Sullivan+Strumpf

We are thrilled to share with you Tony Albert's special limited edition blind box monograph with a resin sculpture, now available for pre-order on our shop at the link in bio. In the lead up to 'Not a Souvenir'–Tony Albert’s major survey exhibition opening at the Museum of Contemporary Art Australia in May, this 400 page monograph celebrates an artist, curator and cultural leader whose work reshapes how we see Aboriginal identity, urging a more honest and hopeful vision of Australia's past and future. In an edition of 200, each book is presented in a clamshell case with a resin 'Not a Souvenir' sculpture in various colour pairings, selected randomly - no two will be the same. Which one will you get? Edited by Liz Nowell with essays by leading curators and writers and designed with bold, graphic flair. With a foreword by Warwick Thornton, contributors include Suzanne Cotter, Bruce Johnson McLean, Liz Nowell, Daniel Browning, Kimberley Moulton, Tamsin Hong and Warraba Wetherall. Published by Thames & Hudson @tonyalbert @thamesanddudsonau @mca_australia Pictured: Tony Albert with 'Not a Souvenir' special edition monograph, 2026. Photography Phillip Huynh.

“I have extended my interests in figuration by considering the archetypical form of the vessel as a locus for creative, personal and philosophical exploration,”– Ramesh Mario Nithiyendran on his current exhibition 'Liquid Vessels'. Experience Nithiyendran's animated, layered and mesmerising new works at the Naarm/Melbourne gallery until 06 June 2026, or view the works online via the link in bio. @ramesh__mario Pictured: Ramesh Mario Nithiyendran, 'Liquid Vessel 10', 2026; 'Liquid Vessel 11', 2026; 'Liquid Vessel 3', 2026; 'Liquid Vessel 1', 2026. Photography Phillip Huynh.

First Look: Our Magazine Online 📖   Experience Sullivan+Strumpf’s magazine through our new online editorial platform, now live.   Explore in-depth artist interviews, exhibition previews, and coverage shaping contemporary practice. Each issue offers meaningful insight into the ideas driving today’s most compelling work, bringing together voices from across the Australasian arts landscape.   Ready to explore? Our latest issue is live, visit the link in bio.   May/Jun/Jul 2026 features Tony Albert, Natalya Hughes, Ramesh Mario Nithiyendran, eX de Medici, Eko Bintang, Lindy Lee, Marion Abrahan, Sis Cowie, Glenn Barkley, Ella Wijt, and a last word with Emily Rolfe.   Thanks to our writers: Suzanne Cotter, Sal Edwards, Dr Edwin Coomasaru, Deborah Clarke, Oliver Giles, Liz Chang, Kelly Nerae, Cameron Hurst, Glenn Barkley, Nadya Wang, Verity Lees and Amelia Koen.   Hard-copy editions available in galleries and online. Designed by our friends @more__studio

We invite you to register your interest in eX de Medici’s forthcoming exhibition ‘Original Sin’, opening at Sullivan+Strumpf Gadigal/Sydney on May 28th.   ‘Original Sin’ presents a profound new body of work that explores contemporary urgencies through paintings of extraordinary precision and symbolic depth. A number of paintings in the exhibition feature elegant Chinese calligraphy, inscribed in collaboration with the artist Wu Wei Rong, further enriches the visual language of these captivating paintings.   At the heart of the exhibition is the monumental six-panel work, ‘Golden Land’. On first glance, this painting has the allure of a grand Chinese painted screen, with exquisite cloud forms floating across a luminous gold ground. However, a closer look reveals a darker truth - the clouds bristle with a variety of horrors: a nest of snakes, rains of arrows, and an arsenal of state-of-the-art machinery of war. The sky contains the threat of things to come, as the darkening clouds signal mankind’s relentless war against itself and all living things.   ‘Golden Land’ is a searing, unambiguous indictment of our contemporary condition, exemplifying de Medici’s ability to create works of beauty that confront the urgent realities of our time.   Register your interest to receive a preview of this significant exhibition at the link in bio.   Pictured: eX de Medici, ‘Golden Land’, 2025, oil on wood panel, 200 x 300 cm, six 100 x 100 cm panels.

How do we remember, give justice to and rewrite complex histories? Across painting, photography, sculpture and installation, Tony Albert transforms the visual language of colonisation, turning objects of prejudice into symbols of resistance, resilience and pride. Tony Albert: Not a Souvenir is the most comprehensive publication on the artist to date. Edited by Liz Nowell with essays by leading curators and writers, this beautifully designed monograph is a must-have for anyone who wants the full force of Tony Albert's vision on their shelf. Available now online and in stores. Photography by Phillip Huynh.

1 week to go until Tony Albert's 'Not a Souvenir' opens at the Museum of Contemporary Art Australia on the 21 May! Featured in this major survey exhibition are works from Albert's 'You Wreck Me' series, in which Tony Albert assumes the role of a trickster. An archetypal character, featured throughout folklore, religion, and mythology, tricksters use their charm and cunning intellect to teach laypeople important morals and life lessons. Drawing inspiration from this historical trope, Albert’s trickster explores the complexity of memorialisation and nationalism through the lens of parody. – text by Liz Nowell, 2020 The exhibition monograph and special limited edition version, is available now via the link in bio. Opening week features events with artist @tonyalbert (Girramay, Yidinji and Kuku Yalanji peoples) and curator @brucejohnsonmclean (Wierdi people). Curator tour with Bruce Johnson McLean Thursday, 21 May, 6 – 6.30 PM Mindi Weaving Workshop with artist @erica_muriata Saturday 23 May, 11 AM – 1 PM In conversation with Tony Albert and Bruce Johnson McLean Saturday 23 May, 2 – 3 PM Book launch: Not a Souvenir with Tony Albert Saturday 23 May, 3.30 – 4.45 PM @tonyalbert @mca_australia @thamesanddudsonau @mca_australia Pictured: Tony Albert, 'You Wreck Me series', 2020, printed photographs and vintage Captain Cook ephemera on archival paper sheet, 38 x 57 cm (framed)

