When Mother Monster steps out into the world, she does so with style… Lady Gaga was famously photographed by Nick Knight for Vanity Fair in 2010 wearing this body suit Protean from the ‘Skin Series’ 2007, made of black nylon/polyurethane seamless knit, welded with crystals and designed by Tamae Hirokawa for the Somarta label and matching shoes Night Makers 2010, artisan collection black leather platform boots by Noritaka Tatehana.
On view in ‘Future Beauty: 30 Years of Japanese Fashion’ until February 2015
Three decades of innovation in Japanese fashion design from the 1980s to the present will be celebrated when ‘Future Beauty: 30 Years of Japanese Fashion’ opens at the Gallery of Modern Art (GOMA) tomorrow and is exclusively at GOMA until 15 February 2015.
The opening weekend for ‘Future Beauty’ includes a program of curator and designer talks, exhibition tours, and the opening of the exclusive Comme des Garҫons Pocket pop-up shop.
This weekend also sees the launch of the Gallery’s Future Fashion Sundays, a monthly event allowing visitors to be immersed in contemporary fashion through workshops and talks, and a fabric and garment swap.
Curated by leading fashion historian Akiko Fukai and drawn from the archives of the Kyoto Costume Institute, ‘Future Beauty’ explores the effect Japanese fashion designers have had on their European contemporaries and their challenges to Western fashion conventions, from the 1980s through to today.
The exhibition highlights the impact of Japanese culture on world fashion and includs the work of pioneering designers Issey Miyake, Rei Kawakubo, Yohji Yamamoto and Australia’s own Akira Isogawa.
‘Future Beauty’ offers a unique opportunity for you to see the work of true innovators in Japanese fashion through more than 100 garments, as well as fashion objects, films, photographs and catalogues.
The exhibition is divided into four themes examining unique Japanese styles and aesthetic principles, from the minimal and deconstructed elegance of the 1980s through to the vibrancy of Japanese youth subcultures today, as seen on the streets of the fabled Harajuku.
From 21 November, the Gallery’s popular Up Late series returns on select Friday nights across summer, giving visitors the chance to view this extraordinary exhibition of contemporary Japanese fashion after hours.
The exhibition has been made possible thanks to the support of Tourism and Events Queensland as the exhibition’s Principal Partner and Audi Australia as Principal Sponsor. QAGOMA will also continue their relationship with Gadens, the exhibition’s Supporting Sponsor.
‘Future Beauty’ was first conceived for display at the Barbican Art Gallery, London, and has subsequently toured to Haus der Kunst, Munich; the Museum of Contemporary Art, Tokyo; the Seattle Art Museum and the Peabody Essex Museum in the United States; and the National Museum of Modern Art, Kyoto before its showing at GOMA in Brisbane. The Kyoto Costume Institute was established by Wacoal Corp in 1978.
In a first for the cultural precinct, GOMA and the Queensland Museum are teaming up to offer a limited number of joint fashion exhibition tickets. Audiences can see both ‘Future Beauty: 30 Years of Japanese Fashion’ at GOMA and ‘Undressed: 350 years of Underwear in Fashion’ at the Museum this summer. Adults $30.00, concession $25.00; booking fees apply when booked in advance.
Principal Sponsor Audi Australia is exploring the future of design by transforming an A3 Cabriolet with bold colours and futuristic panelling inspired by the avant-garde designs featured in the Gallery’s summer exhibition ‘Future Beauty: 30 Years of Japanese Fashion’. Audi has imagined a future brimming with daring design and innovation much like the designers featured in ‘Future Beauty’.
The interior redesign incorporates high tech neoprene fabric reflecting materials used by contemporary Australian designers such as Toni Maticevski and Dion Lee and stylish (but safe) baby car seats asking us to reflect on what we might be driving decades into the future.
The A3 Cabriolet will be revealed in Brisbane on Friday 31 October at the opening night celebrations of ‘Future Beauty’ and can also be viewed at GOMA over the opening weekend celebrations.
Audi is principal sponsor of ‘Future Beauty: 30 Years of Japanese Fashion’.
The Gallery will unveil a new permanent display of Indigenous Australian art when ‘Everywhen Everywhere’ opens this Saturday at the Queensland Art Gallery (QAG).
The collection-based exhibition presents historical and contemporary works by Aboriginal and Torres Strait Islander artists in a prominent and permanent location in the Gallery.
As well as representing the Gallery’s commitment to reimagining the Collection across both Gallery sites, ‘Everywhen Everywhere’ puts Australian Indigenous art at the forefront of the QAG experience.
The concept of ‘Everywhen’ borrows from anthropologist and W. E. H Stanner’s explanation of the Dreaming as a sacred, heroic time of the indefinitely remote past that is also, in a sense, part of the present. Stanner suggests that The Dreaming cannot be fixed in time, so the Indigenous Australian art collection is presented in a non-chronological way.
‘Everywhen Everywhere’ spoke to an Indigenous understanding of Aboriginal and Torres Strait Islander country, from ancestral narratives to contemporary political movements across the continent. Together the works reflect that the things that have happened to Indigenous people over the past 200 years are of as much importance to Indigenous experience and existence today, and into the future, as the deeds of the great ancestors from times immemorial.
Highlights of the installation include an impressive group of Thap Yongk (law poles) 2002-03 by Kugu (West Cape York) artist Joe Ngallametta; DISPERSED 2008, a text-based installation in laminated wood, cast aluminum and .303 inch calibre bullets by Badtjala (Fraser Island) artist Fiona Foley, and Up in the Heavens the Gods contemplate their next move 2011, by Cairns based Kala Lagaw Yu (Torres Strait) artist Brian Robinson, which is suspended from the gallery ceiling.
