Ali Kazim creates highly crafted works that experiment with painterly techniques to create atmospheric, dream-like qualities. In precise detail, Kazim captures the stillness of a deserted landscape or a sudden transformation as a storm tears through parched terrain. His paintings are based on the Punjab region of Pakistan – once home to a large part of the Indus Valley Civilisation and now scattered with ancient ruins.
Kazim is interested in the history of Pakistan’s landscapes and the ancient civilizations that once inhabited the region, particularly imagining the stories hidden in unexcavated remains, regularly visiting these ruins, studying the mounds that form the contours of the landscape, and searching the sites of long-abandoned cities, which are partly exposed or still buried.
Mound in Punjab, Pakistan, 2018 / Photographs courtesy: Ali Kazim
Working in a range of techniques, styles and scales, he draws on a repertoire of techniques and materials to access these emotive surroundings and conjure the mysteries of forgotten cities. The large landscape is informed by Siyah Qalam, a fleetingly popular form of Persian painting influenced by the ink painting traditions of East Asia, whereby multiple layers of ink were applied with a fine brush.
Kazim also creates atmospheric compositions on polyester film rendered in pigment with cotton or soft brushes, delicate paintings that capture a sudden moment of transformation as severe weather tears through parched terrain. Stencils and erasers are used to detail bolts of lightning, and storm and dust clouds, elements that momentarily bring the landscapes to life.
Kazim is also interested in how pottery shards have transformed over centuries from practical objects to remnants of deserted and forgotten places, and the blackened ceramics bear organic lines or veins to resemble both rocks and organs.
Installation view Cloud Series 2018; Storm Series 2018; Lightning Series 2018; Ruin Series 2017 on display in APT9, GOMA
APT9 has been assisted by our Founding Supporter Queensland Government and Principal Partner the Australian Government through the Australia Council, its arts funding and advisory body, and the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments.
Featured image detail: Ali Kazim’s Untitled (ruins series) 2018
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We are deeply saddened to learn of the recent passing of Monir Shahroudy Farmanfarmaian (1924–2019) on Saturday 20 April. Over a career of six decades, Farmanfarmaian created art that was at once radical and deeply invested in tradition. She drew from Iranian architecture, the traditions of Islamic geometry and pattern, as well as techniques such as reverse glass painting, mirror mosaic and relief sculpture. Farmanfarmaian revived and adapted these forms to make startlingly original and compelling works.
The geometric patterns began to infiltrate my own art. I used them not quite faithfully but with a minimalist twist, relishing the clean modern lines that appeared when the mathematical logic was distilled from the traditional designsMonir Shahroudy Farmanfarmaian
QAGOMA is privileged to hold in its Collection her largest and most-spectacular work, Lightning for Neda 2009. Through this huge 6-panel mosaic work, Farmanfarmaian commemorated a young woman who died in a pro-democracy protest in Tehran following the presidential elections on 12 June 2009. In the reflective shards of glass, we see ourselves drawn into a universe of perfect forms and shifting vanishing points.
The characteristic mirror mosaic of Farmanfarmaian’s work references an Iranian decorative form known as aineh-kari. In each panel of Lightning for Neda, Farmanfarmaian used more than 4000 mirror shards to create myriad patterns across a sublime, glittering surface. The technique dates back to the sixteenth century, when glass was imported from Europe and would often arrive broken.
Cutting glass at Monir Shahroudy Farmanfarmaian’s studio / Photograph: Ellie Buttrose
The artist’s intricate mirror mosaic and reverse-glass painting expands the hexagon into multiple geometric possibilities. These complex tessellations were the fascination of Arab scholars in the ninth century, who sought mathematical expression of the complex shapes. Over centuries, Islamic architecture and design have drawn on this knowledge to produce intricate patterns embellishing facades and interiors. In Lightning for Neda, Farmanfarmaian returns to this long Persian tradition to form an elegy for contemporary Iran.
Farmanfarmaian’s life was marked by political turmoil. After studying Fine Arts at Tehran University from 1943 to 1944 she left for New York where, she attended Cornell University and later studied fashion illustration at Parsons School of Design in 1949. During these years in New York (1945–57), she was one of many artists turning to the emotional potential of abstraction and she socialised with Jackson Pollock, Lee Krasner, Willem de Kooning, Joan Mitchell, Louise Nevelson, Barnett Newman and Andy Warhol.
