“West Space Commission”
Tina Stefanou
14 Feb → 11 Apr 2026
Gallery

9-10 people wearing different coloured t-shirts gesturing outward with one hand toward the camera, gazing downward. They are standing on a pathway in a tropic green space surrounded by trees.
Tina Stefanou, 'Dance the War of Proximity' performance as part of the '18th Adelaide Biennial of Australian Art: Inner Sanctum', 2024, Art Gallery of South Australia. Photography by Andrew Kaineder and Wil Normyle.

West Space presents a new commission by Tina Stefanou, a Greek-Australian artist working with experimental forms of performance, film, sound-music, sculpture, ethnographic research and socially engaged practice.

With a focus on relationality, knowledge sharing and impactful collaboration and innovation around questions of access, Stefanou works with an array of collaborators with different art and non-art backgrounds, across rural and urban Australia.

Stefanou contemplates how neoliberal-humanism and social class dynamics infiltrate our day-to-day lives as well as our sense of self, bodies, and relationships — affecting how we connect, communicate, and create liberation for one another and the planet. Her expansive practice holds the potential for other forms of sharing, making, and contributing to the cultural commons beyond the rat race.

"Tina Stefanou is an iconoclast—an artist who is tender yet uncompromising in her explorations of sound, community, collaboration, 'the rural' and settler-coloniality.
In a strong field, the West Space Artist Committee was impressed by Tina's proposal for her most rigorous yet convivial body of work so far." — Eugenia Lim

This work forms the second chapter to You Can't See Speed, commissioned by the Australian Centre for Contemporary Art in 2025 and supported by Creative Australia’s VACS Major Projects Commission.

Tina Stefanou is an artist, performer, researcher, and film director based in Wattle Glen, Victoria. With a background as a vocalist, she works undisciplined, across diverse mediums, practices, approaches, and labours, in what she calls voice in the expanded field. Seeking more inclusive ways of making and framing tangled relationships, she engages in multi-species performance with a family of local others, friends not-yet-made, and poet(h)ic meetings of matter.