Aboriginal Art – Window to Culture

Total Page:16

File Type:pdf, Size:1020Kb

Aboriginal Art – Window to Culture ARTKELCH specialises in high-quality contemporary Aboriginal ARTKELCH ist spezialisiert auf Gemälde aus dem gehobenen fine arts, particularly from the Central and Western Desert and Segment der Contemporary Aboriginal Art, vorwiegend aus der the Kimberleys. Central und Western Desert und aus den Kimberleys. ABORIGINAL ART – WINDOW TO CULTURE ARTKELCH places a premium on artistic quality, trustworthiness, ARTKELCH legt großen Wert auf Qualität, Verlässlichkeit und den and a respectful, ethically correct approach to Aboriginal art, respektvollen, ethisch korrekten Umgang mit Aboriginal Art und exclusively dealing with ACGA galleries and art centers that arbeitet daher nur mit ACGA Galerien und Künstlerkooperativen guarantee authenticity of their works as well as fair payment of in Australien zusammen, die neben der Authentizität auch the artists concerned. sicherstellen, dass die Künstler fair für ihre Arbeiten bezahlt werden. THE EXHIBITION ABORIGINAL ART – WINDOW TO CULTURE shows the variety of styles of Central and Western Desert Indigenous art. DIE AUSSTELLUNG ABORIGINAL ART – WINDOW TO CULTURE zeigt die © Paddy Japaljarri Stewart – The art centres involved are Papunya Tula Artists and Papunya Puurda Jukurrpa Stilvielfalt innerhalb der Kunst der Central und Western Desert. Tjupi Arts (Papunya / Kintore), Ikuntji Arts (Haasts Bluff), Jula- Beteiligte Künstlerkooperativen sind Papunya Tula Artists und irds likari Arts (Tennant Creek), Warlukurlangu Artists (Yuendumu / Papunya Tjupi Arts (Papunya / Kintore), Ikuntji Arts (Haasts Bluff), B Nyirripi), Warlayirti Artists (Balgo Hills), Warakurna Artists, and Julalikari Arts (Tennant Creek), Warlukurlangu Artists (Yuendumu / Mangkaja Arts (Fitzroy Crossing). Apart from renowned art- Nyirripi), Warlayirti Artists (Balgo Hills), Warakurna Artists sowie ists such as Makinti Napanangka, Walangkura Napanangka, Mangkaja Arts (Fitzroy Crossing). Neben renommierten Künstlern Narputta Nangala, Eunice Napanangka Jack, Peggy Jones, Judy wie Makinti Napanangka, Walangkura Napanangka, Narputta Napangardi Watson, Paddy Japaljarri Stewart, Eubena Nampitjin Nangala, Eunice Napanangka Jack, Peggy Jones, Judy Napan- and Wakartu Cory Surprise, the exhibition introduces a number gardi Watson, Paddy Japaljarri Stewart, Eubena Nampitjin und apanangka of up-and-coming talents from the featured regions. Wakartu Cory Surprise stellt die Ausstellung auch vielverspre- N © Punata Stockman Nungurrayi – Mount Denison chende Nachwuchstalente aus den Regionen vor. © Peggy Jones – Yellow Cocky and 2 Cocky Yellow – Jones © Peggy © Makinti © Makinti AUSTRALIAN EMBASSY BeRLIN | 26 JANUARY – 12 FEBRUARY 2009 Australian Embassy [email protected] Wallstrasse 76–79 Tel.: (030) 880088-359, -353, -352 AN EXHIBITION BY 10179 Berlin Fax: (030) 880088-351 © Wakartu Cory Surprise - Nyimpi © Tjunkiya Napaltjarri Being part of the collection of the Freiburg- Die in ABORIGINAL ART – WINDOW TO CULTURE aus- based gallery ARTKELCH, the artworks presented gestellten Werke aus der Sammlung der Freiburger in ABORIGINAL ART – WINDOW TO CULTURE im- Galerie ARTKELCH dokumentieren eindrucksvoll pressively highlight both the heritage and the