(Māori: Ngāti Ranginui, Ngāi Te Rangi) Rangi) Te Ngāi Ranginui, Ngāti (Māori:

Bridget Reweti Bridget 5 Dutch & Scottish) Scottish) & Dutch

(Nhanda / Nyoongar Peoples, Nyoongar / (Nhanda In 2020 the global community found itself in a state of overwhelming

Curated by Glenn Iseger-Pilkington Glenn by Curated 9 Bibbulmun Nyoongar Peoples) Peoples) Nyoongar Bibbulmun

(Ballardong, Nyaki-Nyaki, Wadjuk and Wadjuk Nyaki-Nyaki, (Ballardong, anxiety as we collectively navigated the coronavirus pandemic, a global

Yabini Kickett Yabini 4 Irish & Norwegian) Norwegian) & Irish

(Kaurna, Māori, English, Scottish, English, Māori, (Kaurna, health challenge that quickly become weaponised as a tool to further

James Tylor James 8 (Mirriwong/Gajirrawoong Peoples) Peoples) (Mirriwong/Gajirrawoong

Peggy Griffiths Madij Griffiths Peggy divide people politically and ideologically. 3

Islands of Ambae and Santo, Vanuatu) Santo, and Ambae of Islands

(Whadjuk Nyoongar Peoples) Peoples) Nyoongar (Whadjuk (Australian South Sea Islander – ancestral ancestral – Islander Sea South (Australian

Sharyn Egan Sharyn 2 Jasmine Togo-Brisby Jasmine

Simultaneously, the recent deaths of Indigenous and Black people 7

(Worimi Peoples) Peoples) (Worimi (Ngarrindjeri Peoples/Chinese Australian) Australian) Peoples/Chinese (Ngarrindjeri

Dean Cross Dean 1 Damien Shen Damien while in police custody in Australia and the United States of America 6

gained international attention, initiating challenging reflections on all. us for safe place this keep to systemic racism and discrimination, unprecedented global protest continues stewardship whose and

during a deadly pandemic and the emergence of a new wave of

allyship in both the general public and the corporate world. ways, meaningful and profound

helps us understand this place in in place this understand us helps

In a time when our physical interactions and freedom of travel have knowledge whose emerging, and been significantly restricted, the gathering reflects upon the act present past, Elders of admiration

of gathering – the bringing together of peoples, words, politics,

objects, images, identities, histories, concern, dreams, and ambitions and respect our offer We place.

5

through the presentation of works of art from Australian First Nations, this of custodians the as Peoples 6

Australian South Sea Islander and Māori artists. 8 Nyoongar Whadjuk acknowledges

1

2&4 4&9

PICA years. of thousands for

9 Together, these artists offer powerful and moving personal reflections Country this for cared have

upon our cultures, our families, our ancestral relationships with lands

and waters, our colonial histories and the legacies of Empire that 7 who People, Nyoongar Whadjuk

Image: 12:27 PM, 9 March, 2020. Taken onboard QF10, continue to impact all of our lives. the of homelands spiritual and

3 upon descent into Boorloo on Whadjuk Boodja | Perth, 7 Western Australia. cultural unceded the on sits PICA I took this photo as we were arriving home from Northern Ireland, (via London) on March 9, 2020. At this moment in the gathering is an invitation to reflect on our histories, values, and time I knew the world was changing, but had no idea how 2020 was going to unfold. - Glenn Iseger-Pilkington experiences while we reconsider what our futures can be.

PICA Presented in association with Perth Festival Perth Institute of Contemporary Arts

List of works → pica.org.au nyinalanginy

Sharyn Egan Yabini Kickett Damien Shen Jasmine Togo-Brisby ‘…turned by white men’, 2021 Burdiya-ka (Bosses), 2021 The Art of War, 2019 Into Something Else, 2021 collection of turned Balga homewares, assemblage of personal objects, table, giclée five hand-etched tintype photographs mixed media with crow feathers Perth Cultural Centre 51 James St Northbridge removed from circulation prints on paper variable dimensions In the midst of chaos, Gallery Open there is also opportunity, 2020 Tue – Sun | 10am – 5pm Ngop Ngooni (Blood Brothers), 2019 Know thy self, know thy enemy. A thousand James Tylor @pica_perth Balga resin, white spirit and synthetic Peggy Griffiths Madij battles, a thousand victories, 2020 (Deleted scenes) From an polymer paint on plywood panels Wollangem Balaj Gida Never Venture, Never Win, 2020 Untouched Landscape #2, 2013 variable dimensions (At First Sight), 2019-2020 hand-etched tintype photographs (Deleted scenes) From an single channel video with sound; 16:9 Untouched Landscape #10, 2013 Kalyakoorl (Always), 2021 5:27 min. Know yourself and you will win all battles, 2019 (Deleted scenes) From an Balga (Xanthorrhoea preissii) and two hand-etched tintype photographs Untouched Landscape #14, 2013 natural earth pigments Collaborating artist: (Vanished Scenes) From an Jan Griffiths (Miriwoong Peoples) The greatest victory is that which Untouched Landscape #2, 2018 Sound Design: Jinunyili (Djugun, requires no battle, 2020 (Vanished Scenes) From an Jabirr Jabirr and Gooniyandi Peoples) two hand-etched tintype photographs Untouched Landscape #3, 2018 Dean Cross Collaborating animator: (Vanished Scenes) From an Flagged Out/Second Wave, 2020 Bernadette Trench-Thiedeman The opportunity of defeating the enemy is Untouched Landscape #4, 2018 Ngunnawal ochre, synthetic binder, charcoal Austrian/Sri Lankan provided by the enemy himself, 2020 (Vanished Scenes) From an and powdered pigment on stretched linen two hand-etched tintype photographs Untouched Landscape #6, 2018 (Vanished Scenes) From an PAS DE DEUX, 2019 Treat your soldiers like your sons and they will Untouched Landscape #12, 2018 projected filmic work Bridget Reweti follow you into any battle, 2020 (Removed Scenes) From an Presenting Partner Perth Festival Visual Arts Supported by 13:07 min. Ziarah, 2018 three hand-etched tintype photographs Untouched Landscape #5, 2018 Program Partner single channel video with sound; 16:9 (Removed Scenes) From an 23rd March (1770 - 2020), 2020 9:30 min. Annie, 2020 Untouched Landscape #8, 2018 oilstick and gesso on linen Aunty Betty, 2020 giclée prints on hahnemuhle paper with hole

