Secondary Resource

advisory body, and the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments. Territory and State Australian, the of initiative an Strategy, Craft and Arts Visual the and body, advisory

This project has been assisted by the Australian Government through the Australia Council, its arts funding and and funding arts its Council, Australia the through Government Australian the by assisted been has project This

BENEFACTOR

PRINCIPAL KIDS APT9 PRINCIPAL PARTNER PRINCIPAL STRATEGIC PARTNER STRATEGIC FOUNDING SUPPORTER FOUNDING

Gallery of Modern Art, Brisbane, 2018. Brisbane, Art, Modern of Gallery

[exhibition catalogue], Queensland Art Gallery I I Gallery Art Queensland catalogue], [exhibition APT9: The 9th Asia Pacific Triennial of Contemporary Art Art Contemporary of Triennial Pacific Asia 9th The APT9: New York; gb agency, Paris agency, gb York; New

from drawn material with staff, Learning QAGOMA by developed been has resource Learning QAGOMA This Associates, Gray Alexander Dubai; Eynde, den van Isabelle Gallery Sharif; Hassan of Estate courtesy: Image

(detail) 2015 (detail) / Dubai Eynde, den van Isabelle Gallery and Sharif Hassan of Estate © / Cutting and tying no.2 tying and Cutting

by the Queensland Art Gallery. Art Queensland the by

Hassan Sharif Hassan / 1951–2016 Emirates Arab Iran/United Auckland; Gallery, Rooms Two and artist The

held is publication this in texts for Copyright publisher. the to addressed be should rights and reproduction

(detail) 2015–16 (detail) courtesy: Image / artist The © / / b.1954 Zealand New Aotearoa Dead Bee Portrait #14 Portrait Bee Dead

reproduced without prior written permission of the copyright owners. Requests and inquiries concerning concerning inquiries and Requests owners. copyright the of permission written prior without reproduced

Anne Noble Anne artist; The courtesy: Image / artist The © / (APT) Art Contemporary of Triennial Pacific Asia

, no part may be be may part no , the under permitted as use any from Apart copyright. is work This Copyright Act 1968 Act Copyright

the and Dhabi Abu Warehouse421 Art, Dhabi Abu of program arts performing the (DAT), Tawaya Al Durub

Monira Al Qadiri Al Monira Senegal/ London; | Kong Hong Rossi, & Rossi and artist The courtesy: Image / artist The ©

24 November 2018 – 28 April 2019. April 28 – 2018 November 24

(detail) 2017 (detail) Khan Naiza / Sydney collection, Private / / b.1968 Pakistan Armour Suit for Rani of Jhansi II Jhansi of Rani for Suit Armour

Australia, Brisbane, QAGOMA, at held and (QAGOMA) Art Modern of Gallery I Gallery Art Queensland the by

Published in association with ‘APT9: The 9th Asia Pacific Triennial of Contemporary Art’, an exhibition organised organised exhibition an Art’, Contemporary of Triennial Pacific Asia 9th The ‘APT9: with association in Published Left to right to Left

W: qagoma.qld.gov.au W:

Australia 4101 Queensland immense creative contribution Indigenous people make to the art and culture of this country. this of culture and art the to make people Indigenous contribution creative immense

Brisbane South 3686, Box PO to Aboriginal and Torres Strait Islander elders past and present and, in the spirit of reconciliation, acknowledge the the acknowledge reconciliation, of spirit the in and, present and past elders Islander Strait Torres and Aboriginal to

Brisbane Bank, South Place, Stanley peoples who are the traditional custodians of the land upon which the Gallery stands in Brisbane. We pay respect respect pay We Brisbane. in stands Gallery the which upon land the of custodians traditional the are who peoples

Art Modern of Gallery | Gallery Art Queensland The Queensland Art Gallery | Gallery of Modern Art (QAGOMA) acknowledges the Turrbal and Yugara (Jagera) (Jagera) Yugara and Turrbal the acknowledges (QAGOMA) Art Modern of Gallery | Gallery Art Queensland The

PUBLISHER Acknowledgment of country of Acknowledgment

BENEFACTOR

PRINCIPAL KIDS APT9 PRINCIPAL PARTNER PRINCIPAL STRATEGIC PARTNER STRATEGIC FOUNDING SUPPORTER FOUNDING

Gallery of Modern Art, Brisbane, 2018. Brisbane, Art, Modern of Gallery

SECONDARY RESOURCE I Gallery Art Queensland catalogue], SECONDARY [exhibition APT9: The 9th Asia Pacific Triennial of Contemporary Art Art Contemporary of Triennial Pacific Asia 9th The APT9: New York; gb agency, Paris agency, gb York; New

This QAGOMA Learning resource has been developed by QAGOMA Learning staff, with material drawn from from drawn material with staff, Learning QAGOMA by developed been has resource Learning QAGOMA This

Image courtesy: Estate of Hassan Sharif; Gallery Isabelle van den Eynde, Dubai; Alexander Gray Associates, Associates, Gray Alexander Dubai; Eynde, den van Isabelle Gallery Sharif; Hassan of Estate courtesy: Image

(detail) 2015 (detail) / © Estate of Hassan Sharif and Gallery Isabelle van den Eynde, Dubai / / Dubai Eynde, den van Isabelle Gallery and Sharif Hassan of Estate © /

Cutting and tying no.2 tying and Cutting

by the Queensland Art Gallery. Art Queensland the by

Hassan Sharif Hassan / 1951–2016 Emirates Arab Iran/United Auckland; Gallery, Rooms Two and artist The

reproduction and rights should be addressed to the publisher. Copyright for texts in this publication is held held is publication this in texts for Copyright publisher. the to addressed be should rights and reproduction

(detail) 2015–16 (detail) courtesy: Image / artist The © / / b.1954 Zealand New Aotearoa Dead Bee Portrait #14 Portrait Bee Dead

Anne Noble Anne artist; The courtesy: Image / artist The © / (APT) Art Contemporary of Triennial Pacific Asia

, no part may be be may part no , the under permitted as use any from Apart copyright. is work This Copyright Act 1968 Act Copyright

Durub Al Tawaya (DAT), the performing arts program of Abu Dhabi Art, Warehouse421 Abu Dhabi and the the and Dhabi Abu Warehouse421 Art, Dhabi Abu of program arts performing the (DAT), Tawaya Al Durub

Monira Al Qadiri Al Monira Senegal/ London; | Kong Hong Rossi, & Rossi and artist The courtesy: Image / artist The ©

24 November 2018 – 28 April 2019. April 28 – 2018 November 24

(detail) 2017 (detail) Khan Naiza / Private collection, Sydney / / Sydney collection, Private / / b.1968 Pakistan

Armour Suit for Rani of Jhansi II Jhansi of Rani for Suit Armour

by the Queensland Art Gallery I Gallery of Modern Art (QAGOMA) and held at QAGOMA, Brisbane, Australia, Australia, Brisbane, QAGOMA, at held and (QAGOMA) Art Modern of Gallery I Gallery Art Queensland the by

Left to right to Left

W: qagoma.qld.gov.au W:

SECONDARYcountry of Acknowledgment RESOURCE

PUBLISHER Acknowledgment of country Queensland Art Gallery | Gallery of Modern Art The Queensland Art Gallery | Gallery of Modern Art (QAGOMA) acknowledges the Turrbal and Yugara (Jagera) Stanley Place, South Bank, Brisbane peoples who are the traditional custodians of the land upon which the Gallery stands in Brisbane. We pay respect PO Box 3686, South Brisbane to Aboriginal and Torres Strait Islander elders past and present and, in the spirit of reconciliation, acknowledge the Queensland 4101 Australia immense creative contribution Indigenous people make to the art and culture of this country. W: qagoma.qld.gov.au Published in association with ‘APT9: The 9th Asia Pacific Triennial of Contemporary Art’, an exhibition organised Left to right by the Queensland Art Gallery I Gallery of Modern Art (QAGOMA) and held at QAGOMA, Brisbane, Australia, Naiza Khan Pakistan b.1968 / Armour Suit for Rani of Jhansi II (detail) 2017 / Private collection, Sydney / 24 November 2018 – 28 April 2019. © The artist / Image courtesy: The artist and Rossi & Rossi, Hong Kong | London; Monira Al Qadiri Senegal/ © Queensland Art Gallery, 2018 Kuwait/Germany b.1983 / DIVER (production still, detail) 2018 / Commissioned for APT9 / Produced by Durub Al Tawaya (DAT), the performing arts program of Abu Dhabi Art, Warehouse421 Abu Dhabi and the This work is copyright. Apart from any use as permitted under the Copyright Act 1968, no part may be Asia Pacific Triennial of Contemporary Art (APT) / © The artist / Image courtesy: The artist; Anne Noble reproduced without prior written permission of the copyright owners. Requests and inquiries concerning Aotearoa New Zealand b.1954 / Dead Bee Portrait #14 (detail) 2015–16 / © The artist / Image courtesy: reproduction and rights should be addressed to the publisher. Copyright for texts in this publication is held The artist and Two Rooms Gallery, Auckland; Hassan Sharif Iran/United Arab Emirates 1951–2016 / by the Queensland Art Gallery. Cutting and tying no.2 (detail) 2015 / © Estate of Hassan Sharif and Gallery Isabelle van den Eynde, Dubai / This QAGOMA Learning resource has been developed by QAGOMA Learning staff, with material drawn from Image courtesy: Estate of Hassan Sharif; Gallery Isabelle van den Eynde, Dubai; Alexander Gray Associates, APT9: The 9th Asia Pacific Triennial of Contemporary Art[exhibition catalogue], Queensland Art Gallery I New York; gb agency, Paris Gallery of Modern Art, Brisbane, 2018. SECONDARY RESOURCE

FOUNDING SUPPORTER STRATEGIC PARTNER PRINCIPAL PARTNER APT9 KIDS PRINCIPAL BENEFACTOR

This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body, and the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments. APT9 SECONDARY RESOURCE

The Queensland Art Gallery | Gallery of Modern Art’s, ‘APT9: The major series of exhibitions to focus exclusively on the contemporary 9th Asia Pacific Triennial of Contemporary Art’ presents a unique mix art of Asia and the Pacific, including Australia. of creativity and cross-cultural insight that challenges conventional This print-ready resource features 38 artworks and projects definitions of contemporary art. Students can experience a number of selected from the more than 80 artists and groups featured in never-before-seen installations, paintings, sculptures, works on paper, APT9. It provides stimulus questions to initiate student discussion photographs and moving-image works by both emerging and senior and engagement with APT9 content and concepts through the artists from over 30 countries throughout the Asia Pacific region. contemporary, personal, cultural and formal contexts. The context Held every three years, the Asia Pacific Triennial of Contemporary questions are intended as a guide for teachers to adapt for different Art is one of a number of recurring exhibitions that take place around year levels. Additional resources are available online to support the world. Beginning in 1993, the Asia Pacific Triennial is the only classroom activities and assist with visits to QAGOMA.

Suggestions for using this resource AFTER • Consider the artworks in the exhibition with which students BEFORE most strongly identify. Use the context questions on these artwork handouts to generate focused inquiry questions to begin • The context guiding questions assist students to employ different investigations for making and responding tasks. contexts to investigate a range of influences and layers of meaning in the featured APT9 artworks and art practices. • Research other artists in APT9 who relate to the content and concepts of the featured artists. • Identify unfamiliar terms in the text and make a glossary. • Extend research opportunities and connect artwork ideas • Use this resource for group work. Allocate one artwork to each group with other curriculum learning areas. For example: to respond to selected context questions. Use a ‘think-pair-share’ cooperative learning strategy to present new knowledge to other Technology Nona Garcia Yuko Mohri Joyce Ho groups or the rest of the class. History Lisa Reihana Jakkai Vincent Namatjira • Investigate relationships: Siributr › Explore connections between artworks and art practices Languages Jonathan Shilpa Gupta YOUNG-HAE through the artist’s ‘lens’ presented on the cards. Jones CHANG HEAVY › Identify and use shared context questions in the classroom INDUSTRIES and at the Gallery to recognise similarities and highlight differences in artworks and art practices. Science Anne Noble Qiu Zhijie Donna Ong and Robert Zhao Renhui › To assist comparison: » analyse and interpret the work of several artists who communicate influences on their lives and experiences Additional online resources — through the personal context » begin by observing and describing the artwork — qagoma.qld.gov.au/learning/resources describe the features, composition, and method of construction » discuss the significance of the observed similarities and • Slide presentation to support classroom discussion. Features include: differences, and the unexpected relationships between artworks › Images of the featured artworks in the learning resources » consider shared meanings and messages and how these relate › additional artworks with context guiding questions to your observations › slides to explore connections through the artists’ » use a graphic organiser, such as a Venn diagram, to record and lens or viewpoint share your observations with the class. › context study guide samples for selected artists • Allow students to be involved in planning a class visit to APT9 › links to online content and Gallery maps. by asking them to vote for the artworks they would like to focus on and justifying their selection. • Build-your-own APT9 worksheet. Features include: › options to customise artwork selection and activities from the DURING learning resources • Select context questions to focus student exploration › printable PDF student resources (including access to copy during your APT9 visit. Consider: and paste content for increased adaptability). › the length of the visit • Supporting resources that are designed by teachers, › ideas and questions that will generate conversation including ideas for engaging students of different year levels › themes you want students to explore • APT9 interactive map for locating artworks at QAGOMA › whether you will visit QAG and GOMA or both sites — • APT9 on the QAGOMA website — with artist biographies, APT9 is held across both buildings public program information and more. › how many artworks you want students to engage with. CONTEMPORARY CONTEXT Lives andworks inWellington, AotearoaNew Zealand Anne Noble • • • How doesAnneNoble: andresearch. what we canlearnfromthemthroughobservation new conversationsNoble hopesthisprojectwillstart aboutthesignificanceofbees,especially a videowork, whichcreates adreamlike sensationinspiredby thesoundsandsmellsofhive. microscope, withthedatatransformed intophotographs anda3-D-printedmodel—together with The projectalsocomprisesimagesofdeadbees—theinsects were scannedunderanelectron several thegrowing beecommunity. timesaday so that audiencescanobserve to theirhive insidetheGallery. refers to thehive as‘alivingphotograph’, Theartist whichisopened the hive anditstransparent passageway, whichallows thebeestonavigate fromtheoutsideworld andavideo.Noblecollaboratedportraits withscientists fromtheQueenslandBrain Institute todesign Noble’s projectforAPT9 comprisesaworking hive ofEuropean honey bees,aseriesofphotographic by keeping herown beehives atherhomeinNew Zealand. honey bee, a small creature symbolic of our world’s wellbeing. The artist’s interest in bees was sparked time engagedintheactoflooking.Inrecentyears, shehasturnedherattention tothesubjectof Anne Noblehasbeenaphotographer sincethe1970s,andherpractice encourages viewers tospend first-century issues andconcerns? first-century provoke discussion about twenty- traditions? techniques tochallengeaesthetic and/ordisplay employ imagery experience? approaches toaffecttheaudience use materials,technologiesor • • • How doesAnneNoble: PERSONAL CONTEXT meaning? and/or expectations toconstruct connect withviewers’ experiences the viewer? generate emotionalresponsesfrom experiences to create sensory memories? experiences, imaginationor generate ideasfromherown • How doesAnneNoble: CULTURAL CONTEXT social commentary? social commentary? interests through reflect community

