Issues

Issue 43:1 | Parnati–Kudlila / Autumn–Winter 2023 | Indonesia Focus
Indonesia Focus
Issue 43:1 | Parnati–Kudlila / Autumn–Winter 2023
Issue 42:3 | Warltati / Summer 2022  | INDIGENOUS__
INDIGENOUS__
Issue 42:3 | Warltati / Summer 2022
Issue 36:2 | June 2016 | Indigenous Northern
Indigenous Northern
Issue 36:2 | June 2016
Issue 35:4 | December 2015 | Korea
Korea
Issue 35:4 | December 2015
Issue 35:2 | June 2015 | Indigenous Global
Indigenous Global
Issue 35:2 | June 2015
Issue 33:1 | March 2013 | This Asian Century
This Asian Century
Issue 33:1 | March 2013
Issue 30:4 | December 2010 | Stirring II
Stirring II
Issue 30:4 | December 2010
Issue 29:2 | June 2009 | After the Missionaries
After the Missionaries
Issue 29:2 | June 2009
Issue 24:4 | December 2004 | Hybrid World
Hybrid World
Issue 24:4 | December 2004
Issue 23:4 | December 2003 | The China Phenomenon
The China Phenomenon
Issue 23:4 | December 2003

Articles

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The Tennant Creek Brio: Taking care of business

In the rapidly expanding literature on the Tennant Creek Brio, writers have touched upon a decidedly ‘masculine’ quality in the group’s work. John McDonald calls the Brio’s work ‘incredibly aggressive’ and ‘raw’ and ‘wild.’ Erica Izett, the Brio’s regular curator and greatest advocate, refers to their work as a form of insurgent ‘guerrilla theatre.’ These masculinist tendencies should be of little surprise. The Brio started in 2016 as an art therapy group as part of Strong Men, Strong Families through funding from the Anyinginyi Health Aboriginal Corporation facilitated by painter Rupert Betheras. It grew to have about twenty men involved before moving to the Nyinkka Nyunyu Art and Culture Centre in 2017, where it was declared an artist collective.

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Revealed: We are a sovereign people

Keynote address presented on 17 April 2015 in Perth as part of the annual Revealed program supporting emerging Aboriginal artists from Western Australia. 

As Indigenous people of this nation we are a sovereign people, standing strong in our culture and remaining true to our heritage. We stand strong in our art; we stand strong in our culture and we stand strong on our country. Our ancestors, communities and families have welcomed many non-Indigenous peoples into this country, and today we see the continuity of our shared culture, history and traditions. I see Aboriginal art and culture at the very forefront of Australian identity and celebrated in such a way that previous generations would not have imagined. Despite these remarkable achievements, we as Aboriginal people in this country have been continually bombarded by waves of dispossession, racism, marginalisation and genocide. I am both angered and frustrated that we continue to sustain the impact of colonisation on a daily basis some 226 years after invasion. We are not recognised as a sovereign people, we continue to be governed by a nation that does not recognise us as equals. 

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Kabimbebme: It really pops!

Words are like territories. Like invisible boundaries laid down in the vast forest of experience, they parcel up reality into sections which can be named, like addresses or the clan estates of Arnhem Land. To compare two languages can be like overlaying the maps of two different cultures. Just as Manilakarr clan lands, for example, are split between Kakadu National Park and Arnhem Land, the conceptual boundaries of words in two languages rarely align neatly.

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Mobile phone remix: Miyarrka Media

Yolngu have always had art inside our rumbal (bodies) and our doturrk (hearts). What people make depends on their aims, skill and style. With mobile phones and video cameras we’re making a new kind of Yolngu art. But it still comes from inside. It still comes from Yolngu doturrk

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The Mulka Project

Yolngu people, the traditional Aboriginal owners of North East Arnhem Land, use the word mulka to describe a sacred, but public, ceremony. Mulka also means to protect and share things that are important to us – things that hold our identity, our culture, our connection to country and our past. When our people decided to bring together the films, photographs and audio recordings made in and about our community, the Mulka Project was born.

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Design on country

Beginning with batik printing at Ernabella in the APY Lands in the 1940s, hand-printed textiles in Indigenous art centres have become a rich and varied tradition. It has emerged as a significant art form in recent years, particularly for art centres in the Top End.

The Tiwi Islands has one of the longest traditions, where the Bima Wear women’s centre has been printing and designing since 1969, alongside Tiwi Design and the Pirlangimpi Women’s Centre. Tiwi textiles are known for their bright colours and bold designs, and are often worn by the local community.

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Two laws protecting Kimberley rock art

Recent changes to the Western Australian Heritage Act undermine the connection between people and country, placing thousands of rock art galleries at risk. Since the introduction of the cattle industry to the Kimberley region during the early 20th century and the subsequent forced removal of Aboriginal people from their traditional homelands, negative impacts on Aboriginal communities have been well documented. The impact on country, when its people are removed, is equally dire according to Ngarinyin/Nyikina artist, cultural leader and land management professional Rona Charles: “You can’t take people, objects, Junba [song and dance] away from Country and think nothing will happen. Because water, plant, song, animal, people – they all depend on each other. People, for their identity and social wellbeing, and country for ecology.”

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Warmun Arts. You got a story?

