DOCSLIB.ORG

By Young People, for Young People. a Report on the Impact of GENEXT at the MCA

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
By Young People, for Young People. a Report on the Impact of GENEXT at the MCA By young people, for young people. A report on the impact of GENEXT at the MCA MAY 2019 Contents 4 Forewords 7 Key statistics 8 Executive summary 15 1 Introduction 30 2 GENEXT experiences 49 3 Attendee outcomes 63 4 Impact on arts participation and support 73 5 Participant case studies 84 6 Learnings for museums 101 7 Case study: GENEXT John Mawurndjul 105 8 Expert interviews 119 9 Conclusion 122 10 Appendices 129 11 Bibliography This report was prepared for the Museum of Contemporary Art Australia (MCA) by Jo Higgins of the MCA and Tandi Palmer Williams, Brooke Boyce and Catherine Davis of research agency Patternmakers. The MCA acknowledges the About the Museum of vital support of The Balnaves Contemporary Art Australia Foundation for GENEXT, 2005–2019. The MCA is Australia’s leading museum dedicated to The authors would like to exhibiting, collecting and interpreting the work of acknowledge the individuals today’s artists, in the belief that art is for everyone. involved in the GENEXT program, For any questions, please contact Jo Higgins, including GENEXT attendees, Young Creatives Coordinator on MCA Youth Committee members [email protected] or [email protected]. past and present, Artist Educators, past Young Creatives Coordinators About Patternmakers and MCA staff (see Appendix A: Patternmakers is a research agency specialising in cul- Acknowledgements on page 122). ture, creativity and community. It believes in the power The MCA and Patternmakers of insight to help good causes change the world. acknowledge the traditional For any questions, please contact Tandi Palmer Williams, owners of the land and the Managing Director on [email protected]. contribution of the Aboriginal This work is licensed under a Creative Commons Attribution 4.0 International License. and Torres Strait Islander peoples of Australia past, Suggested citation: present and future. Higgins, J., Palmer Williams, T., Boyce, B., & Davis, C. (2019) By young people, for young people: A report on the impact of GENEXT at the MCA. Cover image: Attendees viewing Pipilotti Rist: Sip My Ocean at GENEXT: Pipilotti Rist, 10 December 2017. Photo: Jacquie Manning Attendees exploring GENEXT 20th Biennale of Sydney, 14 April 2016. Photo: Tim da-Rin By Young People, for Young People: A report on the impact of GENEXT at the MCA Forewords It has been a privilege to be part of the co- I’m sure this sentiment resonates with many. design process for this research report, 87% of attendees agreed that GENEXT especially as I worked closely with other allowed them to think more deeply about Youth Committee members past and ‘social and cultural issues’, while 70% stated present. they felt a ‘sense of belonging’ at the events. It’s fair to say that these benefits of GENEXT No matter how wildly our memories of influenced my choice to join the Youth GENEXT diverged, we could agree on one Committee. Being part of a bigger ‘whole’ has thing: we looked back on our experiences of instilled a responsibility to make art GENEXT – as young people, attendees or accessible for all young people, understand committee members – not as a fond others’ contexts, and solve issues creatively. memory, but as an ongoing journey which has impressed upon us so many skills that As I step into the next stage of life, littered we use to this day. with its uncertainties, I know that GENEXT has allowed me a confidence, creativity and I remember my first GENEXT vividly: the identity that I am truly content with. For sheer spectacle of lights, live music, young people today, contemporary art is an performance artists, harbour views and arena where various ideas, issues and hands-on activities. As a young person from opinions can be freely explored, and GENEXT Sydney’s suburbia, I had never experienced provides that exact platform. I’m hopeful that an event like it. Soon enough, my attendance in future events like GENEXT made by young had become regular. I came to realise that it people, for young people, are made wasn’t so much the surface appearance of accessible to most, if not all. GENEXT that made it as unique as it continues to be. Rather, as this report shows, Steph Sekulovska, Youth it’s the safe space that it provides for young Committee Member 2017 people from a diversity of backgrounds including those identifying as LGBTQI+ (31%), speaking a language other than English (31%) and living in Western Sydney (42% in 2018). By bonding over the profound impact of contemporary art on our perspective of the world, we have been breaking down stereotypes placed on our supposedly idle generation. 