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Issue 55 Out Now!
Carol Bove, Rosalie Gascoigne, Lou Hubbard, Susan Jacobs, John Stezaker, Kara Walker, Gaypalani Wanambi, Simon Zoric & more
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VAULT Magazine | Issue 55 is Out Now! What happens when an ordinary object becomes extraordinary? Issue 55 explores the enduring legacy of the readymade, tracing Marcel Duchamp's redefinition of art that continue to reshape contemporary practice today. Order your copy today via the link in bio! Edited by Alison Kubler @alikubie Assisted by Devon Campbell @devon.jaime.campbell With writing by Alison Kubler, Devon Campbell, Robert Leonard, Hugh Magnus, Gina Fairley, Jane O'Sullivan, Andrew Wood, Dr Louise Martin-Chew, Kaylee Watson, Dr Paola Di Trocchio, Oscar Bloomfield, David Walsh, Courtney Kidd, Rob Tuffnell, Peter Hill and Amy Woodroffe. @artwords_126 @kaylee_wats @fairleygina @hugh.lm @sightlined @pditrocchio @courtneyrkidd @oscarbloomfield @robttufnell.__ @amywoodroffe Design & publishing: @haymandesign @artinkaustralia Featured Artists: John Stezaker, Lou Hubbard, Kara Walker, Carol Bove, Susan Jacobs, Gaypalani Wanambi, Rosalie Gascoigne, Simon Zoric, Anne Zahalka, Craig Green, Helen Britton, Isabel Avendaño Hazbún, Marcel Duchamp, Nadia Marychurch & more. #VAULTmagazine #VaultIssue55 #ArtMagazine #ArtPublication #ContemporaryArt @simonzoric @longallery @gagosian @kara_walker_official @lou_hubbard_art @melbournesculpturebiennale @sarahscoutpresents @_susan_jacobs_ @the.renshaws @michaelreidsydney @nationalgalleryaus @craig__green @ngvmelbourne @transformativerepair @usefulobjectsgallery @erubarts @numbulwar @australiandesigncentre @helenbrittonartist @themuseumofmodernart @melbourne_design_week @isabel_avendano_hazbun @nadiamarychurch @mona.phrontisterion @monamuseum @jewishmuseumaus @annezac @arconegallery @ausatvenice @peacefender by @vaultartmagazine
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2 months ago
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#InsideVault55 | ROSALIE GASCOIGNE PLACE ESSENTIAL Written by Courtney Kidd “You’ve got to pull off something in your hand that isn’t in the palm of your hand before you started”, said Rosalie Gascoigne (1917–1999), a pioneering figure in Australian contemporary art. Her answer to the question, “How do landscapes influence the lives of those who live in their midst?” comes alive in her major retrospective at the National Gallery of Australia, arguably revealing her to be one of the finest artists of the 20th century. Gascoigne developed her practice later in life, holding her debut exhibition in 1975 at the age of 57. She quickly rose to national prominence when she went on to represent Australia at the Venice Biennale in 1982... Her ability to reconfigure, at times dismantle and ultimately transform prosaic materials into poetic objects, and to isolate the everyday from its normal context, created a unique art: a kind of readymade. And while the legacy of Duchamp, who coined the term readymade in 1913, tends to underpin much contemporary art discourse, the practice of this New Zealand-born master, who settled in the remote Mount Stromlo area on the outskirts of Kamberri/Canberra for over 20 years before moving into its suburbs, created a far more profound legacy... Get your copy of Issue 55 of Vault today and read the full story! @nationalgalleryaus @bundanontrust Image credits: 1. ROSALIE GASCOIGNE 'Monaro', 1988-89 Art Gallery of Western Australia, Boorloo/Perth, purchased 1989 Courtesy Art Gallery of Western Australia 2. ROSALIE GASCOIGNE 'Chatting up', 1994 National Gallery of Australia, Kamberri/Canberra, gift of Peter Fay 2005 3. ROSALIE GASCOIGNE 'Metropolis', 1999 Art Gallery of New South Wales, Gadigal Nura/Sydney, gift of the artist 1999 Image © Art Gallery of New South Wales 4. ROSALIE GASCOIGNE 'Enamel ware', 1974 Art Gallery of New South Wales, Gadigal Nura/Sydney, purchased 1976 Image © Art Gallery of New South Wales © Rosalie Gascoigne/Copyright Agency by @vaultartmagazine
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10 hours ago
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Izabela Pluta’s ‘Cavitation’ is on at The Lock-Up, Muloobinba/Newcastle until 31 January 2027. Bringing together sculpture, photography, moving image, tapestry and sound, Pluta explores how water, migration and shifting geographies shape our understanding of place and belonging. Moving between the coastline of Newcastle and the Baltic waterways surrounding Szczecin, Poland, the exhibition traces the movement of people and materials through fractured maps, oceanic currents and unstable systems of orientation. Drawing on the remnants of a concrete relief map destroyed by a storm at Newcastle’s Canoe Pool, alongside underwater recordings and collaborations with ocean scientists, Pluta considers how landscapes are shaped by loss, displacement and the forces that exceed our attempts to map them. A major new tapestry incorporates solar data recorded on the day