2014: GOMA turns 10 countdown

 

In 2014, as part of a major season of Japanese art, cinema and design, the Gallery presented ‘Future Beauty: 30 Years of Japanese Fashion’ (1 November 2014 – 15 February 2015) and ‘We can make another future: Japanese art after 1989’ (6 September 2014 – 20 September 2015).

‘We can make another future’ surveyed the art of Heisei or ‘enlightened peace’, the current era in the Japanese imperial calendar, through 100 works by over 40 contemporary Japanese artists.

We can make another future: Japanese art after 1989 Installation view GOMA
Installation view of ‘We can make another future: Japanese art after 1989’ / Photograph: Mark Sherwood © QAGOMA
We can make another future: Japanese art after 1989 Installation view GOMA
Installation view of ‘We can make another future: Japanese art after 1989’ / Photograph: Mark Sherwood © QAGOMA
We can make another future: Japanese art after 1989Installation viewGOMA
Installation view of ‘We can make another future: Japanese art after 1989’ / Photograph: Mark Sherwood © QAGOMA

Beginning in 1989, Heisei has seen significant challenges for Japan, but it has also been the period of ‘Cool Japan’, with widespread international interest in Japan’s contemporary cultural production. As well as 25 years of Heisei, this also marked 25 years of the Gallery’s public engagement with the contemporary art of Japan.

The exhibition was an opportunity to experience the breadth of Japanese art that the Gallery has accumulated since 1989, making it the most significant representation in Australia and follows a number of exhibition and publishing projects that have enabled the Gallery to research and analyse significant areas of the Collection by region. These exhibitions have included ‘The China Project’ (2009), ‘Unnerved: The New Zealand Project’ (2010) and ‘My Country, I Still Call Australia Home: Contemporary Art from Black Australia’ (2013).

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We can make another future features works by artists including Yayoi Kusama, Lee Ufan, Takashi Murakami, Yasumasa Morimura, Daido Moriyama, Yoshitomo Nara, Hiroshi Sugimoto and Yukinori Yanagi. QAGOMA’s collection of contemporary Japanese art is the most extensive in Australia and is uniquely positioned to shed light on these artists and various aspects of culture and society in Japan.

Future Beauty: 30 Years of Japanese FashionInstallation viewGOMA
Installation view of ‘Future Beauty: 30 Years of Japanese Fashion’ / Photograph: Mark Sherwood © QAGOMA
Future Beauty: 30 Years of Japanese FashionInstallation viewGOMA
Installation view of ‘Future Beauty: 30 Years of Japanese Fashion’ / Photograph: Mark Sherwood © QAGOMA

‘Future Beauty: 30 Years of Japanese Fashion’ explored the tremendous innovation of Japanese fashion designers from the early 1980s to the present. With over 100 garments featured in the exhibition, ranging from the classic and elegant to outrageous, this was a rare opportunity to view these unique creations first hand.

EXPLORE THE EXHIBITION FURTHER

DELVE DEEPER INTO JAPANESE FASHION

Japanese fashion made an enormous impact on world fashion in the late 20th century. Designers such as Issey Miyake, Rei Kawakubo of Comme des Garçons and Yohji Yamamoto revolutionised the way we think of fashion.Their works were shown alongside examples of techno-coutour and the new generation of radical designers.

Curated by eminent Japanese fashion historian Akiko Fukai, Director of the esteemed Kyoto Costume Institute in Japan, this exhibition explored the unique sensibility of Japanese design, and its sense of beauty embodied in clothing.

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Brisbane’s Harajuku Girls dressed up and visited the exhibition’s Super Kawaii Zone

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Yuko Yamaguchi is well known as the character designer of Hello Kitty. In 1980 she became the third Hello Kitty designer and has been the main designer for much of the character’s history. We were lucky enough to have Yuko visit GOMA for a book and merchandise signing with an added special Hello Kitty sketch included.
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The Gallery’s Comme des Garçons Pocket Shop was exclusively launched at ‘Future Beauty’ and is now the Japanese labels Queensland retail space. The shop at GOMA stocks the iconic Play line, as well as wallets and fragrances.