die Bandbreite der zeitgenössischen Aboriginal wide-ranging spectrum of Australia’s contem- Art. Die Kunst der australischen Urbevölkerung porary Aboriginal art. Considered to be the gilt als die älteste kontinuierliche Kunsttradition world’s oldest ongoing tradition of art, Australia’s der Welt, war aber europäischen Betrachtern bis Indigenous art was largely unknown overseas vor einigen Jahrzehnten weitgehend unbekannt. until a few decades ago. Connecting past and Inhaltlich oftmals am zentralen Thema des Schöp- present, the spiritual and the secular, the people fungsmythos der „Traumzeit“ orientiert, verbindet and the land, Aboriginal art frequently revolves die indigene Kunst Australiens traditionell Vergan- around the central concept of the Dreaming. Yet genheit und Gegenwart, das Spirituelle mit dem Aboriginal art betrays a rich diversity of styles and Säkularen, die Menschen und ihr Land. Dennoch techniques that offer a – breathtakingly beautiful – © Ningura Napurrula zeichnet sich die Aboriginal Art durch eine reiche window into the culture of Australia’s Indigenous Vielfalt an Stilen und Techniken aus, die einen population. – atemberaubend schönen – Einblick in die Kunst und Kultur der indigenen Australier offenbart. © Paddy Japaljarri Stewart – Puurda Jukurrpa © Theresa Nowee - Yarki © Bai Bai - Mulupuku © Ken Shepherd - Walpinta © Sonia Kurarra – River © Walangkura Napanangka.
Recommended publications
  • Becoming Art: Some Relationships Between Pacific Art and Western Culture Susan Cochrane University of Wollongong
    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1995 Becoming art: some relationships between Pacific art and Western culture Susan Cochrane University of Wollongong Recommended Citation Cochrane, Susan, Becoming art: some relationships between Pacific ra t and Western culture, Doctor of Philosophy thesis, , University of Wollongong, 1995. http://ro.uow.edu.au/theses/2088 Research Online is the open access institutional repository for the University of Wollongong. For further information contact Manager Repository Services: [email protected]. BECOMING ART: SOME RELATIONSHIPS BETWEEN PACIFIC ART AND WESTERN CULTURE by Susan Cochrane, B.A. [Macquarie], M.A.(Hons.) [Wollongong] 203 CHAPTER 4: 'REGIMES OF VALUE'1 Bokken ngarribimbun dorlobbo: ngarrikarrme gunwok kunmurrngrayek ngadberre ngarribimbun dja mak kunwarrde kne ngarribimbun. (There are two reasons why we do our art: the first is to maintain our culture, the second is to earn money). Injalak Arts and Crafts Corporate Plan INTRODUCTION In the last chapter, the example of bark paintings was used to test Western categories for indigenous art. Reference was also made to Aboriginal systems of classification, in particular the ways Yolngu people classify painting, including bark painting. Morphy's concept, that Aboriginal art exists in two 'frames', was briefly introduced, and his view was cited that Yolngu artists increasingly operate within both 'frames', the Aboriginal frame and the European frame (Morphy 1991:26). This chapter develops the theme of how indigenous art objects are valued, both within the creator society and when they enter the Western art-culture system. When aesthetic objects move between cultures the values attached to them may change.