4 By Young People, for Young People: A report on the impact of GENEXT at the MCA When the MCA first launched GENEXT in Heller (see page 78), and exhibited artists, 2005 with support from The Balnaves like Spence Messih who was part of Foundation, we had little idea of the Primavera 2018: Young Australian Artists (see impact it would have. 14 years on, GENEXT page 73). has attracted almost 30,000 attendances I’m particularly proud of our work on GENEXT by young people, introducing so many to Goes West, and of the role the program is the remarkable world of visual art. playing in helping young people from In our exam-focused education system, not different backgrounds experience every young person has the chance to contemporary art. Social cohesion is a key discover their creative side. We created issue of our times and the MCA is committed GENEXT to give more young people the to addressing this in a number of ways. opportunity to experience the work of I feel very optimistic about our sector. As the contemporary artists. robots take over, it’s creative skills that are I’m passionate about providing this going to be in demand. Creativity is the first opportunity to young people at such a pivotal step to innovation and it’s becoming widely time in their lives. GENEXT is for those who recognised around the world as essential to like art, but who might not be studying art at our future. school or pursuing an arts practice I think that we can reshape society if we themselves – this was especially important to begin to put creativity led by artists at its me as I did not study art at school! heart and I’m excited to see where we can It’s also important that GENEXT is a social take this important program next. space, that encourages peer to peer interaction. I’m pleased to see that 96% of Elizabeth Ann Macgregor, OBE, GENEXT attendees agree that the program Director, Museum of offers a safe and supportive environment. It’s Contemporary Art Australia not about school work (and we wouldn’t call it learning, not in a formal sense anyway) but simply the sheer pleasure of engaging with art and ideas. Our vision for GENEXT was to build a new generation of audiences and donors, and it’s very exciting to see that this has indeed come to fruition. Past GENEXT attendees have become employees of the MCA, such as Cody 5 Youth Committee members prepare for GENEXT: John Mawurndjul, 15 July 2018. Photo: Jacquie Manning By Young People, for Young People: A report on the impact of GENEXT at the MCA Key statistics 96% 93% agree that GENEXT offers a safe and feel it’s important that GENEXT is made by supportive environment young people, for young people 87% 80% say that GENEXT has made them think say that GENEXT has had a positive impact about social and cultural issues, on their overall wellbeing compared to general MCA visitors (77%) 54% 71% say they are likely to buy a work of art in are participating in creating visual arts, future, compared to 41% of other young compared to 27% of the wider population visitors 7 By Young People, for Young People: A report on the impact of GENEXT at the MCA Executive summary Background GENEXT is the MCA’s flagship program for young people aged 12 to 18, attracting over 29,000 attendances since its first event in 2005. Taking place four to five times a year, it is an atmospheric festival-style ‘museum-takeover’ event delivered by young people, for young people. It features live music, performances, art-making and interactive experiences inspired by MCA exhibitions and contemporary artists. The program takes place throughout the Museum, including the galleries, and offers the young people who attend a safe, parent- and teacher-free space to connect with ideas and each other, after hours, from 6 to 9pm on a Sunday evening. In 2018 the MCA commissioned research agency Patternmakers to work with the MCA Young Creatives Coordinator and past and present MCA Youth Committee members to co-design an evaluation framework, collect new data and co-author this report. The key findings below are drawn from qualitative and quantitative research with past participants and stakeholders. This included interviews, focus groups, observations and a survey of 1,176 young people who had visited the MCA since 2005. The survey probed the attitudes and behaviours of young people who had participated in GENEXT, and those who hadn’t, to begin to explore the impact of the program relative to other activities at the MCA. Key findings GENEXT is a safe space that welcomes young people from different backgrounds Overwhelmingly, survey respondents agree that GENEXT is a safe and supportive environment for young people. With few alcohol-free events in the evening just for teens, GENEXT provides a rare opportunity for young people to come together and simply be themselves.
