Exhibition text written in 2026.

Literally referring to works addressing censored, silenced and sensitive content, this exhibition examines how predicaments are purposefully overlooked by power structures and contemporary flows of ignorance. It draws parallels between silenced ideas and knowledge in the contexts of censorship and epistemic suppression, calling on us to un-redact the stories of ‘strangers’ and dismantle learned logics, opening possibilities for alternative futures. 

Exhibition text written in 2026.

Let us return to the analogue processes and the forms of dedication they demand, zooming in to the physical endurance behind artistic practices. This exhibition entwines works made with rigorous, embodied actions: the forceful piercing of thick fabric, the relentless pounding of grass in paper making, and the tenacious repetition of rug tufting, unravelling, and weaving. Each recurring visual element is a motif. Each repeated bodily action is a motif.

Published by Art Guide

Davys’ cultural practice of language education becomes an act of bridging differences and bringing people together. If translation is to represent the kinship between two languages, then the revitalisation of a First Nations language is a process of reclaiming culture and history.

Published by Art Guide.

Having fought against the dehumanising military coup regime in Myanmar in 2021, Ma Ei was forced to leave the country in 2022 for Thailand before seeking refuge in Australia. Before the displacement, she worked as an artist and activist, using art and performance to gather people for protests that resisted killings, drawing local and international attention and doing everything she could to help pivot the situation.

Exhibition text written in 2025.

Machine Residue intertwines the voices of diaspora artists living in Melbourne's west about war, loss and survival. It asks: what remains under the systemic violence, dehumanising regimes and their aftermath?