GOMA 3.5and3.6, Location: Gallery Two Rooms Gallery, Auckland TheartistImage courtesy: and / 91.5 x115cm/©Theartist 2015–16 /Pigmentonpaper #14 (detail) Dead BeePortrait Aotearoa New Zealand b.1954/ • • • How doesAnneNoble: FORMAL CONTEXT movements, times,placesor events? share characteristics withart materials andmedia? throughprocesses, the artwork enhance theinterpretationof principles tocommunicatemeaning? elementsand employ specificart

SYSTEMS: ECOLOGIES CONTEMPORARY CONTEXT Lives andworks inBangkok, Thailand Siributr Jakkai • • • • How doesJakkaiSiributr: of theThaimonarchKingRama VIII. wife andseven daughtersofChitSinghaseni,aroyal pageexecuted over themysterious deathin1946 Singhaseni and18/28istheaddress ofthecompoundwhereSiributr’s great-grandmother tookinthe from seven auntsontheartist’s maternal side.Siributr’s motherwas fromtheancientThaihouse of of theinstallation ofsuspendedtapestries —works thataremadefromhand-stitched fabricsacquired These scenesconnectwithpassages fromherdiariesthatcanbeheardasarecordinginthecentre mother, whosefive dresses areembroideredwithscenesfromnews and family photographs. the artist’s family andThailand’s politicalhistory. At oftheproject isahomagetoSiributr’s theheart His work inAPT9, 18/28:TheSinghaseniTapestries 2017–18explores theconnectionsbetween with Buddhism—compassion, kindness andtolerance. ofembellished fabrics).Throughhispractice, Siributrencourages(the sensuality values associated subjectmattertension between (conflictsdriven groups)andform by discriminationagainst minority troubled coexistence ofBuddhismandIslam inthesouthofcountry. Hiscreationsembodya Jakkai Siributr’s works address textile Thailand’s andembroidery unofficialhistories, includingthe first-century issues andconcerns? first-century provoke discussion about twenty- traditions? techniques tochallengeaesthetic and/ordisplay employ imagery experience? approaches toaffecttheaudience use materials,technologiesor challenge ideasofthepast? • • • How doesJakkaiSiributr: PERSONAL CONTEXT from theviewer? generate emotionalresponses experiences to create sensory memories? experiences, imaginationor generate ideasfromhisown and experiences? communicate influencesonhislife • • • How doesJakkaiSiributr: CULTURAL CONTEXT respond tocultural influences? social commentary? interests through reflect community explore cultural traditions?

(The Fairfax GOMA Gallery), 1.1 Location: Gallery Theartist Image courtesy: / /©Theartist of ModernArt |Gallery Gallery Queensland Art FoundationModern Art /Collection: of |Gallery Gallery Queensland Art dimensions variable /Purchased2018. luggage trunks,sound/Installed fabrics, disassembled garments, synthetic fabric,embroidery, found cotton,view) silk, 2017–18/14parts: Singhaseni Tapestries (installation Thailand b.1969/18/28:The • • • How doesJakkaiSiributr: FORMAL CONTEXT materials andmedia? throughprocesses, the artwork enhance theinterpretationof symbols, motifsorsigns? communicate intentionsusing principles tocommunicatemeaning? elementsand employ specificart

POWER: ALTERNATE CONTEMPORARY CONTEXT Lives andworks inAuckland,AotearoaNew Zealand Reihana Lisa • • • • How doesLisaReihana: presents theaudiencewithnew ways oflookingatthepast toreconsiderourpresentandfuture. through theinteractions theindigenouspeopleandCaptainCookhiscrew, between Reihana of Māori,Polynesian andAustralian elders.Asthe video scrolls Aboriginalperformersandcommunity more than65performancesandre-enactmentspresenttheliving traditions andcultural knowledge Reihana’s lens— videochallengestherepresentationofindigenouspeoplesusingacontemporary they were inspiredby themurals that was ofancientRome, astyle popularatthetime. flora andfauna.Theclothingposesofthe figures inthe wallpaperarenotauthentic; rather, of thePacific aredepictedas‘noblesavages’, dancing andcelebrating inalushlandscapeof exotic French wallpaper fromc.1804,notlongafterCaptainCook’s voyages inthePacific. Indigenouspeoples APT9, inPursuitofVenus [infected]2015–17isapanoramic videothatreimaginesthe scenesina and isinspiredby theculture ofMāoriandSouthPacific andhistory Islanderpeoples.Her work in Lisa Reihana’s practice incorporates performance,photography, installation andmoving-image works, first-century issues andconcerns? first-century provoke discussion about twenty- traditions? techniques tochallengeaesthetic and/ordisplay employ imagery experience? approaches toaffecttheaudience use materials,technologiesor challenge ideasofthepast? • • • • How doesLisaReihana: PERSONAL CONTEXT meaning? and/or expectations toconstruct connect withviewers’ experiences from theviewer? generate emotionalresponses experiences to create sensory memories? experiences, imaginationor generate ideasfromherown and experiences? communicate influencesonherlife • • • • How doesLisaReihana: CULTURAL CONTEXT of timeandplace? movements, andorigins styles respond toinfluencesofart respond tocultural influences? social commentary? interests through reflect community explore cultural traditions?

Sourris (Marica SourrisandJamesC. Location: Galleries3.3,3.4 Theartist courtesy: Photographs: NormanHeke /Images / /©Theartist ofModernArt Gallery I Gallery Collection: QueenslandArt Appeal andPaul andSusanTaylor / Foundation ofModernArt Gallery | Gallery funds fromtheQueenslandArt colour, ed.2/5/Purchased2015with video, 64minutes(looped),7:1sound, 2015–17 /Single-channelUltra HD in PursuitofVenus [infected](stills) Aotearoa New Zealand b.1964/ Ngā Puhi,NgāiTu, NgātiHine/ • • • • How doesLisaReihana: FORMAL CONTEXT movements, times,placesor events? share characteristics withart materials andmedia? throughprocesses, the artwork enhance theinterpretationof symbols, motifsorsigns? communicate intentionsusing principles tocommunicatemeaning? elements and employ specificart am Galleries),GOMA

SYSTEMS: STRUCTURES CONTEMPORARY CONTEXT Lives andworks inPhnomPenh, Cambodia Vuth Lyno • • • How doesVuth Lyno: andbalconiesthatoncecomprisedtheWhiteBuilding. of apartments bamboo structures. Atower ofmorethan100shrines,House–Spiritrecallsonethemodularcolumns and businesses greatly areprotectedfromharm.Thedesignsvary fromthehighly decorative tosimple houses aredomestic templesorshrinesthatareworshipped toappeasethespirits;inreturn,homes the spirithousesthatwere abandonedorofferedtohim. CommonthroughoutSouth-East Asia,spirit forgedcloserelationshipswiththebuilding’sartist residents,andasthey left theirhomes,hecollected Vuth’s sculptureHouse–Spirit2018honourstheWhiteBuildinganditscommunities.Over time,the in 2017by aforeigndeveloper. performersand craftspeopleCambodia. TheWhiteBuildingwas hometoartists, priortoitsdemolition injustice. Lyno’s currentprojectexplores the legacy oftheWhiteBuilding inPhnomPenh, thecapitalof practice. Heofteninvolves specificcommunitiesinhis work, whichisconcernedwithsocialissues and Vuth Lyno relationshipsandurbandevelopment explores inCambodiahis socialchange,community first-century issues andconcerns? first-century provoke discussion about twenty- traditions? techniques tochallengeaesthetic and/ordisplay employ imagery experience? approaches toaffecttheaudience use materials,technologiesor • • • How doesVuth Lyno: PERSONAL CONTEXT meaning? and/or expectations toconstruct connect withviewers’ experiences from theviewer? generate emotionalresponses experiences to create sensory and experiences? communicate influencesonhislife • • • How doesVuth Lyno: CULTURAL CONTEXT respond tocultural influences? social commentary? interests through reflect community explore cultural traditions?

Location: Gallery 1.2,GOMA Location: Gallery Projects andSaArt The artist Lim Sokchanlina /Imagecourtesy: /Photograph: Collection /©Theartist ofModernArt IGallery Gallery Art variable /ProposedfortheQueensland door andwindow frames /Dimensions (detail) 2018/Spirithouses,steel, Cambodia b.1982/House–Spirit • • • • How doesVuth Lyno: FORMAL CONTEXT movements, times,placesor events? share characteristics withart materials andmedia? throughprocesses, the artwork enhance theinterpretationof symbols, motifsorsigns? communicate intentionsusing principles tocommunicatemeaning? elementsand employ specificart

SYSTEMS: STRUCTURES and violencethatthebodyhasbeensubjecttothroughout world. European costumes andgarmentsincorporating holes,spikes andpiercings,highlightingthemilitarism in jewels, andequippedwithweapons and armour. from theseriesdepicthistorical Otherartworks during theIndianRebellion of1857;Rani ofJhansi iscommonly portrayed asagallantfighteradorned Rani of Jhansi II CONTEMPORARY CONTEXT Lives andworks inLondon,UnitedKingdom,andKarachi, Pakistan Khan Naiza • • • • How doesNaizaKhan: beltsothers —suchascorsetsandchastity —imply dominanceandobjectification. andindifferentcontexts. Someevoketreated throughouthistory andelegance,while ideasofbeauty female warriors, aswell ascostume andbodily apparatus, andexplore how thefemalebodyhasbeen presence ofthefemalebody. Calledthe‘Heavenly Ornaments’ series,theworks refer toheroinesand Since 2006,Khanhascreatedasignificantnumberofsculpturesthataddress theprivate andpublic postcolonial Pakistan, aswell asthepoliticalroleofbody, andgender. andconventions ofbeauty the femalebodyandidentity’.between Herworks explore therepresentationofwomen in Naiza Khanhasaspecialinterest inwhatshehascalled‘theambiguousandcomplex relationship first-century issues andconcerns? first-century provoke discussion about twenty- traditions? techniques tochallengeaesthetic and/ordisplay employ imagery experience? approaches toaffecttheaudience use materials,technologiesor challenge ideasofthepast? 2017, for example, takes its title from a heroine of the resistance against the British Raj • • • How doesNaizaKhan: PERSONAL CONTEXT meaning? and/or expectations toconstruct connect withviewers’ experiences from theviewer? generate emotionalresponses experiences to create sensory and experiences? communicate influencesonherlife • • • • How doesNaizaKhan: CULTURAL CONTEXT of timeandplace? traditions, andorigins styles respond toinfluencesofart respond tocultural influences? social commentary? interests through reflect community explore cultural traditions? Armour Suitfor Location: Gallery 3.5,GOMA Location: Gallery Rossi, HongKong |London andRossi Theartist & courtesy: Sydney /Image /©Theartist 88 x 40 x 32cm/Private collection, steel, feathers,leather, ed.2/2/ Rani ofJhansiII2017/Galvanised Pakistan b.1968 /ArmourSuitfor • • • How doesNaizaKhan: FORMAL CONTEXT materials andmedia? throughprocesses, the artwork enhance theinterpretationof symbols, motifsorsigns? communicate intentionsusing principles tocommunicatemeaning? elementsand employ specificart

POWER: ALTERNATE CONTEMPORARY CONTEXT Lives andworks inLahore,Pakistan Aisha Khalid • • • How doesAishaKhalid: and translates audience. theirmeaningstoacontemporary how theirprinciplesoperate inourworld today. Shecontributestotheevolution ofthesetraditions, With arichknowledge ofcenturies-oldtraditions, AishaKhalidhonours—butalsochallenges movement ofpeoplesandcultures. panels, representingwater patterns, featureseacreaturesandshipssymbolisingtrade andthe paradise. hasdepicteddragons Withinthefoursections,artist andphoenix,whiletheouter spirit andessence), whicharedelineatedby fourwater channelsrepresentingthefourrivers of Foursymbol forparadise onearth. sectionsconstitute thefourgardensofparadise (soul,heart, gardens’ intheUrdulanguage),which isbasedontheIslamicgardenfromQur’an,aprincipal element tothework. Itsdesignisbasedonthequadrilateral gardendesignoftheCharbagh(‘four gold-plated andsteel pins,piercingseveral layers ofcloth,addathree-dimensional,sculptural Her work inAPT9, Water hasnever fearedthefire2018measuresnearly five metreshigh.Thesharp, in miniaturepainting,textiles andpattern-making. Her large-scalehangingtapestries —embeddedwiththousandsofpinshighlightherbackground Aisha Khalid’s foundinPersian visuallanguageisbasedonthepattern, culture. colourandgeometry first-century issues andconcerns? first-century provoke discussion about twenty- traditions? techniques tochallengeaesthetic and/ordisplay employ imagery experience? approaches toaffecttheaudience use materials,technologiesor • • How doesAishaKhalid: PERSONAL CONTEXT meaning? and/or expectations toconstruct connect withviewers’ experiences from theviewer? generate emotionalresponses experiences to create sensory • • • How doesAishaKhalid: CULTURAL CONTEXT respond tocultural influences? through socialcommentary? interests reflect community explore cultural traditions?