Load more

Recommended publications
  • Contemporary Asian Art and Exhibitions Connectivities and World-Making
    Contemporary Asian Art and Exhibitions Connectivities and World-making Contemporary Asian Art and Exhibitions Connectivities and World-making Michelle Antoinette and Caroline Turner ASIAN STUDIES SERIES MONOGRAPH 6 Published by ANU Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at http://press.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Author: Antoinette, Michelle, author. Title: Contemporary Asian art and exhibitions : connectivities and world-making / Michelle Antoinette and Caroline Turner. ISBN: 9781925021998 (paperback) 9781925022001 (ebook) Subjects: Art, Asian. Art, Modern--21st century. Intercultural communication in art. Exhibitions. Other Authors/Contributors: Turner, Caroline, 1947- author. Dewey Number: 709.5 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover illustration: N.S. Harsha, Ambitions and Dreams 2005; cloth pasted on rock, size of each shadow 6 m. Community project designed for TVS School, Tumkur, India. © N.S. Harsha; image courtesy of the artist; photograph: Sachidananda K.J. Cover design and layout by ANU Press Printed by Griffin Press This edition © 2014 ANU Press Contents Acknowledgements . vii Introduction Part 1 — Critical Themes, Geopolitical Change and Global Contexts in Contemporary Asian Art . 1 Caroline Turner Introduction Part 2 — Asia Present and Resonant: Themes of Connectivity and World-making in Contemporary Asian Art . 23 Michelle Antoinette 1 . Polytropic Philippine: Intimating the World in Pieces . 47 Patrick D. Flores 2 . The Worlding of the Asian Modern .
    [Show full text]
  • Contemporary Asian Art and Exhibitions Connectivities and World-Making
    Contemporary Asian Art and Exhibitions Connectivities and World-making Contemporary Asian Art and Exhibitions Connectivities and World-making Michelle Antoinette and Caroline Turner ASIAN STUDIES SERIES MONOGRAPH 6 Published by ANU Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at http://press.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Author: Antoinette, Michelle, author. Title: Contemporary Asian art and exhibitions : connectivities and world-making / Michelle Antoinette and Caroline Turner. ISBN: 9781925021998 (paperback) 9781925022001 (ebook) Subjects: Art, Asian. Art, Modern--21st century. Intercultural communication in art. Exhibitions. Other Authors/Contributors: Turner, Caroline, 1947- author. Dewey Number: 709.5 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover illustration: N.S. Harsha, Ambitions and Dreams 2005; cloth pasted on rock, size of each shadow 6 m. Community project designed for TVS School, Tumkur, India. © N.S. Harsha; image courtesy of the artist; photograph: Sachidananda K.J. Cover design and layout by ANU Press Printed by Griffin Press This edition © 2014 ANU Press Contents Acknowledgements . vii Introduction Part 1 — Critical Themes, Geopolitical Change and Global Contexts in Contemporary Asian Art . 1 Caroline Turner Introduction Part 2 — Asia Present and Resonant: Themes of Connectivity and World-making in Contemporary Asian Art . 23 Michelle Antoinette 1 . Polytropic Philippine: Intimating the World in Pieces . 47 Patrick D. Flores 2 . The Worlding of the Asian Modern .
    [Show full text]
  • Imagine 2015 Booklet WEB
    IMAGinE awards 2015 inspiring museums and galleries in excellence Table of Contents Message from the CEO 2 Exhibition Projects 4 Exhibition Projects — Galleries Volunteer or up to 2 paid staff 6 3 - 10 paid staff 6 11+ paid staff 14 Exhibition Projects — Museums Volunteer or up to 2 paid staff 16 3 - 10 paid staff 19 11+ paid staff 23 Sustainability Programs 26 Volunteer or up to 2 paid staff 28 3 - 10 paid staff 29 11+ staff 30 Engagement Programs 32 Volunteer or up to 2 paid staff 34 3 - 10 paid staff 36 11+ paid staff 41 Individual Achievement 46 Volunteer 48 Paid staff 50 Image Credits 52 1 Message from the CEO The 2015 IMAGinE Awards have Unfortunately, not everyone can be once again attracted a record number a winner, but by recognising each of nominations demonstrating an nomination in this booklet, we extraordinary level of commitment highlight projects as best-practice from everyone involved. case studies, connect them to our collective storytelling, and In celebrating this year’s awards, we acknowledge the value of hard work draw attention to every nomination and obstacles conquered. as one that contributes to the vitality and robust cultural output generated This year the judges were impressed by NSW museums, galleries and with the competitiveness and overall Aboriginal cultural centres. quality of entries, making particular note of contributions from volunteer Our award categories focus on organisations, who not only deal with Exhibition Projects, Engagement significant barriers in developing new Programs , Sustainability Programs, programs, but also in submitting an and Individual Achievements.