Lighthouse, 2018 Aunty Tiggy, 2020 removed to a black velvet void Government Partners Pool, 2021 Circle, 2018 Dana, 2020 acrylic and molasses Tunnel, 2018 Mum, 2020 From an Untouched Landscape, 2021 giclée prints on paper T.M, 2020 giclée print on wallpaper Ngarra, 2021 Uncle Chook, 2020 mixed media installation Uncle Moogy, 2020 Wirri (club), 2020 Major Partner Freight Partner Community Engagement Partner Project Partner Heaven and Hell, 2020 Kathawirri (sword), 2020 hand-etched tintype images made from Murlapaka (broad shield), 2020 PICA DONOR DIRECTOR’S charcoal drawings Katha (digging stick), 2020, PROGRAM CIRCLE Wakalti (parry shield), 2020 PICA’s ongoing programs are primarily supported by an investment from the State of Western Australia through the Department of Local Government, Sport and Wadnawirri (battle axe), 2020 Cultural Industries in association with Lotterywest, assistance from the Australian Government through the Australia Council, its arts funding and advisory body. Midla (spearthrower), 2020 PICA is supported by the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments. PICA’s opening events, public programs, family and learning programs and studio residencies are supported by our Community Engagement Partner City of Perth. nyinalanginy / the gathering is supported timber and black paint by the Copyright Agency’s Cultural Fund. Cover Image: Yabini Kickett, Burdiya-ka (Bosses) (Lola McDowell-Kickett), 2021. the gathering

(Māori: Ngāti Ranginui, Ngāi Te Rangi) Rangi) Te Ngāi Ranginui, Ngāti (Māori:

Bridget Reweti Bridget 5 Dutch & Scottish) Scottish) & Dutch

(Nhanda / Nyoongar Peoples, Nyoongar / (Nhanda In 2020 the global community found itself in a state of overwhelming

Curated by Glenn Iseger-Pilkington Glenn by Curated 9 Bibbulmun Nyoongar Peoples) Peoples) Nyoongar Bibbulmun

(Ballardong, Nyaki-Nyaki, Wadjuk and Wadjuk Nyaki-Nyaki, (Ballardong, anxiety as we collectively navigated the coronavirus pandemic, a global

Yabini Kickett Yabini 4 Irish & Norwegian) Norwegian) & Irish

(Kaurna, Māori, English, Scottish, English, Māori, (Kaurna, health challenge that quickly become weaponised as a tool to further

James Tylor James 8 (Mirriwong/Gajirrawoong Peoples) Peoples) (Mirriwong/Gajirrawoong

Peggy Griffiths Madij Griffiths Peggy divide people politically and ideologically. 3

Islands of Ambae and Santo, Vanuatu) Santo, and Ambae of Islands

(Whadjuk Nyoongar Peoples) Peoples) Nyoongar (Whadjuk (Australian South Sea Islander – ancestral ancestral – Islander Sea South (Australian

Sharyn Egan Sharyn 2 Jasmine Togo-Brisby Jasmine

Simultaneously, the recent deaths of Indigenous and Black people 7

(Worimi Peoples) Peoples) (Worimi (Ngarrindjeri Peoples/Chinese Australian) Australian) Peoples/Chinese (Ngarrindjeri

Dean Cross Dean 1 Damien Shen Damien while in police custody in Australia and the United States of America 6

gained international attention, initiating challenging reflections on all. us for safe place this keep to systemic racism and discrimination, unprecedented global protest continues stewardship whose and

during a deadly pandemic and the emergence of a new wave of

allyship in both the general public and the corporate world. ways, meaningful and profound

helps us understand this place in in place this understand us helps

In a time when our physical interactions and freedom of travel have knowledge whose emerging, and been significantly restricted, the gathering reflects upon the act present past, Elders of admiration

of gathering – the bringing together of peoples, words, politics,

objects, images, identities, histories, concern, dreams, and ambitions and respect our offer We place.

5

through the presentation of works of art from Australian First Nations, this of custodians the as Peoples 6

Australian South Sea Islander and Māori artists. 8 Nyoongar Whadjuk acknowledges

1

2&4 4&9

PICA years. of thousands for

9 Together, these artists offer powerful and moving personal reflections Country this for cared have

upon our cultures, our families, our ancestral relationships with lands

and waters, our colonial histories and the legacies of Empire that 7 who People, Nyoongar Whadjuk

Image: 12:27 PM, 9 March, 2020. Taken onboard QF10, continue to impact all of our lives. the of homelands spiritual and

3 upon descent into Boorloo on Whadjuk Boodja | Perth, 7 Western Australia. cultural unceded the on sits PICA I took this photo as we were arriving home from Northern Ireland, (via London) on March 9, 2020. At this moment in the gathering is an invitation to reflect on our histories, values, and time I knew the world was changing, but had no idea how 2020 was going to unfold. - Glenn Iseger-Pilkington experiences while we reconsider what our futures can be.

PICA Presented in association with Perth Festival Perth Institute of Contemporary Arts