(The Fairfax GOMA Gallery), 1.1 Location: Gallery The artist /Imagecourtesy: © Theartist / ofModernArt IGallery Gallery /Collection:QueenslandArt Asian Art Yasuko Myer CollectionofContemporary ofThe Kenneth the 25thanniversary and FoundationModern Art tocommemorate of |Gallery Gallery Queensland Art The Myer Foundation throughthe Purchased 2018withfundsfrom AsianArt. Collection ofContemporary APT9. TheKenneth andYasuko Myer 492.75 x83.8cm/Commissioned for 492.75 x167.65; 492.75x83.8cm; gold-plated andsteel pins/Triptych: feared thefire(detail)2018/Fabric, Pakistan b.1972 /Water hasnever • • • • How doesAishaKhalid: FORMAL CONTEXT movements, times, placesorevents? share characteristics withart materials andmedia? through processes, the artwork enhance theinterpretationof symbols, motifsorsigns? communicate intentionsusing principles tocommunicatemeaning? elementsand employ specificart

CODE: MESSAGE CONTEMPORARY CONTEXT Lives andworks inMumbai,India GuptaShilpa • • • • How doesShilpaGupta: of elusive meaning. rather thandelivering informationanddirectionsimmediately, itpoetically andgradually buildslayers personal relationships,fearandterrorism.Thework plays withtheobjective roleofpublicsignage— thencontinuesthroughsuggestions ofbelongingandnationhood,aswellThe story asevocations of evolvesstory beginningwithanintrospective phrase —‘Ilookoutandwait forthetrain togoby’. phrase toanother, rapidly transforming meaning.Withoutadistinct subjectorcontext, afragmented change. Misspelled anddisjointedwords unsettle theviewer asthetext transitions from oneword or aroundtheworld —inwhichwords andphrasesand airports gradually emergeandletters continually 24:00:01 2010–12usesamechanisedsplit-flapboard—technologyoncecommontotrain stations viewers tothinkaboutrelationships. speaker, readerandlistener. Usingsimplephrases translated intoseveral languages,sheprompts unravels narratives usingvarious technologies,orsheexploresauthorand therelationshipsbetween feature prominently. Guptaregularly experiments with languageandhow itoperates; sheslowly Shilpa Guptaworks with abroadrange ofmaterialsinherpractice; however, text, languageandpoetry first-century issues andconcerns? first-century provoke discussion about twenty- traditions? techniques tochallengeaesthetic and/ordisplay employ imagery experience? approaches toaffecttheaudience use materials,technologiesor challenge ideasofthepast? • • How doesShilpaGupta: PERSONAL CONTEXT meaning? and/or expectations toconstruct connect withviewers’ experiences from theviewer? generate emotionalresponses experiences to create sensory • How doesShilpaGupta: CULTURAL CONTEXT social commentary? social commentary? interests through reflect community (at thetopofescalators) Location: Level 2,GOMA Les Moulins,Habana) CONTINUA (SanGimignano,Beijing, andGALLERIA Theartist courtesy: /Image /©Theartist Modern Art of IGallery Gallery Queensland Art FoundationModern Art /Collection: of |Gallery Gallery Queensland Art from TimFairfax 20cm /Purchased2017withfunds 30 minutes,ed.5/5/32.5x198.5 view) 2010–12/Motionflapboard: India b.1976/24:00:01(installation • • • How doesShilpaGupta: FORMAL CONTEXT materials andmedia? throughprocesses, the artwork enhance theinterpretationof symbols, motifsorsigns? communicate intentionsusing principles tocommunicatemeaning? elementsand employ specificart ac throughthe

CODE: MESSAGE Live andwork in Singapore Robert ZHAO RENHUI ONG Donna • Zhao Renhui: How doDonnaOngandRobert CONTEMPORARY CONTEXT means ofunderstanding humanandanimalrelations’. of theInstitute ofCriticalZoologists, whosemission is to‘advance unconventional, even radical, images frombooksandmagazines.Since2008,Zhaohasbeen working underthecreative framework travelling asanadult, andhow thesecomparedwiththeimpressions ofnatureshehadformedfrom Growing upinthecity, Ongwas fascinatedwiththewildlandscapesshefinally encounteredwhen tropical forest, andhow thesedepictionsinfluenceourinteractions withnature. ( that explores Singapore’s natural throughdocumentation,bothauthenticandfabricated history flora andtropical exotica tables(From on antique-style thetropicswithlove 2016)withZhao’s display towards thenatural world ofthetropics.Theinstallation combinesOng’s arrangements ofartificial ZhaoRenhui. TheworkRobert isa‘cabinetofcuriosities’ andtakes acriticallookatourattitudes My forest isnotyour garden2015–18isacollaborative work DonnaOngand by Singaporeanartists The NatureMuseum2017).Bothartists’ projectsstem fromresearchintotherepresentationsof traditions? techniques tochallengeaesthetic and/ordisplay employ imagery

• • • Zhao Renhui: How doDonnaOngandRobert PERSONAL CONTEXT meaning? and/or expectations toconstruct connect withviewers’ experiences memories? experiences, imaginationor generate ideasfromtheirown lives andexperiences? communicate influencesontheir &

• • • Zhao Renhui: How doDonnaOngandRobert CULTURAL CONTEXT time andplace? movements, andoriginsof styles respond toinfluencesofart social commentary? interests through reflect community explore cultural traditions?

• • Zhao Renhui: How doDonnaOngandRobert FORMAL CONTEXT LOCATION: Watermall, QAG Photograph: NatashaHarth / ShanghART Gallery FOST Gallery, Singapore,and Theartists, /Courtesy: © Theartists Installed dimensionsvariable / 2015–18 /Mixed mediainstallation / My forest isnotyour garden(detail) Singapore b.1983 ZhaoRenhui / Robert Donna Ong/Singaporeb.1978 symbols, motifsorsigns? communicate intentionsusing principles tocommunicatemeaning? elementsand employ specificart

SYSTEMS: ECOLOGIES CONTEMPORARY CONTEXT Lives andworks inTokyo, Japan Yuko Mohri • • How doesYuko Mohri: to whichMohri’s BreathorEcho directly responds. a recordingofpoemBikkycomposedtoaccompanyhis1986outdoor sculpturecalled self-playing objectsreferstonature’s constant cycle ofcreationanddecay. Thework alsofeatures Japan.Thedelicatesoundscape of (1931–89) andthewildlandscapesofHokkaidoinnorthern Breath orEcho 2017isasoundinstallation inspiredby Japanesemodernist sculptorSunazawa Bikky and photographic seriesinadditiontoherinstallations. often withanin-built delay. whoproducestheatresetdesigns,performances Mohriisaversatile artist Her works aredescribedas‘kinetic’sculptures,they areactivated by magnets,gravity andlight, gravity. Manyofherprojectsaddress themes—andusematerialsrelevant toaspecificlocation. instruments madefromfoundmaterialsthatengagewiththeintangibleelementsofspace,lightand MohrihasdevelopedWith abackground apractice inmusicandintermediaart, basedaroundautomated Using readymadematerials,Yuko Mohricreatessoundinstallations thatplay elegantcompositions. traditions? techniques tochallengeaesthetic and/ordisplay employ imagery experience? approaches toaffecttheaudience use materials,technologiesor • • • How doesYuko Mohri: PERSONAL CONTEXT meaning? and/or expectations toconstruct connect withviewers’ experiences from theviewer? generate emotionalresponses experiences to create sensory memories? experiences, imaginationor generate ideasfromherown • • How doesYuko Mohri: CULTURAL CONTEXT of timeandplace? movements, andorigins styles respond toinfluencesofart respond tocultural influences? Four Winds,

funds fromTimFairfax dimensions variable /Purchasedwith cables andmagnets/Installed iron, ceramic insulators,concrete, bulbs, wood, electricmotor, paper, Modified pianos, street lights,light Japan b.1980/BreathorEcho 2017/ • • • • How doesYuko Mohri: FORMAL CONTEXT Location: River Lounge,GOMA andProjectFulfill,The artist Taipei Ikuya Sasaki/Imagecourtesy: /Photograph:2017 /©Theartist view, Sapporo International FestivalArt /Installation ofModernArt Gallery I Gallery Collection: QueenslandArt Foundationof ModernArt 2018/ IGallery Gallery the QueenslandArt movements, times,placesor events? share characteristics withart materials andmedia? throughprocesses, the artwork enhance theinterpretationof symbols, motifsorsigns? communicate intentionsusing principles tocommunicatemeaning? elementsand employ specificart AC through

SYSTEMS: STRUCTURES CONTEMPORARY CONTEXT Lives andworks inTaipei, Taiwan Joyce Ho • • How doesJoyce Ho: but rather therustle ofpackagingandasatisfying‘ding’astheactor’s tomato. teethbiteintoacherry Even thesoundtrack isdeliberately odd;theviewer doesnothearthemanipulationoffruititself, thepaintmingles unnaturallyto createtheillusionofripeness —asthey breakapart, withtheirjuices. To boiled thefruitbeforepaintingsurfacesintheiroriginalcolours emphasisetheeffect, artist into differentpiecesoffruit;thecamera lingersontheirsurfacesuntilthey collapseintoapulpy mush. 2015,shotagainst alemon yellowIn Overexposed wall, memory anactorslowly squeezesandbites unusual atmospheresandstrange situationsthatcanbeuneasy, seductive andplayfully humorous. Ho’s dreamsandreality, interest inthetensionsbetween anddarkness andlight,createsworks with herself, butalsoactasguideswhohelpaudiencesnavigate nonsensicalbutcompellingrituals. greens —thattypically surroundneatly groomedyoung women. Thewomen representtheartist installations, videosandperformanceworks usesaturated planesofcolour—coolyellows andsickly minimal aesthetic, herworks oftensetupstrange encountersforheraudiences.Herpaintings, Joyce Ho’s works explore genderroles,bureaucratic controlandcultural conventions. Withastriking, traditions? techniques tochallengeaesthetic and/ordisplay employ imagery experience? approaches toaffecttheaudience use materials,technologiesor • • • • How doesJoyce Ho: PERSONAL CONTEXT meaning? and/or expectations toconstruct connect withviewers’ experiences from theviewer? generate emotionalresponses experiences to create sensory memories? experiences, imaginationor generate ideasfromherown life andexperiences? communicate influencesonher • How doesJoyce Ho: CULTURAL CONTEXT social commentary? interests through reflect community

(The Fairfax GOMA Gallery), 1.1 Location: Gallery TKG+, Taipei and Theartist Image courtesy: / Collection/©Theartist Modern Art of IGallery Gallery Queensland Art colour, sound/Proposedforthe video installation, 4:47minutes, (still, detail)2015 Taiwan b.1983/Overexposed memory • • • • How doesJoyce Ho: FORMAL CONTEXT movements, times,placesor events? share characteristics withart materials andmedia? throughprocesses, the artwork enhance theinterpretationof symbols, motifsorsigns? communicate intentionsusing principles tocommunicatemeaning? elements and employ specificart / Single-channel

POWER: ALTERNATE CONTEMPORARY CONTEXT Lives andworks inBeijing,China Qiu Zhijie • • • • How doesQiuZhijie: moral andlegalimplicationsofscientificdevelopments. of Qiu’s multi-disciplinary, trans-historical whichquestions thesocial, approachtoart-making, aspectofhumanlife.MapTechnological every technology topervade Ethics isanexpression In themap’s offersagraphical sheerscaleandbreadth,theartist accountofthepotentialfor on labourpractices indronewarfare. andtheuseoffacialrecognition software intelligenceandcomputertechnologies,includingtheeffectsofautomation implications ofartificial and loomingfearsabouttechnocratic ruleandclimate change.At thesametime,Qiutoucheson named foractivists andpoliticallobbies,contentiousissues inthefieldsofmedicineandbiology, andacross cultures.anxieties throughouthistory Islandsandlandmarks(mountainsrivers) are archipelago ofmoral dilemmasinappliedscience. Qiuassigns imaginedgeographies toarange of painting andcalligraphy. Painted directly wall over ontothegallery five days, themapdepictsan Qiu Zhijie’s enormouswall paintingMapofTechnological Ethics 2018hasitsoriginsinChineseink first-century issues andconcerns? first-century provoke discussion about twenty- traditions? techniques tochallengeaesthetic and/ordisplay employ imagery experience? approaches toaffecttheaudience use materials,technologiesor challenge ideasofthepast? • • How doesQiuZhijie: PERSONAL CONTEXT meaning? and/or expectations toconstruct connect withviewers’ experiences memories? experiences, imaginationor generate ideasfromhisown • • • How doesQiuZhijie: CULTURAL CONTEXT respond tocultural influences? social commentary? interests through reflect community explore cultural traditions?