of her departure from Poland in 1986, connecting personal history with planetary movement and the passage of time. During New Annual 2026, Pluta’s project extends beyond the gallery through ‘Cavitation: Breathing Ocean’, an interactive floating installation at Newcastle Canoe Pool, made from marine floats carried across vast distances by ocean currents. Together, the works imagine alternative ways of mapping the world, shaped by movement, ecology and the interconnected histories held by water. Follow @izabelapluta__studio and @thelockupartspace for more info. #izabelapluta #cavitation #thelockup #newcastleart #newannual #contemporaryart #australianart #installationart #soundart #textileart #oceanart #migrationandart Image credits: Exhibition view, Izabela Pluta, Cavitation, 25 September - 31 January 2027, The Lock-Up, Muloobinba/Newcastle. Courtesy the artist and Gallery Sally Dan-Cuthbert. Photography by Edwina Richards. by @vaultartmagazine
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a day ago
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Jemima Lucas’ ‘To drink and drown in pools of ourselves’ is on at Passage, Eora/Sydney until 18 December 2026. For her largest work to date, Lucas transforms the gallery into a network of suspended forms, storm drains, green liquid and moving machinery. A spike pierces a suspended form, sending liquid through drains laid across the gallery floor, while a propeller turns elsewhere in the space. Drawing on the systems that quietly support urban life, Lucas brings mechanisms of circulation, extraction and waste into view, asking what happens when structures designed to carry, expel and move are removed from their usual settings. The point of injury becomes part of the system’s functioning, holding together the possibility of a body bleeding out and a body finding a way to survive. Through this unstable network, Lucas considers how contact changes the things it joins, and whether they can ever return to what they were before. Follow @passagegallery_ and @jemima_lucas for more info. #jemimalucas #todrinkanddrowninpools ofourselves #passagegallery #sydneyart #contemporaryart #installationart #australianart #sculpture #contemporarysculpture by @vaultartmagazine
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2 days ago
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#VAULTEXTRAS | Hey Siri, What is Act Natural? On Robin F. Williams’ Latest Show Written by Georgia Musumeci Robin F. Williams is a Brooklyn-based artist whose works test the limits of language, gender, agency and reality. Following recent shows in New York, Tokyo and Mexico City, Act Natural marks their first solo exhibition in the UK. Oxymoronic by design, the title connects seemingly distant topics like theology and thirst traps to then ask where nature rests in a self-contradicting, techno-futurist society. That is, after all, where we seem to be headed. Politicians diversify their portfolios through meta-bots and ‘looksmaxxers’ before condemning the queer body for being unnatural, and I failed to dodge a pile of lawn bindis while telling an internet troll to go touch some grass. But the more liminal, debatable or downright baffling a subject, the more keen Williams seems on trying to paint it. Read the full article on our website now! Link in bio! Act Natural is at Frieze’s No.9 Cork Street in London until October 24, 2026. Robin F. Williams is represented by P·P·O·W, New York @robinfrancescawilliams @ppowgallery @bygeorgiamusumeci #VAULTMagazine #RobinFWilliams #ContemporaryArt #FigurativePainting #ArtAndTechnology #frieze Image credit: 1. Portrait of Robin F. Williams, 2026. Photo by Alejandro Jassan Studio 3. Robin F. Williams, 'Language Model', 2026, oil on canvas, 60 x 54 ins 5. Robin F. Williams, 'Infinite Scroll;, 2026, acrylic and oil on canvas, 42 x 44ins 6. Robin F. Williams, 'Merminator', 2026, oil on linen, 60 x 40 ins 3-6. Photo: Ian Edquist. Courtesy of Robin F. Williams and P·P·O·W, New York © Robin F. Williams by @vaultartmagazine
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3 days ago
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Alison Kuo’s ‘A flame latches to a bit of straw 薪火相傳’ premieres at the New Museum, New York from 22 to 24 October 2026. Drawing on the 400 year old traditions of Cantonese opera, Kuo brings together opera professionals, artists, mentors and local musicians for a performance exploring cultural inheritance, migration and belonging. Developed during her residency at the New Museum, the work combines live performance with sculptural sets and costumes made in the Museum’s artist studio using materials sourced from Manhattan’s Chinatown. Moving between operatic narratives of epic journeys, loss and reunion, the performance connects traditional stories with the lived experiences of Chinese American communities and Kuo’s own family history. Its title, a Chinese idiom evoking a flame passed from one generation to the next, speaks to the resilience of culture as it travels across generations and continents. In a final gesture of connection, performers sing Vera Lynn’s ‘We’ll Meet Again’ in Cantonese, transforming a familiar song into a reflection on separation, translation and the possibility of reunion. Performances run 22 to 24 October, with evening sessions on Thursday and Friday and an afternoon performance on Saturday. Follow @newmuseum and @kuoskies for more info. #alisonkuo #newmuseum #newyorkart #performanceart #cantoneseopera #contemporaryart #chineseamericanculture #diasporaart #liveperformance #artistresidency Image credit: Photo: Tommy Kha by @vaultartmagazine
