REAL DMZ PROJECT

National Art School in partnership with REAL DMZ PROJECT, Artspace and Korean Cultural Centre Australia

In conjunction with the exhibition Negotiating Borders, Sydney at the Korean Cultural Centre Australia (28 January – 29 March 2022), Artspace is hosting a screening program to take place on Thursday 24 March at the National Art School as part of their weekly after-hours program NAS NEO.Negotiating Borders, Sydney is a touring exhibition in partnership with the REAL DMZ PROJECT, a contemporary art project based on research conducted on the Demilitarized Zone (DMZ) in South Korea and its border area. Through collaborations with artists, as well as other experts in different fields of study including history, sociology, architecture and ecology, the REAL DMZ PROJECT has been conducting research and producing artworks, exhibitions, publications and more that examine not only geographical borders but also invisible borders such as ideological and psychological divides that operate in life and society.The screening program will feature major video works by Korean and international artists responding to the DMZ, capturing the sensibilities that arise from being positioned in-between.

Screening ProgramPart of NAS NEO

National Art School, Cell Block TheatreThursday 24 March, 5.30–8pm (bar open at 5pm)

Artists

박찬경 Park Chan-Kyong임흥순 Im Heungsoon전소정 Sojung Jun아드리안 비샤르 로하스 Adrián Villar Rojas장영혜중공업 YOUNG-HAE CHANG HEAVY INDUSTRIES

Art Forum

National Art SchoolCell Block TheatreWednesday 23 March12.45–1.45pmFree event, all welcomeParticipating artist, Adrián Villar Rojas will present a Lunchtime Lecture via live stream on Wednesday 23 March.

Adrián Villar Rojas (b. 1980, Argentina. Lives and works nomadically.)Solo exhibitions include La fin de l’imagination, Marian Goodman Galerie, Paris (2020); Poems for Earthlings, Oude Kerk, Amsterdam (2019); Sometimes you wonder, in an interconnected universe, who is dreaming who?, Tank Shanghai, China (2019); The Theater of Disappearance, The Geffen Contemporary at MOCA, Los Angeles (2017); NEON Foundation at Athens National Observatory, Greece (2017); Kunsthaus Bregenz, Austria (2017), The Metropolitan Museum of Art, New York (2017); Rinascimento, Fondazione Sandretto Re Rebaudengo, Torino (2015); Fantasma, Moderna Museet, Stockholm (2015); Today We Reboot the Planet, Serpentine Sackler Gallery, London (2013); and La inocencia de los animales, MoMA PS1, New York (2013).

Participation in international group exhibitions includes Portals, Hellenic Parliament + NEON, Athens, (2021); Carte-Blanche à Anne Imhof, Natures Mortes, Palais de Tokyo, Paris (2021); 12th and 13th Gwangju Biennial, South Korea (2020 and 2018); 2nd Lahore Biennial, Pakistan (2020); Dhaka Art Summit, Bangladesh (2020); Layers of Time,Moderna Museet, Stockholm (2019); 14th and 12th Istanbul Biennial, Turkey (2015 and 2012); 12  La Habana Biennial, Cuba (2015); 12th Sharjah Biennial, Kalba, United Arab Emirates (2015); dOCUMENTA (13), Kassel and Kabul (2012); The New Museum Triennial, New York (2012); and 54th Venice Biennial, Argentina’s National Pavilion, Italy (2011).

Villar Rojas has been the recipient of numerous prizes such as The Sharjah Biennial Prize (2015), The Zurich Art Prize at the Museum Haus Konstruktiv (2013); the 9th Benesse Prize in the 54th Venice Biennale, (2011); the Nuevo Banco de Santa Fe Scholarship for Young Artists (2006); and the First Prize National Art Biennial of Bah a Blanca, Argentina (2005). In 2020 he was nominated for the Hugo Boss Prize.

His 2013 film, Lo que el fuego me trajo (What the fire brought me), screened at the Locarno International Film Festival 2013. And his 2017 film trilogy The Theater of Disappearance, screened at the 67th Berlin International Film Festival 2017.

This program is organised in partnership with the REAL DMZ PROJECT; Korean Cultural Centre Australia; Artspace; and National Art School. 