    [Show full text]
  • LOOK Exhibition Checklist (PDF .37MB)
    LOOK: Charles Darwin University Art Collection Charles Darwin University Art Gallery 29 February – 29 June 2012 Chancellery Building Orange 12.1.02 Casuarina Campus 1 Sidney Wilson 100 x 50cm [image]; 120 x 73.5 cm [paper] Dugong 2008 Gifted by the artist & Northern Editions Synthetic polymer paint on canoe tree Printmaking Studio, 2010 – CDU1890 wood; black glass beads 50cm [length] x 9cm [width], approx. 7 Bronwyn Wright Acquired by purchase, 2011 – CDU2294 Leaping Dog 2005 Digital type C print (colour on metallic paper) 2 Therese Ritchie 26.8 x 36.1 cm [image]; 30 x 39cm [paper] Luju ka wirntimi (Woman Dancing) [2000] Gifted by the artist, October 2006 – CDU1287 Inkjet print on German etching paper 59.5 x 60cm [image] 8 Susan Marawarr NDY Edition, 2010 – on loan from the artist Korlngkarri (place name) 1999 Screenprint, WP edn 25 3 Therese Ritchie Collaborators: Leon Stainer/Monique Auricchio Wati-jarra kapala jurrka-pinyi (Two men Printer: Gilbert Herrada dancing) [2000] 49 x 68.5cm [image]; 56 x 76cm [paper] Inkjet print on German etching paper Gifted by the artist & Northern Editions 59.5 x 60cm [image] Printmaking Workshop, 1999 – NTU730 NDY Edition, 2010 – on loan from the artist 9 Angelina George 4 Therese Ritchie Rainbow Serpent Dreaming 2004 Luju ka wirntimi (Woman Dancing) 2 [2000] Acrylic on linen, 121 x 96 cm Inkjet print on German etching paper Acquired by purchase, December 2005 – 59.5 x 60cm [image] CDU1272 NDY Edition, 2010 – on loan from the artist 10 Pepai Jangala Carroll 5 Kuruwarriyingathi Bijarrb (Paula Paul) Ininti
    [Show full text]
  • Important Australian and Aboriginal
    IMPORTANT AUSTRALIAN AND ABORIGINAL ART including The Hobbs Collection and The Croft Zemaitis Collection Wednesday 20 June 2018 Sydney INSIDE FRONT COVER IMPORTANT AUSTRALIAN AND ABORIGINAL ART including the Collection of the Late Michael Hobbs OAM the Collection of Bonita Croft and the Late Gene Zemaitis Wednesday 20 June 6:00pm NCJWA Hall, Sydney MELBOURNE VIEWING BIDS ENQUIRIES PHYSICAL CONDITION Tasma Terrace Online bidding will be available Merryn Schriever OF LOTS IN THIS AUCTION 6 Parliament Place, for the auction. For further Director PLEASE NOTE THAT THERE East Melbourne VIC 3002 information please visit: +61 (0) 414 846 493 mob IS NO REFERENCE IN THIS www.bonhams.com [email protected] CATALOGUE TO THE PHYSICAL Friday 1 – Sunday 3 June CONDITION OF ANY LOT. 10am – 5pm All bidders are advised to Alex Clark INTENDING BIDDERS MUST read the important information Australian and International Art SATISFY THEMSELVES AS SYDNEY VIEWING on the following pages relating Specialist TO THE CONDITION OF ANY NCJWA Hall to bidding, payment, collection, +61 (0) 413 283 326 mob LOT AS SPECIFIED IN CLAUSE 111 Queen Street and storage of any purchases. [email protected] 14 OF THE NOTICE TO Woollahra NSW 2025 BIDDERS CONTAINED AT THE IMPORTANT INFORMATION Francesca Cavazzini END OF THIS CATALOGUE. Friday 14 – Tuesday 19 June The United States Government Aboriginal and International Art 10am – 5pm has banned the import of ivory Art Specialist As a courtesy to intending into the USA. Lots containing +61 (0) 416 022 822 mob bidders, Bonhams will provide a SALE NUMBER ivory are indicated by the symbol francesca.cavazzini@bonhams.