Location: Gallery 1.2,GOMA Location: Gallery Chloë Callistemon APT9 /Photograph: /©Theartist 1600 x3600cm/Commissioned for Ethics 2018/Synthetic polymer mural / China b.1969/MapofTechnological • • • • How doesQiuZhijie: FORMAL CONTEXT movements, times,placesor events? share characteristics withart materials andmedia? throughprocesses, the artwork enhance theinterpretationof symbols, motifsorsigns? communicate intentionsusing principles tocommunicatemeaning? elementsand employ specificart

CODE: MESSAGE CONTEMPORARY CONTEXT Lives andworks inUlaanbaatar, Mongolia Togmidshiirev Enkhbold • How doesEnkhboldTogmidshiirev: Mark Rothko (1903–70). horizontal fields,whichrecallthepaintingsofAmericanabstract expressionist painter such ascotton, silkandhessian thesurfaces ofhisworks, usedtovary introducingformaldevices like Occasionally, Enkhboldincorporates collageintohispaintings,suchasBenevolence 2013,withfabrics withashiftingpalette.and theenvironmentalconditionsofanimals,soprovides theartist or mixed intothebasedirectly. Horsedungcandifferincolourandtexture depending ontheseason and siftedthreetimestoensureafineconsistency. Itisthenapplied over abaseofgelatineandgel, whenhereturnstohishomeland.Thehorsedung,forexample, isdriedandcrumbled,countryside including horsedung,felt, shrubs,ash,rust, sheepskinandtripe.Hesourceshismaterialsfromthe Enkhbold’s restrained colour-fieldpaintings use materialsderived fromMongoliannomadicculture, wherehecarriesouthisdailyspiritual spacefortheartist activities. have taken placeinbothurbanandremotelocationsallover theworld. homeand Thegerisatemporary variations and ofthetraditional performances. Hisperformancesuseportable Mongolian geroryurt, Enkhbold Togmidshiirev isknown forhislarge-scale,monochromaticcanvases andhisimprovised traditions? techniques tochallengeaesthetic and/ordisplay employ imagery • • • How doesEnkhboldTogmidshiirev: PERSONAL CONTEXT meaning? and/or expectations toconstruct connect withviewers’ experiences memories? experiences, imaginationor generate ideasfromhisown and experiences? communicate influencesonhislife • • • How doesEnkhboldTogmidshiirev: CULTURAL CONTEXT of timeandplace? movements, andorigins styles respond toinfluencesofart respond tocultural influences? explore cultural traditions?

C. Sourris (Marica SourrisandJames Location: Galleries3.3,3.4 Gallery, Ulaanbaatar Art and976 Theartist Image courtesy: / artist The Collection/© Modern Art of IGallery Gallery Queensland Art 200 x400cm/Proposedforthe and nephelinegeloncanvas / 2013 /Silk,cotton thread,rust Mongolia b.1978/Benevolence • • How doesEnkhboldTogmidshiirev: FORMAL CONTEXT materials andmedia? throughprocesses, the artwork enhance theinterpretationof principles tocommunicatemeaning? elementsand employ specificart AM Galleries),GOMA

CODE: MEDIA CONTEMPORARY CONTEXT Est. 2012,AotearoaNew Zealand Tungaru: The Kiribati Project • • How doesChrisCharteris: draws andlife. Charteris onthispotent symbol ofconnection,community coastal communitieswhodependonthefishfortheirdaily sustenance. Highlightingtheirnatural beauty, collectedwithfamilythat Charteris members.Traditional temaarecollectively owned andcaredforby shape,TeIn theformofaheart ma(Fishtrap)2014ismadefromover 8000pairsofringedvenus shells available resourcestocreateobjectsofpractical sophistication andaesthetic beauty. ofconflictresolution.Createdfrombothnatural and part store-bought materials,these works usereadily ofcreatingandmaintainingtema(fishtraps), andarmouras andthedesignof responsibility weaponry sustainable structures ofcommunalwellbeing. Theworks draw ondanceandperformance,theshared representatives, family members and each other to create of worksbuilding that highlight the importance haveprinciples oftheproject.Theartists worked withknowledge holders,museumcurators, community Collectivity, collaborative working methodsandthemassing ofindividualobjectsaretheguiding ‘gathering togetherinajoyous kindofway’. ‘Tungaru’ isthenameforcoral atollsinthewestern Pacific OceancomprisingKiribati,andmeans Tungaru: in2012. TheKiribatiProjectisanongoingprojectthatwas ChrisCharteris initiatedby artist first-century issues andconcerns? first-century provoke discussion abouttwenty- challenge ideasofthepast? • • • How doesChrisCharteris: PERSONAL CONTEXT meaning? and/or expectations toconstruct connect withviewers’ experiences memories? experiences, imaginationor generate ideasfromhisown and experiences? communicate influencesonhislife • • • • How doesChrisCharteris: CULTURAL CONTEXT of timeandplace? movements, andorigins styles respond toinfluencesofart respond tocultural influences? social commentary? interests through reflect community explore cultural traditions? Galleries), GOMA Sourris andJamesC. Sourris Location: Galleries3.3,3.4(Marica Theartist Smith /Imagecourtesy: /Photograph:© Theartist Jeff and wood /460x740 x80cm/ 2014 /Ringedvenus shells,nylon Zealand b.1966/Te ma(Fishtrap) /AotearoaNew Chris Charteris • • • • How doesChrisCharteris: FORMAL CONTEXT movements, times,placesor events? share characteristics withart materials andmedia? throughprocesses, the artwork enhance theinterpretationof symbols, motifsorsigns? communicate intentionsusing principles tocommunicatemeaning? elementsand employ specificart AM

SYSTEMS: ECOLOGIES CONTEMPORARY CONTEXT Featuring fromBougainville,theSolomon IslandsandAustralia artists Co-curator: SanaBalai;Projectcoordinator:Marilyn Havini Women’s Wealth • • Wealth project: oftheWomen’sHow dotheartists and connectionstotheland. Australiabetween andBougainville,explores thevibrancy ofindigenouswomen’s cultural practices representation ofthelandscapeinBougainville.Havini’s work investigates thecolonialrelationship installation Habitat2018by Taloi Havini, whichcritically addresses conflicting interests andthe Women’s Wealth isco-curated withSanaBalai,arespectedcurator andelder, andincludesavideo of resilienceinthefacemajorchange. indigenous communities.Theprojectalsoemphasiseshow women’s practices actasaquietmeans Women’s Wealth highlightsthesignificanceofcreative spaces,suchasthe weaving circle,within involved theAustralian ElisaJaneCarmichael,JanetFieldhouse,Kay artists Lawrence andTaloi Havini. objectsandtosharetheirstories; theworkshopbrought women also togethertocreatetheseart formsasakindofwealthexplores theroleoftheseart orcurrency. Aweek-long workshop heldinBougainville women —and theproject —caneandpandanusweavings, pottery shellornamentationandearthenware formsondisplay areallmadebyAutonomous Region ofBougainvilleandtheSolomonIslands.Theart Women’s Wealth isamajorAPT9 projectdrawing ontheclosely connectedmatrilinealsocietiesofthe first-century issues andconcerns? first-century provoke discussion about twenty- experience? approaches toaffecttheaudience use materials,technologiesor • • Wealth project: oftheWomen’sHow dotheartists PERSONAL CONTEXT meaning? and/or expectations toconstruct connect withviewers’ experiences lives andexperiences? communicate influencesontheir • • • • Wealth project: oftheWomen’sHow dotheartists CULTURAL CONTEXT of timeand place? movements, andorigins styles respond toinfluences ofart respond tocultural influences? social commentary? interests through reflect community explore cultural traditions? Location: Gallery 4,QAG Location: Gallery 2017 /Photograph: RuthMcDougall Chabai, Bougainville,September Nazareth Rehabilitation Centre, mat, Women’s Wealth workshop, Biruko andNukumanucoconutleaf • • • Wealth project: oftheWomen’sHow dotheartists FORMAL CONTEXT materials andmedia? through processes, the artwork enhance theinterpretation of symbols, motifsor signs? communicate intentionsusing principles tocommunicatemeaning? elementsand employ specificart

POWER: WEALTH CONTEMPORARY CONTEXT Lives andworks inSydney, Australia Jones Jonathan • • • How doesJonathanJones: Carriageworks throughtheSolidGroundprogram. the NSW Government throughCreateNSW; andtheCopyright Agency Cultural Fund. by Thisprojecthasalsobeensupported This projecthasbeenassisted by theAustralian body; Government throughtheAustralia fundingandadvisory Council,itsarts and thevoice ofWiradjuri ElderDrUncle Stan Grant Snr elementofthisinstallation isthesoundscape,featuringsoundofwindincountry An important Jones’s work inAPT9, untitled(giran)2018explores theknowledge ofwindinWiradjuri culture. He iswell known forhisminimalist lightinstallations, whichhave, attimes,beeninspiredby woven nets. of hisWiradjuri people,andheoftencollaborates withlocalIndigenous communitiesonhisprojects. Jonathan Jonesincorporates Aboriginalpractices, relationshipsandideasinhiswork, especially those feathers attached toeachsmallsculpturecreatetheimpression offlocksbirdsinflight. away. fromfurther artist Thetoolsarearranged onthewall toreflectamapofwindcurrents,and the aroundNarranderafrom materialscollectedcountry insouthernNew SouthWales or senttothe or ideas.Thework iscomprisedofaround2000smallsculptures basedonsixtraditional tools,made —they signifyseasonalchange, andcommunicatemessagesits own roleandrelationshiptocountry language, somestories tellofsixwinds—threemaleandfemalewinds.Each windhas first-century issues andconcerns? first-century provoke discussion about twenty- traditions? techniques tochallengeaesthetic and/ordisplay employ imagery experience? approaches toaffecttheaudience use materials,technologiesor • • • • How doesJonathanJones: PERSONAL CONTEXT

meaning? and/or expectations toconstruct connect withviewers’ experiences emotional responses fromtheviewer? experiences togenerate create sensory experiences, imaginationormemories? generate ideasfromhisown and experiences? communicate influencesonhislife AM , whohelpeddevelop thework. InWiradjuri • • • How doesJonathanJones: CULTURAL CONTEXT respond tocultural influences? social commentary? interests through reflect community explore cultural traditions?

Marion Taylor GOMA Gallery), 1.3(Ericand Location: Gallery Theartists /Imagecourtesy: © Theartists design: Luke Mynott, SonarSound/ Installed dimensionsvariable /Sound wiiny (wood) /48-channelsoundscape (kangaroo bone),wayu (string), walung (stone), wambuwung dhabal (feathers), marrungdinawan (emuegg), mussel shell),gabudha(rush),gawurra (detail) 2018/Bindu-gaany(freshwater Australia b.1940/(untitled)giran Stan Grant Snr Australia b.1978/withDrUncle Wiradjuri/Kamilaroi peoples/ • • • How doesJonathanJones: FORMAL CONTEXT materials andmedia? through processes, the artwork enhance theinterpretationof symbols, motifsorsigns? communicate intentionsusing principles tocommunicatemeaning? elementsand employ specificart am /Wiradjuri people/

CODE: MESSAGE CONTEMPORARY CONTEXT Lives andworks onBantayan Island,thePhilippines,andinRotterdam, theNetherlands AtienzaMartha • • Atienza:How doesMartha where thesubjectsappeartoexist inrealtimeontheothersideofscreen. coral. Projectedontoplexiglass, thework immersestheviewer ina silent andmesmerisingexperience parade, inwhichsomeofthemenfloatpast thecameras gracefully, whileotherstrample thedying events. Atienza and theactorsspentmonthspractising andplanningthefilmingofunderwater humorous costumes, whichthey createthemselves year andchangeevery inresponsetocurrent in theartist’s hometown. For theAti-Atihan festival inMadridejos, themenwear elaborate andoften Her videowork inAPT9, OurIslands11°16’58.4”N123°45’07.0”E 2017recreatesanannualevent issues forthepeopleofPhilippinearchipelago. the longabsencesoffamily memberswhomake theirlivingatsea.Atienza’s work highlightscommon to address —poverty, theissues facedby environmentalchange,and thissmallfishingcommunity and identity. Atienza works withthepeopleofMadridejosonBantayan Island,whereherfamily isfrom, the experience ofbeingatsea,andaddress histories ofmigration, labour, environmentaldegradation Born intoafamily Atienza ofseafarers,Martha createsvideo,soundandinstallation works thatexplore first-century issues andconcerns? first-century provoke discussion abouttwenty- traditions? use materials,technologiesor • • • Atienza:How doesMartha PERSONAL CONTEXT from theviewer? generate emotionalresponses experiences to create sensory memories? experiences, imaginationor generate ideasfromherown life andexperiences? communicate influencesonher • • • Atienza:How doesMartha CULTURAL CONTEXT respond tocultural influences? social commentary? interests through reflect community explore cultural traditions?

