With a regularly rotating catalogue of works, MONA never ceases to impress, with its most recent addition by Ryoji Ikeda, Datamatics 2.0, on display.
Traversing through the subterranean gallery unfolds through a series of rooms past new and old pieces and further down towards sea level.
Arriving by Ferry is the preferred option, with a herd like ascension towards the entry, past the tennis court and back down into the depths of the Tasmanian cliff face. The ceiling maintains a constant grid surface, while smaller gallery spaces enclose art pieces in their own areas. A favourite experience and art piece, was the light at the end of the tunnel leading to the library. Its unassuming location and reward at the end are worth bearing the Tasmanian chill for a hidden message.
In one of the largest spaces, MONA projects Ikeda’s Datamatics 2.0. A piece I’ve experienced before in its first iteration and now version 2.0. Ikeda’s work is always a favourite and amid a museum of other favourites, made the trip down to Tasmania’s MONA well worthwhile.
