2006: GOMA turns 10 countdown


GOMA officially turns 10 on 2 December 2016. On that day in 2006 ‘The 5th Asia Pacific Triennial of Contemporary Art’ (APT5) opened in our much-anticipated second building, the Gallery of Modern Art (GOMA) and provided the opportunity for the Gallery to present a dynamic program of exhibitions on a scale never before seen in Brisbane in unmatched dedicated art exhibition spaces.


Wang Wenhai, China b.1950 / Mao Zedong and Mao Zedong 2003 / Fibreglass / Two figures: 320 x 130 x 130cm (each) / Purchased 2007. Queensland Art Gallery Foundation Grant / Collection: Queensland Art Gallery / © The artist / Photography: Natasha Harth, QAGOMA

Only 150 metres apart, the Queensland Art Gallery which opened in South Bank in 1982 and its sister site the Gallery of Modern art have become two vibrant architectural sites connecting Brisbane with art.

GOMA’s architecture is impressive and monumental without being intimidating, international yet responsive to local conditions, and pays homage to Queensland’s architecture. The building was awarded the 2007 Royal Australian Institute of Architects National Award for Public Architecture.

GOMA also opened with the new home to the Children’s Art Centre which since 2001 had collaborated on interactive artworks with leading artists from around the world for kids and families, and the Australian Cinémathèque, the only dedicated cinema facility in an Australian art museum showcasing the work of influential filmmakers and international cinema.

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Installation view of Eko Nugroho’s site specific work for APT5 It’s all about the Destiny Isn’t it? 2006 / © The artist / Photography: Natasha Harth, QAGOMA

Our 10-year milestone is a time to reflect on GOMA’s impact locally and nationally, and to look toward its future. GOMA has been a force for cultural change, stimulating our audience’s appetite for contemporary art and ideas. It’s also a time to look back at a decade of world class exhibitions and programs and celebrate new additions to the state art Collection.

The Gallery’s contemporary Collection is at the heart of GOMA Turns 10 demonstrating the Gallery’s commitment to be truly international in contemporary art collection development.

Over the next 10 weeks we’ll look back at your favourite exhibitions held at GOMA as we countdown to the opening of ‘Sugar Spin: you, me, art and everything’ our major, free exhibition headlining the 10th anniversary celebrations. ‘Sugar Spin’ will also include many acquisitions secured through the Gallery’s flagship Asia Pacific Triennial series of exhibitions.

]Le, Dinh Q, Vietnam b.1968 / Lotusland 1999 / Fibreglass, polymer, wood and synthetic polymer paint / 27 pieces / Purchased 2006. The Queensland Government’s Gallery of Modern Art Acquisitions Fund / Collection: Queensland Art Gallery / © The artist / Photography: Natasha Harth, QAGOMA

We start the countdown with APT5. With four ground-breaking APT’s already held at the Queensland Art Gallery, APT5 opened in two sites with around 353 works by 35 artists, filmmakers and performers and besides being our largest exhibition, was also the Triennial’s strongest representation of Pacific artists to date. Curated cinema and performance programs brought a dynamic new dimension to APT, and allowed an exploration of these media on a scale never before presented. For APT5 the Gallery undertook an intensive acquisitions program, with approximately 70 per cent of works displayed acquired for the Collection.

The ‘Asia–Pacific Triennial of Contemporary Art’, continues to be the only major exhibition series in the world to focus exclusively on the contemporary art of Asia and the Pacific, including Australia.

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Zhou Xiaohu, China b.1960 / Utopian theatre 2006 / 11-channel video and fired clay installation, 11 DVDs, 11 television monitors, 10 sets of headphones / Purchased 2007. The Queensland Government’s Gallery of Modern Art Acquisitions Fund / Collection: Queensland Art Gallery / © The artist / Photography: Natasha Harth, QAGOMA

Artists included Ai Weiwei; Khadim Ali; Jackie Chan; Beck Cole; Justine Cooper; eX de Medici; Jitish Kallat; Anish Kapoor; Bharti Kher; Sutee Kunavichayanont; Kwon Ki-soo; Dinh Q le; Long March Project; Djambawa Marawili; Nasreen Mohamedi; Tuan Andrew Nguyen; Dennis Nona; Eko Nugroho; Tsuyoshi Ozawa; Pacific Textiles Project; Stephen Page; Paiman; Michael Parekowhai; John Pule; Nusra Latif Qureshi; Rashid Rana; Sangeeta Sandrasegar; Kumar Shahani; Talvin Singh; Michael Stevenson; Masami Teraoka; Yuken Teruya; Sima Urale; Viet Linh; Gordon Walters; Apichatpong Weerasethakul; Yang Fudong; Yang Zhenzhong and Yoo Seung-ho.

Design meets art – ideas meet at GOMA


As part of GOMA turning ten, the Gallery has launched a new Ambassador program of supporters to assist in advocating GOMA as a space where people can connect to the relevance and transformative potential of contemporary art and ideas. These Ambassadors are successful across a range of different fields, reflecting the diversity of GOMA’s audiences.