Marion Taylor GOMA Gallery), 1.3(Ericand Location: Gallery the Philippines andSilverlensThe artist Galleries, /Imagecourtesy: colour /©Theartist Single-channel HDvideo,72minutes, 123°45’07.0”E (still, detail)2017 / b.1981 /OurIslands11°16’58.4”N The Philippines/TheNetherlands • • • Atienza:How doesMartha FORMAL CONTEXT materials andmedia? throughprocesses, the artwork enhance theinterpretationof symbols, motifsorsigns? communicate intentionsusing principles tocommunicatemeaning? elementsand employ specificart

POWER: WEALTH CONTEMPORARY CONTEXT Lives andworks inBerlin,Germany Monira AlQadiri • • • How doesMonira AlQadiri: together inacombinationoftechnicolouraqua-musicalandhaunting mourningritual. in tourist centresorfoundinanthropologicalrecordings.InAlQadiri’s video,soundandimagecome With theloss ofpearlingtraditions, these songs—somedatingback800years —arenow only played a pearlingship;boatswere assigned asingertoboost morale inthisnotoriously dangerousoccupation. The soundtrack ofKuwaiti pearlingsongspays homagetotheartist’s grandfather, whowas asingeron swimmers performsynchronisedroutinesthatmimictherepetitive movements ofthepearldiver. Al Qadiri’s four-sidedvideoinstallation entitledDIVER2018recallsalarge-scaleaquarium.Onscreen, foresight andthecollapseofpearlingindustry. as Kuwait draws arepreparingforapost-oil future,andtheartist comparisonsinherwork withthis the development ofmass-produced pearls inJapan.Intheearly century, nations such twenty-first region forcenturies,pearlingdeclinedrapidly following ofoilinthe1900s,togetherwith thediscovery extraction techniquesandareassociated withwealth andstatus. Amajorsourceoftrade intheGulf disparateand pearls,two industries inthePersian Gulf withasharedhistory. Bothinvolve laborious Through sculpture,installation andvideo,Monira AlQadiriexploresoil theconnectionsbetween first-century issues andconcerns? first-century provoke discussion abouttwenty- experience? approaches toaffecttheaudience use materials,technologiesor challenge ideasofthepast? • • • How doesMonira AlQadiri: PERSONAL CONTEXT from theviewer? generate emotionalresponses experiences to create sensory memories? experiences, imaginationor generate ideasfromherown life andexperiences? communicate influencesonher • • How doesMonira AlQadiri: CULTURAL CONTEXT respond tocultural influences? social commentary? interests through reflect community

Location: Gallery 3.5,GOMA Location: Gallery The artist /Imagecourtesy: © Theartist (APT) / Art of Contemporary Dhabi andtheAsiaPacific Triennial Warehouse421of AbuDhabiArt, Abu (DAT), program theperformingarts APT9 /Producedby DurubAlTawaya colour, sound/Commissioned for Four-channel videoprojection:4:3, DIVER (productionstill) 2018/ Senegal/Kuwait/Germany b.1983/ • • How doesMonira AlQadiri: FORMAL CONTEXT materials andmedia? throughprocesses, the artwork enhance theinterpretationof principles tocommunicatemeaning? elementsand employ specificart

POWER: WEALTH CONTEMPORARY CONTEXT Lived andworked inDubai,UnitedArab Emirates Sharif Hassan • • • How didHassan Sharif: ofourdesiretoconsume. absurdity objects—anddisplaying andcutting theminmuseumsandgalleries—highlightstheartist, andtying the even ofitswoven twists strands. Thewaste fromrapid consumptionwas adeep concernforthe the way thewool iswrapped aroundtherope;ropeitself ismachine-made,andthisevident in withtheunevennessfactory ofthehandmade.Theirregular action ofthehumanhandcanbeseenin surface by itwithwool. cutting Inthiswork, Sharifcontrasts ropeandtying themass-production ofthe In thelarge-scale,abstract wall no.2 2015,Sharifbuilt hangingCuttingandtying upthetextured Incorporating Fluxusinfluences,hispractice ofcarpet-makingintheregion. relatestothehistory for his‘objects’ ordiscardedmaterialstiedtogetherwithwirestring. seriesofworks —imported inthe UAE.founded organisationsthatcounteredtheemerging‘nationalstyle’ Sharifisrecognised and Fluxuspractices. historical Healsotranslated texts manifestos intoArabic, andart artist and In additiontohisown practice, hewas responsibleforintroducingageneration toconceptual ofartists art intheUnited Arab Emirates ofconceptual Hassan Sharifisaninfluentialfigureinthehistory (UAE). first-century issues andconcerns? first-century provoke discussion about twenty- traditions? techniques tochallengeaesthetic and/ordisplay employ imagery experience? approaches toaffecttheaudience use materials,technologiesor • • How didHassan Sharif: PERSONAL CONTEXT meaning? and/or expectations toconstruct connect withviewers’ experiences memories? experiences, imaginationor generate ideasfromhisown • • • How didHassan Sharif: CULTURAL CONTEXT of timeandplace? movements, andorigins styles respond toinfluencesofart respond tocultural influences? social commentary? interests through reflect community (The Fairfax GOMA Gallery), 1.1 Location: Gallery gb agency, Paris Alexander Gray Associates, New York; Isabellevan den Eynde,Gallery Dubai; Estate ofHassan Sharif; courtesy: Isabelle van denEynde, Dubai/Image © Estate ofHassan SharifandGallery rope andwool /275x65050cm no.22015/Cotton Cutting andtying Iran/United Arab Emirates 1951–2016/ • • • How didHassan Sharif: FORMAL CONTEXT movements, times,placesor events? share characteristics withart materials andmedia? throughprocesses, the artwork enhance theinterpretationof principles tocommunicatemeaning? elementsand employ specificart

CODE: MEDIA CONTEMPORARY CONTEXT Lives andworks inIndulkana,AnanguPitjantjatjara Yankunytjatjara (APY) Lands,SouthAustralia, Australia Vincent Namatjira • • How doesVincentNamatjira: A in APT9, tellstories ofwealth, power andinfluenceinAustralia. Thejuxtapositionofagroup strong third portrays theseven richest peopleinAustralia. Allthreeseries,shown togetherforthe first time features theseven andlawmen whoareleadersoftheAPY tjilpi,seniorartists communities,whilethe on theseven PrimeMinisters whohave duringhislifetime.Thesecondseries governed thecountry Namatjira’s threerecentserieseachpresentseven ofinfluentialAustralians. portraits Thefirst focuses ofnationalandinternationalpoliticsasubversive portraitist.acute observer andwitty figures.Heisan Namatjira ofimportant (1902–59).Since2013,Vincenthasbeen paintingportraits Vincent Namatjira isthegreat-grandson oftherenowned Arrerntewatercolour painterAlbert leaders withinsocial,political,cultural andeconomichierarchies. Indigenous —allows theviewer toconsider theplaceofAustralian First Nationpeopleand first-century issues andconcerns? first-century provoke discussion abouttwenty- challenge ideasofthepast? n angu leadersalongsidethecountry’s richest andmost powerful people—allofwhomarenon- • • • How doesVincentNamatjira: PERSONAL CONTEXT meaning? and/or expectations toconstruct connect withviewers’ experiences memories? experiences, imaginationor generate ideasfromhisown life andexperiences? communicate influencesonhis • • How doesVincentNamatjira: CULTURAL CONTEXT respond tocultural influences? social commentary? interests through reflect community

Location: Gallery 1.2,GOMA Location: Gallery This isNoFantasy, Melbourne and IndulkanaCommunity Arts, Iwantja Theartist, /Courtesy: artist 7 panels:91x67cm(each)/©The Synthetic polymer paintoncanvas / ‘The Richest’ series2016 Roe Collection,Melbourne/ Arthur ‘Seven Leaders’ series2016/ The van Aanholt Family Collection ‘Prime Ministers’ series2016/ Australia b.1983/ Western Arrerntepeople/ • • • How doesVincentNamatjira: FORMAL CONTEXT materials andmedia? throughprocesses, the artwork enhance theinterpretationof symbols, motifsorsigns? communicate intentionsusing principles tocommunicatemeaning? elementsand employ specificart

POWER: ALTERNATE CONTEMPORARY CONTEXT Lives andworks inAurukun,Queensland,Australia PambeganAlair • How doesAlairPambegan: generations, andthedesiretoinnovate traditions. withinart-making Pambegan’s ofthepassing work of cultural shows theimportance knowledge toyounger andartistic the nightskywherethey oftheMilky findtheirfinalresting placeamongthe stars, aspart Way galaxy. The flyingfoxes theminto seizethebrothers,whohave broken ahuntingandeatingtaboo,carry the movement oftheanimalsinKalben narrative asthey burst outofakup-mar(groundoven). white stripes —andallowing theflyingfoxes to‘swarm’, Alair Pambegan’s suspendedsculptures evoke 100 smallerformsinWinchanambody-paintingdesigns—usingasequenceofblack,white,redand made by hisfather, themost significantgroupofwhichisheldinQAGOMA’s Collection.Casting over Alair Pambegan’s installation Kalben referstotheFlying Fox Placepoles—theepiclaw poles Story Pambegan traditions. Jr(1936–2010),andheirtotheWik-Mungkanartistic Queensland.Pambegan Koo’ekka isthesonofreveredin north Arthur lawman, elderandartist Alair Pambegan isaWik-Mungkanmanwholives inthewestern CapeYork ofAurukun community experience? approaches toaffecttheaudience use materials,technologiesor • • How doesAlairPambegan: PERSONAL CONTEXT memories? experiences, imaginationor generate ideasfromhisown life andexperiences? communicate influencesonhis • • • How doesAlairPambegan: CULTURAL CONTEXT of timeandplace? traditions, andorigins styles respond toinfluencesofart respond tocultural influences? explore cultural traditions? Yasuko QAG Myer Gallery), 3(KennethLocation: Gallery and © Theartist / ofModernArt IGallery Gallery Art Foundation /Collection:Queensland ofModernArt |Gallery Gallery Purchased 2017. QueenslandArt installed dimensionsvariable / ranging from14to41cminlength; natural pigments,raffia /107pieces wood withsyntheticpolymer paintand Kalben (detail)2016–17/Carved Wik-Mungkan people/Australia b.1966/ • • • • How doesAlairPambegan: FORMAL CONTEXT movements, times,placesor events? share characteristics withart materials andmedia? throughprocesses, the artwork enhance theinterpretationof symbols, motifsorsigns? communicate intentionsusing principles tocommunicatemeaning? elementsand employ specificart

CODE: MESSAGE CONTEMPORARY CONTEXT Lives andworks inYogyakarta, Indonesia Handiwirman Saputra • • How doesHandiwirmanSaputra: manipulatesandreveals theeveryday.from whichheobserves, practice is unique and bears little connection to formal or aesthetic conventions. He constructs new paths looking in’) asitconsidersboththeinteriorandexterior offormsatthesametime.Theartist’s particularly drawn tothephrase ‘dalamtampakluar— dalam’ (‘insidelookingout—outside Saputra’s approachis inspired by theculture oftheMinangkabaupeopleWest Sumatra. Heis unique formcanundergochangesinscaleandtexture, whilestill maintainingitsoriginalmake-up. forchangingshapeandinteracting withotherobjects.Heexaminesits enormouscapacity how sucha of thenatureeveryday objects.For ofanelastic example, band,drawing heprobestheductility out organic substances. Periodically, shapeormaterialinhisinvestigation focusesonaparticular theartist paper andfabrics,aswell ashighly polishedindustrial synthetics,andcollectionsofscraps, clothingand and whichindirectly refertothebody. Heusesmaterialsnotcommonly seentogether—plastics, resins, Handiwirman Saputra creates ambitious sculptures that explore the inner and outer shapes of structures, traditions? techniques tochallengeaesthetic and/ordisplay employ imagery experience? approaches toaffecttheaudience use materials,technologiesor • • How doesHandiwirmanSaputra: PERSONAL CONTEXT from theviewer? generate emotionalresponses experiences to create sensory memories? experiences, imaginationor generate ideasfromhisown • How doesHandiwirmanSaputra: CULTURAL CONTEXT and place? traditions, andoriginsoftime styles respond toinfluencesofart Sourris (Marica SourrisandJamesC. Location: Galleries3.3,3.4 Theartist Image courtesy: / 145cm; 86x2583cm/©Theartist paint /54x24180cm;14025 sheet,aluminium,polyurethane acrylic (holding formature)2015/Fibreresin, Indonesia b.1975/Menahanbentukan • • How doesHandiwirmanSaputra: FORMAL CONTEXT materials andmedia? throughprocesses, the artwork enhance theinterpretationof principles tocommunicatemeaning? elementsand employ specificart AM Galleries),GOMA

