In your dreams

In your dreams In your dreams In your dreams is an international collection of UNSW Galleries 6 January – 7 April 2018 photography and film-based work that explores the impact of inequality of wealth and opportunity on Artists individuals and communities from diverse corners Jessie Boylan () Alejandro Cartagena () of the globe. It provides a forum for dialogue Samuel Gratacap () between very different countries and cultures that Tanya Habjouqa ()

Taloi Havini (Papua New Guinea / Australia) nevertheless face similar challenges around poverty Samsul Alam Helal () and the displacement of peoples due to oppression, Maria Kourkouta ()

Johnny Miller (South ) war or environmental degradation.

George Osodi () Raphaela Rosella (Australia) The people and communities in these images are Andres Serrano ( of America) Sim Chi Yin () largely invisible to affluent societies, their situation Zhao Liang () relegated to the background of mainstream news Mary Zournazi (Australia) and media. Offering hope as well as insight both Curators to specific and shared international issues today, Felicity Fenner In your dreams informs and engages audiences at Cherie McNair a critical moment of global flux.

50 Artists Jessie Boylan Alejandro Cartagena b. 1986 b. 1977, Dominican Republic Based in Chewton, Victoria Based in Monterrey, Mexico

Jessie Boylan is a photo-media artist Alejandro Cartagena employs landscape and who explores impacts on the land and portraiture as a means to examine social, communities as a result of environmental urban and environmental issues in Latin and social devastation, such as nuclear America. His work also engages with a larger testing, mining and armed conflict. She is a history of photography by reinterpreting or member of Lumina, an Australian women’s rethinking the ways in which issues have photography collective, as well as the Atomic been addressed or represented in the past. Photographers Guild, an international Cartagena explores the relationship between group that aims to render visible all aspects Mexico’s urban centres and the suburbs of the nuclear age. Boylan is also a key haphazardly built around them, examining artist in Nuclear Futures, an Australia the ways in which explosive growth has Council-funded community arts project altered the landscape and affected the lives exploring the legacy of the nuclear age of each region’s residents. His work has through creative arts. been exhibited internationally and is in the collections of several museums These photographs were taken on a visit to including the SFMOMA, the Museum of Majuro, the capital of the Republic of the Contemporary Photography in , Marshall Islands, for Nuclear Victims the Museum of Fine Arts Houston, the Remembrance Day. 2014 marked the Portland Museum of Art, and the Museo 60th anniversary of the US Castle Bravo de Arte Moderno in Rio, . thermonuclear explosion in the Marshall “In the newly developed blue-collar suburbs Islands, which contaminated the Bikini, of Monterrey, Mexico, construction workers Enewetak, Rongelap, and Utrik atolls. and landscapers climb into pickup trucks The bomb was 15 megatons, making it for the daily commute, catching a lift from the largest nuclear bomb the US had ever contractors or crewmates. They head south- tested and 1000 times stronger than the bound on Mexico’s Federal Highway 85, bomb dropped on Hiroshima. The local skirting the city centre until they reach San Marshallese were evacuated to other atolls Pedro, one of the wealthiest communities and have been unable to return home since. in Latin America. There they will build Many inhabitants have suffered ongoing sprawling mansions, dig swimming pools illnesses as a result of radioactive fallout. and pave private drives. Every continent except South America On the way, each worker conducts his and Antarctica has experienced nuclear morning ritual within the four low walls testing. Boylan’s work captures the stories, of the truck’s bed, encapsulated by the flow knowledge and experience of international of wind overhead; he reads the newspaper, testing programs, with a specific focus on sips coffee, or catches another hour of Australia and the Pacific. She highlights the sleep, all while keeping out of sight. Illegal, ongoing need to revisit and document lost unsafe and largely invisible, this mode of cultures and environmental damage, and transportation is nonetheless routine to ensure that nuclear legacies are shared throughout Monterrey’s metropolitan area.” with the international community. (Jessica D. McDonald)

Sim Chi Yim Detail from the series Tin Men 2014 3 Samuel Gratacap Tanya Habjouqa Taloi Havini Samsul Alam Helal Maria Kourkouta Johnny Miller b. 1984, France b. 1975, Jordan b. 1981, Hakö people, Arawa, Bougainville b. 1985, Bangladesh b. 1982, Greece b. 1980, USA Based in Paris, France and Tunis, Based in East Jerusalem, Israel Based in Melbourne, Sydney and Buka Based in Dhaka, Bangladesh Based in Paris, France Based in Cape Town, and Texas, USA