In addition to 1970s Papunya boards by Kaapa Mbitjana Tjampitjinpa, Shorty Lungkarda Tjungarrayi and Mick Namarari Tjapaltjarri works by Albert Namatjira and members of the Hermannsburg School that followed him are featured, celebrating Namatjira’s role in Aboriginal and Australian art history. In 1947 Namatjira become the first artist of Aboriginal heritage to have a work acquired for the State Collection.
‘Everywhen Everywhere’ also includes bark paintings by Anindilyakwa artists commissioned in the 1940s by anthropologist JP Mountford at Groote Eyelandt that depict local ancestral narratives and body painting designs associated with trade winds – an historically significant body of work distinctly different from works produced by present-day Arnhem Land communities.
A group of 17 Lorrkon/larrakitj (Hollow log memorial poles) by Yolngu (Arnhem Land) artists including Gulumbu Yunupingu, Djambawa Marawili and John Bulunbulun feature alongside important paintings by Trevor Nickolls, Lin Onus and Rover Thomas and Embassy 2013, a recently acquired installation by Richard Bell.
Audiences can enter Richard Bell’s tent, which is based on the Aboriginal Tent Embassy, often cited as the spiritual epicentre for Aboriginal and Torres Strait Islander empowerment struggles from the 1970s, and watch Imagining Victory, a video trilogy that invites the viewer to think about the history of Aboriginal people’s struggle for justice.
The opening weekend program of events has been announced for ‘Future Beauty: 30 Years of Japanese Fashion’. Across the weekend, 1 – 2 November, a range of in-conversation events, discussions and exhibition tours will celebrate and explore the key themes and ideas in the exhibition.
Saturday 1 November
11.00am | International Curator’s Lecture | Free
Keynote address from Akiko Fukai, Chief Curator, The Kyoto Costume Institute.
1.00pm | Curator’s exhibition tour | Exhibition ticket required Curatorial tour of the exhibition with Tarun Nagesh, Assistant Curator, Asian Art.
2.00pm | Akira Isogawa in conversation | Exhibition ticket required Join Akira Isogawa, featured ‘Future Beauty’ designer, and one of Australia’s most celebrated fashion designers, in conversation with Alison Kubler, curator and writer, and co-author of ‘Art/Fashion in the 21st Century’.
3.00pm | In focus: Comme Des Garçons Pocket | Exhibition ticket required
Christine St Clair, owner and buyer, Comme Des Garçons ‘Pocket store’, Melbourne, speaks about the philosophy behind the iconic label and the Comme Des Garçons Pocket concept.
Sunday 2 November
Join us for the launch of Future Fashion Sundays, our monthly Sunday afternoon program of events exploring contemporary fashion through curatorial tours, fashion illustration workshops, talks, and special events.
In the first Art + Fashion: One on One talk of the series, Dr Nadia Buick, freelance fashion curator and Co-Director of The Fashion Archives will be joined by writer Mitchell Oakley Smith for a discussion of fashion publishing as an example of the many intersections between art and fashion.
Brisbane’s independent fashion-based artist-run initiative The Stitchery Collective will host a fabric and garment swap giving new life to old textiles.
See the Gallery of Modern Art in a different light at Up Late Friday night events, starting Friday 21 November 5.30-10.00pm.
Principal Partner: Tourism and Events Queensland
Principal Sponsor: Audi
Leading Australian artist Tracey Moffatt will explore how we inhabit places and are inhabited by them in an exhibition of new and recent works at GOMA from 25 October 2014.
‘Tracey Moffatt: Spirited’ will feature works completed since the artist’s recent return to Australia from New York after 12 years.
This exhibition premieres Moffatt’s major new video work Art Calls 2014, in which the artist plays TV talk show host, and includes ‘Spirit landscapes’ 2013, a body of work that is comprised of five photographic series and a digital photoframe.
Throughout her career, Moffatt has retained an irrepressible connection to her origins and a deep interest in ideas of place and memory, all of which resonates and informs her latest body of work.
For this exhibition, Moffatt has selected thirteen works from the QAGOMA Collection by artists including Doreen Reid Nakamarra, William Robinson, John Pule, Ian Fairweather, Simryn Gill and Bridget Riley that in dialogue with her own work connect relationships with the landscape to the mind and spirit.
‘Spirited’ would include ‘As I lay back on my ancestral land’ 2013, ethereal, point-of-view landscape images superimposed with images of the artist’s body.
Another series, ‘Suburban Landscapes’ 2013, references Moffatt’s upbringing in inner-Brisbane and her personal memories of delicate beauty captured in mundane streetscapes.
In the series ‘Picturesque Cherbourg’ 2013, blooming flowers and white picket fences put a brave face on traumatic history, referring to the mission town to which Aboriginal people were transported from all over Queensland and New South Wales after being forced from their land in the early twentieth century.
The series ‘Pioneer Dreaming’ 2013 co-opts films stills of wide-eyed women gazing across prairies, referencing the romanticizing of the occupation of Native American land.
On Sunday 26 October from 11.30am visitors can join Tracey Moffatt for an in-conversation with Art Calls animators Julie Pitts and Miles Blow, and Simon Wright, Assistant Director, Learning and Public Engagement, QAGOMA.
Then from 1.30pm Tracey Moffatt will present an in-conversation tour of the exhibition with Ellie Buttrose, Associate Curator, International Contemporary Art, QAGOMA.
In conjunction with the exhibition and as selected by Moffatt, the Gallery will screen John Ford’s celebrated film The quiet man 1952 starring John Wayne and Maureen O’Hara at 2.30pm on Sunday 2 November and again at 1.00pm on Saturday 22 November at GOMA’s Australian Cinémathèque.