In 1957, she returned to Iran and developed her interest in Islamic geometry and philosophy, aineh-kari and Sufi symbolism, travelling frequently between Iran and Europe. In the wake of the 1979 Iranian Revolution, however, she found she was unable to return to her country. Almost all of her artwork and vast collection of decorative objects were confiscated. After living in New York for a further 24 years, the artist went home to Iran in 2003, where she remained until her death last Saturday.
Farmanfarmaian sought to recover a material culture that was rapidly disappearing while pushing the boundaries of modernist geometry. Her death, at age 97, marks a great loss. She was one of the most important contemporary figures of Iranian art and twentieth-century abstraction at large.
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Beyond the sea 2018 continues South Korean artist Bona Park’s exploration of themes of extinction and redundancy brought about by human activity, technological development and economic imperatives. Its three channels each focus on an individual working behind the scenes in Korea’s film and television industry — a voice actor, a lighting operator and a stunt performer – whose roles have become precarious with shifts in cinematic fashion and financing.
The work’s central monologue, read by the voice actor, is drawn from French playwright Marguerite Duras’s experimental 1981 film The Atlantic Man — an ode to a departed lover. The ‘you’ addressed by the central monologue is directed toward film and television workers, and the profession of voice acting in particular. Once popular for dubbing foreign films, many voice actors were made redundant after the global financial crisis of 2008, their function replaced by subtitling.
Abstracted from their workaday context and framed by Bona Park’s videography, the actions of all three professionals take on a poetic resonance. Deeper readings are also possible — both of the oblique cinematic references inherent in each action, and of the broader conditions of labour in jobs that are vulnerable to obsolescence, the workforce equivalents of endangered species in the natural world.
First exhibited in ‘The 9th Asia Pacific Triennial of Contemporary Art’ (APT9) from 24 November 2018 – 28 April 2019
APT9 has been assisted by our Founding Supporter Queensland Government and Principal Partner the Australian Government through the Australia Council, its arts funding and advisory body, and the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments.
Bona Park is supported by Arts Council Korea
Featured image detail: Bona Park’s Beyond the sea (still) 2018
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The sober colour and aural palette of Yuko Mohri’s contemplative sound installation Breath or echo blends quietly with the architecture and landscape of the Gallery of Modern Art (GOMA) and Brisbane city, writes local sound artist Luke Jaaniste.
Watch | Performance in response to ‘Breath or echo’
Breath or echo: to be the source of utterance and life (a breath), or to be merely a reflection of what was generated elsewhere (an echo). Shall we read this as a question? Is art, and all cultural artifice, a breath of fresh air, or an echo of it? Either way, both die out. Organisms eventually stop breathing (including you and me) and echoes dissipate. Everything decays.
But in decaying, some trace carries on. History is the trace of such decays, as Walter Benjamin mused in On the Concept of History (1940), which is the source of Yuko Mohri’s title:1
The past carries a secret index with it, by which it is referred to its resurrection. Are we not touched by the same breath of air which was among that which came before? is there not an echo of those who have been silenced in the voices to which we lend our ears today?2
Japanese sound and intermedia artist Yuko Mohri first created Breath or echo for the Sapporo International Art Festival in 2017. It was inspired by her experience of decay within an old mining town, Otoineppu, which she visited as part of her creative process, along with the work of sculptor Sunazawa Bikky (1939–81).3
For ‘The 9th Asia Pacific Triennial of Contemporary Art’ (APT9), the work has been re-situated in GOMA’s River Lounge, continuing the connection between sound art and this area of the building.4 What we experience upon entering the space is a series of musical and industrial objects and electronic gadgets spread across the entire panorama of the windowed platform that overlooks the Brisbane cityscape. Alongside the sounds and sound-objects, light bulbs flicker from three of Mohri’s trademark street lamps (sourced locally for this installation) that have been placed laterally on the floor. Linger long enough and you will hear four interweaving layers of sounds. The most constant layer, which frequently comes and goes, is a high-pitched metallic bell-like shimmer, made from metal washers, discs and sticks knocking against old industrial electrical fittings, electromagnets and concrete blocks. Occasionally, we also hear a low guttural sound emerging from a piano laid with its back on the floor; five strings attached to wires stretch up to the ceiling, and automated units fibrillate the strings. Accompanying these industrial sounds is a slow, strange melodic duet between two upright pianos, which have been modified to play automatically via attached electronics, like modern-day player pianos. The fourth layer, a recitation of spoken-word poetry, emanates from lonely loudspeakers that can only be heard by stepping outside to the deck overlooking the nearby State Library of Queensland.