Samuel Gratacap is a documentary Tanya Habjouqa is an award-winning Interdisciplinary artist Taloi Havini works Samsul Alam Helal is a documentary Maria Kourkouta studied the history of Johnny Miller is a freelance documentary photographer whose work has been photographer, journalist and educator. in ceramics, photography, video and mixed photographer based in Dhaka. He the Balkans in Greece before moving to photographer, filmmaker and digital exhibited in several group and solo shows, Her practice links social documentary, media installation. She engages with living completed his graduation in photography Paris in 2006 to complete a PhD on the journalist. He specialises in documenting including a solo exhibition of this series, collaborative portraiture and participant cultural practitioners, material collections from Pathshala South Asian Media Institute topic of rhythm in cinema. She has been issues around urbanisation and infrastructure Empire, at LE BAL, Paris, in 2015. His work observation. Her principal interests include and archives, responding to these experiences and regularly participates in curated making short documentary and in developing countries. Miller worked as was featured in the Athens Photo Festival gender, representations of otherness, and sites of investigation in her art practice. photography exhibitions in and . experimental films since 2008, including a Military Analyst in the foreign military and at Paris Foto in 2016. dispossession and human rights, with a The artist is actively involved in cultural Prelude 02–07 (2010, Jihlava 2011) and financing programs to integrate modelling particular concern for ever-shifting heritage, research and community projects Helal is a storyteller of people, especially Epistrofi stin odo Ailolu (2013). In 2014 she and simulations technology into the training For nine years Gratacap followed the lives socio-political dynamics in the Middle East. across Melanesia and Australia, with a the groups of minority and the neglected was awarded the ARTE Prize for European curriculums of , and of refugees and migrants crossing the As an anthropologist, Habjouqa produces focus on the effects of environmental and class. Through his photographs, he explores Short Film at the Oberhausen International . He is currently involved in a Mediterranean, documenting moments of in-depth narratives that offer nuanced historical disasters in Papua New Guinea. their identity, dreams and longings. He Short Film Festival. For her feature-film program to build a global community of departure – and the emotions of waiting – alternatives to mainstream media depictions often stages a studio setup where dramatic debut Spectres are haunting Europe, Kourkuota leaders dedicated to changing policy, practice at sites including the Italian island of of her subjects. Her work often reflects a Havini’s Habitat: Konowiru documents moods and vibrant colours are loudly collaborated with Greek author Niki and public dialogue around inequality. Lampedusa and a detention centre in desire to trace common humanity. the clash of industrial activity and the presented, within the context of a local Giannari. In 2016 the film was awarded Marseille, France. The artist is a founding member of continuous culture of Bougainville environment. In Love Studio, an old portrait Best Documentary at the Jihlava Unequal Scenes portrays dramatic scenes of The images here were taken in Rawiya, the first all-female photography Indigenous landowners. Beneath the surface studio in Dhaka becomes a local site for International Film Festival, and in 2017 inequality in South Africa from the unique Choucha, a refugee transit camp located collective from the Middle East. She is of what appears to be a serene and pristine transformation. It is an alternate space shown in documenta. perspective of a drone. Looking straight in South Eastern Tunisia, 7km from also a mentor for the educational initiative ecosystem lies a habitat fraught with where the dreams, hopes and desires of down from a height of several hundred and 25km from the city of Ben Guerdane. Arab Documentary Photography Program, environmental and historical disasters. the factory workers, their families and The Idomeni short film lay the groundwork meters, incredible scenes of inequality The artist describes the refugee camp as organised by Magnum Foundation, Prince Where the water table has been raised unemployed neighbours can be performed for the award-winning feature film, Spectres. emerge. During the time of Apartheid, “a place overexposed to light and with Claus Foundation, and the Arab Fund for the trees have died. Poisonous chemical and visualised. It offers a brief glimpse into the harsh segregation of urban spaces was instituted people underexposed in the media”. Arts and Culture. waste meanders down from the central Each photograph is accompanied with a realities faced by refugees in Europe today. as policy. Roads, rivers, ‘buffer zones’ Established in February 2011, the camp ranges of the Panguna mine in central story written by Helal. Of the image of the It tells the story of when the border between of empty land and other barriers were hosted several hundred thousand refugees These images of female Syrian refugees in Bougainville, through the Kawerong and young man kissing a cardboard model, for Macedonia and Greece was closed by the constructed and modified to keep people in transit during the Libyan civil war and Jordan are collectively titled Tomorrow there Jaba River, over the floodplains on the west example, he writes: “Tipu works in a local European in March 2016, effectively separate. A generation after the end of the NATO attacks. While Libyan refugees will be Apricots, a popular proverb that roughly coast and into the ocean. Copper has been market and is a huge fan of Bengali movies. terminating the possibility of passage by Apartheid, many of these barriers, and were welcomed by Tunisian families or translates to ‘In your dreams’. The title leaching in this area for many years. The He regularly passes the time by watching refugees via the ‘Balkan route’. Even though the inequalities they have engendered, temporarily settled in Tunis or Remada reflects the hopeless situation of these Syrian virgin forests and rich fertile soil that once movies in cinema halls on weekends. He the border was closed, on the afternoon of still exist. As these images reveal, extreme (a camp), the refugees of Sub-Saharan women, separated from husbands, boyfriends occupied this area are unlikely ever to return. was kissing the dummy heroine passionately March 14 several hundred of the 15,000 wealth and privilege still exists just metres origin fled to Choucha. and the male members of their families. The The animals that once lived in the valley as if the character was really in front of refugees stuck at Idomeni made their from communities of shack dwellings Gratacap first travelled to Choucha burdens of violence are present in their scant have either been buried, dammed or killed him. He was holding her forever and clandestine way through fields and were enduring squalid conditions. in January 2012 as a photographer belongings; heavy mementos that remind by copper leaching. Poisonous toxic waste wouldn’t let her leave”. able to get around the barbed-wire fence “Driving in from the airport in Cape accompanying a reporter, and later them of what they have lost in the war. flows from the Panguna mine down to the The two young women holding guns and arrive at the village of Moin. They Town one passes densely-packed townships returned as a volunteer with the Danish Habjouqa’s photos explore the Lower Tailings Waste Disposal Area which “don’t like gender roles in society” and desire were arrested by the Macedonian army and bordered by four-lane motorways and high NGO Refugee Council. He taught an complicated intimacies of everyday life for is discharged undiluted through the pipelines. more freedom. The newlyweds “could not sent back to Greece. Despite their failure, wire fences that act as impenetrable barriers introductory course on analogue these Syrian women who have been left It only takes a matter of hours to travel afford a photographer on their wedding day, this shared journey remains a last gesture of to human interaction. The contrast between photography to 16-18 years olds and over behind. They cling to the hope that soon down to where the Indigenous landowners so they re-arranged the beautiful day [in emancipation and a demand for freedom of these townships and stylish central Cape the course of an entire year came to know their family will one day be reunited, yet live, fish and farm. The Nagovis people of Helal’s Love Studio] to capture the memory”. movement in a Europe that is building walls. Town is shocking – yet as with every city in the people in the camp and the challenges at the same time they grapple with the Bougainville call this area Konawiru. the world, it’s easy for residents to go about they faced living in dust-swept limbo. knowledge that most likely they will never their daily lives with blinkers on, ignoring see them again. the disparities.” (Johnny Miller)