    [Show full text]
  • Abdul Abdullah 10 Vernon Ah Kee 16 Richard Bell 20 Daniel Boyd 24 Megan Cope 30 Karla Dickens 35 S.J
    About this Education Resource 2 Curriculum links and themes General capabilities VIOLENT SALT Introduction 4 Interview with Curators Yhonnie Scarce & Claire Watson 4 Glossary of terms 6 THE ARTISTS Abdul Abdullah 10 Vernon Ah Kee 16 Richard Bell 20 Daniel Boyd 24 Megan Cope 30 Karla Dickens 35 S.J. Norman 42 Yhonnie Scarce 48 Jemima Wyman 52 About this Education Resource The artworks in Violent Salt respond to themes of racism, marginalisation, isolation and prejudice. These themes can, at times, be sensitive and difficult to discuss. The intention of this education resource is to create a starting point for generating inquiry-based, thought provoking conversations whilst in the gallery. Tour guides, educators and tertiary students may use this kit to navigate multiple inroads to exploring and unpacking the works and artist statements of the nine prominent, contemporary Australian artists featured in the exhibition. Curriculum links and themes This guide has been designed from a gallery educators’ perspective, providing background information on the work practice of each artist and a series of open-ended questions, alongside activities that explore the physical and conceptual nature of each artwork. The formatting of the questions has been framed around four key focus points often explored during gallery tours: OBJECT (materials/techniques); SUBJECT (concepts/theme/intention) CONTEXT (viewpoints/philosophies/ideologies/place focus): PERSONAL (politics/roles and responsibilities of art). To aid educators, each focal topic has been aligned with content descriptors from the Year 7 to 10 Australian Arts Curriculum as well as Units 1 – 4 of the Victorian and Queensland Senior Secondary Curriculums.
    [Show full text]
  • BORROWED SCENERY SCHOOLS RESOURCE the Following Material Is Provided for High School Teachers, and Can Be Copied Or Adopted to Suit Student Ages and Subject Needs
    BORROWED SCENERY SCHOOLS RESOURCE The following material is provided for high school teachers, and can be copied or adopted to suit student ages and subject needs. This resource offers an overview of the exhibition and key curatorial themes, as well as providing contextual information and suggested questions, for a small selection of works in the exhibition. For school excursions, in-school program options and enquiries, please contact: Edwina Hill Education Officer Campbelltown Arts Centre [email protected] (02) 4645 4298 Cover Image: Fiona Lowry I’m your kind, I’m your kind and I see 2006 Acrylic and gouache on canvas 167 x 152cm Image courtesy of the artist and Jan Murphy Gallery Photograph by Stephen Oxenbury 2 CONTENTS INTRODUCTION 5 LABOUR AND BLISS, DOMESTICITY – “PERSONAL IS 6 POLITICAL” CHRISTINE DEAN 7 JOAN ROSS 8 KATTHY CAVALIERE 10 WOMEN’S BUSINESS 12 YVONNE KOOLMATRIE 12 ROSALIE GASCOIGNE 14 ELISABETH CUMMINGS 15 GLORIA PETYARRE 17 A SATURATED TERRAIN 19 BARBARA CLEVELAND 20 DEBORAH KELLY 21 TRACEY MOFFATT 23 WHERE IT COUNTS: COUNTESS AND ART AS A TOOL 26 FOR SOCIAL CHANGE COUNTESS REPORT 27 3 4 INTRODUCTION: BORROWED SCENERY WEDNESDAY 2 JANUARY – SUNDAY 10 MARCH, 2019 INTERNATIONAL WOMEN’S DAY CLOSING EVENT, 6 – 8PM FRIDAY 8 MARCH, 2019 For centuries, women have been subjects for male artists, Image on previous page: inserted into scenes framed by the male gaze. Borrowed Scenery Borrowed Scenery. Installation view, Campbelltown Arts explores what happens when the subjects of this gaze look Centre, 2019. back, step outside the frame, and assert their own vision and experience of the world.
