This November Carriageworks, together with the City of Sydney, presents the Black Arts Market, a cultural market place curated by Hetti Perkins and Jonathan Jones showcasing the cultural heritage of South-Eastern Aboriginal Australia. Featuring 55 stallholders and more than 90 artists, the Black Arts Market will be presented over two days at Carriageworks on Saturday 12 November and Sunday 13 November, offering a unique opportunity for visitors to engage directly with local artists, acquire original art objects, and learn about traditional cultural practices of South-Eastern Australia.

This November, Carriageworks and the City of Sydney present three live public performances by American artist Nick Cave, marking the first time the renowned artist has presented a major work in Australia. Presented over two days on Thursday 10 and Saturday 12 November 2016, Nick Cave’s spectacular and seminal work HEARD·SYD – featuring 60 Sydney-based dancers and musicians inhabiting colourful, life-sized horse-suits – will be performed across two locations, in the heart of Sydney’s CBD and twice at Carriageworks.

Set to live music and percussion, HEARD·SYD will disrupt the daily activity of Sydneysiders with an exuberant and surreal explosion of equestrian activity. The dynamic, site-specific performance features 30 life-sized horse suits, constructed from coloured raffia and found materials. Inhabited by two dancers at a time, the sound suits produce a distinctive sound when activated, with 60 Sydney-based dancers and musicians working with Nick Cave to deliver the project.

Kaldor Public Art Project’s most ambitious project to date and the first to be created by an Australian Aboriginal artist was today unveiled in Sydney’s Royal Botanic Garden in advance of its 17-day, free-to-the-public presentation from 17 September until 3 October 2016. Sydney-based Wiradjuri/Kamilaroi artist Jonathan Jones created barrangal dyara (skin and bones) for the 32nd Kaldor Public Art Project, inspired by the history of the 19th century Garden Palace building which originally stood in the Royal Botanic Garden between 1879 and 1882 before being burnt to the ground in 1882.

The ambitious contemporary art project barrangal dyara (skin and bones) is expected to attract enormous numbers of visitors and is a major component of the Royal Botanic Garden’s Bicentenary Celebrations. The work includes a vast sculptural installation of 15,000 white shields spanning the 20,000 square-metres of the site, marking the original foot-print of the Garden Palace building. At the heart of the installation, where the Garden Palace’s dome once crowned the city, a dynamic native meadow of kangaroo grass disrupts the garden’s formal European design. Eight Aboriginal language soundscapes developed with communities throughout the south-east of Australia are installed throughout the site.

Sherman Contemporary Art Foundation presents Collection+: Greg Semu, the sixth and final iteration of SCAF’s Collection+ series.

Curator Mark Feary has selected works by Greg Semu from The Gene & Brian Sherman Collection, as well as a selection of pivotal works from institutional and private collections across Australia, New Zealand and France.

The assembled works span the past two decades and will be contextualised within a broader understanding of collection building as a distinct and increasingly analysed pursuit. This iteration of Collection+ will be displayed against papered walls covered with notes and sketches from Semu’s working diaries, and alongside ethnographic photographs housed in institutional collections of early Samoan-European contact.

Collection+: Greg Semu will premiere a new work, which is heavily inspired by Hans Holbein the Younger’s The Body of the Dead Christ in the Tomb, circa 1500’s. This new work builds on the artist’s long standing use of Christian iconography and its place within contemporary Samoan identity.

The 2016 Sydney Architecture Festival will offer the first public architectural tours of Indigo Slam, the inspiring Chippendale residence of art collector and philanthropist Judith Nielson, owner of White Rabbit Gallery. Four intimate guided tours will be offered on the closing day of the Festival on Monday 3 October, each led by the building’s architect William Smart of Smart Design Studio. The ticketed tours guide visitors through the public spaces of Indigo Slam, providing a rare glimpse inside the building that has been described as “a piece of sculpture to be lived in”.

Carriageworks and Performance Space present a new large-scale installation by leading Brisbane-based sculptor and media artist Ross Manning titled Melody Lines as part of the Liveworks Festival of Experimental Art. Presented free to the public from 20 October until 6 November 2016, Manning’s work will weave through Carriageworks’ public space like a multi-dimensional drawing, carrying a stream of objects that split and refract light into many-hued colours and spectra.

ROSS MANNING: MELODY LINES is a monumental new kinetic sculpture that will animate Carriageworks’ architecture with an ever-moving investigation into form, colour and light. Suspended from the ceiling, an intricate system of conveyor tracks of a similar type used for assembly lines and other industrial manufacture will respond to the history of Carriageworks as a site of industrial production. The overhead conveyor will weave around the space, ferrying numerous transparent coloured pendants that create an ever-shifting array of coloured light and shadows. Carriageworks’ interior is transformed into a dreamlike landscape in a perpetual state of motion and flux. An enthralling meditation on perception and the senses,Melody Lines invites us to reconsider our surroundings and bask in its astounding radiance.