4 5 George Osodi Raphaela Rosella Andres Serrano Sim Chi Yin Zhao Liang Mary Zournazi b. 1974 in Lagos, Nigeria b. 1988, Brisbane, Australia b. 1950, USA b. 1978, Singapore b. 1971, Dandong, Liaoning Province b. Australia Based in Ogwashi-Uku, Delta State, Nigeria Based in Brisbane and Moree, Australia Based in , USA Based in , China and London, UK Based in Beijing, China Based in Sydney, Australia

George Osodi studied Business Raphaela Rosella’s work has been included Andres Serrano is a renowned American Sim Chi Yin’s work focusses on history, After graduating from Luxun Fine Art Mary Zournazi is an Australian author, Administration at the Yba College of in Photoquai, France, Nooderlicht Photo- artist whose work has been exhibited widely memory and migration. The Nobel Peace Academy in 1992, Zhao Liang supported philosopher and filmmaker, and author Technology in Lagos, before working as a festival, and Photo Ireland. In since the 1980s. He has recently exhibited Prize photographer for 2017, her work has himself as a photographer while working of several books including Hope – New photojournalist for the Comet Newspaper in 2014 she was one of just 12 photographers at the Station Museum of Contemporary been seen at the Istanbul Biennale, ICA on films. His work reveals the artist’s acute Philosophies for Change and Inventing Peace, with Lagos, 1999–2001. He has staged a number selected for World Press Photo’s prestigious Art, Houston, the New Museum in New Singapore, Amsterdam’s Framer Framed, observations of social realities in China. the German film director Wim Wenders. of solo exhibitions including Rencontres Joop Swart Masterclass in Amsterdam. York and the Freud Museum, London. and in public galleries in the US and South Two of his early documentaries, Farewell, de Bamako in Mali and at RAW Materials In 2015 her work was recognised at the Serrano’s work is in major collections Korea. Film festivals include Les rencontres Yuanmingyuan and Paper Airplane, are Dogs of Democracy is a documentary about Company in Dakar, Senegal, both in 2011. World Press Photo Contest and Australian including MOMA and the Whitney Museum d’Arles and Visa pour l’Image in France, and pioneering works in Chinese documentary the stray dogs of Athens and the people His photographs have been published Photobook of the Year (Momento Pro). in New York, Museo Reina Sofia, Madrid, the Singapore International Film Festival. film. Petition: The Court of the Complainants who take care of them. Shot on location widely, including in the New York Times, She has a Bachelor of Photography from and the Pinault Collection, Venice. Sim Chi Yin also does commissioned work (1996–2009) was filmed over twelve years in Athens, the birthplace of democracy, Time magazine, USA Today, the International Queensland College of Art and a Diploma for the New York Times Magazine, TIME and details the plight of Chinese citizens the documentary is about how Greece has Herald Tribune, the Guardian and Telegraph of Community Services. Residents of New York was first commissioned and Harpers, amongst others. In 2010 she traveling to Beijing to file complaints with become the ‘stray dog of Europe’, and how newspapers (UK), and on CNN and BBC by MoreArt and exhibited at the West 4th was an inaugural Magnum Foundation the central government about local officials. the dogs have become a symbol of hope TV. Osodi’s work is in major international Rosella works in the tradition of long-form Street subway station in Greenwich Village Photography and Social Justice Fellow in After debuting at Cannes, the film was for the people and for the anti-austerity collections including the Smithsonian documentary storytelling. Blending the and on bus kiosks throughout New York in New York. In 2018 she won the Chris banned in China. Commissioned by the movement. Museum in New York, National Museum conventions of documentary and art, she 2014. The Denizens of Brussels series was created Hondros Fund Award and joined Magnum Ministry of Health, his film Together (2010) “I took my first ever trip to Athens in of Greece, and the Museumslandschaft documents women in her life as they grapple in collaboration with the Royal Museums of Photos as a nominee. explored discrimination against people with 2014 and arrived in the middle of the Greek Hessen Kassel in Kassel, . with the complexities of motherhood, Fine Arts in Brussels, , in 2015. HIV and AIDS in China. economic crisis. All around the city there violence, bureaucracy and turbulent Serrano initially photographed homeless About one-third of all the tin mined in the were stray dogs, they seemed to occupy the The characters depicted in George Osodi’s relationships. Rosella works as a community individuals in New York in 1990, for a series world now comes from Bangka, its sister Behemoth (Bei xi mo shou) depicts, in a visually city like citizens – they crossed the traffic Nigerian Monarchs, while having