Heide Heide Museum of Museum of Modern Art Modern Art Narelle Jubelin Cannibal Tours Ann Stephen Foreword Heide Museum of Modern Art is which draws on the Heide Collection 9–9 delighted to present Narelle Jubelin: and an iconic image associated with Cannibal Tours, the sixth exhibition Heide: Sidney Nolan’s Boy and the moon. to be held in the Albert & Barbara Alongside Trade Delivers People Jubelin Tucker Gallery and the first to presents eleven of her BOXED.SET extend into the adjacent Kerry works, typically exquisite petit-point Gardener & Andrew Myer Project renditions of photographs provided Gallery. Cannibal Tours is also the by artist friends that represent their first exhibition in the Tucker Gallery childhood encounters with modernism series to contextualise an aspect — from Jacky Redgate’s Mondrian of Albert Tucker’s practice with dress to Rafaat Ishak’s family’s the work of a contemporary artist. modernist apartment in Cairo. These Based in Madrid since 1997, Narelle are juxtaposed with Albert Tucker’s Jubelin graduated from Alexander photographs from his travels in Europe Mackie College of Fine Arts in Sydney and America, signalling an Australian in 1982 and has been exhibiting expatriate experience of modernism. extensively since 1989. Her projects are Cannibal Tours has been curated realised through a process of intensive by Ann Stephen, Senior Curator, research in which she sources objects University Art Collection, University with complex histories and re-creates of Sydney. Stephen has a long-standing them: sometimes literally, as petit- association with Jubelin, and Heide point renditions, at other times in appreciates their collaboration in combinations that refer to the historical, realising Cannibal Tours. The project cultural and geographical heritage of has been conceived specifically for the site in which they are presented. Heide as a contemporary adjunct to In 1990 Jubelin made her international the Powerhouse Museum travelling debut at the Venice Biennale in the exhibition Modern Times: The Untold Aperto section. Jubelin presented Trade Story of Modernism in Australia, and Delivers People, a conceptually layered it has been coordinated meticulously installation which met the challenge by Heide Curator Kendrah Morgan. of making her work accessible to an Narelle Jubelin’s work has been international audience by interrogating little seen in Melbourne, and it has issues of global colonisation and the been a privilege to work closely with shifting meanings of artefacts deriving her on the presentation of her inspired from cultural migration and exchange. and incisive art. The Museum also Following the Venice exhibition, thanks the public institutions and the multiple components of Trade private collectors who have lent their Delivers People were divided, added treasured works to Cannibal Tours: to and re-assembled, resulting in two National Gallery of Australia, National new versions of the work and a small Gallery of Victoria, Heide Patron Barbara Tucker, Jeff Hall and Sharon Opposite number of individual pieces. Cannibal Narelle Jubelin BOXED.SETS Grey, Jan McCulloch, Simon and 14 – 24 2005, and Albert Tucker Tours reunites all these elements photographs c.1939–60 for the first time, from public and Catriona Mordant, Mori Gallery, Installation view, Heide Museum Sydney, and Penelope Seidler, as of Modern Art, 2009 private collections. It offers a unique well as private donors for their support Overleaf opportunity to consider this ongoing Left: Photographer unknown, of the exhibition catalogue. Albert Tucker in Venice, project in its entirety, together August 1954 with a new incarnation of the work Right: Albert Tucker, Jason Smith Demi-mondaines, Paris c.1949 conceived specifically for Heide, Director Ann Stephen Ann Stephen Face-to-Face 16 Narelle Jubelin Opposite of ModernArt,2009 HeideMuseum Installation view, and Everisttablec.1967 14 –24 Narelle Jubelin Previous and Everisttable c.1967 .BLACK 1. Narelle Jubelin email to the author, 4. During the 1970s feminist artists including 17 December 2008. Culos al aire Marie McMahon, Frances Budden 2005,onMcGlashan translates literally as ‘bottoms and Toni Robertson, members of the 2005,onMcGlashan to the air’. Domestic Needlework Collective, staged a number of exhibitions of women’s BOXED.SETS BOXED.SETS BOXED.SETS Dennis O’Rourke, Cannibal Tours, 1988. 2. domestic crafts, such as The D’Oyley 3. Miwon Kwon, ’One Place after Show, which toured Australia from 1979. Another: Notes on Site Specificity’, 5. Svetlana Alpers, The Vexations of Art, October, Vol. 80, 1997, pp. 95, 100. Yale University Press, New Haven, Conn., 2005, pp. 168–80. 