List of works → pica.org.au nyinalanginy

Sharyn Egan Yabini Kickett Damien Shen Jasmine Togo-Brisby ‘…turned by white men’, 2021 Burdiya-ka (Bosses), 2021 The Art of War, 2019 Into Something Else, 2021 collection of turned Balga homewares, assemblage of personal objects, table, giclée five hand-etched tintype photographs mixed media with crow feathers Perth Cultural Centre 51 James St Northbridge removed from circulation prints on paper variable dimensions In the midst of chaos, Gallery Open there is also opportunity, 2020 Tue – Sun | 10am – 5pm Ngop Ngooni (Blood Brothers), 2019 Know thy self, know thy enemy. A thousand James Tylor @pica_perth Balga resin, white spirit and synthetic Peggy Griffiths Madij battles, a thousand victories, 2020 (Deleted scenes) From an polymer paint on plywood panels Wollangem Balaj Gida Never Venture, Never Win, 2020 Untouched Landscape #2, 2013 variable dimensions (At First Sight), 2019-2020 hand-etched tintype photographs (Deleted scenes) From an single channel video with sound; 16:9 Untouched Landscape #10, 2013 Kalyakoorl (Always), 2021 5:27 min. Know yourself and you will win all battles, 2019 (Deleted scenes) From an Balga (Xanthorrhoea preissii) and two hand-etched tintype photographs Untouched Landscape #14, 2013 natural earth pigments Collaborating artist: (Vanished Scenes) From an Jan Griffiths (Miriwoong Peoples) The greatest victory is that which Untouched Landscape #2, 2018 Sound Design: Jinunyili (Djugun, requires no battle, 2020 (Vanished Scenes) From an Jabirr Jabirr and Gooniyandi Peoples) two hand-etched tintype photographs Untouched Landscape #3, 2018 Dean Cross Collaborating animator: (Vanished Scenes) From an Flagged Out/Second Wave, 2020 Bernadette Trench-Thiedeman The opportunity of defeating the enemy is Untouched Landscape #4, 2018 Ngunnawal ochre, synthetic binder, charcoal Austrian/Sri Lankan provided by the enemy himself, 2020 (Vanished Scenes) From an and powdered pigment on stretched linen two hand-etched tintype photographs Untouched Landscape #6, 2018 (Vanished Scenes) From an PAS DE DEUX, 2019 Treat your soldiers like your sons and they will Untouched Landscape #12, 2018 projected filmic work Bridget Reweti follow you into any battle, 2020 (Removed Scenes) From an Presenting Partner Perth Festival Visual Arts Supported by 13:07 min. Ziarah, 2018 three hand-etched tintype photographs Untouched Landscape #5, 2018 Program Partner single channel video with sound; 16:9 (Removed Scenes) From an 23rd March (1770 - 2020), 2020 9:30 min. Annie, 2020 Untouched Landscape #8, 2018 oilstick and gesso on linen Aunty Betty, 2020 giclée prints on hahnemuhle paper with hole

Lighthouse, 2018 Aunty Tiggy, 2020 removed to a black velvet void Government Partners Pool, 2021 Circle, 2018 Dana, 2020 acrylic and molasses Tunnel, 2018 Mum, 2020 From an Untouched Landscape, 2021 giclée prints on paper T.M, 2020 giclée print on wallpaper Ngarra, 2021 Uncle Chook, 2020 mixed media installation Uncle Moogy, 2020 Wirri (club), 2020 Major Partner Freight Partner Community Engagement Partner Project Partner Heaven and Hell, 2020 Kathawirri (sword), 2020 hand-etched tintype images made from Murlapaka (broad shield), 2020 PICA DONOR DIRECTOR’S charcoal drawings Katha (digging stick), 2020, PROGRAM CIRCLE Wakalti (parry shield), 2020 PICA’s ongoing programs are primarily supported by an investment from the State of Western Australia through the Department of Local Government, Sport and Wadnawirri (battle axe), 2020 Cultural Industries in association with Lotterywest, assistance from the Australian Government through the Australia Council, its arts funding and advisory body. Midla (spearthrower), 2020 PICA is supported by the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments. PICA’s opening events, public programs, family and learning programs and studio residencies are supported by our Community Engagement Partner City of Perth. nyinalanginy / the gathering is supported timber and black paint by the Copyright Agency’s Cultural Fund. Cover Image: Yabini Kickett, Burdiya-ka (Bosses) (Lola McDowell-Kickett), 2021. the gathering

(Māori: Ngāti Ranginui, Ngāi Te Rangi) Rangi) Te Ngāi Ranginui, Ngāti (Māori:

Bridget Reweti Bridget 5 Dutch & Scottish) Scottish) & Dutch

(Nhanda / Nyoongar Peoples, Nyoongar / (Nhanda In 2020 the global community found itself in a state of overwhelming

Curated by Glenn Iseger-Pilkington Glenn by Curated 9 Bibbulmun Nyoongar Peoples) Peoples) Nyoongar Bibbulmun

(Ballardong, Nyaki-Nyaki, Wadjuk and Wadjuk Nyaki-Nyaki, (Ballardong, anxiety as we collectively navigated the coronavirus pandemic, a global

Yabini Kickett Yabini 4 Irish & Norwegian) Norwegian) & Irish

(Kaurna, Māori, English, Scottish, English, Māori, (Kaurna, health challenge that quickly become weaponised as a tool to further

James Tylor James 8 (Mirriwong/Gajirrawoong Peoples) Peoples) (Mirriwong/Gajirrawoong

Peggy Griffiths Madij Griffiths Peggy divide people politically and ideologically. 3

Islands of Ambae and Santo, Vanuatu) Santo, and Ambae of Islands

(Whadjuk Nyoongar Peoples) Peoples) Nyoongar (Whadjuk (Australian South Sea Islander – ancestral ancestral – Islander Sea South (Australian

Sharyn Egan Sharyn 2 Jasmine Togo-Brisby Jasmine

Simultaneously, the recent deaths of Indigenous and Black people 7

(Worimi Peoples) Peoples) (Worimi (Ngarrindjeri Peoples/Chinese Australian) Australian) Peoples/Chinese (Ngarrindjeri

Dean Cross Dean 1 Damien Shen Damien while in police custody in Australia and the United States of America 6

gained international attention, initiating challenging reflections on all. us for safe place this keep to systemic racism and discrimination, unprecedented global protest continues stewardship whose and

during a deadly pandemic and the emergence of a new wave of

allyship in both the general public and the corporate world. ways, meaningful and profound

helps us understand this place in in place this understand us helps

In a time when our physical interactions and freedom of travel have knowledge whose emerging, and been significantly restricted, the gathering reflects upon the act present past, Elders of admiration

of gathering – the bringing together of peoples, words, politics,

objects, images, identities, histories, concern, dreams, and ambitions and respect our offer We place.

