Flipping a concept by biologist Stephen Jay Gould that argues for the separation of science and spirituality, Overlapping Magisteria is the second part of ACCA’s biennial exhibition, The Macfarlane Commissions.
Curated by Miriam Kelly and ACCA artistic director Max Delany, the free exhibition features five new works that set out to “unsettle the divide between nature and culture, science and metaphysics.” Informed by sensory information and other forms of gathering knowledge, the ambitious exhibition is on show until March 2021.
Works include a quilt-like hybrid of suspended painting and illuminated sculpture (pictured above) from Paris artist Mimosa Echard, which evoke the body, the layered natural world, as well as the close-knit community of Echard’s small hometown in France.
Brisbane artist (and Yawuru man) Robert Andrew offers an electromechanical system merging basic robotics and traditional ochre- and oxide-dipped tree branches, while Sydney artist Sidney McMahon tackles the processing of loss with a kinetic sculpture informed by both the climate crisis and personal mourning. Meanwhile, Melbourne artist Sam Peterson’s visceral plastic and plasticine interventions ooze from the ACCA building itself, and Melbourne sculptor Isadora Vaughan merges ceramics and cast forms with agricultural and biological materials in a multi-sensory installation.
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