Culture

Lillian O’Neil’s collages conjure the split selves associated with female subjectivity, and the sensate experience of departing from linear time.

Martyna Majok’s groundbreaking play Cost of Living exploits the deliciously dark edge of disability humour, giving its characters complexity, while skewering assumptions.

House of the Dragon may be more about share prices than actual storytelling, but it takes a familiar look at the dark side of political power.

Kerrie Poliness’s latest series of geometrical abstractions reveals ecological vulnerabilities while proposing new ways of transferring knowledge.

In an upcoming show for Melbourne’s Now or Never festival, United Visual Artists founder Matt Clark evokes the vertigo of the present moment.

Season three of The Bear is as good as television can be: a mastering of time and emotion, a study of character and success, and the gaps between the two.