The work’s sober colour and aural palette blends quietly with the concrete, glass and white walls of GOMA, and the white concrete and metal pylons, rails and roads of the Kurilpa Bridge and Riverside Expressway that skirt the city of Brisbane and which form a real-time living backdrop. The effect is like a fractured kaleidoscope of memories, something contemplative, distilled and even lonely, producing what has been described as ‘improvised ecosystems’:5 an auditory and object-laden landscape punctuates the air with minimal, occasional, accidental, random incursions. Such sounds are reminiscent of the aural activity of cityscapes — random accumulations of noise that can be musical if we wish to listen to it in this way, as John Cage and many other ambient and environmental experimentalists have encouraged us to do.
Breath or Echo is a collaborative work, and Mohri invited the input of a range of other artists: piano music by Ryuichi Sakamoto, poetry by Bikky Sunazawa, poetry recitation by Camille Norment, along with programming by Yuya Ito and lighting engineering by Keiji Ohba (Ryu). Nonetheless, Breath or Echo bears all the hallmark qualities of Mohri’s style, evident in her growing body of installations, including Moré Moré (Leaky): Variations 2017–, Parade 2011–, Divertimento for Child’s Room 2016– and Calls 2013–, which have been commissioned by and exhibited in major galleries in Asia, Europe and New York.6 Mohri’s artworks have a beginning date but remain ongoing projects; across multiple exhibitions and versions they appear and shift in configuration, operating in a ‘site-responsive’ space somewhere between touring and sitespecific realisation.
In creating her installations with simple, elemental components and basic gestures, Mohri’s work speaks to and intersects with a whole range of cultural trends and art-historical tropes: found objects and readymades, immersive installation and soundscapes, automated music and kinetic sculpture, collage and assemblage, and the materialisation of ephemeral media.
Luke Jaaniste is a sonic, spatial and social artist. As one half of Super Critical Mass (with Julian Day), he was a participating artist in APT8. He is trained in music composition, has completed a PhD in ambient experience and works as a solo and collaborative artist and performer.
Endnotes 1 Artist statement, Yuko Mohri, <http://mohrizm.net/works/breathor- echo>, viewed December 2018. 2 Walter Benjamin, On the Concept of History, trans. Dennis Redmond, Global Rights Books, 2001; first published as Über den Begriff der Geschichte, 1940, <https://www.globalrights.info/2016/09/ the-concept-of-history-walter-benjamin-download-book>, viewed December 2018. 3 Artist statement, Yuko Mohri, <http://mohrizm.net/works/breath-orecho>, viewed December 2018. 4 In APT8, the River Lounge was the site for Super Critical Mass’s work for bells and community participants, Open Plans. See <https://www.qagoma.qld.gov.au/whats-on/exhibitions/
apt8/artists/super-critical-mass>, viewed December 2018. 5 Jyni Ong, ‘Artist Yuko Mohri creates improvised ecosystems through found objects’, It’s Nice That, 15 October 2018, <https://www.itsnicethat.com/articles/yuko-mohri-improvised-ecosystemsart-151018>, viewed December 2018. 6 See works listed on artist’s website, Yuko Mohri, <http://mohrizm.net/works>, viewed December 2018
‘The 9th Asia Pacific Triennial of Contemporary Art’ (APT9) featured a diversity of indigenous voices — the largest contingent in the Triennial’s history — who share a common experience of dislocation through European settler occupation. Brisbane-based Indigenous artist Ryan Presley looks at how the practices of five of these artists engage with the legacy of colonialism and speak to the resilience of First Nations people across the world.
A First Nations Perspective
The broadbrush definition of the Asia Pacific in APT9 sweeps such a large swathe of the globe — from Iraq to Japan, Tasmania to Mongolia — that it requires a most attentive viewer to unravel the rich and intertwined visual cultures represented. The overwhelming common thread throughout this vast region, however, is a shared experience of the colonial exploits of European settler occupations. The curators of APT9 have not shied away from this, and the exhibition takes a thoughtful and critical perspective on Australia’s part in this colonial history of mapping, occupation of land, and maritime and currency control.