no artist and youth mentor with non-profit of powerful studio-style portraits titled Nomads. island Belitung to the east – both just off the breathtaking and emotionally haunting lights, they socialised, they were part of the constitutional power, embody the diversity of community arts and cultural development In the more recent Residents of New York and eastern coast of Sumatra – and the seabeds sequence, the social and ecological urban life and feel of the city. Immediately the ancient customs, architecture and regalia organisation Beyond Empathy, using art Denizens of Brussels series, he removed his off the islands’ shores. Almost half of all devastation of the Chinese mining industry. I fell in love with them, and I became of the country’s many ethnic groups. The to influence change in the lives of young signature studio elements, focusing instead tin is made into solder for electronics such From the open-cast mines to the ghost cities curious about their lives. In a very short photographs, taken in a time of sectarian people and communities experiencing on personal connectivity and interaction as smartphones, tablet computers like iPads beyond, this audio-visual existential, time, I realised that the dogs were looked violence and insecurity, champion diversity recurring hardship. directly on the streets, where the homeless and flat-screen TVs. Much of this on-shore ethnographic and poetic essay is a compelling after by volunteers in Athens, who cared for as a strength rather than a weakness. Rosella’s passion for social change is live. These portraits give a dignified face and off-shore mining in Bangka is, in theory, portrait of modern-day China built from and fed the stray dogs. I became fascinated “Nigeria has 36 states, with a mainly the driving force behind her practice. to a group of people often ignored and illegal but global demand drives the trade. the blood and sweat of its proletariat class. by how in the middle of Greece’s worst Muslim population in the north, while Challenging our stereotypes and marginalised in society. Tin was discovered on Bangka centuries Set in ’s grasslands, Behemoth economic crisis people were willing to take the south is largely Christian. There are encouraging empathy and understanding as “Although they have similarities, I see ago and sizeable mining started under the travels between documentary and narrative, such care of the animals. I began to frequent clashes among different ethnic we glimpse the lives of these young women a distinction between the ‘Residents’ and Dutch who used labourers from southern stark truth and allegory, dream and reality. consider what this might say about our groups. Lots of people have lost trust in facing an uphill battle in life, each of the ‘Denizens’. The ‘Residents’ are homeless China, particularly the Hakkas. Filmed by the artist in 4K, Behemoth is ideas of love, community and care. That’s their identity. I felt it was important that works here draws attention to the entrenched people living or begging on the streets Today, Bangka is the heart of production inspired by Dante’s Divine Comedy and how the story began: a love of the animals, we see this diverse culture as a point of poverty, racism and transgenerational whereas as the ‘Denizens’ are more like of Indonesian tin which has become more has been acclaimed in film festivals globally, and the love of the city and its people”. unity instead of seeing it as something that trauma experienced by young women characters, performers and actors making important as companies turn away from including the Venice Film Festival and the (Mary Zournazi) should divide us as a nation. The easiest in Australian communities. Inequality the streets their stage. In New York City sourcing materials from Africa amid Stockholm International Film Festival, way I could approach this was to look at the is a problem facing Australian neighbour- you will not see Roma women begging controversy over ‘conflict minerals’ from where it won the Best Documentary award. monarchy structure in the country because hoods, where symptoms manifest as drug on the streets with children, nor Roma Africa’s war-torn Democratic Republic of they are closer to the people than the abuse, poverty and homelessness. The men praying on their knees as if in church Congo being used in their products. Buying governors”. (George Osodi) women in Rosella’s images are not without begging for atonement. Nor do you see Indonesian tin is quick and ‘conflict-free’, their achievements, yet there is rarely an homeless encampments in the metro as you solder makers say. understanding, appreciation and encourage- see in Brussels. The Denizens of Brussels are ment to continue moving forward. more theatrical and surreal, a fitting tribute to the city that gave birth to Surrealism.” (Andres Serrano) 6 7 From Majuro Atoll, Marshall Islands 2014 Jessie Boylan from left: Trash Pin Basketball Court C-Type prints