    [Show full text]
  • MAKINTI NAPANANGKA – PINTUPI C
    MAKINTI NAPANANGKA – PINTUPI c. 1930 - 2011 Represented by Utopia Art Sydney, 2 Danks Street, Waterloo, NSW 2017 © Makinti Napanangka was born at Lupul rockhole south of Kintore c. 1930. She gave birth to her first child in the Lake MacDonald area and later had children in Haasts Bluff, Papunya and Alice Springs. She walked with her family to Haasts Bluff before the Papunya Community was established. Makinti began painting regularly for the company in 1996. SOLO EXHIBITIONS 2007 "Makinti" Papunya Tula Artists, Alice Springs 2005 "Makinti" John Gordon Gallery, Coffs Harbour 2003 “Makinti Napanangka – A Painter” Utopia Art Sydney 2002 “Recent Paintings” Gallery Gabrielle Pizzi 2001 “Makinti Napanangka: new paintings”” Utopia Art Sydney 2000 “Makinti Napanangka: New Vision” Utopia Art Sydney SELECTED GROUP EXHIBITIONS 2013 ‘The Salon’, Utopia Art Sydney, NSW ‘No Boundaries’, Bayside Arts & Cultural Centre, VIC 2012 ‘Abstraction’, Utopia Art Sydney, NSW ‘Kunga: Les Femmes de Loi du Desert (Law Women From the Desert)’, the collection of Arnaud et Berengere Serval, Galerie Carry On / Art Aborigene, Geneva ‘Ancestral Modern: Australian Aboriginal Art from the Kaplan & Levi Collection’, Seattle Art Museum, USA ‘18th Biennale of Sydney: all our relations’, Museum of Contemporary Art Australia, NSW ‘Interconnected’, Utopia Art Sydney, NSW ‘Unique Perspectives: Papunya Tula Artists and the Alice Springs Community,’ Araluen Arts Centre, NT 2011 ‘Papunya Tula Women’s Art’, Maitland Regional Art Gallery, NSW ’40 Years of Papunya Tula Artists’, Utopia
    [Show full text]
  • 2012-06-04-L-CASTOR-HARA.Pdf
    1 Figurine anthropomorphe associée à des rites de fertilité et de fécondité de la femme et de la déesse Terre Mère. Elle est modelée d'une jeune femme au ventre généreux, portant de belles parures sur les oreilles et le torse. Sa coiffe à longue chevelure se terminant sur le bas du torse. Terre cuite beige avec restes de polychromie. Région du Michoacan, Mexique, époque préclassique finale, 300 - 100 avant JC. 13,6x6,2cm 300/500 2 Statuette anthropomorphe présentant un personnage assis aux traits d'enfant, les mains posées sur les cuisses dans un geste symbolique. Terre cuite beige avec traces de polychromie en surface. Cou cassé, collé. Olmèque, époque préclassique moyenne, Mexique, 900 - 600 avant JC. 11,5x8x8cm 500/800 3 Statuette anthropomorphe présentant un personnage féminin assis, aux belles formes généreuses associées à la fécondité de la Terre et de la femme. Son corps et son visage sont ornés de peintures cérémonielles. Terre cuite polychrome. Chinesco, époque proto-classique, Mexique, 100 avant - 250 après JC. 17x10x9cm 700/1000 4 Statuette anthropomorphe présentant un personnage assis, les bras et mains levés dans un geste symbolique. Il porte une ceinture autour de la taille, un large collier et des ornements d'oreilles et de tête. Il s'agit ici probablement d'un prêtre sous l'effet d'une substance hallucinogène ingérée au cours des cérémonies religieuses. Terre cuite beige orangée, tête cassée, collée. Région du Veracruz, époque classique, Mexique, 300 - 600 après JC. 16,3x14,4x7,5cm 500/700 5 Statuette anthropomorphe présentant un prêtre debout, le torse couvert d'un poncho et la taille ceinte d'un pagne à pan rectangulaire.
    [Show full text]
  • Art Aborigène, Australie Samedi 10 Décembre 2016 À 16H30
    Art Aborigène, Australie Samedi 10 décembre 2016 à 16h30 Expositions publiques Vendredi 9 décembre 2016 de 10h30 à 18h30 Samedi 10 décembre 2016 de 10h30 à 15h00 Expert Marc Yvonnou Tel : + 33 (0)6 50 99 30 31 Responsable de la vente Nathalie Mangeot, Commissaire-Priseur [email protected] Tel : +33 (0)1 48 00 94 24 / Port : +33 (0)6 34 05 27 59 En partenariat avec Collection Anne de Wall* et à divers collectionneurs australiens, belges, et français La peinture aborigène n’est pas une peinture de chevalet. Les toiles sont peintes à même le sol. L’orientation des peintures est le plus souvent un choix arbitraire : c’est à l’acquéreur de choisir le sens de la peinture. Des biographies se trouvent en fin de catalogue. Des certificats d’authenticité seront remis à l’acquéreur sur demande. * co-fondatrice du AAMU (Utrecht, Hollande) 2 3 - - Jacky Giles Tjapaltjarri (c. 1940 - 2010) Eileen Napaltjarri (c. 1956 - ) Sans titre, 1998 Sans titre, 1999 Acrylique sur toile - 45 x 40 cm Acrylique sur toile - 60 x 30 cm Groupe Ngaanyatjarra - Patjarr - Désert Occidental Groupe Pintupi - Désert Occidental - Kintore 400 / 500 € 1 300 / 400 € - Anonyme Peintre de la communauté d'Utopia Acrylique sur toile - 73 x 50,5 cm Groupe Anmatyerre - Utopia - Désert Central 300/400 € 4 5 6 - - - Billy Ward Tjupurrula (1955 - 2001) Toby Jangala (c. 1945 - ) Katie Kemarre (c. 1943 - ) Sans titre, 1998 Yank-Irri, 1996 Awelye; Ceremonial Body Paint Design Acrylique sur toile - 60 x 30 cm Acrylique sur toile - 87 x 57 cm Acrylique sur toile Groupe Pintupi - Désert Occidental Groupe Warlpiri - Communauté de Lajamanu - Territoire du Nord 45 x 60 cm Cette toile se réfère au Rêve d’Emeu.