Now on view: Angela Tiatia’s single-channel video ‘Lick’ (2015), is now on view at Caboolture Regional Art Gallery for their collection exhibition ‘Like Yesterday’. The exhibition will be on view until 13 June 2026. ‘Lick’ (2015) records a performance by the artist in a single take from a fixed camera position. Filmed underwater in the ocean, the video shows Tiatia’s partially submerged body as she attempts to maintain a foothold on the seabed. Light plays seductively off the surface of the turquoise water, fish swim by, and we hear the ambient sound of the pulsing waves. The artist flexes and flails as she resists the incoming tide but is eventually overpowered by its force and floats out of view. “The representation of the female body is such a strong theme in my work, and it has always been so present. For me, it’s about straddling these two worlds [of Western and Samoan culture]” – Angela Tiatia @angelatiatia @moretonbay_galleriesandmuseums Pictured: Angela Tiatia, 'Lick', 2015, installation view, Caboolture Regional Gallery. Photography Louis Lim.

BIG BIG small small A Sound + Sculpture Performance by Joanna Dong, Chok Kerong and Dawn Ng Set in a black box theatre, BIG BIG small small is an immersive 40-minute work weaving music, spoken word and sculpture. Created by performer Joanna Dong, composer Chok Kerong and visual artist Dawn Ng, it explores our relationship with the cosmos, the self and others, in the brief timespan of a single human life. Featuring compositions in English and Mandarin Tickets at yourtessera.com/e/bigbigsmallsmall (link in bio) 6 & 7 June 2026 2pm · 4pm · 7pm · 9pm SOTA Studio Theatre, School of the Arts Singapore S$48 early bird · S$56 regular (excl. booking fee) Approx. 40 minutes Limited to 50 audience members per show. Not recommended for audiences below the age of 10. Video: @juupmedia

"To 'lean': to deviate or cast one's weight; to rely on for support or inspiration; to incline in opinion, taste or desire." Curator Sal Edwards reflects on the layers of meaning behind Natalya Hughes' new body of work, noting how "each implies movement, shifting from one state to another. All carry a small sense of risk, a shade of insouciance, or a wink." Discover the influences and investigations behind Hughes' major solo exhibition 'The Lean' through the detailed exhibition text in our online viewing room (link in bio). Experience these immersive, large-scale paintings in person at our Gadigal/Sydney gallery until 17 May, or explore the works online now. @nattywhos @saljedwards Pictured: Natalya Hughes, 'Nighttime Feelings', 2025, acrylic on polycotton, 183 x 132 cm.

“You’ve got to see it to understand it,” Albert says. “You’ve got to see it in large volume ...It takes your breath away, the abundance of these objects. Do they have any monetary value? No. But their cultural value in the sense of the way in which we think as a society is very important.”   Tony Albert features on the cover of today’s Spectrum magazine ahead of the fast approaching opening of his major survey exhibition at the Museum of Contemporary Art Australia on the 21 May.   Pick up a copy at your local newsagent. Find the article online via the link in bio.   @tonyalbert @mca_australia

“She reaches up. She flowers. She knows.” – Sanné Mestrom, 2026   We are pleased to share that Sanné Mestrom’s sculpture ‘What the Body Knows’ has received high commendation in the 2026 Wynne Prize at the Art Gallery of New South Wales.  Congratulations to the winners of the Archibald, Wynne and Sulman prize today!   “So much understanding begins in the body, not the head. As a sculptor, it begins the moment material starts talking back. Bronze resists. Pigment pools, dries and changes. I push, and something pushes back. This is how the sculpture was made – and what the sculpture is about. From each raised palm, a bronze flower grows. The hands, not the head, are the site of growth, touch, labour and doing. This figure holds her arms wide, insisting on the intelligence of the body. My own body, as both a maternal body and a sculptor’s body, learns from the inside. It understands through weight, warmth and the reciprocal press of one body against another. She reaches up. She flowers. She knows.” – Sanné Mestrom, 2026   @sanne_mestrom @artgalleryofnsw   Pictured: Portrait by Phillip Huynh; Sanné Mestrom, ‘What the body knows’, bronze, alpha gypsum and acrylic polymer composite, recycled fibreglass, plaster, steel, river stone, 245.5 x 150 x 90 cm.

Now open: Ramesh Mario Nithiyendran ‘Liquid Vessels’ Opening event Tonight, Friday 08 May 6 – 8 PM Sullivan+Strumpf Naarm/Melbourne Artist Talk Saturday 09 May 11 AM In 'Liquid Vessels', Nithiyendran presents a major new bronze work, a seated hybrid figure which is part vessel, part idol. "I wanted this speculative figure to feel at once intact and fractured, devotional and theatrical, ancient and synthetic" – Ramesh Mario Nithiyendran, 2026. Experience an exhibition of Nithiyendran’s distinct visual language; one of colour, expressive gesture, material distillation and deep consideration of collective knowledges in the gallery from the 08 May or preview the works online now, via the viewing room at the link in bio. @ramesh__mario Ramesh Mario Nithiyendran, 'Liquid Vessels', 2026, Sullivan+Strumpf Naarm/Melbourne. Photography Phillip Huynh.