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4 days ago
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Renée Estée’s ‘One for Sorrow, Two for Joy’ is on at COMA Gallery, Gadigal Country/Sydney until 14 November 2026. Drawing its title from the traditional magpie counting rhyme, Estée’s new paintings explore the human impulse to find meaning in chance encounters, coincidence and the everyday signs that seem to point towards something greater. Drawing on folklore, ritual and inherited superstition, the works consider how we transform uncertainty into stories, searching for patterns that might help us make sense of the world around us. For Estée, these signs can appear in the smallest of moments, from a butterfly entering the studio to the sight of a particular bird. This search for meaning extends into her painting process, where intuition and chance become entangled in the act of making. Across the works, the ordinary takes on an unexpected significance, revealing how belief, imagination and the stories we inherit shape our experience of the unknown. Follow @reneeestee and @comagallery for more info. #reneeestee #oneforsorrowtwoforjoy #comagallery #sydneyart #contemporaryart #australianart #contemporarypainting #painting #folklore #oneforsorrowtwoforjoy Image credit: Installation view, Renée Estée, 'One for Sorrow, Two for Joy', 2026. Photo: Jessica Maurer Courtesy of the artist and COMA by @vaultartmagazine
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5 days ago
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ON SHOW THIS WEEK! Discover the latest exhibitions opening across galleries this week, featuring new works, fresh perspectives and exciting projects from artists across Australia and beyond. 1. @arthousegallery 2. @bettgallery @janeburton Jane Burton, 'Nightwood 2', 2026, archival pigment print, 85 × 85 cm. Image courtesy Bett Gallery, Hobart. 3. @otomys Installation view, 'Vantage Point', 2026. Featuring Helen Redmond. Photo: Leif Prenzlau 4. @longallery Jeremy Eaton, 'Monkey Trick' (detail), 2026 5. @gallerylnl Featuring the work of Kevin White 6. @sophiegannongallery @paul___davies Paul Davies, 'Mid afternoon light', 2026 7. @saint_cloche @fionabarrettclark 8. @sandersoncontemporaryart @karyntaylorartist Karyn Taylor, 'Seismic', 2026 9. @neon_parc @dalefrankstudio Dale Frank, 'Jennifer a high school English teacher, had sex in her apartment after class with most of the 15 year old boys because she said they reminded her of her father, how she hated her father, hated her father cooking spagbol every Friday night', 2026. Transparent dyes in Easycast, Epoxyglass, 200 x 200 cm. Submit your exhibition for our weekly calendar | Link in bio! #VAULTMagazine #ContemporaryArt #ArtExhibitions #AustralianArt #GalleryOpenings #WhatsOn #whatsonmelbourne #whatsonsydney #whatsonbrisbane #whatsongoldcoast #whatsonqueensland #whatsonvictoria #whatsonaotearoa #whatsonnewzealand by @vaultartmagazine
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6 days ago
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Melbourne Sculpture Biennale 2026: Soft Systems is on at Billilla Mansion, Boonwurrung Country/Brighton from 8 to 25 October 2026 Open Thursday to Sunday, 11am to 5pm. Entry is free. Bringing together twenty artists working across sculpture, installation and site responsive practice, the second edition of Melbourne Sculpture Biennale explores the interconnected systems shaping our contemporary world. Presented within the historic surrounds of Billilla Mansion, the exhibition features new works created in response to the site, considering how social, cultural and environmental systems shape the ways we live and relate to one another. With a focus on critically engaged contemporary sculptural practice, ‘Soft Systems’ offers a timely exploration of the relationships between people, culture and the environment. Alongside the exhibition, a program of free public events and special activities invites audiences to engage with sculpture and the historic site in new ways. Follow @melbournesculpturebiennale for more info. #melbournesculpturebiennale #msb26 #melbourneart #sculpture #contemporarysculpture contemporaryart australianart installationart publicart brighton by @vaultartmagazine
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7 days ago
