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In December 2020, National Gallery of Victoria unveiled it’s free, large-scale exhibition NGV Triennial 2020, presenting 86 works by over 100 local and international artists, designers and collectives, taking over the entire NGV International building until 18 April 2021.

The second instalment of NGV Triennial explores some of the most globally relevant and pressing issues of our time including isolation, conservation and speculation for the future, illuminating the concerns that preoccupy the thoughts of the artists, designers and architects of today.

Related: A Celebration of the Finest Australian Interior Design at NGV’s Rigg Design Prize.

Installation view of Daniel Arsham’s work Hidden figure 2020 on display at NGV Triennial 2020 from 19 December 2020 – 18 April 2021 at NGV International, Melbourne © Courtesy the artist and Perrotin Gallery. Photo: Sean Fennessy.

Installation view of Alicja Kwade’s work WeltenLinie 2020 on display in NGV Triennial 2020 from 19 December 2020 – 18 April 2021 at NGV International, Melbourne © Alicja Kwade, courtesy König Galerie, Berlin. Photo: Tom Ross.

 

Installation view of Refik Anadol Quantum Memories 2020 on display in NGV Triennial 2020 from 19 December 2020–18 April 2021 at NGV International, Melbourne © Refik Anadol. Photo: Tom Ross.

Offering a visually arresting and thought-provoking view of the world at this unique moment, exhibition highlights include an entire floor dedicated to works concerning light and illumination presented in dialogue with the NGV’s historical collection; a monumental video work by Refik Anadol spanning 10 metres high and wide, which uses artificial intelligence (AI), machine learning and quantum computing to visualise our digitised memories of nature; and a larger-than-life mirror-polished sculpture of Venus, Roman goddess of love, by American artist Jeff Koons.

Further highlights include a comprehensive display of works by Yolngu woman Dhambit Mununggurr, the first Yolngu artist working at Buku-Larrnggay Mulka Centre to depict Country in signature shades of acrylic blue paint. Comprising 15 large-scale single sheet bark paintings and nine larrakitj (hollow poles), some of which stand more than three metres high, the works have all been painted with the artist’s non-preferred left hand after a car accident left her with limited mobility.

Installation view of Dhambit Mununggurr’s installation Can we all have a happy life 2019–20 on display in NGV Triennial 2020 from 19 December 2020 – 18 April 2021 at NGV International, Melbourne © Dhambit Munuŋgurr, courtesy Salon Indigenous Art Projects, Darwin. Photo: Sean Fennessy.

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