to each work, ranging from mechanical sound effects or breaking glass, to non-synced audio so each viewing of the film is different, and although some of the films are silent the buzz of the projector provides a chilling soundtrack. A major new work, Magical Consciousness (2010), co-commissioned by the MCA and the Musée d’art contemporain de Montréal, completes the exhibition.
Until Nov 21

IN THE BALANCE: ART FOR A CHANGING WORLD
Within Jeanne van Heeswijk and Paul Sixta’s mixed media installation Talking Trash is a quote by a man named Bill Dorman – “Take a second look at things to imagine another reason for being.” This is the essence of In the Balance, an exhibition which examines art and the environment and looks at issues like recycling and sustainability. It is indeed art for a changing world, where trees grow on electronic whiteboards and plastic bags become an evocative translucent tunnel.
Until Oct 31

Museum of Contemporary Art, 140 George St, The Rocks, 9245 2458, mca.com.au

BY ANTONIA HAYES