Sunday Mornings in South Bank with Kara Rosenlund

 

As a photographer and stylist for clients such as Qualia, Condé Nast Traveler, Country Style and Qantas Magazine, Kara Rosenlund spends most of her life surrounded by beautiful things.

It made us curious to see how she refuels during her down time in South Bank…

On the weekends I love to start the day with a good breakfast. Every other day of the week is such a rush, but on Sundays I like to dial the pace down.

Weekdays are generally like a race to get things down, without much chance to come up for air. So a stroll through QAGOMA on Sundays always lifts my spirits and fills me with fresh inspiration. Even the architecture is incredible.

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Kara at the Gallery of Modern Art (GOMA)

When I’m in South Bank, I always like to add to my LP collection if possible. Some of my recent finds include a lot of African music from Mali and the Western Sahara.

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Kara browsing through a wide range of books at the GOMA Store. If you’re a collector of LP’s like Kara, check out Dust & Groves: Adventures in record collecting currently in stock

And now for the QAGOMA rapid fire…

PEOPLE WOULD BE SURPRISED TO LEARN THIS ABOUT ME… that I don’t always know where I’m going in life, but I always listen to my instincts to guide me.

BRISBANE HAS THE BEST… of everything. It really does.

I HAVE A FEW… bangles. I’m addicted to the bangle!

Dinosaur Designs bracelets QAGOMA Store merchandise
The GOMA Store has a range of bangles including Dinosaur Designs, come in and choose your favourite

THE BEST THING ABOUT WHAT YOU DO? The people. I love meeting people.

ON WEEKENDS I… work, but I love it so much and it never really feels too much like work!

WHAT ARE YOU READING? Hold Still, by the photographer Sally Mann.

FAVOURITE INSTAGRAM ACCOUNT? beside my own ha? I love @cntraveler. I love being transported through images of travel.

THE BEST THING THAT HAPPENED TODAY… some new limited edition photographic prints arrived back from my printer, which is always exciting!

WHAT ARE YOU LOOKING FORWARD TO? January and heading to the desert.

IF I WASN’T A PHOTOGRAPHER/STYLIST/DESIGNER/ETC, I’D BE… an anthropologist.

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WATCH Better Homes and Gardens as Kara gives us style tips and secrets on how to layer a collection that tells your unique story, plus she gives us a tour of her gorgeous home for inspiration.

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Interview: Ruth McDougall, Curator ‘No. 1 Neighbour’

 
Ruth McDougall / Photograph: Natasha Harth © QAGOMA

We caught up with Ruth McDougall, Curator of Pacific Art and the curator behind the 2016 exhibition ‘No.1 Neighbour: Art from Papua New Guinea 1966–2016

The exhibition focused on the vibrancy of contemporary artistic expression within Papua New Guinea, and considered Australia’s strong historical ties to its closest neighbour through some of the earliest works from PNG acquired for the Gallery’s Collection. In addition to the spectacular Kwoma spirit house installation the exhibition included carvings, masks, shields, bilum (string bags), nioge (barkcloth), sculpture, photography, printmaking and painting.

Kwoma Arts, Papua New Guinea est. 2012 / Kwoma people, East Sepik Province / ‘No.1 Neighbour’ installation view of Koromb (spirit house) 2012 / Synthetic polymer paint, plywood, blackbutt, steel / Purchased 2012. Queensland Art Gallery / Collection: Queensland Art Gallery | Gallery of Modern Art / © Kwoma Arts / Photograph: Natasha Harth © QAGOMA
Installation view of ‘No. 1 Neighbour′ featuring bilums from the Gallery’s Collection / © The artists / Photograph: Natasha Harth © QAGOMA

The best thing about working with artists from the Pacific is that they are a community. An exhibition only happens because of the energy and commitment that they and my colleagues here at QAGOMA put in. We like to celebrate by sharing food and giving thanks together at the end of opening night. Ruth McDougall, Curator of Pacific Art

What is the most interesting thing you learned while curating ‘No. 1 Neighbour’?