5

through the presentation of works of art from Australian First Nations, this of custodians the as Peoples 6

Australian South Sea Islander and Māori artists. 8 Nyoongar Whadjuk acknowledges

1

2&4 4&9

PICA years. of thousands for

9 Together, these artists offer powerful and moving personal reflections Country this for cared have

upon our cultures, our families, our ancestral relationships with lands

and waters, our colonial histories and the legacies of Empire that 7 who People, Nyoongar Whadjuk

Image: 12:27 PM, 9 March, 2020. Taken onboard QF10, continue to impact all of our lives. the of homelands spiritual and

3 upon descent into Boorloo on Whadjuk Boodja | Perth, 7 Western Australia. cultural unceded the on sits PICA I took this photo as we were arriving home from Northern Ireland, (via London) on March 9, 2020. At this moment in the gathering is an invitation to reflect on our histories, values, and time I knew the world was changing, but had no idea how 2020 was going to unfold. - Glenn Iseger-Pilkington experiences while we reconsider what our futures can be.

PICA Presented in association with Perth Festival Perth Institute of Contemporary Arts

List of works → pica.org.au nyinalanginy

Sharyn Egan Yabini Kickett Damien Shen Jasmine Togo-Brisby ‘…turned by white men’, 2021 Burdiya-ka (Bosses), 2021 The Art of War, 2019 Into Something Else, 2021 collection of turned Balga homewares, assemblage of personal objects, table, giclée five hand-etched tintype photographs mixed media with crow feathers Perth Cultural Centre 51 James St Northbridge removed from circulation prints on paper variable dimensions In the midst of chaos, Gallery Open there is also opportunity, 2020 Tue – Sun | 10am – 5pm Ngop Ngooni (Blood Brothers), 2019 Know thy self, know thy enemy. A thousand James Tylor @pica_perth Balga resin, white spirit and synthetic Peggy Griffiths Madij battles, a thousand victories, 2020 (Deleted scenes) From an polymer paint on plywood panels Wollangem Balaj Gida Never Venture, Never Win, 2020 Untouched Landscape #2, 2013 variable dimensions (At First Sight), 2019-2020 hand-etched tintype photographs (Deleted scenes) From an single channel video with sound; 16:9 Untouched Landscape #10, 2013 Kalyakoorl (Always), 2021 5:27 min. Know yourself and you will win all battles, 2019 (Deleted scenes) From an Balga (Xanthorrhoea preissii) and two hand-etched tintype photographs Untouched Landscape #14, 2013 natural earth pigments Collaborating artist: (Vanished Scenes) From an Jan Griffiths (Miriwoong Peoples) The greatest victory is that which Untouched Landscape #2, 2018 Sound Design: Jinunyili (Djugun, requires no battle, 2020 (Vanished Scenes) From an Jabirr Jabirr and Gooniyandi Peoples) two hand-etched tintype photographs Untouched Landscape #3, 2018 Dean Cross Collaborating animator: (Vanished Scenes) From an Flagged Out/Second Wave, 2020 Bernadette Trench-Thiedeman The opportunity of defeating the enemy is Untouched Landscape #4, 2018 Ngunnawal ochre, synthetic binder, charcoal Austrian/Sri Lankan provided by the enemy himself, 2020 (Vanished Scenes) From an and powdered pigment on stretched linen two hand-etched tintype photographs Untouched Landscape #6, 2018 (Vanished Scenes) From an PAS DE DEUX, 2019 Treat your soldiers like your sons and they will Untouched Landscape #12, 2018 projected filmic work Bridget Reweti follow you into any battle, 2020 (Removed Scenes) From an Presenting Partner Perth Festival Visual Arts Supported by 13:07 min. Ziarah, 2018 three hand-etched tintype photographs Untouched Landscape #5, 2018 Program Partner single channel video with sound; 16:9 (Removed Scenes) From an 23rd March (1770 - 2020), 2020 9:30 min. Annie, 2020 Untouched Landscape #8, 2018 oilstick and gesso on linen Aunty Betty, 2020 giclée prints on hahnemuhle paper with hole

Lighthouse, 2018 Aunty Tiggy, 2020 removed to a black velvet void Government Partners Pool, 2021 Circle, 2018 Dana, 2020 acrylic and molasses Tunnel, 2018 Mum, 2020 From an Untouched Landscape, 2021 giclée prints on paper T.M, 2020 giclée print on wallpaper Ngarra, 2021 Uncle Chook, 2020 mixed media installation Uncle Moogy, 2020 Wirri (club), 2020 Major Partner Freight Partner Community Engagement Partner Project Partner Heaven and Hell, 2020 Kathawirri (sword), 2020 hand-etched tintype images made from Murlapaka (broad shield), 2020 PICA DONOR DIRECTOR’S charcoal drawings Katha (digging stick), 2020, PROGRAM CIRCLE Wakalti (parry shield), 2020 PICA’s ongoing programs are primarily supported by an investment from the State of Western Australia through the Department of Local Government, Sport and Wadnawirri (battle axe), 2020 Cultural Industries in association with Lotterywest, assistance from the Australian Government through the Australia Council, its arts funding and advisory body. Midla (spearthrower), 2020 PICA is supported by the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments. PICA’s opening events, public programs, family and learning programs and studio residencies are supported by our Community Engagement Partner City of Perth. nyinalanginy / the gathering is supported timber and black paint by the Copyright Agency’s Cultural Fund. Cover Image: Yabini Kickett, Burdiya-ka (Bosses) (Lola McDowell-Kickett), 2021. the gathering Dean Cross Sharyn Egan Yabini Kickett Peggy Griffiths Madij Bridget Reweti Damien Shen Jasmine Togo-Brisby James Tylor

