Spanning film, sculpture, musical instruments and textiles, HA HA HA traces Sriwhana Spong’s ongoing engagement with ritual, language, and the body. Curated by Abby Cunnane, the exhibition brings together works that move associatively between personal, family, and colonial histories—and between the material world and states of uncertainty, intuition, and belief.

AD (2026), a film shot in Dartmoor National Park in South-West England, takes as its starting point Lord Byron’s unfinished poem Don Juan (1818–1824), in which the story of the heroine Adeline breaks off before it can be resolved. Spong has worked with AI large language models to extend and ‘complete’ Byron’s text, and Adeline returns in this film as a restless and enigmatic presence. The film’s soundtrack by Lachlan Anderson is composed with the newly-commissioned Instrument L (Made Rundu) (2026), developed by instrument maker Ryan Nicol in collaboration with Anderson. It is one of eight instruments in the exhibition that the artist has developed as a personal gamelan orchestra.

The painter-tailor (2019) forms the exhibition’s conceptual starting point. The film focuses on an untitled painting by Spong’s grandfather, I Gusti Made Rundu, and conversations with Spong’s father at the family home in Bali. Within the Balinese Kamasan painting tradition to which Made Rundu returned in his later works, the aun-aun motif expresses the continuous vibration of energy in space. Spong was taught the painting practice by artist Ketut Murki, and in their collaborative work Untitled (aun-aun) (2025), Spong repeatedly draws the motif, methodically pursuing its form through dozens of iterations.

Concerned with how knowledge is encountered, framed, and made perceptible, HA HA HA follows these ideas from well-loved and known early works, from large-scale textile works of silk dyed with Fanta and Coca-Cola, to new sculptural works made for this exhibition including Quarrelling Bees (2026) made from electroplated pomelo skins fitted with contact mics.