    [Show full text]
  • Wintjiya Napaltjarri
    WINTJIYA NAPALTJARRI - PINTUPI Represented by Utopia Art Sydney 72 Henderson Road, Alexandria NSW 2015 Tel: 61 2 9699 2900 utopiaartsydney.com.au [email protected] c. 1933 - 2014 Wintjiya Napalatjarri’s paintings have an emphasis on stark design elements and a restricted palette. She paints in the direct sunlight, as evidenced by the thickness of the paint and the sheen of its surface. Wintjiya Napaltjarri first began painting when she participated in the Kintore/Haasts Bluff joint project in the mid 1990s. Until 2004, Wintjiya painted with her sister Tjunkiya Napaltjarri at the Papunya Tula Artists shed in Kintore but since then she has painted from her home: the widow’s camp outside her ‘son’ Turkey Tolson’s former residence. Wintjiya has been in many group exhibitions and a number of solo exhibitions, as well as having work in major collections including the Art Gallery of New South Wales, the National Gallery of Victoria and the Aboriginal Art Museum in The Netherlands. Selected Solo Exhibitions 2010 ‘Wintjiya Napaltjarri’, Scott Livesey Galleries, Melbourne, VIC 2008 ‘Wintjiya Napaltjarri’, Scott Livesey Galleries, Melbourne, VIC 2006 ‘Wintjiya Napaltjarri’, Scott Livesey Galleries, Melbourne, VIC 2005 Woolloongabba Art Gallery, Brisbane, QLD Selected Group Exhibitions 2016-18 ‘Marking the Infinite’, Frost Art Museum, Miami; Nevada Museum of Art, Reno; Newcomb Art Museum, New Orleans; The Phillips Collection, Washington DC; and Museum of Anthropology ,Vancouver. 2017 ‘Who’s Afraid of Colour’, NGV, Melbourne 2013 ‘The Salon’,
    [Show full text]
  • Sunday 24 March, 2013 at 2Pm Museum of Contemporary Art Sydney, Australia Tional in Fi Le Only - Over Art Fi Le
    Sunday 24 March, 2013 at 2pm Museum of Contemporary Art Sydney, Australia tional in fi le only - over art fi le 5 Bonhams The Laverty Collection 6 7 Bonhams The Laverty Collection 1 2 Bonhams Sunday 24 March, 2013 at 2pm Museum of Contemporary Art Sydney, Australia Bonhams Viewing Specialist Enquiries Viewing & Sale 76 Paddington Street London Mark Fraser, Chairman Day Enquiries Paddington NSW 2021 Bonhams +61 (0) 430 098 802 mob +61 (0) 2 8412 2222 +61 (0) 2 8412 2222 101 New Bond Street [email protected] +61 (0) 2 9475 4110 fax +61 (0) 2 9475 4110 fax Thursday 14 February 9am to 4.30pm [email protected] Friday 15 February 9am to 4.30pm Greer Adams, Specialist in Press Enquiries www.bonhams.com/sydney Monday 18 February 9am to 4.30pm Charge, Aboriginal Art Gabriella Coslovich Tuesday 19 February 9am to 4.30pm +61 (0) 414 873 597 mob +61 (0) 425 838 283 Sale Number 21162 [email protected] New York Online bidding will be available Catalogue cost $45 Bonhams Francesca Cavazzini, Specialist for the auction. For futher 580 Madison Avenue in Charge, Aboriginal Art information please visit: Postage Saturday 2 March 12pm to 5pm +61 (0) 416 022 822 mob www.bonhams.com Australia: $16 Sunday 3 March 12pm to 5pm [email protected] New Zealand: $43 Monday 4 March 10am to 5pm All bidders should make Asia/Middle East/USA: $53 Tuesday 5 March 10am to 5pm Tim Klingender, themselves aware of the Rest of World: $78 Wednesday 6 March 10am to 5pm Senior Consultant important information on the +61 (0) 413 202 434 mob following pages relating Illustrations Melbourne [email protected] to bidding, payment, collection fortyfive downstairs Front cover: Lot 21 (detail) and storage of any purchases.