    [Show full text]
  • 2016 Imagine Awards Catalogue
    The IMAGinE Awards are an initiative of Museums & Galleries of NSW (M&G NSW), developed in collaboration with Regional and Public Galleries of NSW and Museums Australia NSW. M&G NSW is supported by the NSW Government through Arts NSW and is assisted by the Australian Government through the Australia Council, its arts funding and advisory body. Contents Message from the CEO 3 Exhibition Projects 4 Exhibition Projects Galleries 6 Exhibition Projects Museums 20 Sustainability Programs 26 Engagement Programs 30 Individual Achievement 44 Image Credits 48 2 Message from the CEO Let me say from the outset, in celebrating the 2016 award winners, we acknowledge every nomination equally. They all reflect the vitality and exciting activity generated by NSW museums, galleries and Aboriginal cultural centres state-wide. This year we received 68 nominations across all categories. Showcasing the incredible commitment and innovative work that exists throughout the museum and gallery sector in NSW, picking winners was indeed a difficult task. It is pleasing to see an increased interest in the Engagement Programs category and in the number of submissions from artist-run galleries and smaller galleries with less than two paid staff. We have also seen an increase in the number of nominations from larger institutions, in both the Engagement Programs and Exhibition Project categories. The judges were again impressed with the competitiveness and overall quality of entries. In general, all nominations showed deepening levels of regional collaboration and a sophisticated understanding of the growing need to embrace sustainable practices and audience participation. A highlight this year has been the impressive number of nominations for Aboriginal lead projects and programs, with nine nominations submitted, which is a significant increase on previous years.
    [Show full text]
  • The Museum and Its Responsibilities CIMAM 2016 Annual Conference
    CIMAM 2016 Annual Conference Proceedings The Museum and its Responsibilities CIMAM 2016 Annual Conference Proceedings Barcelona November 18–20 2016 1 CIMAM 2016 Annual Conference Proceedings Day 1: Friday, November 18 Q&A with Carolyn Christov-Bakargiev MACBA Museu d’Art Contemporani de Barcelona Responsibility for the Community, Perspective 04. Sylvie Blocher, Visual Artist, Citizens, and Society France Welcome speeches: Perspective 05. Ticio Escobar, Director, — Ferran Barenblit, Director, MACBA Centro de Artes Visuales/Museo del Barro, Museu d’Art Contemporani Asunción, Paraguay — Bartomeu Marí, Director, MMCA, National Museum of Modern Perspective 06. Michael Dagostino, Director, and Contemporary Art Korea Campbelltown Arts Centre, Campbelltown, — Mami Kataoka, Chief Curator, Australia Mori Art Museum — Manel Forcano, Director, Panel Discussion with speakers moderated Institut Ramon Llull by Elizabeth Ann Macgregor, Director, — Elvira Marco, Chief Executive Director, Museum of Contemporary Art, Sydney, Australia Acción Cultural Española — Àlex Sussana, Director of the Catalan Agency for Cultural Heritage Day 3: Sunday, November 20 Keynote speech 01. Marina Garcés, CCCB Theater: Centre de Cultura Philosopher and Professor, University Contemporània de Barcelona of Zaragoza, Barcelona/Zaragoza, Spain Collections and Archives Q&A with Marina Garcés Keynote speech 03. Mari Carmen Ramírez, Ph.D., The Wortham Curator of Latin American Perspective 01. Calin Dan, General Director, Art & Director, International Center for the National
    [Show full text]