SYSTEMS: STRUCTURES CONTEMPORARY CONTEXT Lives andworks inLondon,UnitedKingdom Araeen Rasheed • • • How doesRasheed Araeen: continual rearrangement inordertocreatemultiple formal relationships. collective process. Hedeveloped sculpturesandproposalsformodularstructures that couldundergo minimalist sculpturesofthetime.Araeen notasfinished objects,butas a approachedworks ofart interactivity, togetherwiththeirhomemade‘look’, distinguished themfromthehard-edged,static they were oftendocumentedandquickly and deconstructed Theirfocusonmodularity by theartist. however,from DIYproducts,suchasbalsawood andhousepaint.Lackingexhibition opportunities, experiments he had developed in Karachi. Early works like Soon afterhisarrival inLondon,Araeen createdsomepioneeringworks ofMinimalism,buildingon art. contemporary Araeen isalsoanactivist andaleadingvoice inchallengingthedominant(Eurocentric) discoursesof in thelate1950s,beforemoving toLondonin1964.Now regardedasaleadingminimalist sculptor, Rasheed Araeen beganmakingconceptualandabstract inhishometown ofKarachi art inPakistan traditions? techniques tochallengeaesthetic and/ordisplay employ imagery experience? approaches toaffecttheaudience use materials,technologiesor challenge ideasofthepast? • How doesRasheed Araeen: PERSONAL CONTEXT and experiences? communicate influencesonhislife Chaar Yaar I (four friends) 1968 were created • How doesRasheed Araeen: CULTURAL CONTEXT and place? traditions, andoriginsoftime styles respond toinfluencesofart (The Fairfax GOMA Gallery), 1.1 Location: Gallery /©Theartist Modern Art of IGallery Gallery Queensland Art FoundationModern Art /Collection: of |Gallery Gallery Queensland Art 61 x61cm(each)/Purchased2017. Wood, housepaint/Four pieces:61x Chaar Yaar I(fourfriends) 1968/2014/ Pakistan/United Kingdomb.1935/ • • • • How doesRasheed Araeen: FORMAL CONTEXT movements, times,placesor events? share characteristics withart materials andmedia? throughprocesses, the artwork enhance theinterpretationof symbols, motifsorsigns? communicate intentionsusing principles tocommunicatemeaning? elementsand employ specificart

CODE: MEDIA CONTEMPORARY CONTEXT Lives andworks inLahore,Pakistan Waqas Khan • How doesWaqas Khan: audience’s attention. or molecularstructures. Theexcessive repetitionensuresanyinterruptionoranomaly capturesthe orbitsinspace,whileotherpatterns resemblecellularthem. Intersectingspheresconjureplanetary The artist’s compositionsresembleloosely woven clothsthatoftendelicately veil theblankvoid around as well astheAmericanabstract expressionists JacksonPollock (1912–56)andMarkRothko (1903–70). ofRussian painterWassilythe art Kandinsky (1866–1944)andDutchpainterPietMondrian(1872–1944), calligraphy and architecture.Hisprocessesother formsofIslamicart, have also prompted comparisonswith Khan’s drawings have beenassociated withthemoderngenreof SouthAsianminiaturepainting,aswell as appear lightandmeditative. to theircreation.Theexperimental drawing process isahighly physical one,yet theresulting drawings leave little room for mistakes, which threaten to undo the many dedicated has hours committedthe artist of steadying oversized sheetsofwasli paper. Theblack,whiteoroccasionally colouredinkcompositions Rapidograph (ahigh-precisionarchitectural pen)onlargearchitectural drawing boardsthatarecapable that painstakingly buildrepeatedpatterns andmotifs.Theintricateworks aredrawn witha0.1mm Waqas Khancreateslarge,abstract lines,circlesandcollectionsofdots compositionsfeaturingcurved experience? approaches toaffecttheaudience use materials,technologiesor • • How doesWaqas Khan: PERSONAL CONTEXT memories? experiences, imaginationor generate ideasfromhisown and experiences? communicate influencesonhislife • How doesWaqas Khan: CULTURAL CONTEXT and place? traditions, andoriginsoftime styles respond toinfluencesofart Sourris (Marica SourrisandJamesC. Location: Galleries3.3,3.4 Sabrina Amrani Gallery, Madrid and Theartist Image courtesy: Bramble / Collection/©Theartist 132 x244cm/TheThimblestitch and 2018 /Archival inkonwasli paper/ Pakistan b.1982 /OracleII(detail) • • • • How doesWaqas Khan: FORMAL CONTEXT movements, times, placesorevents? share characteristics withart materials andmedia? through processes, the artwork enhance theinterpretationof symbols, motifsorsigns? communicate intentionsusing principles tocommunicatemeaning? elementsand employ specificart AM Galleries),GOMA

CODE: MEDIA CONTEMPORARY CONTEXT Lives andworks inDhaka,Bangladesh Ayesha Sultana • How doesAyesha Sultana: but whichareoftenoverlooked. practice, Sultana alsoexplores thesmells,sounds, objectsandmaterialsthatareinplainsight, inherpractice, occasionallyin thecity working fromphotographs orwithcollectedobjects.Inher she was inspiredby Dhaka’s experience ofliving corrugatedtinroofbuildings.Sheusesthesensory architectural studies, they evoke the built environment.Early inthedevelopment ofher graphite works, Sultana’s works arefundamentally perception,andwhilethey arenotspecifically aboutsensory finds numerous waystwo- to andthree-dimensionalspacetheillusionofmovement.explore to explore shapeanddepth.Although herprocess ismonochromatic andlimitedtoasinglematerial,she of papertodevelop theseductive metallictones.Thethicksheetsarethencarefully cut,foldedandfixed creates her works by applying multiple layers of graphite, using sticks, powder and soft brushes, on layers Ayesha Sultana’s delicatedrawings works meanderbetween andminimalist sculptures.Theartist experience? approaches toaffecttheaudience use materials,technologiesor • How doesAyesha Sultana: PERSONAL CONTEXT meaning? and/or expectations toconstruct connect withviewers’ experiences • • How doesAyesha Sultana: CULTURAL CONTEXT and place? traditions, andoriginsoftime styles respond toinfluencesofart respond tocultural influences?

Sourris (Marica SourrisandJamesC. Location: Galleries3.3,3.4 andExperimenter,The artist Kolkata /Imagecourtesy: © Theartist Graphite onpaper/61x61cm Bangladesh b.1984/Vortex 2018 / • • • How doesAyesha Sultana: FORMAL CONTEXT movements, times,placesor events? share characteristics withart materials andmedia? throughprocesses, the artwork enhance theinterpretationof principles tocommunicatemeaning? elementsand employ specificart AM Galleries),GOMA

SYSTEMS: STRUCTURES CONTEMPORARY CONTEXT Ia Vodia, OsiatBaining,Tougus Balnata,Tolili andDavid Tamtu Msisiel Vaira, TivilaWartir; JudyKakabin, Catechist Kaum, Support: IaGogoe,Kamara, IaDelin,Puia, Led by: IsaApelis,JackKiniBalnata,WilliamMKakabin, GideonKakabin; BenParai, Artists: People) Gunantuna (Tolai • • How dotheGunantuna(Tolai people): Gideon Kakabin. material culture. TheseTutana ledby bankswere createdby agroupofmen,withfemale support, andtherightstoengageinTolaihe heldceremonialstatus withinthecommunity ceremonyandwith Gideon Kakabin (1956–2018) was anelderof theGunantuna(Tolai people).InitiatedintoTabuan society, based onandreflectssocialconnectionsmerit. indigenousrelationship-basedeconomicsystem —theaccumulationofwealthan important isboth displayed assymbolsofwealth andstatus. Incontrast toWestern economicsystems, Diwarra embodies to declaretheirroleasabank.Thehighest invalue arethemajestic wheelsknown asTutana, whichare These piecesofcanearealsoformedintowheels,whichsealed with and leaves to keep themdry for ceremonialtransactions, suchasbrideprice, wealth initiationfees. payments indeathrites,andsociety elegant piecesofcane,known asfathoms,Diwarra islegaltenderthroughoutEast New Britain.Itisalsoused tender (kinaandtoea)withshellmoney, known asTabu orDiwarra. Comprisingnassa shellsstrung onto societies, the Gunantuna have a unique dual currency system that combines Papua New Guinea’s national Gazelle Peninsula ofNew BritainislandinPapua New Guinea.Best known fortheirmale-only secret Migrating over centuriesfromnearby New Ireland,theGunantuna(Tolai people) now live onthevolcanic first-century issues andconcerns? first-century provoke discussion about twenty- experience? approaches toaffecttheaudience use materials,technologiesor • How dotheGunantuna(Tolai people): PERSONAL CONTEXT meaning? and/or expectations toconstruct connect withviewers’ experiences • • How dotheGunantuna(Tolai people): CULTURAL CONTEXT respond tocultural influences? explore cultural traditions? Location: Gallery 4,QAG Location: Gallery Kakabin July 2018/Photograph: Gideon (ceremonial spears),East New Britain, with Diwarra (shellmoney) andRumu Nidok (initiation)ceremonyparticipants • • • How dotheGunantuna(Tolai people): FORMAL CONTEXT materials andmedia? through processes, the artwork enhance theinterpretation of symbols, motifsor signs? communicate intentionsusing principles tocommunicatemeaning? elementsand employ specificart

POWER: WEALTH CONTEMPORARY CONTEXT Susan Jieta,SusantaMelaKattil, Airine Keju, MojeKelen, ClantineMoladrik,MotdrikPaul, Terse Timothy Clarence,Rosie Elmorey, Artina Artists: Helmera Fandino, Kathy Jetñil-Kijiner, BanitheJesse, Roselee Jibon, Project Jaki-ed • How do of the the artists Jaki-ed Project: andancestry.with theircommunity has noperceptiblebeginningorend,symbolisingtheendless andunbreakablebondthatanindividualhas reveal anartist’s ortheirislandoforigin.Careistaken toensurethateachbandofamat’s identity border Intricate geometricbordersdistinguish eachweaver’s like handwriting,amat’s ancestry; designcan andsoulthatmust beatthecoreofanypersonalendeavour. ofheart design inordertoreflectthepurity Conforming tosacredcultural principles,thematsarewoven fromthecentreout;carriesno cultural knowledge. weavers formwithinthetraditional weaving tolearntheart circle,aspacewherewomen exchange in shipmentsduringWorld War Two prompteditsrevival. In2011,anapprenticeshipprogram supported weaving almost disappearedwhentrade clothwas introducedtotheMarshallIslands,butdisruptions fibres and woven solely by women, themats were originally createdasclothing.Thepractice ofjaki‑ed Jaki‑ed orniededmatsareamongthefinest examples of weaving inOceania.Madefrompandanus capital oftheMarshallIslands,involving weavers 13expert Kathy Jetñil-Kijiner. andperformanceartist ofaworkshop heldinMajuro,the The matsfeaturedintheJaki-edProjectwere createdaspart first-century issues andconcerns? first-century provoke discussion abouttwenty- • • • How do of the the artists Jaki-ed Project: PERSONAL CONTEXT

meaning? and/or expectations toconstruct connect withviewers’ experiences experiences, imaginationormemories? generate ideasfromtheirown lives andexperiences? communicate influencesontheir • • • How do of the the artists Jaki-ed Project: CULTURAL CONTEXT respond tocultural influences? social commentary? interests through reflect community explore cultural traditions? Location: Gallery 3.5,GOMA Location: Gallery ofSouthPacific,University Majuro and Theartist Image courtesy: Photograph: Christine Germano/ Marshall Islands,September2017/ Jaki‑ed weaving workshop, Majuro, • • • • How do of the the artists Jaki-ed Project: FORMAL CONTEXT movements, times, placesorevents? share characteristics withart materials andmedia? through processes, the artwork enhance theinterpretationof symbols, motifsorsigns? communicate intentionsusing principles tocommunicatemeaning? elementsand employ specificart

POWER: WEALTH CONTEMPORARY CONTEXT Lives andworks inOregon,UnitedStates Jetñil-Kijiner Kathy • How doesKathy Jetñil-Kijiner: spirit ofresiliencethatcharacterises theweavers ofthe MarshallIslands. connects localwisdomwithglobalissues, andopensthe weaving circleupsonew audiencescan seethe the influenceofnuclearlegacy on women’s bodies. Each strand ofJetñil-Kijiner’s performance and climatechange.Theclosingsegmentisinspiredby butoh(Japanesedancetheatre)andaddresses circle toexplore how women’s rolesandidentitiesareshapedby Marshalleseculture, thenuclearlegacy together words andmovement. Inherperformance,sheusesthesymbolismofweaving andtheweaving Jetñil-Kijiner’s spoken-word performancerespondstoherexperience intheJaki-edProject,andweaves spiritual andsocialstructure oflifeintheMarshallIslands. Jetñil-Kijiner draws onthestories, cultural values andlocalpractices underpinningthetraditional, rising sealevels asaresult ofclimatechange,forcedmigration andeconomic adaptation.Inherwork, explores culturalHer poetry issues andthethreatsfacedby herpeople—nucleartesting, militarism, whowasKathy bornintheMarshallIslands. Jetñil-Kijinerisapoet,teacherandperformanceartist first-century issues andconcerns? first-century provoke discussion abouttwenty- • • • How doesKathy Jetñil-Kijiner: PERSONAL CONTEXT the viewer? generate emotionalresponsesfrom experiences to create sensory memories? experiences, imaginationor generate ideasfromherown and experiences? communicate influencesonherlife • • • How doesKathy Jetñil-Kijiner: CULTURAL CONTEXT respond tocultural influences? social commentary? interests through reflect community explore cultural traditions? Location: Gallery 3.5,GOMA Location: Gallery Pacific, Majuro ofSouth andUniversity The artist Christine Germano/Imagecourtesy: Islands, September2017/Photograph: weaving workshop, Majuro,Marshall Kathy Jetñil-KijinerattheJaki‑ed • • • • How doesKathy Jetñil-Kijiner: FORMAL CONTEXT movements, times,placesor events? share characteristics withart materials andmedia? throughprocesses, the artwork enhance theinterpretationof symbols, motifsorsigns? communicate intentionsusing principles tocommunicatemeaning? elementsand employ specificart