    [Show full text]
  • Art Aborigène
    ART ABORIGÈNE LUNDI 1ER JUIN 2009 AUSTRALIE Vente à l’Atelier Richelieu - Paris ART ABORIGÈNE Atelier Richelieu - 60, rue de Richelieu - 75002 Paris Vente le lundi 1er juin 2009 à 14h00 Commissaire-Priseur : Nathalie Mangeot GAÏA S.A.S. Maison de ventes aux enchères publiques 43, rue de Trévise - 75009 Paris Tél : 33 (0)1 44 83 85 00 - Fax : 33 (0)1 44 83 85 01 E-mail : [email protected] - www.gaiaauction.com Exposition publique à l’Atelier Richelieu le samedi 30 mai de 14 h à 19 h le dimanche 31 mai de 10 h à 19 h et le lundi 1er juin de 10 h à 12 h 60, rue de Richelieu - 75002 Paris Maison de ventes aux enchères Tous les lots sont visibles sur le site www.gaiaauction.com Expert : Marc Yvonnou 06 50 99 30 31 I GAÏAI 1er juin 2009 - 14hI 1 INDEX ABRÉVIATIONS utilisées pour les principaux musées australiens, océaniens, européens et américains : ANONYME 1, 2, 3 - AA&CC : Araluen Art & Cultural Centre (Alice Springs) BRITTEN, JACK 40 - AAM : Aboriginal Art Museum, (Utrecht, Pays Bas) CANN, CHURCHILL 39 - ACG : Auckland City art Gallery (Nouvelle Zélande) JAWALYI, HENRY WAMBINI 37, 41, 42 - AIATSIS : Australian Institute for Aboriginal and Torres JOOLAMA, PADDY CARLTON 46 Strait Islander Studies (Canberra) JOONGOORRA, HECTOR JANDANY 38 - AGNSW : Art Gallery of New South Wales (Sydney) JOONGOORRA, BILLY THOMAS 67 - AGSA : Art Gallery of South Australia (Canberra) KAREDADA, LILY 43 - AGWA : Art Gallery of Western Australia (Perth) KEMARRE, ABIE LOY 15 - BM : British Museum (Londres) LYNCH, J. 4 - CCG : Campbelltown City art Gallery, (Adelaïde)
    [Show full text]
  • THE DEALER IS the DEVIL at News Aboriginal Art Directory. View Information About the DEALER IS the DEVIL
    2014 » 02 » THE DEALER IS THE DEVIL Follow 4,786 followers The eye-catching cover for Adrian Newstead's book - the young dealer with Abie Jangala in Lajamanu Posted by Jeremy Eccles | 13.02.14 Author: Jeremy Eccles News source: Review Adrian Newstead is probably uniquely qualified to write a history of that contentious business, the market for Australian Aboriginal art. He may once have planned to be an agricultural scientist, but then he mutated into a craft shop owner, Aboriginal art and craft dealer, art auctioneer, writer, marketer, promoter and finally Indigenous art politician – his views sought frequently by the media. He's been around the scene since 1981 and says he held his first Tiwi craft exhibition at the gloriously named Coo-ee Emporium in 1982. He's met and argued with most of the players since then, having particularly strong relations with the Tiwi Islands, Lajamanu and one of the few inspiring Southern Aboriginal leaders, Guboo Ted Thomas from the Yuin lands south of Sydney. His heart is in the right place. And now he's found time over the past 7 years to write a 500 page tome with an alluring cover that introduces the writer as a young Indiana Jones blasting his way through deserts and forests to reach the Holy Grail of Indigenous culture as Warlpiri master Abie Jangala illuminates a canvas/story with his eloquent finger – just as the increasingly mythical Geoffrey Bardon (much to my surprise) is quoted as revealing, “Aboriginal art is derived more from touch than sight”, he's quoted as saying, “coming as it does from fingers making marks in the sand”.