8 9 From Majuro Atoll, Marshall Islands 2014 from left: Flame Tree Pontoon C-Type prints

10 11 Carpoolers series 2011 Alejandro Cartagena archival pigment prints

12 13 14 15 Empire series, Camp de réfugiés Samuel Gratacap de Choucha #31 (left); #13 (right) 2012–14 C-Type archival pigment prints

16 17 Empire series, Camp de réfugiés de Choucha #04 (left); & #39 (right) 2012–14 C-Type archival pigment prints

18 19 Empire series, Camp de réfugiés de Choucha #14 (left) & #23 (right) 2012–14 C-Type archival pigment prints

20 21 From the sries Tanya Habjouqa Tomorrow there will be Apricots 2012–17 C-Type prints on paper, iPads and wallpaper below: Installation UNSW Galleries 2018

22 23 24 25 From the series Samsul Alam Helal Love Studio 2012–15 colour inks on Museo paper, portrait studio backdrop

26 27 From the series Johnny Miller Unequal Scenes 2016 from left: Johannesburg / Primrose Papwa Sewgolum Golf Course colour inks on Chromolux

28 29 From the series George Osodi Nigerian Monarchs 2006–13 colour inks on Museo paper, on board

30 31 From the series Oil Rich in Niger Delta 2003–07 colour inks on Museo paper, on board

32 33 From the series Raphaela Rosella You’ll Know it When You Feel it 2011–ongoing colour inks on paper

34 35 From the series You Didn’t Take Away My Future, You Gave Me a New One 2011–ongoing colour inks on paper

36 37 From the series Andres Serrano Residents of New York 2014 left from top: Peyson Gonzalez; Meh’yow Wolf-Man below from left: Sleeze; Jonathan digital photographic prints

38 39 From the series Denizens of Brussels 2015 left: The Kiss: Laiea and Magaly and Tybel below from left: Christo; digital photographic prints