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What's happening at the National Art School on 6 September? RSVP to our Open Day today to find out. (Link in bio)
Hear artist James Nguyen (@jamesnguyens) discuss the process of his artwork ‘Homeopathies_where new trees grow’ (2025), a site-specific installation created for The Neighbour at the Gate, now on at NAS Gallery.

In response to the exhibition, Nguyen created a large-scale suspended textile, dyed with introduced weeds and contaminated mud collected along the Duck River and Parramatta River in Sydney. These local sites, like many places in Vietnam, continue to be contaminated by Agent Orange, dioxins and toxic leachates that account for the industrial scale manufacturing of chemical weapons along Homebush Bay.

The Naarm/Melbourne-based, Vietnamese Australian artist positions his personal experiences and perspectives in dialogue with others in his interdisciplinary practice, moving between live and online performance, video, drawing and installations. This work was made in conjunction with Nguyen’s aunt, Nguyễn Thị Kim Nhung, and uncle, Nguyễn Công Chính, who you can hear in conversation with the artist in the Artist Talks archive on our website.

The Neighbour at the Gate is now on until Saturday 18 October 2025. 11am – 5pm, Monday to Sunday. Plan your visit at the link in bio.

The Neighbour at the Gate has been made possible with the generous support of the NSW Government through its Blockbusters Funding initiative.
Congratulations to our recent BFA graduate Samuel Chan (@__szwc), who has been named one of three recipients of the ‘most exceptional’ prize at the Dr Harold Schenberg Arts Awards.

Now in its 16th year, the Dr Harold Schenberg Arts Awards offers the largest prize pool for emerging artists in Australia and is part of PICA’s ‘Hatched: National Graduate Show’. To be part of ‘Hatched’ exhibition is an honour as it showcases the next generation of Australia’s contemporary creative voices, presenting artworks by 23 outstanding art school graduates from across the country.

Sam’s award-winning installation work includes 'At Eventuality’s End' - an evocative sculptural piece previously featured in our ‘Queer Contemporary: Chaosophy ‘exhibition as well as the NAS Grad Show.

Inspired by our alumni success stories? Join our Open Day on 6 September to explore your own creative path and get application-ready with one-on-one consultation sessions. (Link in bio)

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(In order of appearance in the video)

'Embrace', 2024, resin, stainless steel hook, Conte crayon, 47 x 14.5 x 9.5cm

‘Transfiguration’, 2024, Chillagoe White Pearl marble, mild steel, incense, 172 x 26 x 26cm 

'Noose', 2024, resin, graphite, titanium rod, 30 x 14 x 5cm 

'At Eventuality's End', 2024, hand-dyed paper, wire mesh, mild steel rod, 255 x 80 x 60cm

Image courtesy and © the artist, photograph: Jennifer Leahy (@silversalt_photography)

@pica_perth
We’re Hiring!

Painting Technician - Application Deadline Sunday 7 September 
Under the direction of the Head of Painting and lecturing staff of the department, the Painting Technician is responsible for the resourcing, maintenance and upkeep of the studios and equipment of the department; the implementation of effective studio process and procedures, and the demonstration/monitoring of safe and appropriate use of studio equipment and resources. The Painting Technician is responsible for resourcing and supporting the delivery of all Painting programs including Degree Programs, Public Programs short courses, and Education Outreach programs and workshops.

Sales and Events Coordinator - Application Deadline Sunday 7 September 
The Sales and Events Coordinator plays a key role in promoting and coordinating commercial venue hire at the National Art School (NAS), located on a unique and historic heritage-listed campus in Darlinghurst. The role is responsible for managing client enquiries, preparing event plans and quotes, and ensuring client needs are clearly scoped and communicated — without exceeding agreed service levels or budgets.

Facilities Assistant – Application Deadline Sunday 31 August 
The Facilities Assistant provides general facilities support across the campus heritage buildings, undertaking all general maintenance on buildings, grounds, plant, and equipment, as well as preventative maintenance. Work is planned through maintenance schedules as well as daily reactive work, prioritising and escalating urgent matters as appropriate. If you’re practical, reliable, and ready to contribute to a creative, purpose-driven environment, we’d love to hear from you.

Visit the link in bio to learn more.
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