BEYOND

Harnessing the monumental exhibition spaces within the Melbourne Convention and Exhibition Centre, BEYOND presents three large-scale installations and spatial interventions from leading contemporary artists. Melbourne Art Foundation supports the sector by providing a monetary grant to participating galleries.

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@melbourneartfair

Kien Situ presents 𝘏𝘖𝘓𝘖𝘊𝘌𝘕𝘌, his first solo exhibition with @nasha.au (Gadigal Country/Sydney), currently exhibiting until 27 April.

The term HOLOCENE (pron. ‘hollow-scene’) designates our current geologic epoch since the end of the last major glacial period - one marked profoundly by human presence yet overshadowed by deeper geological time. This exhibition examines looming convergence points of constructed civilisation and planetary erosion - emphasising the inherent instability of form, space and environment, foregrounding materials and methodologies emblematic of both ruin and resilience.

@kiensitu
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Images:
1. Kien Situ, HOLOCENE, exhibition view, Nasha Gallery.
2. Kien Situ, Form and Fraction, 2025, Chinese Mo ink, gypsum cement, titanium and incense ash, 120 x 40 x 8 cm; 47 ¼ x 15 ¾ x 3 in.

Pictured: Edwina McLennan's presentation with @th

Pictured: Edwina McLennan's presentation with @the.renshaws (Meanjin/Brisbane), at Melbourne Art Fair 2024.

Swipe to discover some of Edwina's new work, as part of 𝘛𝘩𝘦 𝘌𝘯𝘪𝘨𝘮𝘢 𝘰𝘧 𝘢 𝘋𝘢𝘺, her solo exhibition currently showing at @the.renshaws until 23 April. Drawing inspiration from Giorgio de Chirico’s metaphysical paintings, Edwina McLennan creates multi-layered narratives that mirror our fragmented, contemporary existence. McLennan delves into the spaces where reality, dreams, and desire intertwine, inviting a deep exploration of identity and perception.

@edwinamclennan
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Images:
1. Melbourne Art Fair 2024. Photo: Griffin Simm.
2,4. Edwina McLennan, 𝘛𝘩𝘦 𝘌𝘯𝘪𝘨𝘮𝘢 𝘰𝘧 𝘢 𝘋𝘢𝘺, exhibition view, The Renshaws' (Meanjin/Brisbane).
3. Edwina McLennan, Synergy, 2025, acrylic and sublimation dye print on velvet and sequins, thread, interfacing. Framed, 1360 h x 1040 w mm.

@alcaston_gallery (Naarm/Melbourne) presents Nelli

@alcaston_gallery (Naarm/Melbourne) presents Nellie Ngampa Coulthard's 𝘒𝘶𝘳𝘶𝘯𝘱𝘢 𝘕𝘺𝘢𝘯𝘵𝘶𝘭𝘺𝘱𝘢 – 𝘊𝘢𝘭𝘮 until 26 April, following her $50,000 Len Fox Painting Award win in 2024.

Coulthard’s captivating paintings of Yankunytjatjara Country, near Oodnadatta in South Australia, are imbued with deep sentimentality. In a rich palette of blushed pinks, purples, and golden oranges, her work reflects her profound connection to the landscapes and flora of her childhood.

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@castlemaineartmuseum
Images:
1. Nellie Ngampa Coulthard. Tjuntala Ngurangka - Country with Wattle (Acacia Murrayana), 2024 (AK23589), synthetic polymer paint on linen, 152 x 122 cm.
2. Nellie Ngampa Coulthard. Installation view, 2025. Installation Photography by Simon Strong.

Opening tonight 5-7PM 📣 𝘚𝘩𝘦 𝘗𝘢𝘪𝘯𝘵𝘴 𝘏𝘦𝘳 at @marsgallery (Naarm/Melbourne)

As subject matter, women have long been subject to a male interpretation of the female form. Capturing the eyes and minds of artists, from drawers to sculptors, and especially painters, the woman has historically existed only as muse.

Redefining the image of the woman, twelve emerging to established artists are developing new ways to communicate womanhood through their practices of painting, sculpting and etching. From Dani McKenzie’s meditations on the stranger to Jacqui Stockdale’s evocative symbolism, 𝘚𝘩𝘦 𝘗𝘢𝘪𝘯𝘵𝘴 𝘏𝘦𝘳 challenges the history of the woman as only ‘subject’, and celebrates the women painting women.

Featuring works by:
Alissa Brooke Lamb, Grace Cram, Nicola Higgins, Jacqueline Hennessy, Dani McKenzie, Georgina Mills, Sophia Hewson, Jessica Murtagh, Saffron Newey, Jacqui Stockdale, Lily Walker and Prudence Wilkinson.

@dani_mckenzie_ @jacquistockdale
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Images:
1. Dani McKenzie, 𝘎𝘪𝘳𝘭𝘴, 2025, oil and acrylic on board (framed), 52cm x 60cm. Courtesy the artist and MARS Gallery.
2. Jacqui Stockdale, 𝘛𝘰 𝘙𝘪𝘥𝘦 𝘢 𝘊𝘰𝘤𝘬 𝘏𝘰𝘳𝘴𝘦 2, 2024, watercolour on paper, 38 x 28cm. Courtesy the artist and MARS Gallery.

Currently exhibiting at @1301sw_au's Gadigal Count

Currently exhibiting at @1301sw_au's Gadigal Country/Sydney space until 10 May, a striking solo show by acclaimed photographer and artist @fionapardington.