40 41 From the series Sim Chi Yin Tin Men 2014 C-Type prints

42 43 Taloi Havini Maria Kourkouta List of works

Habitat: Konowiru 2016 Idomeni, March 14, 2016. HD single-channel video, Greek-Macedonian border 2016 colour, sound; 3:43 mins single-channel video; 17 mins

Photography Johnny Miller Film

From the series Unequal Scenes 2016 Kayamandi / Stellenbosch Jessie Boylan Imizamo Yethu / Hout Bay Taloi Havini Kibera / Nairobi From Majuro Atoll, Marshall Islands 2014 Cape Town / Vukuzenzele Habitat: Konowiru 2016 Flame Tree Papwa Sewgolum Golf Course HD single-channel video, colour, sound Houses (#1) Johannesburg / Primrose duration: 3:43 mins Pontoon Kya Sands / Bloubosrand Courtesy the artist and Playground Kya Sands / Bloubosrand Andrew Baker Art Dealer Trash Pin Masiphumelele / Lake Michelle Basketball Court Alexandra / Sandton King Tide Coming Kibera / Nairobi Maria Kourkouta C-Type prints colour inks on Chromolux Idomeni, March 14, 2016. Courtesy the artist Courtesy the artist Greek-Macedonian border 2016 single-channel video Alejandro Cartagena George Osodi duration: 17 mins Courtesy the artist Carpoolers series 2011 Four works from the series Oil Rich in Niger Delta 2003–07 Archival pigment prints Zhao Liang Courtesy the artist Four works from the series Nigerian Monarchs 2006–13 Behemoth (Bei xi mo shou) 2015 Zhao Liang Mary Zourzani Samuel Gratacap colour inks on Museo paper, on board single-channel video Courtesy the artist duration: 90 mins Behemoth (Bei xi mo shou) 2015 Dogs of Democracy 2016 Empire series, Camp de réfugiés Produced by INA and Arte France de Choucha 2012–14 single-channel video; 90 mins single-channel film; 58 mins Raphaela Rosella Distributed by Upsidedown Distribution C-Type archival pigment prints Courtesy the artist and Five works from the series Galerie Les Filles du Calvaire, Paris You Didn’t Take Away My Future, Mary Zournazi You Gave Me a New One 2011–ongoing Dogs of Democracy 2016 Tanya Habjouqa Five works from the series single-channel film You’ll Know it When You Feel it 2011–ongoing duration: 58 mins Nine works from the series From We met a little early, but I get to love Produced by Tom Zubrycki Tomorrow there will be Apricots 2012–17 you longer 2011–ongoing Distributed by Ronin Films C-Type prints on paper, colour inks on paper iPads and wallpaper Courtesy the artist Courtesy the artist and Noor Agency Andres Serrano Samsul Alam Helal Residents of New York 2014 Ten works from the series Love Studio 2012–15 Denizens of Brussels 2015 colour inks on Museo paper, digital photographic prints portrait studio backdrop Courtesy the artist and Courtesy the artist Galerie Nathalie Obadia, Brussels

Sim Chi Yin

Sixteen works from the series Tin Men 2014 C-Type prints Courtesy the artist

44 45 In your dreams Raphaela Rosella installation of ephemera Samuel Gratacap with his work Drone workshop with Johnny Miller Detail of work produced as part of ACP & UNSW Tanya Habjouqa on the Courtesy and © Richard Smith/Hugh Hamilton, 2018 Exhibition at UNSW Galleries and public programs Galleries program with Glebe Youth Services International Women’s Day 2018 panel Sim Chi Yin photographic installation with participant artists, Sydney, 2018: Courtesy and © Claudia Tighe and Raphaela Rosella, 2018 Courtesy and © ACP/Maclay Heriot, 2018 Andres Serrano digital posters, Raphaela Rosella with her work Samuel Gratacap photographic installation International Women’s Day panellists UNSW Galleries reception Mary Zournazi, Professor Vera Mackie (moderator), Andres Serrano public lecture Raphaela Rosella and Tanya Habjouqa, presented by UNSW Centre for Ideas with Tanya Habjouqa’s work

46 47 Exhibition curators and writers: Felicity Fenner and Cherie McNair Catalogue design: Analiese Cairis Installation photography: Silversalt

Cover: Jessie Boylan Trash Pin (detail) from Majuro Atoll, Marshall Islands 2014

Produced by UNSW Galleries and the Australian Centre for Photography (ACP) in association with the 2018 Sydney Festival, UNSW Centre for Ideas and the UNSW Grand Challenge on Inequality.

Supported by the City of Sydney, Embassy of France and Embassy of the United States of America

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