January 18 – February 24

Andrew Bracey, Louise K. Wilson, Tim Etchells, Andrew Pepper, Cocker & Thornton, Rochelle Haley, Kate Corder, Steve Dutton, Luce Choules, Morrad + McArthur, Brazier & Free, and Angela Bartram :: Documents, Alternatives
Documents Alternatives
is a (re-)staging of ephemeral artworks that is in ‘motion’ and responsive to intent. The exhibition foregrounds fluidity and diversity of translation and includes multiple art voices and modes of output including video, holography, text, painting, print and sound. This is an experimental, discursive strategy whereby the document becomes a new artwork and the artwork becomes a new document to keep the ephemeral evolving and in transition. Artists: Andrew Bracey, Louise K. Wilson, Tim Etchells, Andrew Pepper, Cocker & Thornton, Rochelle Haley, Kate Corder, Steve Dutton, Luce Choules, Morrad + McArthur, Brazier & Free, and Angela Bartram.

Karen Benton, Jessica Mei Cham, Harry Seeley, and Justyna Stanczew curated by Kim Nguyen and Bethan Cotterill  :: A studio based practice
A studio based practice unites works by four recent Sydney College of the Arts graduates who challenge art academy traditions through thoughtful subversions of studio-derived boundaries, expectations, and hierarchies. The traditional art academy model of studio based teaching divides students into studios based on their technical skills; students are then assessed based on ideologies and standards unique to their studio.

March 1 – April 7

Louisa Afoa, Natasha Matila-Smith and Molly Rangiwai-McHale :: Heavenly Creatures
In her thorough critique of Western paradigms and systems in Decolonizing Methodologies: Research and Indigenous Peoples (1999), Professor Linda Tuhiwai Smith wrote “The reach of imperalism into ‘our heads’ challenges those who belong to colonized communities to understand how this occurred, partly because we perceive a need to decolonize our minds, to recover ourselves, to claim a space in which to develop a sense of authentic humanity.” Further expanding on this, Bell Hooks wrote “if any female feels she need anything beyond herself to legitimate and validate her existence, she is already giving away her power to be self-defining, her agency.” What we hope to explore through this exhibition will be ideas about bodily and cultural autonomy and sovereignty and opening communications with other young indigenous people of colour. We are specifically dealing with the self-representation of three multiracial women from Aotearoa/New Zealand and our personal experiences, rather than what we represent as a body of peoples, for no two experiences of cultural heritage are identical.

Marikit Santiago :: Coca-Colonized
Coca-Colonization is the term used to describe the globalization of American culture through popular American products such as Coca-Cola. In the context of this show, the term is an access point for discussions around colonial occupation in the Philippines and subsequent attitudes conditioned by a Western presence in a developing world. The show aims to illustrate the competing and complex tension between the artist’s dual cultural identities as Australian nationality and Filipino ethnicity, but also demonstrate the established pattern of colonial benevolence between Australia and the Philippines.

The body of work accesses materials that would normally be donated to family in the Philippines. This primarily comprises outgrown children’s clothes and shoes, second hand toys as well as other domestic items such as linen and towels. These articles become symbolic of Western privilege in excess. Withdrawing them from donation in this context also exercises what I consider a Western privilege; to make art. The work would take the form of sculptures and installation, that aim to re-contextualise the excess garments and subvert their perceived value. Also included in the show, oil paintings on found cardboard that draw references to migration, colonial benevolence and illustrating the developed and developing worlds by using high (oil) and low (cardboard) value materials.

Nicole Barakat :: We are infinite.
We are infinite. is a collection of textile works responding to objects held in the Nicholson Museum from the artist’s ancestral homelands in the South West Asia and North Africa (SWANA) region. The artist presents the artworks as a series of visual manifestations of her process of listening and engaging in intuitive conversations with the museum objects.

The exhibition critically considers connections between the violence of colonialism (under which many museum objects were acquired) and the current states of violence in the SWANA region and beyond. Barakat says, my process and the resulting works as affirmations of the strength of our continuing, living cultures, stories and ancestral lineages. Nicole will also engage participants in the creation of a large-scale collaborative textile work over the duration of the exhibition.

April 12 – May 19

Jodie Whalen :: Do not think of me as gone
Don’t think of me as gone is a new installation that asks the viewer to question ideas of love and devotion, grief, obsessions and belief, beauty and fantasy. Exploring experiences, routines and rituals of the everyday. Repeated experiences that are designed to take us from one state into another and that marks the progression of time. Whalen’s practice of site-specific installation envelops the audience through its relational harmony and balance to the site. Pushing the audience to respond to the site as a place of reflection, meditation and ritual.