One such ambassador, Alexander Lotersztain has a strong connection to the Gallery, he is a Brisbane-based designer with an international reputation and founder of the multi-disciplinary design studio Derlot. We recently had a chat to Lotersztain and asked him what GOMA meant to him.

GOMA Ambassador Alex Lotersztain, designer of the official ‘GOMA turns 10’ Ambassador chair, the QTZ limited edition GOLD

First off, Lotersztain is honoured to be an ambassador for ‘GOMA turns 10’ and equally proud to be a neighbour, his studio is located just up the road in West End. He has been living and working in the area for the last ten years – moving into the neighbourhood the same time GOMA opened.

He believes the neighbourhood is now the creative artistic hub of Brisbane, GOMA’s opening in 2006 having been the catalyst in establishing this and placing Brisbane on the international cultural arena.

Lotersztain elaborated, “GOMA has a way of thinking about art – it’s forward thinking – it’s a way of displaying art and engaging audiences in a smart way, an open minded way. It has brought the larger community together to enjoy art and what art brings.”

As a designer he appreciates GOMA being open to exhibiting more than just fine art – but all the fields of creativity – design, architecture, fashion, and performers during the highly popular Up Late series.

“The role of GOMA in bringing more than just art to Brisbane and involving design and other fields is essential for a number of reasons – it’s making certain that people understand that creative process and thinking comes from many different areas – closer to you than you think they are, and expanding people’s minds to the role of a gallery – GOMA has always managed to understand that the scope of opportunity is larger.”

As a regular visitor to GOMA with his family, Lotersztain appreciates its openness and vistas to the river and city centre outside, bringing a sense of ‘lightness’ without relying on artificial lighting. GOMA is also large for a gallery in Australia, and because of that can entice a range of exhibitions that need an expanded footprint, something that other gallerys in Australia don’t have.

“GOMA has become a subtropical landmark for Brisbane, a Galley that can exhibit an amazing array of work – its spaces are very transformative and adaptable – but also tells you about where you are and references the regions heritage – ‘the Queenslander’.”

His children also engage with the art of GOMA, they “ask questions, learn to respect the art and the artist – for them to have that experience from a very young age is amazing and GOMA has created that for them.”

As Lotersztain says, we live in a world where everything is merging – technology, entertainment, fashion, food, art, design, and architecture – they all combine into a single lifestyle  – a way of living – a way of enjoying life – galleries that understand that notion are at the forefront and are successful. GOMA has managed to capture that and understand its audience who now live and breathe that lifestyle even though they may not realise this. There are so many touch-points that a gallery like GOMA participates in.

Art has a special power, it triggers your thought process, makes you stop and ponder without telling you to. This is GOMA’s gift to Brisbane.

Join the conversation online and connect with #GOMA10 @qagoma

GOMA. A place where people come together to be inspired and imaginations spark. A place where ideas meet. This summer will be packed with even more excitement as GOMA turns ten. So come along and help us celebrate from 3 December 2016.

Re/discover an inspirational icon


Camille Serisier is a visual artist, her practice centres around her playful tableau of vibrant photographs, idea drawings, films and interactive installations. Through these ambitious and elaborate works Serisier uses the veil of playful absurdity to enact positive social change through storytelling. We asked Serisier to tell us how Cindy Sherman influenced her practice.

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Cindy Sherman / Untitled #568 2016 / Dye sublimation print on aluminium / Courtesy: The artist and Metro Pictures

I first became aware of Cindy Sherman’s work when I was at high school. Alongside amazing artists like Tracy Moffatt, she was one of few females amidst a sea of male makers taught out of art history books. Since that time many important female artists from the past have thankfully been ‘rediscovered’ and ‘rewritten’ into art history, but for me and perhaps my generation, Cindy Sherman was one of few female artists accepted, recorded and promoted during her lifetime.

It was important to me to have works like Sherman’s to grow up with. I recently sat down with Paolo Magnanoli to discuss ways in which Sherman’s practice have influenced my own. Researching for the event I was reminded how much I have admired and referred to Sherman’s work over time. Right from the early film stills series to the present day society portraits her works have been a point of continual reference and reassurance. However, the engagement was not always conscious, sometimes just unavoidable. Her works are part of a powerful narrative within art history. They have become a prominent cultural reference, such that an image would pop up in a magazine or be cited in a text and I would have the opportunity to consider it in an easy, almost natural way. An all too rare circumstance.


Installation views of ‘Cindy Sherman’, Gallery of Modern Art, 2016 / Photography: Natasha Harth, QAGOMA

There are a number of lessons I have learnt from Sherman. Foremost is that art by women doesn’t just have to be for women. Although there is content that is concerned with the feminine, or feminism, Sherman’s work transcends these issues. Her practice offers a broader access point for discussions about popular culture, in particular film, that frame concerns about gendered representation in society at large. In some ways, particularly in her violent centrefold series, her works seem to target a male audience.

