At PICA we recognise that we are situated within the unceded lands of the Whadjuk people of the Noongar Nation. We pay our respects and offer our gratitude to Elders past and present, and to those emerging leaders in the community. We acknowledge all Aboriginal and Torres Strait Islander people and the importance of their care and continued connection to culture, community and Country.

Always was, always will be.

Our foyer is open today 10am–5pm . Our exhibitions are always free.

Carmen Argote, Jack Ball , Kevin Ballantine, Emma Buswell, George Egerton-Warburton, Teelah George , Cass Lynch , Laure Prouvost, Mei Swan Lim, Martine Syms, Ed Ruscha, Lisa Uhl, Brendan Van Hek, Sterling Wells

Love in Bright Landscapes

Love in Bright Landscapes
“Los Angeles is the greatest City-on-the-Shore in the world; its only notable rival, in fact, is Rio de Janeiro … and its only rival in potential is, probably, Perth, Western Australia.” – Reyner Banham, Los Angeles: The Architecture of Four Ecologies, 1971.
‘We tell ourselves stories in order to live’ writes Joan Didion in the now famous opening lines of her book The White Album: a collection of essays that attempt to describe the social and political scene in California in the late 1960s. Such stories – recounted anecdotally, broadcast publicly, or promulgated culturally through literature, film and song – help to shape personal mythologies, local folklore, and contribute to defining a sense of history and place. What is the role of the artist in propagating, interrogating or subverting these narratives, and how can art contribute to shaping or reflecting the character of a city, time or place?
Love in Bright Landscapes takes its title from the name of a 1986 album by former, now cult, Perth band The Triffids – a group that has contributed much to the city’s narrative of wide open roads, treeless plains and the relentless heat of a long, dry Perth summer. But this evocation of love – and with it the possibilities and pitfalls of infatuation and romanticisation – in a landscape stretched out beneath an expansive bright sky, might equally apply to an understanding of Los Angeles: a city that itself has long been steeped in lore and myth. As such, this exhibition considers Perth and Los Angeles as comparative case studies, bringing together a selection of artworks made in reference to the characters, qualities and topographies of the two west coast cities.
Despite their inherent differences – in industry, scale, population, politics, public perception and self-image – and the distinct independent cultures of each city, Perth and Los Angeles share several commonalties: from indigenous and colonial histories to natural resource booms, sprawling suburbia, car culture, blazing sunsets and seamy underbellies. Frontier cities, bordered to the west by ocean, and separated from the east by desert, mountains and plains, both have a sense of freedom and of being self-contained, yet also remote and isolated. Being defined in opposition to larger, more established cities – as Los Angeles is to New York, and Perth to Sydney or Melbourne – creates a sense of adolescence: a perception of young cities still in search of themselves, all the while quietly, determinedly, knowing exactly who they are.
Through the work of artists living, working, hailing from, or passing through both cities, Love in Bright Landscapes explores the possibilities of contemporary art in contributing to these ongoing stories of identity, purpose, presence and place in the cities of Perth and Los Angeles.

About the Artist

Annika Kristensen is Senior Curator at the Australian Centre for Contemporary Art (ACCA), where she has curated recent exhibitions including Haroon Mirza: The Construction of an Act (2019); The Theatre is Lying (with Max Delany, 2018-19); Eva Rothschild: Kosmos (with Max Delany, 2018); Unfinished Business: Perspectives on art and feminism (with Paola Balla, Max Delany, Julie Ewington, Vikki McInnes and Elvis Richardson, 2017–18); Greater Together (2017); Claire Lambe: Mother Holding Something Horrific (with Max Delany, 2017) and NEW16 (2016).

Previously the Exhibition and Project Coordinator for the 19th Biennale of Sydney (2014) and the inaugural Nick Waterlow OAM Curatorial Fellow for the 18th Biennale of Sydney (2012), Annika has also held positions at Frieze Art Fair, Artangel, Film and Video Umbrella, London; and The West Australian newspaper, Perth. Annika was a participant in the 2013 Gertrude Contemporary and Art & Australia Emerging Writers Program and the recipient of an Asialink Arts Residency to Tokyo in 2014. She holds a MSc in Art History, Theory and Display from the University of Edinburgh and a BA in Arts/Communications from the University of Western Australia.

Carmen Argote
Jack Ball
Kevin Ballantine
Emma Buswell
George Egerton-Warburton
Teelah George
Cass Lynch
Laure Prouvost
Mei Swan Lim
Martine Syms
Ed Ruscha
Lisa Uhl
Brendan Van Hek
Sterling Wells