This exhibition explores Resistance Aesthetics (Dr. Sam Spurr and Eduardo Kairuz) to develop curatorial methodologies of Care, also informed by Peggy Phelan’s Re-presentation and Zdenka’s Badovinac’s idea of self-historicisation. To understand that power disrupted with active dismantling and dissemination, and that when we move forward, we must do so upon new systems built together and on our terms. The artists chosen for this exhibition approach care in different forms, to reflect Care internally and externally. Charlie Kol’s Breath (2019) was inspired by the health monitors from his father’s hospital visits. Capturing “the anxiety of holding our breath in when a loved one is in that liminal space,” he invites viewers to take a piece of his installation with them as a “catharsis for suffering and collectively held breath.” Aida Aizin’s Lonely God (2019) “affectionately revels in memories of her mother’s birth country to make peace with fragmented identity.” Investigating how we may recover from guilt, shame and isolation, to move into the lightness of multiplicity.  Te Cheska moves with the idea of the body as “a carrier of ancestors, knowledge, trauma and love.” Solidarity with our First Nations people is at the heart of her practice, and I was specifically entranced by Where We Stand (2019) in facilitation with Bella Waru, exploring siblinghood and safety, what it is to love and protect the most vulnerable of us. Lia Dewey Morgan’s writing practice revolving around the ongoing pandemic in Live From The Field (2020) investigating a collective existential crisis questioning what it means to be alive today, and ways of managing trauma, both culturally and personally to bear witness to this era. Isabella O’Leary’s existencia, cycli (2019) employs natural materials carefully gathered from geographies close to her heart, combined with biodegradable materials from her own refuse. A sensitive effort to reconcile with mother nature, symbolic of her own labour of love.