Opening March 1, 6pm-8pm
Heavenly Creatures, Coca-Colanised, & We are infinite.
Continuing to April 7

+ March 1, 5:30-6pm, artist introduction to Heavenly Creatures, Coca-Colanized, & We are infinite.
March 14, March 24, March 29, April 7, 1pm-3pm, Collaborative Textile Gathering with Nicole Barakat
+ March 17, 1-3pm, Double Vision special event
+ March 24, 11am-4pm, A day of activities and events for exhibitions Coca-Colanized, & We are infinite.
+ April 7, 12-3pm, Art Crit with March exhibitors including final textile gathering with Nicole Barakat

Gallery 1 :: Heavenly Creatures
Louisa Afoa, Natasha Matila-Smith and Molly Rangiwai-McHale

Heavenly Creatures denotes divine hierarchy. In this exhibition, artists Louisa Afoa, Natasha Matila-Smith and Molly Rangiwai-McHale play with this title, fracturing an authoritative and absolute voice that denotes a purist version of culture. The artists, each from Aotearoa, New Zealand, don’t claim to speak for everyone, but represent three perspectives amongst the many diverse voices of indigenous people. Their works demonstrate that indigenous voices are diverse, complex and unexpected in their positions.  All the while resisting definition by colonial or romanticised pre-colonial standards.  

Gallery 2.1 :: Coca-Colanised
Marikit Santiago

Coca-Colanisation is the term used to describe the globalization of American culture through popular American products such as Coca-Cola. In the context of this exhibition, 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 my dual cultural identities as an Australian with Filipina ethnicity, but also demonstrate the established pattern of colonial benevolence between Australia and the Philippines.

Gallery 2.2 :: We are infinite.
Nicole Barakat

We are infinite. is an exhibition by Nicole Barakat that embodies her reconnection with the diaspora of objects from her ancestral homelands in the South West Asia and North Africa (SWANA) region, held within Western museum collections. To by-pass the gatekeepers and breach the vitrines holding these ancestral objects, Barakat engages with coffee cup divination, dream-work, intuitive listening and conversations with the objects themselves. Her work 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.