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S ALAMANCA A RTS C ENTRE SALAMANCA ARTS CENTRE SALAMANCA ARTS CENTRE CURATOR S ARAH THOMAS A F T E R L I V E S C O L O N IN A O L O L C 1 SALAMANCA ARTS CENTRE CURATOR SARAH THOMAS Cover image: © 2015 Christian Thompson, Trinity III, 2014 ISBN 978-0-9942065-3-4 2 EWAN ATKINSON INTRODUCTION — BARBADOS In Colonial Afterlives, Salamanca Arts Centre’s ROSEMARY MILLER 2015 commissioned exhibition, Sarah Thomas DANIEL BOYD CEO/Artistic Director has assembled artworks by 14 Australian and — NEW SOUTH WALES Salamanca Arts Centre international artists, the great-great-grandchildren CHARLES CAMPBELL of colonisation with millennia of rights to lands and — JAMAICA cultures, merged and separate histories, identities, and heritages. MAREE CLARKE — VICTORIA Thomas’s essay, Living With Ghosts, delves into parallel colonial experiences and post-colonial FIONA FOLEY artistic expression manifest in the work of the — QUEENSLAND arah Thomas is the curator of Colonial Colonial Afterlives artists. Afterlives. An Australian academic and JULIE GOUGH curator currently living and lecturing Thomas invited historian Greg Lehman, ‘a — TASMANIA S in London, she poses the question in the descendant of Woretemoteyener, a young woman HEW LOCKE Museum History Journal in January 2013 taken by sealers from the NE coast of Tasmania — UNITED KINGDOM / GUYANA (vol. 6. no. 1, p. 105): ‘Why do colonial in 1810’, to contribute a Tasmanian perspective. subjects continue to remain of minimal Lehman’s essay, Writing Our Lives, explores KENT MONKMAN interest to British curators and directors recorded history and fictional imaginings, — CANADA today, despite a wealth of vigorous post- pondering ‘disillusionment among Aboriginal JAMES NEWITT colonial scholarship over the last decade thinkers about how we should be negotiating our — TASMANIA arguing that “the concept of empire belongs way into the future. Progress has slowed…’ at the centre not the margins of British art”?’ GEOFF PARR Other jewels of empire became republics. Not so (from T. Barringer, G. Quilley, D. Fordham, — TASMANIA Australia. Are we still governed by colonial fear, Art and the British empire, 2007) . too nineteenth-century to embrace a twenty-first- YVONNE REES-PAGH With the insight of the outsider, Thomas notes century future? — TASMANIA that much art held in British art museums Sincere thanks to Sarah Thomas for bringing LISA REIHANA is that of empire. She posits that ‘The together an outstanding group of artists whose — AOTEAROA NEW ZEALAND parameters of “British art” are in the process works and provocations will challenge viewers; of being radically rearticulated (p. 105)’. JOAN ROSS and to the artists, the Board and staff of Salamanca Arts Centre for bringing Colonial — NEW SOUTH WALES The art of colonisation is, no matter the subject nor technique, an art circumscribed Afterlives to fruition. CHRISTIAN THOMPSON by subjugation and frontier wars. Hindsight Colonial Afterlives tours ‘the colonies’ over 2016-17: — AUSTRALIA / UNITED KINGDOM has brought with it a re-positioning of empire. New South Wales, Queensland, South Australia, Victoria, and returns to northern Tasmania. 2 3 LIVING WITH GHOSTS Nikos Papastergiadis reminds us that today, ‘the Geoff Parr. A committed bush walker, and later a new cultural patterns of globalization differ from conservation activist and a member of the world’s SARAH THOMAS colonialism, resembling less a centre-periphery first Green Party, Parr first made the series in 1983 Curator, Colonial Afterlives binarism than a multi-directional circuit-board.’3 after returning to Tasmania from Europe. It was We might then ask, with Britain’s imperial power during this period that a noted shift occurred in the removed, what remains of that shared history, understanding and acceptance of Aboriginal art by he idea for this exhibition first struck when I was in Barbados talking to artists those networks which linked indigenous and the Australian art world.5 In Tasmania Parr immersed and curators about a forthcoming exhibition at Tate Britain, Artist and Empire. diasporic peoples from Australia, New Zealand, himself in the island’s Indigenous history, encountered TI was already living in London at the time, but my background as an Australian the Caribbean, Canada and beyond? In his book in the island’s hinterland, and in displays at the curator led to an immediate sense of recognition. For many artists in this small Caribbean Return to the Postcolony T.J. Demos speaks of Tasmanian Museum and Art Gallery (TMAG); his island, just as in Australia, colonial business is unfinished, and its legacies are raw; colonialism’s spectres, those ‘haunting memories The National Picture 1985 (1985) would become a history is now, and it matters. and ghostly presences that refuse to rest in peace.’ lightning rod for debate in the years leading up to, He ascribes their power to what he argues is a and including, Australia’s Bicentennial. During the nineteenth century Australia and the British West Indies were aligned in their widespread political amnesia and misrecognition, roles as strategic sites of Britain’s empire. At a time when millions of slaves still laboured James Newitt also recalls being intrigued by the describing: ‘the negations, disavowals, and rejections in plantations across the Americas, Van Diemen’s Land had become Britain’s primary penal Aboriginal collections and ethnographic tableaux of historical responsibility and present advantage, colony, while its Aboriginal inhabitants resisted an accompanying genocide. The threads of at the TMAG as a child, and in The Desires of Mute occurring in political discourse as much as in empire drew disparate histories and geographies together, as people, commodities and ideas Things (2015) he returns to these to raise questions cultural representations, that allow and even cause circulated across the globe in ever-greater numbers. about context, history and memory. Giving voice to the ghosts to fly free.’4 those spectres which haunt the hidden store rooms The story of Edward John Eyre (1815-1901) is one example. The son of a Yorkshire vicar, It is these spectres that animate the works in this of the museum, Newitt breathes life into them anew, Eyre sought his fortune in Australia, where he became well known in the 1830s and exhibition, breathing life into the often-painful interrogating in the process the mechanisms of 1840s as an explorer, relying on the knowledge of Aboriginal peoples and developing inheritances of colonial history, and reminding us knowledge, power and display. a sympathetic – if paternalistic – approach to their welfare. After leaving Australia he that such legacies demand our urgent attention. accepted his first Colonial Office appointment in New Zealand, where in the years following Christian Thompson and Kent Monkman explore the 1840 Treaty of Waitangi he vigorously pursued policies of assimilation and ‘native Julie Gough uncovers the silences in colonial art notions of alterity, Indigenous identity and authenticity civilisation’.1 In 1854 he was appointed to colonial posts in the West Indian islands of St history, traversing her native Tasmania, often on through performance, turning the camera on themselves Vincent and Antigua where, in the wake of the ‘Indian Mutiny’/Sepoy Rebellion of 1857, foot (as in Traveller [2013]), working with found to explore fractured identities by adopting alter-egos he ruled over an increasingly restless population. It was Eyre’s final posting to Jamaica in objects that speak of uncomfortable pasts, mining and transformative disguises, and mimicking cultural 1862 that was to seal his reputation in England as a murderer and monster of cruelty, archaeological seams to raise questions, mourn stereotypes. The series Polari (2014), from which as he imposed brutal martial law during the rebellion at Morant Bay three years later.2 loss, and lay bare the psychic scars of the past. Her this catalogue’s cover comes, takes its name from Hunting Ground Incorporating Barbeque Area (2014) the underground slang commonly spoken by the gay We must be wary of viewing colonial history through the lens of the coloniser. This shines light on dispossesion, linking archaeological subculture in Britain in the mid-twentieth century. abbreviated story of one man’s peripatetic life and his increasingly bloody response ‘evidence’ of Aboriginal habitation with arcane Produced during a period of residency at Trinity College, to the mounting resistance of colonised subjects reminds us that these diverse colonial traces of former occupation. Oxford, Thompson’s photograph serves to empower covert histories were shared, a series of profound human encounters which seeped into each sexual and racial identities, the subject’s smouldering other, effecting not just imperial policy but so too subaltern agency. Ideas of mobility and travel, exploring country on appeal as alluring as it is monstrous. foot, also inform the series Place (1983/2015) by 4 5 In Dance to Miss Chief (2010) Canadian artist While colonial history has often inspired the work preoccupied the artist for several years in his M ori and Polynesian history and lore, bestowing Monkman explores his Cree ancestry through his of Fiona Foley, her series Nulla 4 eva (2009) casts Transporter (2011-2015) series – is complicated by dignity and humanity to a culture untouched by alter-ego, Miss Chief Eagle Testickle, a dazzling a direct eye towards one of Australia’s more recent motifs from Jamaica’s slave past. The modular forms European contact. celebrity artist, aristocratic socialite and irresistible manifestations of racist and xenophobic violence: of a modernist utopia are scarified by a nineteenth- Maree Clarke too engages in a symbolic seductress. In splicing footage of Miss Chief flirting the Cronulla riots of 2005. In Nulla 4 eva III (2009) century graphic showing a canoe transporting slaves repossession of her cultural heritage by shamelessly with the handsome hero Winnetou from Foley re-enacts the kinds of hate-fuelled dramas that from the coast of Sierra Leone to awaiting European recreating some of the bodily adornments worn – the 1964 Western of the same name (Winnetou: continue to flare in Australia’s suburban landscapes.