Painting at Warmun has long been linked with the desire of the old people to pass on Gija language to children. At the same time as the Goorirr-goorirr song and dance cycle was given to Rover Thomas by a spirit, Gija elders were requesting that the Ngalangangpum School teach their language. Paintings carried in the dance helped launch the local art movement and the singers and dancers were also the language teachers. They made objects as teaching aids that are now part of the Warmun Community Collection.

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Cornelia Tipyuamantumirri: Tiwi artist

Under the guardians of the mission, Cornelia Tipuamantumirri grew up on Bathurst Island in the Tiwi Islands. She went to school under the old mission church and was given a slate and chalk. Salvation came in the form of the Catholic nuns. She lived in a dormitory with the other Tiwi girls. She was never allowed to speak her language or practice our culture.

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Jacky Green: Desecrating the Rainbow Serpent

I am a Garawa man. My country is in the southwest Gulf of Carpentaria. When I was young there was no whitefella schooling for us Aboriginal kids. My school was the bridle and the blanket, learning on the pastoral stations where my father worked. Our future was set as labourers on whitefella stations. This is the reason I don’t read and write. I’m not ashamed of this.

I was taught our law by my grandfathers, father, uncles and other senior kin from the southwest Gulf peoples: the Mara, Gudanji, Yanyuwa and Garawa. Knowledge came to me through ceremonies, hunting, fishing, gathering and travelling through our country with the old people. We sing the country.

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Miriam Charlie: No country, no home

This series explores living conditions in our community of Borroloola in the Gulf of Carpentaria, Northern Territory. I am a Yanyuwa/Garrwa woman. I call it “My country, no home” because we have a Country but no home, people are living in tin shacks, in matchbox-sized houses. Even traditional owners here don’t own houses. I wanted to take these photos to show the world how my people are living. The project is not to shame them.

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Korean heat at the Asia Pacific Triennial of Contemporary Art, Brisbane
Alison Carroll on the legacy of the Asia Pacific Triennial as the place to see Korean art in Australia
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The public good of private museums in Korea
Chang Seung-yeon on the the conspicuous activity of the private art museum run by corporations and individuals
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We are Korean: Cultural agency is power
David Pledger looks at the role of arts and culture in globalising national economies and contrasts Korean and Australian strategic thinking
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The rogue aesthetic practice of crossing the DMZ
Gim Jong-gil on the seditious seed that is the Demilitarized Zone between North and South Korea
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Art–science convergence: High-tech/media/robotics/post-human
Hye Jin Mun on the intersection between the arts and sciences in Korean art
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Filling the holes of history with the present: Cho Duck Hyun, Noh Suntag and Jo Haejun
Jung Hyun on three Korean artists who deal with history in strikingly different ways
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Art that embraces the village and its residents
Kim Hae-gon on the Maeulmisul Art Project supporting regional renewal
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Art museums rule: State support for grand visions
Kim Inhye on Seoul’s evolving infrastructure of museums, independent artists’ spaces and residency programs
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Ecology and new border paradigms: The Real DMZ Project 2015
Lee Sun Young on practices that shed light on the division and possibilities for reunification of North and South Korea
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An alternative to the Korean Wave
Roald Maliangkay on soft power, street cred and the Korean Wave
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Cultural conversations: An oral history project
Paul McGillick on an online archive generating a unique cultural exchange between Australia and South Korea
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Are we engaged or just hanging out? Korea–Australia arts exchange
Sarah Bond on the act of giving and taking as cultural exchange
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Three Korean artists at the 8th Asia Pacific Triennial of Contemporary Art
Yeon Shim Chung on artists Choi Jeong-Hwa, Haegue Yang, and Siren eun young jung
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Video and performance art in Korea: A force majeure
Yoo Jin Sang on the evolving forms of performative practice in contemporary Korean art
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The world of Dansaekhwa: Spirit, tactility and performance
Yoon Jin Sup, the acknowledged authority on the 20th-century movement of Dansaekhwa, traces its resurgence today as an expression of the enduring presence of ancient culture in this outwardly most material of societies
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An interview with BG Muhn on the art of North Korea
Yvonne Boag interviews BG Muhn about his forthcoming book on the Passion, Propaganda and Paradox of North Korean Art to be published by Seoul Selections, and an exhibition at the American University Museum in Washington in 2016
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Emily Kame Kngwarreye in Japan
Gay McDonald and Laura Fisher on staging Utopia: The Genius of Emily Kame Kngwarreye at the National Museum of Art in Osaka
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Fragrant Lands: There’s all our country
An exhibition and artist exchange program between Desart and the Shanghai International Culture Association
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Grassroots cultural exchange between western New South Wales and the Philippines
Two case studies involving Indigenous artists from the Philippines and the politics of transnational cultural exchange 
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Towards an outward-looking Indigeneity
On leadership and self-determination in Indigenous arts
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Unmapping the End of the World
Unmapping the End of the World is an intercultural, durational and experimental contemporary art project
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We are born of the Fanua: Moananui arts practice in Australia
Artist and curator Léuli Eshraghi maps the diaspora and reconsolidation of Pacific or Moananui peoples in Australia through the art of Taloi Havini, Kirsten Lyttle and Jasmine Togo-Brisby
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Slipstitch: Contemporary Embroidery
Ararat Regional Art Gallery, Victoria
27 March – 17 May 2015
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Strange Country: Why Australian Painting Matters
Patrick McCaughey Miegunyah Press 2014, 376 pp.
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