Each carefully curated composition in this exhibition draws from a personal lexicon of meanings: found objects and rediscovered family heirlooms that speak directly to Pardington’s whakapapa/genealogy, or native and invasive botanical species that carry the weight of colonialism. Objects once associated with death and absence are reanimated with reverence and care, their individual histories revealed through the precise arrangement of the photograph, a practice of breathing life back into that which might otherwise fade into obscurity.

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Images:
1. Fiona Pardington, 𝘍𝘦𝘮𝘢𝘭𝘦 𝘏𝘶𝘪𝘢, 𝘊𝘢𝘯𝘵𝘦𝘳𝘣𝘶𝘳𝘺 𝘔𝘶𝘴𝘦𝘶𝘮, 2022, inkjet print on Hahnemühle paper, 158.2 x 122.2 x 4.2 cm (framed), 146 x 110 cm (image size), edition of 10 + 1AP.
2. Fiona Pardington, 𝘗𝘭𝘢𝘴𝘵𝘪𝘤 𝘚𝘺𝘳𝘪𝘯𝘨𝘦𝘴 𝘢𝘯𝘥 𝘉𝘰𝘵𝘵𝘭𝘦𝘴 𝘸𝘪𝘵𝘩 𝘉𝘶𝘣𝘣𝘭𝘦𝘴, 𝘙𝘪𝘱𝘪𝘳𝘰, 2013, inkjet on Hahnemühle paper, 122.2 x 158.2 x 4.2 cm (framed), 110 x 146 cm (image size), edition of 10 + 1AP.

Jon Campbell, 𝘚𝘢𝘮 𝘒𝘦𝘳𝘳'𝘴 𝘓𝘦𝘧𝘵 𝘊𝘢𝘭𝘧, 2024, acrylic paint, linen, 180 x 120cm. Currently on view at his exhibition, 𝘊𝘩𝘪𝘱𝘱𝘪𝘯 𝘈𝘸𝘢𝘺 at @darrenknightgallery (Gadigal Country/Sydney) until this Saturday, 12 April.

Taking inspiration from pop songs, commercial signage, the nightly news, barbecue conversations and street slang, @joncampbellart's works reflect on our cultural climate as a nation. ‘I’ve always been interested in things around me, the local, Australiana, language and rock n roll. I try to represent the overlooked and undervalued. It’s a questioning and celebration of who we are’.

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Images:
1. Jon Campbell, 𝘚𝘢𝘮 𝘒𝘦𝘳𝘳'𝘴 𝘓𝘦𝘧𝘵 𝘊𝘢𝘭𝘧, 2024, acrylic paint, linen, 180 x 120cm.
2. Jon Campbell, 𝘊𝘩𝘪𝘱𝘱𝘪𝘯 𝘈𝘸𝘢𝘺, exhibition view, Darren Knight Gallery (Gadigal Country/Sydney).

In 𝘊𝘩𝘢𝘰𝘴 𝘣𝘦𝘤𝘰𝘮𝘦𝘴 𝘙𝘩𝘺𝘵𝘩𝘮, presented by @futures_gallery (Naarm/Melbourne), repetitions appear in works spanning sculpture, painting, photography, and the digital, a means of achieving visual symphonies where time is stretched and deepened. Yet simmering below surfaces are narratives from the historical, natural, theoretical, to the mythical – palimpsest-like in concept or process. Formalism and subject grind up together creating spaces of mystery, opaqueness and revelations.

Open until 12 April, 𝘊𝘩𝘢𝘰𝘴 𝘣𝘦𝘤𝘰𝘮𝘦𝘴 𝘙𝘩𝘺𝘵𝘩𝘮 features works by Naomi Eller, Matthew Harris, Hootan Heydari, Nina Gilbert, Sam Martin, Jordan Mitchell-Fletcher, and Andy Thomas.

@matthewharris___ @hootan_heydari @nina_____gilbert @s_a_m_m_a_r_t_i_n @jordanm_f
@andythomasartist

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Images:
1. Naomi Eller, 𝘛𝘩𝘦 𝘢𝘤𝘵 𝘰𝘧 𝘳𝘦𝘱𝘦𝘵𝘪𝘵𝘪𝘰𝘯 𝘐, 2022, Ink, clay, wax, fixative, 53 x 39 cm.
2. 𝘊𝘩𝘢𝘰𝘴 𝘣𝘦𝘤𝘰𝘮𝘦𝘴 𝘙𝘩𝘺𝘵𝘩𝘮, installation view, FUTURES.

In 𝘖𝘳𝘨𝘢𝘯𝘴, Bronwyn Hack elaborat

In 𝘖𝘳𝘨𝘢𝘯𝘴, Bronwyn Hack elaborates on her representation of body parts in both sculpture and painting. Through textiles, she creates soft sculpture representations of organs, preferencing the heart. The organs combine a highly unusual approach to self-portraiture, with a decorative celebration of what is normally unseen. Elaborately embellishing each piece with brightly coloured threads, faux fur, beads, and sequins, she adds a playful, tactile quality to the work.

𝘖𝘳𝘨𝘢𝘯𝘴 is currently exhibiting at @dainesinger (Naarm/Melbourne) until 26 April, and is presented in collaboration with @artsprojectaust (Naarm/Melbourne).

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Images:
Bronwyn Hack, 𝘖𝘳𝘨𝘢𝘯𝘴, exhibition view, Daine Singer. Photo: Nicholas Mahady.