  • ELISABETH CUMMINGS ELISABETH CUMMINGS 5 Born in Brisbane Queensland in 1934, Elisabeth Cummings Is the Oldest of Three Children
    ElisabethElisabeth Cummings Cummings EasternEastern Arrernte Arrernte country country & Morocco& Morocco Elisabeth Cummings Works on paper Contents Randi Linnegar Introduction 7,9 Sioux Garside Eastern Arrernte country 13 Sioux Garside Morocco 53 Curriculum vitæ 66 Cover: River bed bank with flies Ross River 2019 (detail) gouache on paper 27 x 37 cm Opposite: Studio, Wedderburn 4 ELISABETH CUMMINGS ELISABETH CUMMINGS 5 Born in Brisbane Queensland in 1934, Elisabeth Cummings is the oldest of three children. Her father Robert Percy Cummings was an architect and teacher who founded the architectural department at the University of Queensland. Her mother Mavis was a teacher before she married. Elisabeth’s parents were active participants in the Brisbane art scene; Robert was a trustee at the Queensland Art Gallery in the 1950s. During the war years, the Cummings held open house on Sunday evenings for American Soldiers headquartered in Brisbane, and welcomed many visitors from North America, including numerous American artists and architects and the well known businessman, collector and philanthropist Edgar Kaufmann. Australian artists were also welcome: Donald Friend, Roy Dalgarno, David Strachan, Margaret Olley, Len and Kath Shillam were regularly in attendance. Robert and Mavis's friendship with Brian and Margery Johnstone of Johnstone Gallery, Brisbane in the 1950s and through into the 1970s contributed to the steady flow of artistic visitors. By the age of 18, having already participated in Vida Lahey’s art classes as a child (along with her brother and sister) Elisabeth decided to move to Sydney to pursue her art studies. During her last year at high school Elisabeth and her sister Charlotte lived with close family friends while her parents were on sabbatical in Europe.
    [Show full text]
  • Artwrite July 2011 Contents
    Issue #45 ArtWrite July 2011 Contents Contributors Editorial Features Death and Taxidermy by Madeline Winch 3 Aust-Racism: The Art of Vernon Ah Kee and Richard Bell by Elizabeth Geyer 6 The Performing Body: Performance Art and Performing Arts by Emiline Forster 10 Google Art Project’s Impact on the Art Classroom and Art Museum Excursion by Marina Grasso 16 Commute and Take Notice by Lucy Ainsworth 20 Museum Mile by Carey Corbett 24 Reviews Hit and Miss: Tom Polo by Alexander Bellemore 28 Bringing Art Into the Open by Ellin Williams 30 Bedknobs & Broomsticks by Jess De La Hunty 34 Art and the Naked Body by Kathleen Worboys 37 Michael Stevenson: Innovation of a Tired Space by Sophie Venardos 38 E.L.K by Georgina Payne-Loy 42 Arlene TextaQueen by Elizabeth Robinson 44 Forum Art Crimes by Rebecca Rossman 46 Vessels of Nature by Laura Gamio Raluy 48 A Collage of the Australian Landscape: Gascoigne & Connolly-Northey by Dorothy Lui 51 Artists and Social Media by Charles Heyen 52 Realistic Art by Julie Kim 56 Cynical Realism by Phoebe Chan 57 Art Jam Therapy by Vivian Low 60 Ross Watson by Jack Mochan 62 An Inevitable Flow: Creative Industry. Art Cannont Live Without Commerce by Sandy Chien 65 An Analysis of the Salon des Refuses by Catherine Brown 68 Auction Anxiety by Catherine Mesenberg 70 Recognising John Kaldor by Emma Robertson 72 Front and back cover: E.L.K, Jesus H. Chimp, Aerosol on wood. 1 of 5. 600x1200mm. Above: Ross Watson Untitled #03-10 (after van de Velde, 1672; featuring Matthew Mitcham) Contributors Editorial Madeline Winch A disturbing trend has emerged over the last decade in contemporary art practice.