1960 We areallexposed We Artists invent their own histories theirown invent Artists Cannibal Tours fuses several fusesseveral Cannibal Tours For Melbourne this has come to Melbournethishascome For and sites hallowed the around poke to the spectacle and routines ofdisplay androutines the spectacle Narelle Jubelin crisscrosses these Jubelincrisscrosses Narelle Dennis O’Rourke’s disturbing Dennis O’Rourke’s Miwon Kwon characterises thisartof characterises Kwon Miwon stories. One concerns tourism, tourism, concerns One stories. to think through what it is we do do we is it what through think to would sayinthisattemptto overlapping theme is modernism’s modernism’s is theme overlapping interesting contemporary art returns artreturns contemporary interesting its museums,someofthemost encounters. intimate into them transforms and expansion imperial of narratives complex up theSepikRiver. indicated by its borrowed title from from title borrowed its by indicated engagement with archival sources sources engagement witharchival installations, to led investigations museum.Thesein themodernist institutional critique as an attempt ‘to critiqueasanattempt institutional and despite successive efforts to efforts successive and despite up toapublicconversation. and esoteric forms of knowledge. ofknowledge. forms and esoteric academicart thathadanalmost collaborative and interdisciplinary and movement originates inthelate originates movement ofthis mean Heide.Thegenealogy modernism. ruins oftwentieth-century not only whatqualifiedasartbut not only mark thedemiseofmodernismand performances, site-specific practices, practices, site-specific performances, by the passage oftheartist’. by thepassage practice… specificity as anomadic site reinvent and how we came to it to came we how and describe Australianmodernism, global traffic. In a remarkable way, remarkable Ina traffic. global documentary ofaluxurycruisedocumentary culos alaire Narelle Jubelin s when artists began to question beganto s whenartists whose pathisarticulated astheSpanish 2 The otherand …with our …opened …opened 3 1 Jubelin is one such nomadic practice, Jubelin isonesuchnomadicpractice, The art of the Australian expatriate The artoftheAustralian Alpers who observed, inherstudy whoobserved, Alpers A thread, as it is pulled and woven andwoven asit is pulled A thread, She noted that: ‘a tapestry isdifficult that:‘atapestry She noted for its nemesis, the amateur, domestic itsnemesis,theamateur, for thread is an obdurate material that material isanobdurate thread It was the art historian Svetlana It wasthearthistorian In to make out. The problem in legibility legibility in problem The out. make to ofneedlework. effects the abstracting Michael Johnson and Sydney Ball, Ball, Sydney and Johnson Michael trained as a formalist painter herself, painter asaformalist trained stitched flecks of colour that colour flecksof stitched salvaging narratives of exile, travel travel exile, of narratives salvaging she later renounced the rhetoric of of rhetoric the renounced later she vernacular traditions andthemuseum. traditions vernacular informs Jubelin’s process asshe process Jubelin’s informs constitute a single petit point. In fact, fact, In point. petit single a constitute thanthesmall, piecemeal is more objects and textual citations invarious citations objects andtextual out of various tenuous connections. connections. tenuous out ofvarious of the threads thatshape anddescribe of thethreads assertiveness the and making its of court, Spanish the and Velasquez of assembles, bitbybit,hertinynets assembles, weaving ofabstract form a fragmented architectural, photographic and photographic architectural, themwithreadymade and entangled and displacement from modernism, from and displacement a world’. and then recently retrieved feminist feminist retrieved and thenrecently individualism heightened and authority made to serve suchends.Nothing serve made to whenitis themimetic,even resists mixed to a liquid consistency to make to aliquidconsistency to mixed how it looked inthe itlooked how painterly encounters. encounters. painterly results from the piecemeal nature nature thepiecemeal from results met local disciples of late modernism oflate disciples met local by American formalist painting. While painting.While formalist by American medium ofneedlework. when taught by such artists as bysuchartists when taught who were from a generation transfixed transfixed ageneration from who were different colours, tones and textures, textures, and tones colours, different decades Jubelin has stitched renditions renditions Jubelin hasstitched decades 1979 as a Sydney art student she artstudent asaSydney 5 Unlike paint that can be paintthatcan Unlike 1980 4 s. For over two over s. For Orthatwas 15–15 16 of Australia © NationalLibrary Victoria1968 Templestowe, Sunday Reed’shousein Johnand Heide IIstudy, Sievers,