Born 1986 Born 1957 Born 1998 Born 1941 Born 1985 Born 1976 Born 1982 Born 1986, Kamberri | Canberra, Australian Capital Territory Boorloo | Perth, Western Australia Boorloo | Perth, Western Australia Newry Station, Northern Territory Tauranga Moana, Aotearoa New Zealand Tarntanya | Adelaide, South Australia Murwillumbah, New South Wales Mildura, Victoria Australia Worimi Peoples, New South Wales Whadjuk Nyoongar Peoples Ballardong, Nyaki-Nyaki, Wadjuk and Miriwoong and Gajirrawoong Peoples Māori: Ngāti Ranginui, Ngāi Te Rangi Ngarrindjeri Peoples and Chinese Australian 4th Generation Australian Nunga (Kaurna) Peoples, Lives and works Sydney, New South Wales Lives and works Walyalup | Fremantle, Bibbulmun Noongar Peoples Lives and works Kununurra, Western Australia Lives and works Ōtepoti [Dunedin], Lives and works Tarntanya | Adelaide, South Sea Islander (Vanuatu) Māori (Te Arawa) and European Western Australia Lives and works Boorloo, Western Australia & Juylinum, Northern Territory Moana Aotearoa New Zealand South Australia Lives and works Te Whanganui-a-Tara Lives and works Kamberri | Canberra, [Wellington], Aotearoa New Zealand Australian Capital Territory