    [Show full text]
  • Media Release
    For Immediate Release Campbelltown Arts Centre and 4A Centre for Contemporary Asian Art present Edge of Elsewhere for Sydney Festival 2012. The final installment of Edge of Elsewhere, a major three-year project by Campbelltown Arts Centre and 4A Centre for Contemporary Asian Art, will open January 14th 2012 as part of Sydney Festival’s program. Leading international and Australian artists have been commissioned by Campbelltown Arts Centre and 4A Centre for Contemporary Asian Art to produce new work in partnership with Sydney’s communities. For the past three years, thirteen artists from across Asia, Australia, and the Pacific have developed significant projects that challenge how we think about contemporary community-engaged practice. Participating artists include Brook Andrew, Arahmaiani, Richard Bell, Dacchi Dang, Newell Harry, FX Harsono, Shigeyuki Kihara, Jun Nguyen-Hatsushiba, Lisa Reihana, Khaled Sabsabi, Phaptawan Suwannakudt, Michel Tuffery and YOUNG- HAE CHANG HEAVY INDUSTRIES. Edge of Elsewhere is curated by Lisa Havilah and Aaron Seeto, and will be presented across two venues at Campbelltown Arts Centre and 4A Centre for Contemporary Asian Art. Director of Campbelltown Arts Centre, Michael Dagostino, said “2012 will see the final presentation of Edge of Elsewhere, the conclusion of a 3 year commitment to community engagement and consultation to develop bold creative initiatives and artistic outcomes. By testing new models of engagement and participation these newly commissioned works will represent our long term commitment to introducing new forms of art into the community”. Aaron Seeto, Director of 4A Centre for Contemporary Asian Art, comments - “As this project has evolved, we have worked with some of the most exciting contemporary artists working in the region, and have seen them take on board some of the difficult terrain inherent within working collaboratively and within the context of Australia’s diverse cultural and community context.
    [Show full text]
  • Submission To
    Submission to Senate Inquiry into the Indigenous visual arts and craft sector. November 2006. Preamble: Arts NSW welcomes the Senate Inquiry into the Indigenous visual arts and craft sector and the opportunity to outline the current composition and new trends of the NSW sector and key areas of opportunities and pressures. NSW has the largest State population of Indigenous people in Australia with the following demographics: • 30% of Australia’s Indigenous population lives in NSW. • The representation of remote and very remote Indigenous populations in NSW, compared to the Indigenous Australian population, is extremely low. • The representation of urban and regional Indigenous populations in NSW, compared to the Indigenous Australian population, is particularly high (ranging from 25% to 47%). • Just over 20% of the total Indigenous visual arts and craft professionals live in NSW, reflecting the statistical influence of ‘Desert’ artists on national statistics. Urban communities within NSW have developed from a long history of Indigenous populations moving from their own traditional locations due to a variety of socio- economic reasons and embedding within the existing Indigenous population of the area. In many cases, this movement creates particular issues associated with the significant impact that disconnection from traditional lands and cultural practices cause. It also creates very unique cultural profiles that have led to the development of a vibrant Indigenous urban art sector. The need for adequate recognition and support for urban and inner regional indigenous populations under existing and future programs of support for Indigenous visual arts and craft is the most important proposition within this submission. There is a clear need for national co-ordination and leadership by the Commonwealth, complimented by bilateral approaches to indigenous arts development.
    [Show full text]
  • Julie Gough: Hunting Ground Julie Gough’S Forensic Archaeology of National Forgetting
    JULIE GOUGH: HUNTING GROUND JULIE GOUGH’S FORENSIC ARCHAEOLOGY OF NATIONAL FORGETTING By Joseph Pugliese In the course of his essay, “What is a Nation,” the nineteenth-century French historian Ernest Renan catalogues the acts of violence that are constitutive of the processes of nation building. He then pauses to reflect on the role of forgetting: Forgetting, I would even say historical error, is an essential factor in the creation of a nation and it is for this reason that progress of historical studies often poses a threat to nationality. Historical inquiry, in effect, throws light on the violent acts that have taken place at the origin of every political formation, even those that have been most benevolent in their consequences. Unity is always brutally achieved. 1 Renan’s insight into the constitutive roles that violence and forgetting play in the foundation of a nation powerfully resounds in the context of the Australian colonial state. From the moment that the Australian continent was invaded and colonized by the British in 1788, it witnessed both random and systematic campaigns of attempted Indigenous genocide. The collective acts of resistance deployed by Australia’s Indigenous people in order to defend their unceded lands and to safeguard their very lives provoked settler campaigns of massacre in order to secure possession of the continent and its islands. This genocidal violence sits at the very heart of the history of the Australian nation-state. Yet, when cast in the context of Renan’s astute observations, the violence of this history is precisely what had to be forgotten by non-Indigenous Australians in order to preserve the myth of the Australian nation as a state that has never experienced war on its own terrain.
    [Show full text]