CODE: MESSAGE CONTEMPORARY CONTEXT Lives andworks inSingapore Widjaja Boedi • • • How doesBoediWidjaja: Javanese gamelanpercussion instruments. underside oftheinstallation incorporates a‘soundcolumn’ featuringprocessed recordingsoftraditional referstotheartist’sorientation tothenorth exploration ofconceptshouse,homeandhomeland.The refer tothetraditional wooden housing ofIndonesia,Singapore,Malaysia andQueensland,their andemphasisingthework’sany senseofarchitectural support conceptual underpinnings.Theseposts turquoise-coloured posts thatshouldpropuptheplatformstop just shyofthebasefootings,removing visually extends theoverhang oftheGallery’s mezzanine floorwithablackconcreteplatform.The practice.materials andtoolsofhisartistic Hisarchitectural installation Black—Hut,Black—Hut2018–19 Widjaja hasabackground inarchitectureandgraphic design,andthesefieldsinfluencethetechniques, andestrangementfeelings ofanxiety thatheexperienced livingindifferenthouses andcountries. was senttoSingaporeasayoung boy, fromhisfamily. wherehelived apart Hisworks oftenreferto born inIndonesiatoChineseparents;however, toavoid he theracial tensionsunderPresidentSuharto, Boedi Widjajaexplores theexperiences ofdisplacement,isolationandtravel inhispractice. Widjajawas first-century issues andconcerns? first-century provoke discussion abouttwenty- traditions? techniques tochallengeaesthetic and/ordisplay employ imagery experience? approaches toaffecttheaudience use materials,technologiesor • • • • How doesBoediWidjaja: PERSONAL CONTEXT meaning? and/or expectations toconstruct connect withviewers’ experiences the viewer? generate emotionalresponsesfrom experiences to create sensory experiences, imaginationormemories? generate ideasfromhisown and experiences? communicate influencesonhislife • • • How doesBoediWidjaja: CULTURAL CONTEXT and place? traditions, andoriginsoftime styles respond toinfluencesofart respond tocultural influences? explore cultural traditions? Amanda Bartlett Gallery), QAG Gallery), Amanda Bartlett and 5(Henry Location: Gallery Photograph: NatashaHarth / Biennale 2019/©Theartist MuseumforAPT9 andSingapore Art Co-commissioned withSingapore / Gallery Queensland Art Black—Hut 2018–19atthe Installation view ofBlack—Hut, Indonesia/Singapore b.1975/ • • • How doesBoediWidjaja: FORMAL CONTEXT materials andmedia? throughprocesses, the artwork enhance theinterpretationof symbols, motifsorsigns? communicate intentionsusing principles tocommunicatemeaning? elements and employ specificart

SYSTEMS: STRUCTURES CONTEMPORARY CONTEXT Lives andworks inLaunceston, Tasmania, Australia GreenoLola • How doesLolaGreeno: shells, andmaintainaconnectedness withtheirislandhome. that younger generations learnandexperience themeditative processes ofcollectingandthreading As aPalawa Elder, ofherfamily Greeno engagesthesupport tocontinueancienttraditions, ensuring stainless-steel wire. inTeunneby theartist (kingmaireenershell crown) 2013,a‘crown’ ofshellsthreadedon shell) thatwere onceplentifularenow rarely andpreciousness found.Theirrarity isacknowledged damage totheshellbedsonoceanfloor. Themagnificent kingmaireenershells (rainbow kelp where shecollectshershells.Changingweather patterns andclimaticdisturbances arecausing Greeno’s works draw attention to the environmental change threatening the fragile natural ecosystems visitorsasamarkofesteem. to important before they arethreaded.InancientPalawa tradition, shellnecklacesareoftenpresentedasgifts the shellsaretreatedusingcenturies-oldcleaningandpolishingprocesses sothey retaintheirlustre and exquisite compositionofbeautifulshells.Painstakingly collectedfromthebeachesofTasmania, Tasmania. Greeno’s traditional andexperimental neckpiecesarecelebrated fortheiruniquepatterns Lola Greenocreatesshellnecklacesusingtechniquespassed down fromherPalawa Eldersin first-century issues andconcerns? first-century provoke discussion abouttwenty- • How doesLolaGreeno: PERSONAL CONTEXT and experiences? communicate influencesonherlife • • How doesLolaGreeno: CULTURAL CONTEXT respond tocultural influences? explore cultural traditions?

Location: Gallery 3.5,GOMA Location: Gallery Launceston /©Theartist Gallery, Victoria MuseumandArt 25cm (diam.)/Collection:Queen 2013 /Kingmaireenershellsonwire Teunne (kingmaireenershellcrown) Palawa people/Australia b.1946/ • • How doesLolaGreeno: FORMAL CONTEXT movements, times,placesor events? share characteristics withart principles tocommunicatemeaning? elementsand employ specificart

POWER: WEALTH CONTEMPORARY CONTEXT Works inSeoul,SouthKorea YOUNG-HAE HEAVY CHANG INDUSTRIES • • • • HEAVY INDUSTRIES: How doesYOUNG-HAE CHANG Mimicking theway thatcrucifixes are oftensuspendedfromchurchceilings, such asHyundai,LG andSamsung. contradictions ofKorean divisiontotheinfluenceofitsfamouscorporations, life,fromthenorth–south and soulsoundtracks, theirworks convey stories paranoia. ofcontemporary They alsoexplore the Chang andpoetMarcVoge. Best known fortheirtext-based, satiricalweb videossettofunk,jazz YOUNG-HAE CHANGHEAVY INDUSTRIES andtranslator isacollaboration artist Young-Hae between replayed on a television screen in an inner-city apartment, butthevolume ismutedascocktailreplayed musicplays. apartment, onatelevision screeninaninner-city as thevideodeclares.Theviolenceoftext contrasts withthesoundtrack, asifadisaster isbeing pushed intothestreet intheirunderwear, asneighbourswatch onand‘CRY OUT, KILLTHETRAITOR’, Who watches on?Thework recountsthebrutalities ofdoorsbeingbusted down andpeople being ‘YOU’ and‘WE’areonconstant rotationonscreen,inresponsetothequestions: Whocausesfear? the sameinformationover andover, orthecyclical Thepronouns ‘I’, feedsofonlinenews reporting. the viewers below. Therepetitionoftext across five screensrecallsatelevision news ticker repeating A PRAYER INHEAVEN 2018isinstalled highinanatriumspaceatanglethatfacesdown towards first-century issues and concerns? first-century provoke discussion about twenty- traditions? techniques tochallenge aesthetic and/ordisplay employ imagery experience? approaches toaffecttheaudience use materials,technologiesor challenge ideasofthepast? • • HEAVY INDUSTRIES: How doesYOUNG-HAE CHANG PERSONAL CONTEXT meaning? and/or expectations toconstruct connect withviewers’ experiences the viewer? generate emotionalresponsesfrom experiences to create sensory • HEAVY INDUSTRIES: How doesYOUNG-HAE CHANG CULTURAL CONTEXT of timeandplace? movements, andorigins styles respond toinfluencesofart CRUCIFIED TVS —NOT

Level 3,GOMA Location: Pavilion Walk, Theartists Image courtesy: / black andwhite,sound/©Theartists installation: 16:9,19:14minutes, (stills) 2018/Five-channel video –NOTTVS APRAYER INHEAVEN Est. 1999,SouthKorea /CRUCIFIED • • • HEAVY INDUSTRIES: How doesYOUNG-HAE CHANG FORMAL CONTEXT materials andmedia? through processes, the artwork enhance theinterpretationof symbols, motifsorsigns? communicate intentionsusing principles tocommunicatemeaning? elementsand employ specificart

CODE: MESSAGE CONTEMPORARY CONTEXT Lives andworks inOxford,AotearoaNew Zealand Areta Wilkinson • How doesAretaWilkinson: thetime-honouredpractice ofmakinginrelationshiptotheland. is informedby observing meaningandmemory. Wilkinson’s usesasanvils,andtheobjectsshe creates—carry the artist work 3-D-printed replicasoforiginaltoolsheldinmuseumcollections. These tools—like theriver stones oftheexhibition. towork Sheworked inthespaceatstart the Gallery usingajeweller’s kitcomprising cultural visited production),complete withtools,creationsandmidden(amoundofshells).Theartist For APT9, Wilkinsonpresents‘Moa-hunterFashions’ mahingakai (asiteof 2018,acontemporary the moa. ancestors, herown creationsarefashionedusingsimilartoolsandincludereferencestothebonesof native toNew Zealand, whichare now extinct. toolsofher Inspiredby herresearchintothecustomary Wilkinsonisadescendantofmoahunter—were flightlessand herown birdsonce art-making. peoples,anddrawsof contactbetween thecultural connections between productionofherancestors mātauranga Māori(Māoriknowledge systems). Sheexplores genealogies,knowledge andhistories Areta Wilkinson’s practice involves art personaladornmentandobject-makingasitrelatesto challenge ideasofthepast? • How doesAretaWilkinson: PERSONAL CONTEXT and experiences? communicate influencesonherlife • • • How doesAretaWilkinson: CULTURAL CONTEXT respond tocultural influences? social commentary? interests through reflect community explore cultural traditions?

Location: Gallery 3.5,GOMA Location: Gallery Rooms Gallery, Auckland andTwo Theartist Image courtesy: dimensions variable / /©Theartist kōkōwai (redochre),silver /Installed and Rakahuri river stones, treestumps, Fashions’ series)2018 /Waimakariri Whakapapa I(from‘Moa-hunter working on b.1969 /Theartist Ngāi Tahu /AotearoaNew Zealand • • How doesAretaWilkinson: FORMAL CONTEXT materials andmedia? through processes, the artwork enhance theinterpretationof principles tocommunicatemeaning? elementsand employ specificart

POWER: WEALTH CONTEMPORARY CONTEXT Lives andworks inBaguioCity, thePhilippines Garcia Nona • • How doesNonaGarcia: birds anddeer—toreflectontheunderlying presenceofdeathinlife. a skull.Livingcorals arecombinedwiththebonesofanimals—hyenas, camels,crocodiles,beavers, spiral motifs;itisonly oncloserinspectionthatthey ofaspinalcordor arerevealed tobetinyparts background, eachX-ray ofananimalboneiscarefully andsymmetrically placedtosuggest flower and work hoversandthemacabre. Whiteandluminescentagainst thecelebratory adenseblack between light box toexhibit amandaladesignformedfromtheX-rayed bonesofanimals.Themoodthe Hallow looking attheworld differently. were oneofherfirst memoriesofviewing the everyday throughanew lens,allowing herto experience for parents,shebecamefamiliarwithhospitalsandmedicallaboratories, andtheirequipment.X-rays the transparentbetween and the concealed, the sublime and the everyday. As a young girl with doctors Nona Garcia’s work isnotedforitsrealism.Itexplores theessence ofthings,andsetsupdichotomies traditions? techniques tochallengeaesthetic and/ordisplay employ imagery experience? approaches toaffecttheaudience use materials,technologiesor 2018 uses the Gallery’sglass facade of the Queensland Art Stanley Place entrance as a natural • • • How doesNonaGarcia: PERSONAL CONTEXT meaning? and/or expectations toconstruct connect withviewers’ experiences memories? experiences, imaginationor generate ideasfromherown and experiences? communicate influencesonherlife • How doesNonaGarcia: CULTURAL CONTEXT time andplace? movements, andoriginsof styles respond toinfluencesofart entrance Location: QAG Stanley Place Photograph: MMYu / andBlancGallery The artist Blanc Gallery, Manila/Imagecourtesy: /Installation view,© Theartist film /Installed dimensions variable / (detail) 2015/Glazeddigitalbacklit The Philippinesb.1978/Hallow • • • How doesNonaGarcia: FORMAL CONTEXT materials andmedia? throughprocesses, the artwork enhance theinterpretationof symbols, motifsorsigns? communicate intentionsusing principles tocommunicatemeaning? elementsand employ specificart