More than a dozen of the 80 artists and collectives in APT9 are Aboriginal or First Nations people of their particular country, marking the highest ratio of indigenous artists ever represented in the Triennial.1 A diversity of indigenous voices is especially important in surveys such as this, which can easily stumble into previous versions of imperial showcasing of ‘expositions’ and ‘curiosities’. The presence of empire and its amphibious quality, relying upon and occupying both land and sea, is present in the recollections of several of the artists featured.
Watch | Performances by the Kiribati community
The performances by the Brisbane Kiribati community feature song and dance in response to the ‘Tungaru: The Kiribati Project’ included in ‘The 9th Asia Pacific Triennial of Contemporary Art’ (APT9). Tungaru is a collaborative project inspired by the strong connections that New Zealand born artist Chris Charteris has made with his ancestral homeland and extended i-Kiribati family. The indigenous name for Kiribati is Tungaru, which means to gather together in a joyous way.
Watch | Dance by the Bougainville community
Women from the Brisbane Bougainville Community Group Inc. perform a range of dances from across the Autonomous Region of Bougainville. The women are supported by Bougainville men creating the dynamic rhythmic sounds of the traditional bamboo band, but using PVC pipes and flip-flops. Women’s Wealth is an art project that engages with the ongoing importance and richness of women’s creativity within the predominantly matrilineal societies of the Autonomous Region of Bougainville and nearby provinces of the Solomon Islands.
In this spoken-word performance created specifically for APT9, Kathy Jetñil-Kijiner uses the symbolism of the weaving process and weaving circle to explore how women’s roles and identity are shaped by Marshallese culture, the nuclear legacy, and a climate-threatened future. It draws inspiration from the Japanese dance art form of butoh to capture the metamorphic influence of the nuclear legacy on the bodies of women. The work is a weaving of words and movement, each strand connecting local wisdom with discourses of global relevance, opening the weaving circle to a new audience in APT9 – a circle defined by the open flow of learning, creativity, and a spirit of humble resilience that connects and characterises weavers of the Marshall Islands.
1. Simon Gende
Simon Gende, from the Eastern Highlands of Papua New Guinea, is known for his paintings that provide humorous and insightful commentary on society, religion, history and contemporary events. In 2017, the Gallery hosted Gende during a visit to Brisbane so he could access the extensive government archives amassed when PNG was controlled by Australia. His interest in the Australian Government’s ongoing sway over PNG is expressed in Australia wokim nupela setelite 2018 and Gas shortage 2018 (illustrated) . The latter work is a focused reminder of a particularly colonial trope of exploitation, referencing the nowshelved plans for a massive gas piping system to be assembled to funnel gas from PNG as far south as Gladstone, Queensland.
The project was cancelled by Australian fossil fuels company Oil Search in favour of a liquid natural gas project within PNG that looked ‘more financially attractive’.2 The revised project, led by ExxonMobil and financially backed by the Australian Government, is the country’s biggest resource venture, which has already done tremendous damage to the internal economies of PNG — funding for education, health, law and order, and infrastructure have all drastically diminished due to the gas mine.3
Mining magnates also feature in the jocular paintings of Vincent Namatjira. Depicting seven of the wealthiest people in Australia, ‘The Richest’ series 2016 (illustrated) includes Gina Rinehart, who was a staunch campaigner against the tax on mining super profits. Along with a united front from her industry and lobbyists, they managed to nullify the proposed tax. A projected $12 billion in state revenue in the first two years alone has since been lost to the broader federal public.4 A perceptive curatorial ploy brings together all three series — ‘The Richest’, ‘Seven Leaders’ and ‘Prime Ministers’ (all 2016) — to give the audience a potent statement from Namatjira about the nature of power relations within the settler colonial state of Australia.
Kapulani Landgraf’s collage works make powerful statements on indigenous experience in Hawai‘i since the United States annexed the islands in 1898. Her practice captures a contemporary indigenous view of sacred places and land issues, particularly in Honolulu, where foreign investment has necessitated dredging wetlands and clearing land to make way for high-rise, luxury apartment complexes. Lele Wale (to leap for no reason) 2016–18, in particular, addresses this desecration, and Ho’okahi Po’ohiwi (be of one shoulder) 2016–18 (illustrated) adds that these sorts of practices remain fiercely contested by the Kanaka Māoli people. The second work alludes to a specific event, post annexation, where the Mō’ī Kamehameha people lined their canoes along the shore of O‘ahu in an act of mass demonstration stretching from Waikīkī Bay to Wai‘alae Beach in Honolulu. The warriors then marched shoulder to shoulder, chanting as they filed towards the inland mountain range, in a display of strength and appeal for solidarity.
