In Claire Healy and Sean Cordeiro’s We Hunt Mammoth, 2015, the entirety of a Honda car has been broken down to 121 individual components, each part tied in jute and bamboo, a traditional Japanese method of packaging. Hanging on the wall, the work evinces a distinctly votive quality, as if this deconstructed vehicle is offered up in an obscure religious ceremony.

Mondo Futuro, 2017, also presented in Divided Worlds until 18 March, utilises a vintage retro-engineered Mercedes 220S, a car from the mid-1950s, which runs not on petrol or diesel but on a bio fuel derived from a process in which gas is extracted from heated wood…Mondo Futuro evokes ambivalence about technology and about the environment, at once a marvel, but also a profound liability, and what the artists have described as being symbolic of the complex relationship we have with technology and the environment.


The artists gratefully acknowledge that Mondo Futuro has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body and that this research was funded (partially) by the Australian Government through the Australian Research Council