That tok pisin ­– the creole language spoken in PNG – came from Queensland! It was developed so that individuals from different cultural groups throughout Melanesia could communicate with others who had been coerced into working on the Queensland sugar farms.

What is the most exciting thing happening in Pacific art at the moment?

I am excited by how confidently emerging Indigenous leaders are facing the challenges of our contemporary world. I am really enjoying the work by people such as activist Jennifer Waiko, Geraldine Paul’s community reconciliation projects, and Serina Sumanop’s organisation, The Youth Inc.

The Pacific fashion industry is also something to watch – keep an eye out for Stella Magazine’s runway, the Fiji Fashion Week and the annual Goroka Bilum Festival. The strength of women’s voices in art and design is incredibly exciting.

What can we all do to promote good relationships with PNG?

Firstly, we can actively seek more nuanced understandings of PNG, its cultures and its people by engaging with the communities based here in Australia. I would also love to see the media supplement the overly sensational accounts with reports from journalists such as the ABC’s Sean Dorney, The Australian’s Rowan Callick and author Drusilla Modjesca.

And of course, if you can, travel there!

Your job takes you all over the Pacific — do you have any travel tips you’ve picked up along the way?

Get out of the big hotels, find the local markets, talk to people and try local food.

Favourite piece in the Collection?

The woven Puk puk (crocodile) by Angelina Gumowe, Kwoma Art’s Koromb (spirit house) and Mary Gole’s Milne Bay Cooking Pot.

I love prizing open Angelina Gumowe’s woven beasts wide, sharp toothed jaws to show audiences the tongue the artist has ingeniously woven inside. Its like a secret joke she shares with us and totally in keeping with the fabulous, dry humour that accompanies many conversations I have with PNG artists.’

The Milne Bay pot was one of the first works of Mary Gole that I acquired for the Collection. I love the elegant  simplicity of the cooking pot with its expansive belly able to feed many.

Installation of Angelina Andiboli Gumowe’s Puk puk (crocodile) 2011 in ‘No. 1 Neighbour’ / Woven gumba tree fibre with natural pigments / Purchased 2011. Queensland Art Gallery Foundation / Collection: Queensland Art Gallery | Gallery of Modern Art / Photographs: Natasha Harth © QAGOMA
Gole, ML, Joyce Mary Aresepa, Papua New Guinea b.1951 / Cooking pot 1997 / Hand-thrown earthenware with incised decoration and beeswax / Purchased 2011. Queensland Art Gallery Foundation / Collection: Queensland Art Gallery | Gallery of Modern Art / © Mary Gole

What would we be most surprised to learn about being a curator?

The word ‘curator’ means ‘to care for’. At the heart of what we do is about relationships with artists, communities, objects and audiences.

I have a few…

Bilums!

Preferred method of transport?

Canoe.

What are you looking forward to?

Travelling back to PNG.

If I wasn’t a Curator, I’d be…

a writer.

Ruth McDougall installing ‘No. 1 Neighbour’ in the Queensland Art Gallery’s watermall / / Photographs: Mark Sherwood © QAGOMA
‘No. 1 Neighbour’ installed in the Queensland Art Gallery’s watermall / Photograph: Natasha Harth © QAGOMA

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No. 1 Neighbour: Art in Papua New Guinea 1966-2016‘ Queensland Art Gallery 15 October 2016 – 29 January 2017

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2013: GOMA turns 10 countdown

 

With GOMA turning 10 in just a couple of weeks, we look back at one of the most dramatic exhibitions held at GOMA. ‘Cai Guo-Qiang: Falling Back to Earth’ (23 November 2013 – 11 May 2014) showcased major new works by a global artist whose large-scale installations and explosion events have made him one of the most innovative figures in contemporary art. This exhibition was the artist’s first solo exhibition in Australia and a GOMA exclusive.

‘Falling Back to Earth’ both spectacular and meditative, presented a beautiful, thought-provoking vision of our relationship with the earth and with each other. Four installations featured two new commissions directly inspired by the landscapes of southeast Queensland, which the artist visited in 2011.