Kapulani Landgraf ‘Ho’okahi Po’ohiwi (be of one shoulder)’ 2016
Aotearoa New Zealand artist Lisa Reihana sees her work as a comment on Pacific Islander history, culture and tradition. Her video installation inPursuit of Venus [infected] 2015–17 (illustrated) reimagines scenes observed by Captain Cook, and accompanying voyagers, of the peoples they encountered on their multiple journeys across the Pacific Ocean. Pacific bodies often became the imagined projection of ‘Venus’ in the colonial gaze, although, as Reihana highlights, ‘it’s really hard not to exoticise something that is actually naturally beautiful’.5 In her approach, she has carefully considered how to balance competing perspectives to the global audience. By employing Joseph Dufour’s wallpaper design Les Sauvages de la Mer Pacifique (The Savages of the Pacific Ocean) c.1804 (illustrated), Reihana has reactivated the panoramic tradition of ‘the expansive, all-encompassing image of the world envisaged by 19th and 20th century world expositions’.6 It is this method that necessitates work like in Pursuit of Venus [infected] for triennials such as APT9 — work that is aware of the complexities of its own production and the contexts in which it will be shown and viewed.
Lisa Reihana ‘in Pursuit of Venus [infected]’ 2015-17
Language is a fundamental aspect of self-representation and recollection and is subtly but powerfully deployed in the work untitled (giran) 2018 by Jonathan Jones. Viewers are struck by the swoops and peaks of the feathered tools that gracefully arc and flow across the curvature of the wall. The soundscape resonates with bird calls, pining winds and spoken Wiradjuri language. Recent histories have seen Aboriginal people imprisoned for speaking their language in public spaces, with its previous criminalisation a frequent occurrence in colonial centres of Australia.7 This was the case for the Wiradjuri people, one of the most territorially expansive First Nations groups within the south-east of the continent. untitled (giran) features several tools important to Jones’s Wiradjuri people, such as the dhala-ny (hardwood spear point), bingal (animal bone awl) and bindu-gaany (freshwater mussel shell), each of which is attached to a variety of feathers that were donated by contributors across the country. This powerful combination of traditional tools, natural materials and language speaks to the resilience of Aboriginal peoples in the face of the changing winds of society.
Collaborator Dr Uncle Stan Grant Snr has been a pivotal influence in this thread of Jones’s work, as well as in the wider community. In the New South Wales town of Parkes, more than 1000 people — ten per cent of the population — learn the Wiradjuri language every week. This initiative crosses the primary, secondary and TAFE sectors and has resulted in a rise of Aboriginal student attendance, as well as a decrease in racist sentiments held by the non-Indigenous students.8 Here lies the importance of appropriate representation of Aboriginal peoples as well as a broader public exposure. The exhibition of such work, and QAGOMA’s recent acquisition of Jones’s installation, is part of a wider educational imperative.
Watch |Jonathan Jones discusses ‘(untitled) giran’ 2018
Dr Ryan Presley is a Brisbane-based artist originally from Alice Springs. His father’s family is Marri Ngarr and originate from the Moyle River region of the Northern Territory.