In PAS DE DEUX (2019) Dean Cross presents a Sharyn Egan is a Whadjuk Nyoongar artist, whose Yabini Kickett is an emerging Nyoongar Peggy Griffiths Madij is a senior Miriwoong Bridget Reweti is a Māori (Ngāti Ranginui, Damien Shen’s practice is an ongoing gathering ‘Our landscape is our only monument: its James Tylor is multidisciplinary artist whose kind of cultural study which operates in absolute multidisciplinary practice explores her personal multidisciplinary artist whose practice to date artist who works at Waringarri Arts in Kununurra Ngāi Te Rangi) lens-based artist whose of personal histories and identities, documenting meaning can only be traced on the otherside’ works seek to reveal histories of place through binary. The work takes us back to 1988, a and cultural relationships to Country, to Nyoongar has explored identity, kinship, family history (Kimberley, Western Australia). Griffiths’ paintings works explore different perspectives and the journey of his life and the process of self Edouard Glissant, Caribbean the sharing of important historical narratives year where many Australians celebrated the Boodja. Egan’s works document the relationships and the ongoing impact of colonisation and are important cultural documents that map understandings of landscape. Her practice and collective discovery that many First Nations Discourse Selected Essays (1989) while also attesting to the continued cultural bicentenary of Australia marking 200 years since between places, people, plants and animals development upon the natural world. Kickett’s Dawang (Country), depicting important formations unpacks the intimate relationship between peoples engage with throughout the course practices of First Nations people around invasion and the beginnings of colonisation. For while also reminding us of our role as custodians latest body of work, Burdiya-ka (Bosses) (2021), in the landscape, plants and animals, but more people and place, revealing histories known of their lives. For First Nations peoples, whose A single maelstrom, a powerful ocean whirlpool, Australia. Throughout his career, Tylor has First Nations people of Australia however, this charged with caring for the natural world. Egan’s commissioned for the gathering, is her first foray importantly they speak of a history shared with intimately by Māori in Aotearoa New Zealand lived experiences and inherited ancestral crafted using a network of interleaving crows undertaken extensive research into Kaurna was a year of sadness, of grief and of anger. works are often made from collected materials into photo-portraiture as an artistic process with kartija (white people), of frontier violence and of while challenging the way that landscape is experience have been one of loss, dispossession feathers sits upon the gallery floor, in a darkened language and knowledge of the creation and belonging to Boodja, materials which her the resulting works speaking strongly of kinship the tensions that remain, traces of the colonial employed in western art-making traditions. from Country, culture and kin and victim of the room. The closer we get, the more perilous use of cultural tools which were crafted by his ancestors have worked with since the beginning. within the matriarchy of her family. world that saw Miriwoong and many other First aggressive anthropological gaze of empire, a situation we find ourselves in, for at the ancestors and critical to survival. In doing so Nations peoples displaced from their Country. Reweti’s work Ziarah (2018) made during a the process of consolidation and rebuilding of centre of this whirlpool is a tumultuous end Tylor has made significant contributions to the Egan’s newly commissioned work Kalyakoorl residency at the Cemeti Institute of Art and cultural selfhood can take a lifetime. and the beginning of a transformed existence. cultural revitalisation and maintenance efforts of (Always) (2021) works in this same way, and is Woollangem Balaj Gida (At First Sight) (2019-20) Society in Jogjakarta (Indonesia) shares the Maelstroms are formed by opposing currents, Kaurna people in South Australia. comprised of a collection of Xanthorrhoea preissii made in collaboration with Bernadette Trench- experiences of Tupaia, a Tahitian navigator, or a current colliding with an obstacle, the word cores, a species of the grass tree endemic Thiedeman, draws on Griffths’ paintings to create translator and priest who travelled on Captain also used to describe a situation or state of to Nyoongar Boodja and known as Balga in a powerful animation recalling Griffiths’ mother, Cook’s Endeavour from Ra’iatea in the Society confused movement or violent turmoil. Nyoongar. Ngop Ngooni (Blood Brothers) (2019) Dinah Dinyngoolg Joowanany’s first encounter Islands, with his nephew Taiata. Tupaia played a lines the walls of the gallery and is comprised of with a non-Indigenous person, a manager at critical role in interactions between the British and Jasmine Togo-Brisby’s creative practice It was also, however, a year to stand together in thirteen large paintings on plywood. Each panel Newry Station. The manager was being led by an tangata whenua (people of the land) in Aotearoa rigorously interrogates slave trade of the Pacific, unity, to be seen and heard. First Nations people is a meditative reflection on Boodja (Country), Aboriginal tracker following groups of Aboriginal New Zealand, acting not only as a translator but known as ‘black-birding’, these practices saw organised and travelled to Sydney to protest created using the resin of the Balga which Egan people. Dinah hid from the manager in a waterhole as a mediator who people trusted and held in high people forced into slavery, and transported to the bicentenary celebrations and, in doing transforms into a rich, deep-red paint. The that the Griffiths family visit regularly, and a place regard. After his first visit, Tupaia never returned colonies throughout the world. Togo-Brisby’s so, reminded people in Australia and around changing fields of colour are inspired by the which often features in Griffiths and her daughter to Aotearoa, as both he and his nephew Taiata great-great grandparents were among the more the world of the true cost of colonial nation- many variations of surfaces Egan sees in the Jan’s artworks. Dinah managed to escape, coming died while the ship was docked in Indonesia (then than 62,000 who were abducted from their island building to Indigenous people. While some turned Balga pieces she has collected, while out of the water only once the manager and the the Dutch-ruled Batavia). homes and shipped to Australia where they were cry, others celebrate, and it is this tension that design work within the paintings makes reference tracker had moved on. This marked the beginning forced into work on the sugarcane plantations Cross conjures through overt and deliberate to land formations, traditional scarification and of a series of events that would see Dinah and her Narrated by Safir Islami, a Betawi man who and domestic servitude. juxtaposition. PAS DE DEUX is a timely reflection body painting practices. family’s lives changed forever. Reweti shared time and space with, the work on the power of protest and the importance of reveals histories of Tupaia’s journey to Indonesia, For Togo-Brisby, her relationship to the ocean activism. Cross reminds us that while progress has Historically, non-Aboriginal peoples exploited Woollangem Balaj Gida (At First Sight) is an information shared by Reweti paired with Islami’s is complex and multifaceted, like many Pacific been made as a nation and a global community, the resource in the creation of homewares important reminder of the complexities embodied knowledge of the islands to the north of Jakarta Islander peoples, she has a deep affinity with it, we are far from attaining equality for First Nations which Egan collects from second-hand stores, in First Nations peoples’ depictions of Country. in the Java Sea. Ziarah (which translates to a cultural legacy informed through an enduring Tylor’s From an Untouched Landscape series, people and People of Colour in world informed removing them from circulation and creating While people belong to and care for these places, pilgrimage in Arabic) is in many ways a document relationship with the ocean, a notion often comprised of four bodies of work created and governed by ideologies of British Empire. new works of art with them. Egan has included a they are also the sites of painful atrocities. Like the of the journey Islami, Reweti and translator reinforced in discourses around the Pacific between 2013 and the present day (deleted, large selection of these objects in the gathering, narratives of the Ngarranggarni, the Dreaming, Edwina Brennan took together to Damar Besar, Shen, however, courageously shares this deeply diaspora. For Pacific slave diaspora however, erased, vanished and removed), explore the Ngarra (2021) reclaimed, repurposed and aptly titled ‘…turned these more recent occurrences are etched into which is believed to be the final resting place personal process with us through his practice, the Pacific Ocean is also middle passage, a absence of First Nations people and our stories From artist, Dean Cross: by white men’ (2021). They sit somewhat out of Country and into the hearts and minds of the of Tupaia, and the conversations they shared, drawing on anthropological collections for source complex and complicated site of memory, of from the Australian landscape, from written view, up high, with little light falling on them – for Travelling with her family back to Kellerberrin custodians of these places. particularly those of the seas and oceans which material including images of his family, the places loss and rupture – the Pacific was a critical tool history and in many ways from the Australian Ngarra is a transitive verb in the Kattang/Gathang Egan they symbolise unnecessary destruction of for the funeral of her Uncle, Kickett created a both Islami and Reweti have great respect, they were forced to move to and the people who in the colonial displacement of her ancestors, consciousness. Upon invasion First Nations language, the language of my ancestors, which living Balga forests, mindlessly felled to produce series of large-format photographs of her mother, reverence and concern for. serviced the colonial agenda. Not only does stolen from their families and homelands under people were seen as lesser beings, whose can be understood in five distinct ways. To hear; decorative items for people’s homes. They are mother, Lola McDowell-Kickett, and her four Shen reveal the faces of the men who controlled, Australia’s Pacific labour policies between 1847- only meaningful place in the colony was as to listen; to think; to remember; and to know. In emblematic of a European desire to conquer the aunties, Caroline Kickett, Valda Taylor (pictured assimilated and studied his people he also 1904. The dispossession of South Sea bodies enslaved labour, supporting the ambitions of the fallout from 2020, ngarra has become a daily landscape, to tame the wilds of the Australian above), Barbara-Rose Kickett and Helen Pickett. mimics the anthropological studies made of his from the places they belong to faraway lands was the British Empire. The options for our people practice and something I wanted to engage with outback – emergent from a worldview that sees This was the first time the women had gathered people pictorially in the works on display, etching critical to this slaver agenda, it created physical, were assimilation or annihilation, with colonial for the gathering. the landscape as an endless resource – ripe for since coming together for the funeral of their muscle anatomy over the portraits of his family, a emotional and cultural distance which enabled mechanisms geared in such ways to encourage the picking. For First Nations people, this is far brother many years ago. Together they visited nod to the way that his Ngarrindjeri peoples were slavers to dominate and control the enslaved. these outcomes – many of which continue to Since the summer fires in early 2020, and the from the way we approach and value Country, we Jureen Mission, a place of personal significance perceived and documented as subjects to study, function in contemporary Australian society. tragic human loss from COVID-19 around the see Country as a cultural resource, as the ultimate for the family and the birthplace of Kickett’s closer to animals than to humans. In this act, Shen Dispossession was two-fold for South Sea world, I have been thinking on communal displays provider. If we care for it, seek to understand it grandmother, Enid Kickett-Hayden, between attests to and reclaims First Nations peoples’ Islander people, initially stolen from their Pacific From an Untouched Landscape poetically speaks of reflection, grief and remembrance, in particular and advocate for it, it will continue to provide. For Jureen and Kellerberin rubbish tip. right to define the way they are represented. homelands, the Australian government then to these absences, rendering landscapes as the practice of giving bouquets of flowers as Egan, this is central to her practice, taking only moved to erase their experience and existence incomplete with critical pictorial elements spliced loving gesture. It struck me as odd inasmuch what she needs at any one moment in time. Over the course of the week spent visiting places Ziarah brings to the fore not only Reweti’s Shen’s most recent works expand once again, from the Australian narrative through the White from each image, stories untold, undocumented as to give a flower is to kill a flower. Somehow and family and playing cards and Yahtzee, the relationship to Tupaia and his experiences, but seeking to share with the nuance and multiplicity Australia Policy and the largest mass deportations and erased. In their place, emptiness is inserted, though that incongruence holds the poetic key to For Egan, the central core of the Balga, which women confided in each other, reminiscing about also the nuances of colonial adventure, stories of of identity for First Nations people, who often in Australian history. Those remaining were often propositioning audiences to not only consider unlocking this strange year – and replicating that remains well after the Balga tree itself has died, the past, speaking of fond memories as well human connection, of affection, of journeys and have multiple cultural belongings and affinities forced by governmental structures to identify their what is missing from the scene, but what is practice for the gathering felt right. represents the enduring spirit of Nyoongar as the hardships endured by the family. Kickett of humanity and mortality. This is twofold in that to cultures and communities locally, but also to South Sea bodies as Indigenous Australian, to missing in our history and from the landscapes peoples who have survived the many hardships heard stories she had never heard before, some Islami and Reweti forge new connections with faraway places, people, lands and waters. For occupy spaces within the ‘blak’ political struggle, we navigate every day of our lives. My idea is a simple one – create an open and atrocities of colonisation. Kalyakoorl (Always) of which were painful and incredibly personal. each other, bringing forth a new shared history in Shen, integration and pictorial representation of a notion that continues to reinforce South Sea opportunity for Ngarra through the continued is a physical manifestation of the strength and The time together created space for the sisters the creation of this work – a connection founded his Chinese heritage has become critical in his placelessness today. In recent years Tylor has presented these works placement of a bouquet of flowers into the gallery resilience of Nyoongar peoples, who continue the to share and heal. on reciprocity. investigations of self, reinforcing the complexities alongside the cultural tools he has learned to space. This can be done by anyone and everyone traditions of their ancestors while navigating a of belonging he navigates but also attesting to his The newly commissioned work, Into Something craft, a way of re-inserting First Nations people who would like to share in a brief shining moment changing world. Burdiya-ka, which translates to bosses, is sense of pride. For Shen, art works are not simply Else (2021) interrogates this spatial dilemma and in these empty spaces and a reminder that while of communal and collective reflection and a homage to the women in Kickett’s family, a commodity, produced for artworld consumption, acts as a physical manifestation of the Pacific a culture of exclusion rendered First Nations remembering as we allow 2020 to gently fall away photographic works paired with an assemblage but a map of discovery that will form the cultural slave diaspora – exploring the complexities of people invisible from the landscape for far too while we navigate the beginnings of a new year. of treasured personal objects – some collected legacy he leaves for his children Kalani and Takoda, contemporary South Sea Islander identity – of long, that we are here, we are resilient, and we from near the birthing tree Nanna Enid was born and for the children they may go on to have. belonging and not belonging – of absence and of won’t be made invisible again. I invite you to take part in the creation of Ngarra under, a majestic salmon gum; a delicate piece of presence. Togo-Brisby uses black crow feathers a work commissioned for the gathering, by silk Kickett has hand dyed using the leaves from within her work, as the black crow is often making a floral offering to the work in the galleries the tree; Enid’s precious bible and cookbook, a claimed by the South Sea community and used at PICA. You can bring flowers from home, or golden crucifix on a fine gold chain, a deck of in unity as a symbol of the ‘black-birding’ trade, purchase some from a local florist or grocery cards, old glass bottles and a packet of Winfield representing collective memory and shared store. When placing flowers upon the work, take Red cigarettes. Beneath the table sits a brick and cultural identity. time to hear, to listen, to think and to remember. a star steel picket, a nod to stories that remain untold, below the surface, only to emerge when Within science fiction novels the maelstrom often the time and place is right. manifests as a space of transformation, of parallel dimensions – a portal one cannot escape, and from which one emerges aged and altered beyond repair or recognition. Togo-Brisby parallels the imagined realm of time travel with the unimaginable journey of her ancestors in the holds of slave ships, floating on an ocean of transformation. Into Something Else moves both backward and forward in time, refusing to sit in either, but offers itself as a site of South Sea possibility.