Related: Falling Back to Earth

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Cai Guo-Qiang, China b.1957 / Heritage 2013 / 99 life-sized replicas of animals: polystyrene, gauze, resin and hide / Commissioned 2013 with funds from the Josephine Ulrick and Win Schubert Diversity Foundation through and with the assistance of the Queensland Art Gallery | Gallery of Modern Art Foundation / Collection: Queensland Art Gallery | Gallery of Modern Art / © Cai Guo-Qiang

The centrepiece of the exhibition — Heritage 2013 — featured 99 replicas of animals from around the world, gathered together to drink from a blue lake surrounded by pristine white sand, reminiscent of the lakes of Moreton Bay’s islands. Heritage was acquired for the Gallery’s Collection with the generous support of the Josephine Ulrick and Win Schubert Diversity Foundation through and with the assistance of the Gallery’s Foundation.

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Installation view of Eucalyptus 2013
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Cai Guo-Qiang, China b.1957 / Installation view of Head On 2006 at the Gallery of Modern Art, Brisbane / Deutsche Bank Collection, commissioned by Deutsche Bank AG / © FMGBGuggenheim Bilbao Museoa, 2009

The second installation, Eucalyptus 2013 responded to the ancient trees of Lamington National Park in the Gold Coast hinterland, while the third, Head On 2006 is a striking installation of 99 wolves leaping en masse into a glass wall, displayed for the first time in Australia.

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May King Tsang preparing tea and demonstrating the process for Gallery visitors during a gongfu ceremony in GOMA’s Tea Pavilion

The fourth installation, the Tea Pavilion was conceived by the artist and located within the heart of the exhibition, the Tea Pavilion was a space to learn more about the history and significance of Chinese Tea and also a place to reflect on the works on display.

Cai Guo-Qiang: Falling Back to EarthExhibition publication

Go into the draw to win the 204 page publication Cai Guo-Qiang: Falling Back to Earth featuring essays by Australian and international authors, with the artist’s new works extensively documented through spectacular installation photography . Cai Guo-Qiang also writes on a significant, but lesser-known, aspect of his practice – his collaborations with children. The publication traces Cai’s unique history with QAGOMA, as one of the first public institutions to collect the artist’s work. It also follows his early career inclusion in the ‘Asia Pacific Triennial of Contemporary Art’ (1996 and 1999). Value $49.95

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Cai Guo Qiang / Blue dragon & bridge crossing / Project commissioned for the 3rd Asia-Pacific Triennial 1999 | ©: The artist

The Children’s Art Centre also presented ‘Cai Guo-Qiang Kids: Let’s Create an Exhibition with a Boy Named Cai’ where you could make and display objects in miniature gallery spaces, create spectacular multimedia gunpowder drawings and fireworks events and watch a short film written by Cai Guo-Qiang about art and adventure.

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Feature image detail: Cai Guo-Qiang Heritage 2013

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2012: GOMA turns 10 countdown

 
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Erwin Wurm / Instructional drawing 2012 / Plinth, found objects, instructional drawing, realised by the public / Commissioned for ‘Sculpture is Everything’ / Collection and ©: The artist

In 2012 the Gallery showcased major new acquisitions installed throughout the ground floor of GOMA. ‘Sculpture is Everything’ (18 August – 28 October 2012) explored the extraordinarily diverse and surprising field of contemporary sculpture — from found objects to kinetic structures, from monuments to installation and land art, from pop assemblages to ritual objects.

Form, material and three-dimensional space were considered to define the medium of sculpture with the exhibition pointing to how these sculptural concerns are played out in film, photography, painting and performance. The exhibition featured works by Australian and international artists including Ai Weiwei, Martin Creed, Olaf Breuning, Thomas Demand, Lara Favaretto, Simryn Gill, Romuald Hazoumé, Gordon Hookey, Zilvinas Kempinas, Anish Kapoor, Gordon Matta-Clark, John Mawurndjul, Henrique Oliveira, Dennis Oppenheim, Michael Sailstorfer, Kathy Temin, Ken Thaiday Sr, Rachel Whiteread and Erwin Wurm.

