
International Art | Sculpture
Satyr with wineskin cast 19th century
after UNKNOWN ROMAN
International Art | Sculpture
Satyr with wineskin cast 19th century
after UNKNOWN ROMAN
International Art | Painting
The prodigal son c.1780-1840
UNKNOWN
International Art | Sculpture
Spinario cast late 19th century
after School of PASITELES
Asian Art | Print
Courtesans (reprint) unknown
after EISEN
Asian Art | Sculpture
Flying horse of Kansu cast 1973
after EASTERN HAN ARTIST
International Art | Sculpture
Bust of Niccolo da Uzzano unknown
after DONATELLO
International Art | Sculpture
Borghese warrior 19th century
after AGASIUS THE EPHESIAN
Pacific Art | Fibre
Jipai (mask) 2011
AFEX, Ben
International Art | Glass
Decanter c.1875-1900
AESTHETIC STYLE
International Art | Glass
Vase c.1880-1900
AESTHETIC STYLE
International Art | Glass
Vase c.1880-1900
AESTHETIC STYLE
Contemporary Australian Art | Installation
Blackboards with pendulums 1992
KENNEDY, Peter
International Art | Drawing
Design
ADAM, Sicander
International Art | Metalwork
Tea urn c.1770-1800
ADAM STYLE
International Art | Ceramic
Long necked vase c.1900-50
ACOMO PUEBLO
Pacific Art | Photograph
'Te Waiherehere', Koroniti, Wanganui River, 29 May 1986 1986, printed 1997
ABERHART, Laurence
Pacific Art | Photograph
Nature morte (silence), Savage Club, Wanganui, 20 February 1986 1986, printed 1999
ABERHART, Laurence
Pacific Art | Photograph
Angel over Whangape Harbour, Northland, 6 May 1982 1982, printed 1991
ABERHART, Laurence
Australian Art | Drawing
A memory of Gumeracha (study of flies) 1908
HEYSEN, Hans
Pacific Art | Print
The boxer 2009
ABEL, Patrik
APT9
Born 1978 Guangzhou, China
Lives and works in Beijing, China
Working predominantly in film, video and installation, Cao Fei has produced significant works in such unorthodox media as dating platforms, the online virtual world Second Life, and the 490-metre-high facade of a Hong Kong skyscraper. Concerned with daily life in a rapidly changing China, Cao’s work is notable for its seamless blending of astute social observations with recognisable popular and subcultural motifs — from sources ranging from communist history to cosplay and cult cinema — into strange, beautiful, compelling imagery and environments. One of a generation of artists born at the end of the Cultural Revolution (1965–76), her practice reflects the impact of the influx of Western popular culture into China, as well as the shift in values as the country embraced globalisation and the concept of individualism. In her recent practice she has been investigating different ideas of economic life and labour relations.
Cao Fei’s work in video, installation and digital media explores daily life in a rapidly changing China. Cao’s latest project focuses on the futuristic logistics hub of online retail giant Jingdong, or JD.com, one of the most technologically advanced manufacturing and distribution facilities in China. Granted unprecedented access to interview JD.com employees, as well as to film onsite, the artist has created two new works on display in APT9, the narrative video Asia One 2018 and the documentary 11.11 2018.
For Cao Fei, JD.com represents the integration of sophisticated automated logistics with mass consumption, globalisation and technological acceleration. The company’s operations suggest myriad possibilities for the evolution of industry, but also significant changes for the daily experience of its workers. In her works, Cao Fei asks what role these present-day glimpses of the future might play in the grander narratives of historical development, especially in a China undergoing constant change.