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NGV Magazine welcomes in the new year with NGV Triennial 2020, which shares the most ambitious and creative contemporary art, design and architecture and offers a glimpse into the world right now. Through essays, artist interviews, exhibition photographs and insights this issue explores the different ways that creative practitioners question the world as it is, while also asking how it could be in the future. From speculating on the many languages of material to communicate powerful messages, which Myf Doughty explores in Deep Read, to Glenn Adamson’s profile on Faye Toogood and her installation Downtime, 2020, this issue brings into focus the potential of art and exhibitions to be a catalyst for both reflection and change.
‘For me, the exciting dynamic that takes place in art – in its creation – is the desire to have art become life’s energy. Even though, as an artist, you always realise that art can never become life-energy itself, it is about the striving for art to achieve that.’
Jeff Koons interviewed by Tony Ellwood AMDEEP READ Material messages in works by Talin Hazbar, Erez Nevi Pana and Porky Hefer
‘Each designer approaches their practice differently, but all are united by their sensitivity to the embodied meaning and implications in their materials.’
by Myf DoughtyMAKING WITH How Alice Potts creates her biodegradable personal protection equipment masks
‘Sustainability doesn’t just have to be what product we buy but the way we view a material. For me I personally choose to create new materials to show people how amazing nature and our bodies are.’
By Alice PottsDEEP READ Looking skyward: the endless capability of clouds
‘Regardless of age, when we stare at clouds we are forever youthful, that child that looked up in wonder for the first time letting their imagination roam free remains with us. For artists clouds have been this and more: a never-ending source of influence, inspiration and a conceptual launchpad.’
by Dr Vincent AlessiART IN FOCUS Fred Wilson To die upon a kiss 2011
‘In To die upon a kiss, the colour is in a gradient from the clear scrolls, to pewter to a black on the lower arms, prism, pendeloques. The gradient of colour comes to represent the slow ebb of life, the fluid concept of race as well as the hierarchy of societal structures: with white the top layer.’
by Sigourney Jacks and Trude EllingsenDESIGNER SPOTLIGHT Faye Toogood
‘This layering of temporalities is what the whole project is about – that, and the light by which we measure time, a powerful metaphor in the eighteenth century as our own. Though Toogood has too deft a touch to be didactic about it, she is clearly thinking about the Enlightenment, which brought unprecedented lucidity to the world of ideas.’
by Glenn Adamson