Endnotes 1 First Nations artists in APT9 include: Lola Greeno, Jonathan Jones, Vincent Namatjira, Alair Pambegan, Margaret Rarru, Helen Ganalmirriwuy, James Tylor and the Karrabing Film Collective (Australia); Simon Gende (PNG); Lisa Reihana and Areta Wilkinson (Aotearoa New Zealand); Kapulani Landgraf (Hawai‘i); Idas Losin (Taiwan); Mao Ishikawa (Okinawa); and Tcheu Siong (Laos). 2 ‘PNG-Australia gas pipeline project suspended’, ABC News, 1 February 2007, <https://www.abc.net.au/news/2007-02-01/pngaustralia- gas-pipeline-project-suspended/2184830>, viewed December 2018. 3 Christopher Knaus and Helen Davidson, ‘Australian-backed gas project fails to deliver PNG economic boom – report’, Guardian, 30 April 2018, <https://www.theguardian.com/australia-news/2018/apr/30/australian-backed-gas-project-fails-to-deliver-pngeconomic-boom-report>, viewed December 2018. 4 See Kali Sanyal and Paige Darby, ‘Taxation – Resource super profitstax’, Budget Review 2010–11, <https://www.aph.gov.au/About_Parliament/Parliamentary_Departments/Parliamentary_Library/pubs/rp/BudgetReview201011/TaxationRSPTax>, viewed December 2018. 5 Lisa Reihana speaking in ‘Abdul Abdullah visits the Asia Pacific Triennial of Contemporary Art in Brisbane’, [THE MIX], Australian Broadcasting Corporation, 1 December 2018. 6 Francis Maravillas, ‘Cartographies of the Future: The Asia-Pacific Triennials and the Curatorial Imaginary’, in Eye of the Beholder: Reception, Audience and Practice of Modern Asian Art, eds John Clark, Maurizio Peleggi and TK Sabapathy, University of Sydney East Asian Series and Wild Peony Press, Sydney, 2006, p.251. 7 See A Dirk Moses (ed.), Genocide and Settler Society: Frontier Violence and Stolen Indigenous Children in Australian History, Berghahn Books, New York, 2004. 8Our Mother Tongue: Wiradjuri,, dir. Suzi Taylor, Australian Broadcasting Corporation, 8 June 2012, <https://open.abc.net.au/explore/22207>, viewed December 2018. 9 Statistics provided by the QAGOMA Children’s Art Centre. Does not include the touring program or additional implementation of curriculum kits.
Lisa Reihana has been supported by Creative New Zealand.
Jakkai Siributr’s fascination with textiles and embroidery began as a child in Bangkok and led to studies in textile design in the United States before returning to Thailand. Siributr is known primarily for his textile and embroidery works, and his installations increasingly offer an element of audience participation, recently the artist has begun to engage with intersections between personal and regional histories. 18/28: The Singhaseni Tapestries centres around the connections between the artist’s family and political history in Thailand.
Jakkai Siributr discusses his most personal project
At the heart of the project is a homage to the Siributrs mother, whose five dresses are embroidered with scenes from family and news photographs. These connect with passages from her diaries that can be heard within the suspended tapestries, made from hand stitched fabrics acquired from seven aunts on his maternal side.
Siributr’s mother was from the ancient Thai house of Singhaseni and 18/28 is the address of the compound where Siributr’s great grandmother took in the wife and seven daughters of Chit Singhaseni, a royal page/gentleman of the bedchamber who was implicated and executed over the mysterious death in 1946 of the Thai monarch King Rama VIII.
Siributr’s art advocates for recognition of the complexities underlying official narratives and that of the social and personal lives that often go unacknowledged.
Installation views of Jakkai Siributr’s 18/28: The Singhaseni Tapestries 2017-18 installed at APT9, Gallery of Modern Art
Delver deeper into APT9 with Pannaphan Yodmanee
Pannaphan Yodmanee In the aftermath resembles both the decaying murals in the ruins of old temples and the rubble of demolished buildings. The installation is based around three key elements: rocks and stones from the artist’s hometown representing the natural world; found objects and fragments of buildings; and miniatures of Buddhist icons and sacred stupas, which have been created by the artist in a range of materials.
Shrouded in small, vivid paintings together with heavily layered wall treatments and found objects, Yodmanee’s installation illustrates Buddhist narratives. It also chronicles the formation of individual and regional identities, and explores South-East Asian histories of migration, conflict and loss, as well as destructive human tendencies. In doing so, Yodmanee’s works have developed a new platform for Buddhist art, while they simultaneously capture the interconnectedness of art, religion and history in contemporary Thai society.
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APT9 has been assisted by our Founding Supporter Queensland Government and Principal Partner the Australian Government through the Australia Council, its arts funding and advisory body, and the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments.
Feature image detail: Jakkai Siributr’s 18/28: The Singhaseni Tapestries 2017-18 installed at APT9, Gallery of Modern Art
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We acknowledge the Traditional Owners of the land on which the Queensland Art Gallery | Gallery of Modern Art stands and recognise the creative contribution First Australians make to the art and culture of this country.