    [Show full text]
  • Every 23 Days
    CONTENTS 11 Foreword 13 Introduction 15 Essay: Every 23 days... 17-21 Asialink Visual Arts Touring Exhibitions 1990-2010 23-86 Venue List 89-91 Index 92-93 Acknowledgements 94 FOREWORD 13 Asialink celebrates twenty years as a leader in Australia-Asia engagement through business, government, philanthropic and cultural partnerships. Part of the celebration is the publication of this booklet to commemorate the Touring Visual Arts Exhibitions Program which has been a central focus of Asialink’s work over this whole period. Artistic practice encourages dialogue between different cultures, with visual arts particularly able to transcend language barriers and create immediate and exciting rapport. Asialink has presented some of the best art of our time to large audiences in eighteen countries across Asia through exhibition and special projects, celebrating the strength and creativity on offer in Australia and throughout the region. The Australian Government, through the Visual Arts Board of the Australia Council and the Department of Foreign Affairs and Trade, is pleased to provide support to Asialink as it continues to present the talents of artists of today to an ever increasing international audience. The Hon Stephen Smith MP Minister for Foreign Affairs INTRODUCTION 15 Every 23 Days: 20 Years Touring Asia documents the journey of nearly 80 Australian-based contemporary exhibitions’ history that have toured primarily through Asia as a part of the Asialink Touring Exhibition Program. This publication provides a chronological and in-depth overview of these exhibitions including special country focused projects and an introductory essay reflecting on the Program’s history. Since its inception in 1990, Asialink has toured contemporary architecture, ceramics, glass, installation, jewellery, painting, photography, textiles, video, works on paper to over 200 venues in Asia.
    [Show full text]
  • Fireworks Gallery Exhibitions | 1993 - 2021
    FireWorks Gallery Exhibitions | 1993 - 2021 1993 | George Street, Brisbane Political Works Campfire Group - Featuring Richard Bell, Michael Eather & Marshall Bell 6 May Firebrand Group Exhibition Rebels without a Course David Paulson & his Rebel Art Students 22 Aug - 8 Sept Political Bedrooms Group Exhibition - Installation works 22 Sept - 15 Oct 1994 | George Street, Brisbane Political Boats Group Exhibition - Installation work & mixed media 18 Mar - 9 Apr Cultural Debris Laurie Graham & David Darby Apr Utopia Artists - Featuring Emily Kame Kngwarreye, Sue Elliot & Christopher Dialogue 29 Apr - 17 May Hodges Tiddas Buddas - Works on Paper North Queensland Aboriginal & Torres Strait Islander Artists Jun Indigenous Sculpture and Mixed media North Queensland Aboriginal & Torres Strait Islander Artists Jul Lajamanu - Desert Paintings Group Exhibition Photographs Robert Mercer 22 Jul - 6 Aug Paintings Ruby Abbott Napangardi South West Queensland Stories Featuring Robert White & Joanne Currie Nalingu Aug That's women all over Group Exhibition - Curated by Joyce Watson Sept Prints and Weavings from the Torres Group Exhibition Sept Strait Islands 24 Hours by the Billabong Lin Onus Oct Paintings & Sculptures Laurie Nilsen Paintings Rod Moss Nov Indigenous Prisoners Exhibition Group Exhibition Dec Group Exhibition (touring) - Featuring Ian Burn, Albert Namatjira, Kim A Different View 9 Dec - 1 Jan 1995 Mahood & Joanne Currie Nalingu 1995 | Ann Street, Fortitude Valley Timeless Land Vincent Serico Jun Dwelling in Arrente Country Rod Moss Jul Group
    [Show full text]