Kieran Bryant :: grappling on the precipice of the squirt and the stream
grappling on the precipice of the squirt and the stream presents a series of video, mixed-media installation, and collaborative live performance that examine differing modes of a fluid queered body experience in its connection to both water and the hole. This exhibition asks how water, through its relationship with holes and orifices, can be a conduit to discuss themes of queer visibility and identity signification; re-contextualisation of image and sound in popular and contemporary culture; and collaborative distance.

May 24 – June 30

Christine Ko :: Model Home
Model Home plays on the idea of home as a metaphor for the self and windows as portals to another world. The dual transparent and reflective properties of mirror tint film are used to explore the experience of ‘in-between-ness’—a dream-like state one encounters when they are in a space of being neither here nor there. Viewers are provided with an immersive and disorientating space to reflect upon ideas around home, identity and migration; conjuring up questions about whether our dreams are realities to aspire to or just fleeting illusions.

Elena Papanikolakis :: Parting Words
Parting Words presents new works that explore information and abstraction through interactions of photograph-based imagery, text and painting. The works in the exhibition attempt to engage with meaning whilst challenging modes of comprehension, and play with notions of photographic proof and the communicative role of language. Consisting of a broad range of personal and found material, these works explore the breadth and implications of archives whilst delving into remnants of personal and cultural history.

July 5 – August 11

Cherine Fahd and Julie Rrap (curators), Danica Knezevic, Pamela Pirovic, Tayla Jay, Georgia Boe, David Collins, Blake Lawrence and Yiorgo Yiannopoulos :: Critical Bodies
Critical Bodies is an exhibition co-curated by artists Julie Rrap and Cherine Fahd. It brings the work of seven early-career artists together for the first time – Danica Knezevic, Pamela Pirovic, Tayla Jay, Georgia Boe, David Collins, Blake Lawrence and Yiorgo Yiannopoulos. The exhibition focuses on contemporary photographic and video work that places the body at the centre of investigation. The body has been a vehicle for experimentation into all realms of human experience, including emotion, violent action, religious expression, political engagement, gender questions, and medical intervention. This exhibition demonstrates how ‘the body’ continues to provide a rich source of exploration for younger generations of artists.


August 16 – September 22

Jessica Herrington and Anna Madeleine :: Emotions invented by the Internet
Emotions Invented by the Internet by Jessica Herrington and Anna Madeleine is an exhibition of augmented reality (AR) and virtual reality (VR) artworks exploring emotional states instigated by new technologies. The feeling of helplessly watching a slow download; the feeling of trying to make two devices find each other through Bluetooth; or the feeling of finding that perfect GIF – these emotions range from the tranquil to exhilarating, funny to frustrating. Through 360 degree animations and dream-like digital relics, this exhibition presents a simulation and a remedy for future mental states, in a meditative response to living with new technology.

Tully Arnot, Josh Harle, Jason Phu, Brenton Alexander Smith, Jason Wing and  Louise Zhang :: Human Jerky: meatbags through the eyes of technology
Emerging technologies such as robotics move beyond abstract interaction and into direct engagement with the physical world. With them comes an explosion of domain-specific models to understand and negotiate the human body. From surgical robot models, crash test dummies, and sex robots, to automated battlefield drones and the ethics algorithms of self-driving cars, these technologies are fundamentally carnal – tasked with managing the needs, desires, values, threats, and vulnerabilities of human flesh. Their internal aesthetics are alien, frightening, and monstrous.


Elizabeth Cheung (AU), Hung Tzu-Ni (TW), Flo Wilson (NZ) presented by Rainbow Chan and Verge Gallery :: Aftersound 
September 26 – 29
Aftersound is a new performance program that started in June 2018 with a focus on sonic experiences and the poetics of space. Its September edition sees artists from New Zealand, Taiwan and Australia examine the idea of the trace.

USU Creative Awards show
October 9 – 13

The USU Creative Awards gives student artists from all University of Sydney campuses and faculties a chance to showcase and publish their work to peers, industry professionals and the local community.

Fiona Davies, Merryn Hull, Nerine Martini, Bernadette Smith, and Eila Vinwynn :: In Translation
October 18 – November 3

Curated by students currently studying the Masters of Art Curating at the University of Sydney, In Translation coincides with three further exhibitions at Sydney College of the Arts, which feature each artist in more depth. With this collaboration across campuses comes the movement and ‘translation’ of artworks and ideas from one space to another, and the consideration of each artist, curator and viewer as both ‘translator’ and meaning-maker.

110%, Amber Boardman, JD Reforma, Kate Mitchell, Min Wong, Sara Morawetz & Will French ::
Personal Best
November 8 – December 15

Personal Best has been curated by the Verge team and features artists 110%, Amber Boardman, JD Reforma, Kate Mitchell, Min Wong, Sara Morawetz & Will French who will present works illustrating different perspectives on success, failure and the absurdity of seeking impossible perfection.