Images Left to Right. Dean Cross, PAS DE DEUX (still), 2019. Dean Cross, Ngarra (detail), 2021. Yabini Kickett, Burdiya-ka (Bosses) (Valda Taylor), 2021. Peggy Griffiths Madij, 2019. Photo: Ben Searcy. nyinalanginy Bridget Reweti, Lighthouse, 2018. Bridget Reweti, Tunnel, 2018. February Damien Shen, Heaven and Hell, 2019. James Tylor, (Deleted scenes) From an untouched landscape#2, 2013. James Tylor, (Deleted scenes) From an untouched landscape#7, 2013. the gathering All images courtesy the artists. - April 2021

(Māori: Ngāti Ranginui, Ngāi Te Rangi) Rangi) Te Ngāi Ranginui, Ngāti (Māori:

Bridget Reweti Bridget 5 Dutch & Scottish) Scottish) & Dutch

(Nhanda / Nyoongar Peoples, Nyoongar / (Nhanda In 2020 the global community found itself in a state of overwhelming

Curated by Glenn Iseger-Pilkington Glenn by Curated 9 Bibbulmun Nyoongar Peoples) Peoples) Nyoongar Bibbulmun

(Ballardong, Nyaki-Nyaki, Wadjuk and Wadjuk Nyaki-Nyaki, (Ballardong, anxiety as we collectively navigated the coronavirus pandemic, a global

Yabini Kickett Yabini 4 Irish & Norwegian) Norwegian) & Irish

(Kaurna, Māori, English, Scottish, English, Māori, (Kaurna, health challenge that quickly become weaponised as a tool to further

James Tylor James 8 (Mirriwong/Gajirrawoong Peoples) Peoples) (Mirriwong/Gajirrawoong

Peggy Griffiths Madij Griffiths Peggy divide people politically and ideologically. 3

Islands of Ambae and Santo, Vanuatu) Santo, and Ambae of Islands

(Whadjuk Nyoongar Peoples) Peoples) Nyoongar (Whadjuk (Australian South Sea Islander – ancestral ancestral – Islander Sea South (Australian

Sharyn Egan Sharyn 2 Jasmine Togo-Brisby Jasmine

Simultaneously, the recent deaths of Indigenous and Black people 7

(Worimi Peoples) Peoples) (Worimi (Ngarrindjeri Peoples/Chinese Australian) Australian) Peoples/Chinese (Ngarrindjeri

Dean Cross Dean 1 Damien Shen Damien while in police custody in Australia and the United States of America 6

gained international attention, initiating challenging reflections on all. us for safe place this keep to systemic racism and discrimination, unprecedented global protest continues stewardship whose and

during a deadly pandemic and the emergence of a new wave of

allyship in both the general public and the corporate world. ways, meaningful and profound

helps us understand this place in in place this understand us helps

In a time when our physical interactions and freedom of travel have knowledge whose emerging, and been significantly restricted, the gathering reflects upon the act present past, Elders of admiration

of gathering – the bringing together of peoples, words, politics,

objects, images, identities, histories, concern, dreams, and ambitions and respect our offer We place.

