Visual Art

The work of Chinese artist Sun Xun explores concepts of time and space, truth and lies – always searching for answers. As the first solo exhibition of his work in Australia opens at the Museum of Contemporary Art in Sydney, he talks about the role of the artist. “We live in a lie, in a big lie system. People should jump out from the lie circle and touch the world. It is the modern world’s problem. Where is the truth? I don’t know. In my art, I want to make people think: ‘Don’t believe our world – it is a big lie.’ I am trying to open the door for people.”

All We Can’t See, an exhibition of works responding to the incident reports published as the Nauru Files, leaves the viewer deliberately overwhelmed in the face of the trauma it interrogates.

French conceptual artist Daniel Buren continues to charm and engage with his quiet, contagious ways of seeing the world in stripes. “My biography is very simple: Daniel Buren. Born 25 March, ’38. Works and lives in situ.”

A year-long curatorial project, involving new work from 52 artists, hosted principally on an Instagram account, raises questions of form and function.

Archibald Prize-winning artist Yvette Coppersmith’s principal subject is herself, in works created with little concession to how they might be perceived by others. “To make a work without an awareness of an audience is virtually impossible, even though I began doing portraits or drawings of faces to hang in my childhood room, and that’s probably what I still want to do. It’s a very private process. It’s really private, actually. It’s only the fact that you’re an artist and part of your role is to share your work.”

Laurie Anderson has been a creative pioneer for decades, working across genre, time and place. Now 71 and still prolific, she continues to push boundaries with virtual reality projects. “You, yourself, your body kind of disappears and you have this incredible freedom to fly and to observe things that you wouldn’t be able to do in your body. So it’s almost like you’re as free as your imagination and you become your own imagination. It’s very, very thrilling.”

Artist Patricia Piccinini’s sculptures of hybrid and transgenic species evoke a future where the environment is dramatically changed by human intervention – whether for better or worse is in the eye of the beholder. “We don’t create for art’s sake, for beauty’s sake. We create to make the world ‘a better place’, but are we actually doing that?”

In the delineated zones of David Capra’s exhibition-cum-installation Sheer Fantasy, the visitor is led to contemplate intersections of time and space.

A visit to the Sydney studio of artist Wendy Sharpe.

As he prepares to take the reins as artistic director of the National Gallery of Australia, Nick Mitzevich talks about a fresh and controversial approach to the nation’s largest art collection. “As a national institution that has a responsibility in leading debate and a cultural agenda, it’s important there is a strong point of view. I don’t mean bias, I mean passion for putting artists at the centre of things.”