VCA ART 2020

Laura Castagnini

Desire filtered through technology, uncomfortable conversations about race, creative ways to navigate intimacy and loneliness. This selection of artworks echoes my own experience of the pandemic while also reflecting the way issues of care, the body and identity politics have been radically transformed by artists during Covid-19.

RIP Kate Daw, who was truly a delight to work with on the VCA grad shows during my time at the Gallery (2011-13). I'm sure all will agree that this year's simply isn't the same without you.

Luigi Vescio, the year we didn't work together, single-channel video and sound, 2020
Shonelle Conn, Corona Couture, Panasonic Flatscreen Monitor (49 inches), encased in pink fur, video work via Tik Tok
Lia Dewey Morgan, Bath Songs, pdf, 2020
Samuel Nugent, Whip, leather bullwhip, heritage architecture, 2020. Documentation by Edward Dean.
Ebony Hickey, Mother, posca, sharpie, texta, 2020
Nisha Hunter, My Memories Are Yellow, single-channel digital video, 2020
Jarrah Storey, Body Line, two channel colour video, 2 minutes 53 seconds, satin acrylic sheet, steel rigging, 2020. Documentation by Lucy Foster.

Laura Castagnini is an Australian curator and writer whose research interests lie at the intersections between feminism, performance, video and the politics of race in modern and contemporary art. She is currently Assistant Curator, Modern and Contemporary British Art at Tate, where she has curated monographic displays on Lubaina Himid and Liliane Lijn as well as assisted on major exhibitions including Frank Bowling and All too Human: Bacon, Freud and a Century of Painting Life. She previously worked as Programme Coordinator at Iniva (Institute of International Visual Arts) and, prior to moving to London, in various roles in Melbourne including at VCA's Margaret Lawrence Gallery where she curated the exhibition Backflip: Feminism and Humour in Contemporary Art in 2013 and co-edited the book Bureau 2 (with Vikki McInnes).

← Tours

We acknowledge and pay respect to the Traditional Owners of the lands upon which our campus is situated, the people of the Boon Wurrung and Woi Wurrung, who have created art, made music and told their stories here for thousands of generations. We also acknowledge and extend our respect to the Traditional Owners of all lands on which our work is viewed, shared and enjoyed, and to all Elders, past, present and emerging.

This website may contain sensitive or triggering content