5

through the presentation of works of art from Australian First Nations, this of custodians the as Peoples 6

Australian South Sea Islander and Māori artists. 8 Nyoongar Whadjuk acknowledges

1

2&4 4&9

PICA years. of thousands for

9 Together, these artists offer powerful and moving personal reflections Country this for cared have

upon our cultures, our families, our ancestral relationships with lands

and waters, our colonial histories and the legacies of Empire that 7 who People, Nyoongar Whadjuk

Image: 12:27 PM, 9 March, 2020. Taken onboard QF10, continue to impact all of our lives. the of homelands spiritual and

3 upon descent into Boorloo on Whadjuk Boodja | Perth, 7 Western Australia. cultural unceded the on sits PICA I took this photo as we were arriving home from Northern Ireland, (via London) on March 9, 2020. At this moment in the gathering is an invitation to reflect on our histories, values, and time I knew the world was changing, but had no idea how 2020 was going to unfold. - Glenn Iseger-Pilkington experiences while we reconsider what our futures can be.

PICA Presented in association with Perth Festival Perth Institute of Contemporary Arts

List of works → pica.org.au nyinalanginy

Sharyn Egan Yabini Kickett Damien Shen Jasmine Togo-Brisby ‘…turned by white men’, 2021 Burdiya-ka (Bosses), 2021 The Art of War, 2019 Into Something Else, 2021 collection of turned Balga homewares, assemblage of personal objects, table, giclée five hand-etched tintype photographs mixed media with crow feathers Perth Cultural Centre 51 James St Northbridge removed from circulation prints on paper variable dimensions In the midst of chaos, Gallery Open there is also opportunity, 2020 Tue – Sun | 10am – 5pm Ngop Ngooni (Blood Brothers), 2019 Know thy self, know thy enemy. A thousand James Tylor @pica_perth Balga resin, white spirit and synthetic Peggy Griffiths Madij battles, a thousand victories, 2020 (Deleted scenes) From an polymer paint on plywood panels Wollangem Balaj Gida Never Venture, Never Win, 2020 Untouched Landscape #2, 2013 variable dimensions (At First Sight), 2019-2020 hand-etched tintype photographs (Deleted scenes) From an single channel video with sound; 16:9 Untouched Landscape #10, 2013 Kalyakoorl (Always), 2021 5:27 min. Know yourself and you will win all battles, 2019 (Deleted scenes) From an Balga (Xanthorrhoea preissii) and two hand-etched tintype photographs Untouched Landscape #14, 2013 natural earth pigments Collaborating artist: (Vanished Scenes) From an Jan Griffiths (Miriwoong Peoples) The greatest victory is that which Untouched Landscape #2, 2018 Sound Design: Jinunyili (Djugun, requires no battle, 2020 (Vanished Scenes) From an Jabirr Jabirr and Gooniyandi Peoples) two hand-etched tintype photographs Untouched Landscape #3, 2018 Dean Cross Collaborating animator: (Vanished Scenes) From an Flagged Out/Second Wave, 2020 Bernadette Trench-Thiedeman The opportunity of defeating the enemy is Untouched Landscape #4, 2018 Ngunnawal ochre, synthetic binder, charcoal Austrian/Sri Lankan provided by the enemy himself, 2020 (Vanished Scenes) From an and powdered pigment on stretched linen two hand-etched tintype photographs Untouched Landscape #6, 2018 (Vanished Scenes) From an PAS DE DEUX, 2019 Treat your soldiers like your sons and they will Untouched Landscape #12, 2018 projected filmic work Bridget Reweti follow you into any battle, 2020 (Removed Scenes) From an Presenting Partner Perth Festival Visual Arts Supported by 13:07 min. Ziarah, 2018 three hand-etched tintype photographs Untouched Landscape #5, 2018 Program Partner single channel video with sound; 16:9 (Removed Scenes) From an 23rd March (1770 - 2020), 2020 9:30 min. Annie, 2020 Untouched Landscape #8, 2018 oilstick and gesso on linen Aunty Betty, 2020 giclée prints on hahnemuhle paper with hole

Lighthouse, 2018 Aunty Tiggy, 2020 removed to a black velvet void Government Partners Pool, 2021 Circle, 2018 Dana, 2020 acrylic and molasses Tunnel, 2018 Mum, 2020 From an Untouched Landscape, 2021 giclée prints on paper T.M, 2020 giclée print on wallpaper Ngarra, 2021 Uncle Chook, 2020 mixed media installation Uncle Moogy, 2020 Wirri (club), 2020 Major Partner Freight Partner Community Engagement Partner Project Partner Heaven and Hell, 2020 Kathawirri (sword), 2020 hand-etched tintype images made from Murlapaka (broad shield), 2020 PICA DONOR DIRECTOR’S charcoal drawings Katha (digging stick), 2020, PROGRAM CIRCLE Wakalti (parry shield), 2020 PICA’s ongoing programs are primarily supported by an investment from the State of Western Australia through the Department of Local Government, Sport and Wadnawirri (battle axe), 2020 Cultural Industries in association with Lotterywest, assistance from the Australian Government through the Australia Council, its arts funding and advisory body. Midla (spearthrower), 2020 PICA is supported by the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments. PICA’s opening events, public programs, family and learning programs and studio residencies are supported by our Community Engagement Partner City of Perth. nyinalanginy / the gathering is supported timber and black paint by the Copyright Agency’s Cultural Fund. Cover Image: Yabini Kickett, Burdiya-ka (Bosses) (Lola McDowell-Kickett), 2021. the gathering