In order to get more accurate results, our search has the following Google-Type search functionality:
If you use '+' in front of a word, then that word will be present in the search results.
ex: Harry +Potter will return results with the word 'Potter'.
If you use '-' in front of a word, then that word will be absent in the search results.
ex: Harry -Potter will return results without the word 'Potter'.
If you use 'AND' between two words, then both of those words will be present in the search results.
ex: Harry AND Potter will return results with both 'Harry' and 'Potter'.
If you use 'OR' between two words, then bth of those words may or may not be present in the search results.
ex: Harry OR Potter will return results with just 'Harry', results with just 'Potter' and results with both 'Harry' and 'Potter'.
If you use 'NOT' before a word, then that word will be absent in the search results.
ex: Harry NOT Potter will return results without the word 'Potter'.
Placing '""' around words will perform a phrase search. The search results will contain those words in that order.
ex: "Harry Potter" will return any results with 'Harry Potter' in them, but not 'Potter Harry'.
Using '*' in a word will perform a wildcard search. The '*' signifies any number of characters. Searches can not start with a wildcard.
ex: Pot*er will return results with words starting with 'Pot' and ending in 'er'. In this case, 'Potter' will be a match.
In Wrong Way Time, the first exhibition at Australia’s new Venice Biennale pavilion, Fiona Hall transforms everyday materials and items into fantastic objects that speak about issues of ecology, history, economic power and the effects of globalisation. All the King's Men are figures knitted from shredded camouflage uniforms, with ghostly vestigial bodies hanging from mask-like heads; the clocks of Wrong Way Time are painted with cryptic messages and figures; and botanical paintings adorn the banknotes of When My Boat Comes In. There is much to delight an audience in what Fiona Hall describes as “a minefield of madness, badness and sadness in equal measure”. Accompanying the images are two substantial essays and an interview with several Tjanpi Desert Weavers who collaborated with Fiona on a group of works in the exhibition.