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Installation views of ‘Sculpture is Everything’ 2012 / Photographs: Mark Sherwood © QAGOMA

Do you remember the exhibitions from 2012 as we continue the countdown to GOMA’s tenth birthday in December?

‘The 7th Asia Pacific Triennial of Contemporary Art’ (8 December 2012 — 14 April 2013) marked the twentieth anniversary of the exhibition, and presented an opportunity to reflect on the unprecedented transformations that occurred in Australia, Asia and the Pacific over those past two decades; ‘Propaganda?’ (23 June – 21 October 2012) considered the varied approaches of politically motivated art from the traditional forms of painting and sculpture, to mass media such as prints, posters, banners and photography; ‘Lightness & Gravity’ (3 March — 21 October 2012) showcased a series of thematic constellations on the longstanding philosophical discussion of the fundamental character of life as weighty, meaningful and constrained by history or or as playful and arbitrary; ‘Across Country’ (5 November 2011 — 21 October 2012) profiled the history of Indigenous Australian art from across the country; ‘Contemporary Australia: Women’ (21 April – 22 July 2012) the second in the Gallery’s Contemporary Australia exhibition series celebrated the diversity, energy and innovation of contemporary women artists; and ‘Social Networking’ (3 March — 1 July 2012) showed how contemporary artists were exploring social contact with their subjects and audiences.

sculpture is everything Gallery of Modern Art installation view
Michael Sailstorfer, Germany b. 1979 / Wolken (Clouds) 2010 / Tyre inner tubes / Purchased 2011 with funds from Tim Fairfax, AM, through the Queensland Art Gallery Foundation / Collection: Queensland Art Gallery / © Michael Sailstorfer 2010/VG Bild-Kunst. Licensed by Viscopy, Sydney, 2016 / Photograph: Mark Sherwood © QAGOMA
'Sculpture is Everything' Installation view
Lara Favaretto, Italy b.1973 / Gummo IV 2012 / Iron, car wash brushes and electrical motors / Purchased 2012 with funds from Tim Fairfax, AM, through the Queensland Art Gallery Foundation / Collection: Queensland Art Gallery / © The artist / Photograph: Mark Sherwood © QAGOMA

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‘Marvel: Creating the Cinematic Universe’ comes to GOMA

 
Adi Granov / The Avengers / Keyframe for Marvel’s The Avengers 2012 / © 2017 MARVEL

QAGOMA will present the major exhibition ‘Marvel: Creating the Cinematic Universe‘ exclusively at GOMA from 27 May 2017.

The exhibition will follow Thor, Iron Man, Captain America and their comrades and adversaries from comic book page to cinema screen in the first major Marvel-related exhibition to be staged in Australia and the largest ever presented in an art museum.

‘Marvel’ will use original artwork, film props, costumes and the moving image to bring to life the interconnected Marvel Cinematic Universe which also features characters such as Hulk, Black Widow, Ant-Man, Black Panther and the Guardians of the Galaxy.

Drawn from the collection of Marvel Studios and Marvel Entertainment and private collections, the exhibition will give significant focus to the creative artists who translate the drawn narrative to the screen through production design and storyboarding, costume and prop design, and special effects and postproduction, on a series which has redefined the cinematic super hero.

The exhibition experience will be all encompassing and extend into GOMA’s Australian Cinémathèque with a retrospective of the Marvel Cinematic Universe of films and will highlight the Gallery’s longstanding commitment to engaging with contemporary culture.

Thor’s hammer, Iron Man’s suit of armour and Captain America’s shield will be among the 300 plus objects, films, costumes, drawings and other ephemera presented in the exhibition following the success of filming Thor: Ragnarok on the Gold Coast, Queensland.

Marvel: Creating the Cinematic Universe’ has been organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) in collaboration with Marvel Entertainment. The exhibition has received additional support from the Queensland Government though Tourism and Events Queensland (TEQ) and Arts Queensland.