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#InsideVault55 | MONA PHRONTISTERION Written by David Walsh “I have always imagined that Paradise will be a kind of library.” Jorge Luis Borges Just before Mona opened, Kirsha Kaechele, now my wife, moved to Hobart. That pretty well wrenched my heart in 2. I was obsessed by Kirsha, and I was obsessed by every detail of my forthcoming museum. Since then I’ve done other stuff (and Kirsha has done a whole lot more) – we’ve extended the museum, and fiddled with festivals, and generally meddled with stuff that was fine before we meddled. And, seemingly in an effort to abandon all rationality and fiscal responsibility, we opened Elektra, the grand Kiefer celebration that sits atop and within the building that you will hopefully soon be standing in... ... and that building is the Phrontisterion, the library I’ve been fantasising about since before I built Mona. For a long time I lived in a big house, and that big house was not decorated with art. I had plenty of art, but it was mostly in a warehouse. On the walls of my house I had documents. Darwin and Dickens, and Bowie and The Beatles, and Marconi and Monroe, and Newton and Einstein, and Stanley and Livingstone. People I admired. Names that I would like to drop (and am dropping). Also on my wall: maps. A lovely 1658 Nicolaes Visscher map of the world. That gave me a good giggle once. I was in a map shop and a copy of that map was being sold for about 50 bucks. I said to my mate, “I’ve got that map”. The proprietor overheard, and interjected, “It’s very popular. We’ve sold quite a few.” So why is Mona an art museum, not a library? ... Get your copy of Issue 55 of Vault today and read the full story! @monamuseum @mona.phrontisterion Image credits: 1. top to bottom, ANSELM KIEFER, 'Elektra', 2025 (above) and Phrontisterion (below) MATTHEW BARNEY, 'Rouge Battery', 2014 3. top to bottom, Children’s Library Phrontisterion, 2025 Phrontisterion, 2025 Photo: Mona/Jesse Hunniford Courtesy the Museum of Old and New Art, Nipaluna/Hobart by @vaultartmagazine
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7 days ago
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Tala Madani’s ‘Control X’ is on at David Kordansky Gallery, Los Angeles until 24 October 2026. Bringing together new paintings and video animations, Madani explores what happens when people, symbols and environments are subjected to forces that break them down and reform them. Across the works, acts of making and destroying become intertwined, tracing the fine lines between creation and destruction in art, language, history and human relationships. A new series of mountain portraits transforms once human subjects into imposing features of the landscape, playing with the failure of portraiture to capture the scale of powerful figures. Alongside these paintings, the video animation ‘Alphabet City’ follows letters breaking free from the confines of books and beginning to construct their own world, eventually turning their power towards the humans around them. Through humour and critique, Madani considers how social codes are created, erased and rewritten, and what happens when systems of power begin to escape their intended boundaries. Follow @davidkordanskygallery and @talamadani for more info. #talamadani #controlx #davidkordanskygallery #losangelesart #contemporaryart #contemporarypainting #painting #videoart #animation #movingimageart Image credit: Installation view, 'Tala Madani: Control X', September 18 – October 24, 2026, David Kordansky Gallery, Los Angeles. Photo: Jeff McLane. Courtesy of David Kordansky Gallery. by @vaultartmagazine
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8 days ago
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‘The 90s: Art and Fashion’ is on at Tate Britain, London until 14 February 2027. Bringing together more than 100 paintings, photographs, sculptures and garments by almost 70 artists, photographers and designers, the exhibition looks at the creative energy that transformed British culture during the 1990s. From the DIY aesthetics of grunge and the rise of the Young British Artists to Alexander McQueen’s theatrical designs, the decade emerges as a period of experimentation, optimism and uncertainty. Photography, film, fashion and art come together across the exhibition, moving from the underground worlds of acid house, jungle, hip hop, drum and bass and queer club culture to questions of identity, class, race, representation and the ongoing impact of the AIDS crisis. Works by Tracey Emin, Sarah Lucas, Damien Hirst, Steve McQueen, Chris Ofili, Yinka Shonibare, Vivienne Westwood and many others reveal a decade negotiating Britain’s past while imagining what might come next. Follow @tate for more info. #the90sartandfashion #tatebritain #tate #londonart #britishart #britishfashion #1990s #contemporaryart #artandfashion #photography #fashionexhibition Image credit: Installation view, ‘The 90s: Art and Fashion’ is on at Tate Britain, London, 2026. Photo © Tate (Lucy Green) by @vaultartmagazine
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11 days ago
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