Sometimes, bigger really is better. Sydney Contemporary and MA Financial Group have partnered together to create Amplify, an installation program that showcases large-scale artworks across a variety of media – Australasia’s premier art is back and quite literally larger than life. From moving images to Artificial Intelligence-generated portraits, Amplify is an opportunity to view site-specific and interactive installations. You can check out this exhibition at Carriageworks (Australia) from September 8 to September 11.
This event will present photographer Peta Clancy’s series, Undercurrent, which provides a multi-layered representation on Indigenous Australian history. She captures re-directed waterways in Dja Dja Wurrung country that hide where Indigenous massacres occurred – her images, while deceptively serene, carry the weight of colonialism and intergenerational trauma. A descendant of the Bangerang people from Southeastern Australia, she seeks to reconstruct hidden histories of colonisation in a contemporary setting, drawing attention to what has been lost and forgotten.

Another featured artist is Nadia Hernández, whose work expresses the political climate of her home country and life as a Venezuelan woman. She navigates these nuanced themes with a diverse range of materials and mediums, including textiles, paper constructions and sculptures. Amplify will showcase her wall installation, which uses neon colours and handprints to portray her connection with family and place, which transcends distance and time.

You can also check out Sam Leach’s Automatic Evolution of the Art Audience, an interactive portrait generated by artificial intelligence. His art is inspired by science and philosophy, combining data visualisation and semiotics to generate a simple, clean aesthetic. For this installation, viewers are invited to pose for a photo which will be added to an algorithm to create an ever-changing portrait that will be displayed on a screen.

This year, Sydney Contemporary showcases works from over four hundred and fifty artists from thirty-four countries, presenting over ninety Australian and New Zealand galleries. Amplify is the perfect palace to have fun and see some cool art amidst the enormity of the festival. “The works for Amplify serve as interstices or interruptions, offering moments of curiosity, whimsy, exuberance, respite and reflection,” says curator Annika Kristensen.
Amplify is on view at 245 Wilson Street, Eveleigh NSW (Australia) between September 8 and September 11.
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Nadia Hernández, Con la punta de los dedos (With the tips of your fingers), 2021, installation view, STATION, Sydney. Photo: Document Photography. Courtesy the artist and STATION.
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Taree Mackenzie, Pepper’s ghost, double triangles, red and yellow, 2018, acrylic, foam core, reflective tint, LED’s, mirror ball motor, paint, wood, vinyl. Dimensions variable. Courtesy of the artist and Neon Parc, Melbourne.
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Installation view: Callum Morton, The End #3, 2020, polyurethane, timber, steel, glass, synthetic polymer paint, lights, sound, 240 x 360 x 50 cm. photo: Luis Power, courtesy the artist and Roslyn Oxley9 Gallery, Sydney.
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Vincent Namatjira, The Royal Tour (Diana, Vincent and Charles), 2020, acrylic on linen, 152 x 122cm. Courtesy of the artist, Iwantja Arts and THIS IS NO FANTASY.
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Ramesh Mario Nithiyendran, Mulit Armed Bi Head, 2020 bronze, 180 x 120 x 30 cm. Installation view AGNSW, Photographer Mark Pokorny. Courtesy of the artist and Sullivan+Strumpf, Sydney | Singapore.
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Kenny Pittock, The World’s Gone Pear Shaped, installed at Shepparton Art Museum for White Night 2022. Photo by Kenny Pittock. Courtesy of MARS and the Artist.
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Kathy Temin, Mothering Garden, 2021, synthetic fur, synthetic filling, 250 x 700 x 300 cm. photo: Luis Power. Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.
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Angela Tiatia, Narcissus, 2019, single-channel 2K HD video, 13 minutes 11 seconds, edition of 5 plus 2 artist’s proofs, courtesy the artist and Sullivan+Strumpf, Sydney | Singapore.
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Claire Healy & Sean Cordeiro, ごめんね 素直じゃなくて, GOMEN NE SUNAO JANAKUTE (Sorry, I'm not straightforward), 2021, Yaoi manga paper-machè, 256cm in diameter. Courtesy of the artists and N Smith Gallery, Sydney. Photo: Kichirō Okamura.