SYSTEMS: ECOLOGIES CONTEMPORARY CONTEXT Lives andworks inSolo,Indonesia Aditya Novali • • • Novali:How doesAditya estate, they defytheseexpectations withtheirhumblefurnishingsandfit-outs. real intheirappeal—whilethey arecontradictory suggest scalemodels usedtosellluxury apartments of aprisoncell.Meticulously constructed fromwood, resin,copper, steel, fabricandLEDlighting,these anotherablankbrickwall, andthe last revealsthe internallivingspacesofanapartment, themetalbars to rotateelementsofthebuildingscrollthroughasetbuilt environmentsandviews —oneshows work resemblesavast blockandoffersmultiple vignettes apartment ofurbanhabitats. Viewers areable for low-income communities,andincorporates several dynamicandinteractive elements.Theelaborate The Wall: Asian(Un)Real Estate Project2018commentsonIndonesia’s lackofaffordableurbanhousing training asadalangcilik(childpuppetmaster) form. inthetraditional Indonesianart especially perhapsduetohis interested increatingworks withanelementofaudienceparticipation, with subversive humour. Themesofurbanplanningandconstruction recuracross hispractice. Heis seen inhissculptures,whichinvolve complex productionmethodsandcommercialmaterials,balanced NovaliAditya studied architectureanddesignbeforeestablishing himself Thistraining asanartist. canbe first-century issues andconcerns? first-century provoke discussion abouttwenty- traditions? techniques tochallengeaesthetic and/ordisplay employ imagery experience? approaches toaffecttheaudience use materials,technologiesor • • • • Novali:How doesAditya PERSONAL CONTEXT meaning? and/or expectations toconstruct connect withviewers’ experiences the viewer? generate emotionalresponsesfrom experiences to create sensory memories? experiences, imaginationor generate ideasfromhisown and experiences? communicate influencesonhislife • Novali:How doesAditya CULTURAL CONTEXT social commentary? social commentary? interests through reflect community Sourris (Marica SourrisandJamesC. Location: Galleries3.3,3.4 Theartist Image courtesy: / 440 x25cm/©Theartist adaptor, paint,cable,resin/180x wooden board,fabric,LEDlightwith cast, steel, zinc,brass, copper, wood, Un(real) Estate Project2011/Plastic, Indonesia b.1978/TheWall: Asian • • Novali:How doesAditya FORMAL CONTEXT materials andmedia? throughprocesses, the artwork enhance theinterpretationof principles tocommunicatemeaning? elements and employ specificart AM Galleries),GOMA

SYSTEMS: STRUCTURES Elia Nurvista Lives and works in Yogyakarta, Indonesia

Elia Nurvista is a young Indonesian artist whose practice focuses on food production and distribution, Indonesia b.1983 / Sucker Zucker and the associated broader social and historical implications. Nurvista uses food and its related (detail) 2016 / Isomalt, water, mahogany and mixed media / activities — from the planting of crops to the act of eating and the sharing of recipes — as entry points Dimensions variable / Installation view, to exploring issues of economic and political power, labour, culture, gender and status. She also runs ‘Dialogue with the Senses’, Galeria Bakudapan, a food study group that undertakes community and research projects. Fatahillah, Jakarta, 2016 / © The artist / Photograph: Fajar Riyanto / POWER: WEALTH POWER: Nurvista’s sugar sculptures are colourful, jewel-like objects produced with the assistance of local Image courtesy: Arcolabs artisans in Yogyakarta. For APT9, her sculptures are accompanied by a mural, and explore some of Location: outside Gallery 2.1, GOMA sugar’s complicated history, including its links with global exploitation. Sucker Zucker 2018 builds on a 2016 work, for which she created a series of crystalline sugar sculptures, displayed like gems atop pedestals, with take-home containers decorated with diamond shapes. According to the artist, sugar and diamonds have a shared appearance and narrative, from their colour and shape to their material extraction and history of labour, slavery and exploitation.

CONTEMPORARY CONTEXT PERSONAL CONTEXT CULTURAL CONTEXT FORMAL CONTEXT How does Elia Nurvista: How does Elia Nurvista: How does Elia Nurvista: How does Elia Nurvista: • use materials, technologies or • create sensory experiences to • reflect community interests through • employ specific art elements and approaches to affect the audience generate emotional responses from social commentary? principles to communicate meaning? experience? the viewer? • respond to cultural influences? • enhance the interpretation of • employ imagery and/or display • connect with viewers’ experiences the artwork through processes, techniques to challenge aesthetic and/or expectations to construct materials and media? traditions? meaning? • provoke discussion about twenty- first-century issues and concerns? CONTEMPORARY CONTEXT Lives andworks inSeoul,SouthKorea Kim Beom • • How doesKimBeom: blueprints reflectsthedepersonalisationandmachine-like logicofourcontemporary world. arbitrariness andcontradiction thathehasexperienced inhisown life. Thematter-of-factness ofKim’s Kim hasdescribedtheworks asmetaphorsforsociety, andthey arebasedontheabsurdity, inhumanity, best satire,thesehumorousworks areunderpinned by seriousconcernsandsocialfrustrations. completewithanescapepod.Asthe disguised asacloud,andbat-shapedsafehousefortyrants, by aschematicblueprint.Thestructures includeaschoolthatofferslessons indefyinggravity, aspy ship structures. Theworks typicallyimaginary consist ofalavishly renderedarchitect’s drawing accompanied The artist’s work inAPT9 isfrom‘BlueprintsandPerspectives’, aseriesofsatiricaldrawings depicting performance, aswell as publishing. he isproficientinanumberofdifferenttechniques,includingdrawing, ceramics, installation and country’s transition todemocracy. For whosework issostrongly anartist influenced by conceptualism, ofthegeneration ofSouthKoreanKim Beomispart whoseadult artists lifehascoincidedwiththeir first-century issues andconcerns? first-century provoke discussion abouttwenty- traditions? techniques tochallengeaesthetic and/ordisplay employ imagery • • How doesKimBeom: PERSONAL CONTEXT meaning? and/or expectations toconstruct connect withviewers’ experiences memories? experiences, imaginationor generate ideasfromhisown • How doesKimBeom: CULTURAL CONTEXT social commentary? interests through reflect community Location: Gallery 2.1,GOMA Location: Gallery © Theartist / ofModernArt IGallery Gallery Art Foundation /Collection:Queensland ofModernArt |Gallery Gallery Art 51cm /Purchased2017. Queensland on cotton paper, ed.2/8(4AP)/36x Guards (detail)2016/Inkjetprint Watchtower Complex forSecurity Korea b.1963/Residential • • • • How doesKimBeom: FORMAL CONTEXT movements, times,placesor events? share characteristics withart materials andmedia? throughprocesses, the artwork enhance theinterpretationof symbols, motifsorsigns? communicate intentionsusing principles tocommunicatemeaning? elementsand employ specificart

SYSTEMS: STRUCTURES CONTEMPORARY CONTEXT Based inRanau, Sabah,Malaysia Sulap Pangrok • • • How doesPangrok Sulap: as concernsover corruption,illegallogging,persistent floodingand migration issues. it addresses thedisappointment regardingthetreatmentofregion’s landandpeople,aswell ‘Sabah NegeriMerdeka’ (‘Sabah independentstate’). Thesecondpanelisthematically darker — (Malaysia’s highest mountainandaWorld HeritageSite),togetherwiththe state anthem’s finalline, an autonomousstate: brightandopen,withfiguresappearinginalandscapefeaturingMountKinabalu are regularly exploited. panelspresentcontrasting Thetwo visionsofSabah.Thefirst isthedreamof realities andaspirations ofaregionfrequently marginalisedwithinMalaysia andwhose natural resources inAPT9The titleoftheirlarge-scalediptych translates as‘Sabah, myhomeland’. Thework detailsthe tothepeopleofSabah—fromillegalloggingofficialcorruption. address issues ofimportance raise awareness aboutsocialandenvironmentalissues inBorneo’s regionalcommunities.Today, they (‘Don’t buy, doityourself’). Thegroupbeganwoodcut printingin2012,makingbannersandposters to while ‘sulap’isahutusedasresting placeby farmers,andtheirsloganis‘Jangan Beli,BikinSendiri’ social activists dedicatedtoempowering ‘Pangrok’ rural means‘punkrock’, communities throughart. A collective basedinSabah inMalaysian Borneo,Pangrok musicians and Sulapconsists ofartists, first-century issues andconcerns? first-century provoke discussion abouttwenty- experience? approaches toaffecttheaudience use materials,technologiesor challenge ideasofthepast? • • How doesPangrok Sulap: PERSONAL CONTEXT meaning? and/or expectations toconstruct connect withviewers’ experiences and experiences? communicate influencesontheirlife • • • • How doesPangrok Sulap: CULTURAL CONTEXT time andplace? movements, andoriginsof styles respond toinfluencesofart respond tocultural influences? social commentary? interests through reflect community explore cultural traditions?

Amanda Bartlett Gallery), QAG Gallery), Amanda Bartlett and 5(Henry Location: Gallery /©Theartists Modern Art of IGallery Gallery Queensland Art FoundationModern Art /Collection: of |Gallery Gallery Queensland Art funds fromAshby Utting throughthe 298.3cm /Purchased2017with 414.5x300cm;411Diptych: x offset inkonblock-outblind,ed.5/10/ Woodcut, / Sabah tanahair-ku2017 Est. 2010,Ranau, Sabah,Malaysia / • • • How doesPangrok Sulap: FORMAL CONTEXT materials andmedia? throughprocesses, the artwork enhance theinterpretationof symbols, motifsorsigns? communicate intentionsusing principles tocommunicatemeaning? elementsand employ specificart

POWER: ALTERNATE CONTEMPORARY CONTEXT Lives andworks inSeoul,SouthKorea Bona Park • • • How doesBonaPark: responses totheworld. classic kung-fu—thatexplore notionsofdisappearance, longingandtheroleofculture inshapingour European house(suchasJean-LucGodard’s art French New Wave cinemaclassic beach, flashesoutMorsecodeona studio lamp. Park’s videorefersto exemplars offilmmaking—from rehearses akung-fumove inslow motion, whileontheotherscreen,alightingoperator, standing ona on thevoice actorinasoundstudio, readingamonologue.To oneside,astunt doublerepeatedly a film andtelevisionvoice actor, industry: alightingoperator anda stunt double.The work centres For Beyond thesea2018,Park collaborated withindividualsworking behindthescenesinKorean complex socialandhistorical contexts thatthesesituationsaddress. appeal ofherworks liesintheunusualgame-like situationshercollaborators areplacedin,andthe others) andtellsseemingly simplestories; however, broadersocialthemes arealways involved. The economics. Park findsinspiration inhercollaborators (cooks,carpentersandcomedians,amongst thankless jobs;andextinction orredundancy broughtaboutby humanactivity, technologyand Bona Park’s workplace relations,inparticular, themesfortheartist: important videoaddresses two first-century issues andconcerns? first-century provoke discussion about twenty- traditions? techniques tochallengeaesthetic and/ordisplay employ imagery experience? approaches toaffecttheaudience use materials,technologiesor • • How doesBonaPark: PERSONAL CONTEXT meaning? and/or expectations toconstruct connect withviewers’ experiences the viewer? generate emotionalresponsesfrom experiences to create sensory • • • How doesBonaPark: CULTURAL CONTEXT respond tocultural influences? social commentary? interests through reflect community explore cultural traditions? Alphaville 1965)to Amanda Bartlett Gallery), QAG Gallery), Amanda Bartlett and 5(Henry Location: Gallery Theartist Image courtesy: / Collection/©Theartist Modern Art of IGallery Gallery the QueenslandArt CouncilKoreaby Arts /Proposedfor Commissioned forAPT9 /Supported video: 16:58minutes,colour, sound/ sea (still) 2018/Three-channelHD South Korea b.1977/Beyond the • • • How doesBonaPark: FORMAL CONTEXT movements, times,placesor events? share characteristics withart materials andmedia? throughprocesses, the artwork enhance theinterpretationof principles tocommunicatemeaning? elementsand employ specificart

CODE: MESSAGE CONTEMPORARY CONTEXT Lives andworks inLondon,UnitedKingdom Jananne Al-Ani • • • How doesJananneAl-Ani: The filmhighlightspatterns intheflow of power, resources andtechnologythatlinkusall. infrastructure oftoday: awaste treatmentplant,electricalsubstations, greenhousesandoiltanks. locations includethedisusedsitesofmilitary, economicandindustrial power of the past andthevital fromChina.AjourneyMiddle East over century thelandscapeofUnitedKingdom, inthethirteenth lifted outofthelandscape,andtakes itsnamefromgunpowder —introducedintoEurope andthe Black Powder Peninsula 2016isaloop,anendless cycle inwhich ourviewpoint risesasifwe arebeing Gulf War missile strikes ofbirth. onIraq, hercountry acutely aware oftherealitieswar, particularly thosehighlightedinthemediacoverage ofthe1991 a distant, technology-enabledandclinicalview, andaview reflectingtheaftermathof war. Al-Ani is a missile missing itstarget.Al-Ani differentperspectives ofthelandscapeinherwork highlightstwo — Her earlierfilmsconveyed recalling,ineerieslow motion,theperspective of asenseoffallingtoearth, reconnaissance photography toreveal theimprintofhistory, conflictandoccupationonthelandscape. Jananne Al-Ani employs theaerialperspective andbleached,sepia-tonesofWorld War One first-century issues andconcerns? first-century provoke discussion abouttwenty- experience? approaches toaffecttheaudience use materials,technologiesor challenge ideasofthepast? • • • How doesJananneAl-Ani: PERSONAL CONTEXT meaning? and/or expectations toconstruct connect withviewers’ experiences the viewer? generate emotionalresponsesfrom experiences to create sensory and experiences? communicate influencesonherlife • How doesJananneAl-Ani: CULTURAL CONTEXT respond tocultural influences?

Amanda Bartlett Gallery), QAG Gallery), Amanda Bartlett and 6(Henry Location: Gallery Theartist courtesy: /Image 4:28 minutes/©Theartist 2016 /Single-channeldigitalvideo, Powder Peninsula (productionstill) Iraq/United Kingdomb.1966/Black • • • How doesJananneAl-Ani: FORMAL CONTEXT materials andmedia? throughprocesses, the artwork enhance theinterpretationof symbols, motifsorsigns? communicate intentionsusing principles tocommunicatemeaning? elementsand employ specificart

SYSTEMS: STRUCTURES