I find this liberating. As a result, I have tried to speak to broader audiences in my work, even when that might seem unlikely given the subject matter. For example, I have been making a series about my experience of pregnancy (Venus of Brisbane, 2015-2016). Through these works I attempt to communicate with women who have been pregnant, as well as anyone who hasn’t, in order to initiate healthy discussions about female reproduction that have sometimes been shamed and silenced. The responses to these works have been intriguing. People of both genders have been repulsed by the premise of pregnancy as a subject for visual art. Many women that have experienced pregnancy voiced pleasure at being able to visualise a shared experience. Others have been outwardly curious about what they perceive as a taboo subject.

That some people found my pregnancy works grotesque is particularly interesting when thinking about the influence of Sherman’s work. Sherman’s work is masterful, but not always ‘pretty’. Her work with prosthetics and clowns, for example, is grotesque and disturbing. I feel this opened up avenues for female artists not only to depict unattractive subject matter, but also to be unattractive subject matter.


Installation views of ‘Cindy Sherman’, Gallery of Modern Art, 2016 / Photography: Natasha Harth, QAGOMA

When I take photographs on my own, of myself, I am alone with the camera to explore the dimensions and potential of my representational and performative capacity. In my current series of works (Ladies of Oz, 2015-2016), I am making portraits of women from Australian history. I dress up and play out scenes from their lives amidst hand made scenery and props. The series explores ways in which women have contributed to Australian life, as well as the difficulties of representing women and history. I pose for the camera in ridiculous outfits and fake scenery, and generally embarrass myself for the sake of the narrative.

Unlike Sherman ‘grotesque’ is not a word I have often encountered when people describe my work. I have traditionally used a pastel palette and doused my subjects in humour as a way of easing the viewer into sticky territory they may not otherwise be comfortable enough to address (The Wonderful Land of Oz, 2012-2016). When I make interactive gallery installations, I attempt to engage all ages and genders in playful theatrical sets that question gendered narrative assumptions, for example, that a pastel landscape could appeal to any gender entertain a male or that a female could be a ship’s captain (Swan Song #7, 2015). Play and humour have always been elements I have admired about Sherman’s work. Even images that deal with sexual violence against women contain absurdity or black humour that make consideration of the subject somehow more bearable.

In this way artifice and illusion have been important tools for drawing out narrative for the viewer. I could ask for no better role model than Sherman, whose images often dance between believability and blatant deception. Sherman rifts off film, I analyse theatre in its various forms. Both mediums work with the basic premise that the viewer needs to accept the lie and get lost in the narrative. But like Sherman, I don’t want people to submit easily without asking whether the stories, the old black and white ones, the ones that repeat in various guises, wearing different attire, are the stories we agree with and want to perpetuate.

It is important to have people to look up to. Sherman’s work is being shown at GOMA, making it is an excellent time to visit the gallery and re/discover an inspirational icon.

Camille Serisier is a visual artist based in Brisbane, Australia. See her solo show Ladies of Oz at Spiro Grace Art Rooms during September 2016. Camille is represented by Spiro Grace Art Rooms.

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No.1 Neighbour


Fifty years of contemporary visual art in Papua New Guinea, with a focus on the country’s relationship with Australia, is explored in a major exhibition opening at the Queensland Art Gallery (QAG) from 15 October 2016 to 29 January 2017.

No.1 Neighbour: Art in Papua New Guinea 1966–2016 will delight audiences with bold colour, towering sculptural forms, humour and hauntingly beautiful sounds.

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Simon Gende / Papua New Guinea b.1969 /Kuman people, Chimbu Province / No 1 Kiap blong Australia Mr Jim Taylor I brukim bush long Highlands Papua Niugini (The first Australian Officer, Mr Jim Taylor, in an exploratory mission in the Highlands of Papua New Guinea) 1999 / Synthetic polymer paint on canvas / Purchased 1999 / Queensland Art Gallery Foundation Grant / © The artist

This is the first time the Gallery has presented an exhibition of this scale entirely focused on Papua New Guinea. It draws together some of the earliest works from PNG acquired for the Collection, generous gifts from Australians with long-term connections to the young independent nation, and works secured through the Gallery’s flagship Asia Pacific Triennial of Contemporary Art series.

In addition to bilas (ornamentation) and masks used in sing-sing (gatherings of the tribes to share cultural traditions) ‘No.1 Neighbour’ includes sculpture, textiles, painting, photography, ceramics, printmaking, music and dance.

A major new collaborative work a Bit na Ta (the source of the sea), has been commissioned from Australian musician, composer and producer David Bridie and popular Tolai musician George Telek, with the involvement of the wider Tolai community based in East New Britain.

Audiences will be drawn into the immersive, distinctly Tolai cultural space where the compelling sounds of Telek’s voice, supported by the Sekut Matupit Choir and the Moab, Gilnata and Amidel string bands, translate the rhythms of Tolai life from 1875 to 1975.

Other highlights will include a new multimedia installation by Australian-born Chimbu artist Eric Bridgeman, focus selections of work by pioneering women artists Wendi Choulai and Mary Gole and the spectacular Koromb (spirit house) 2012 ceiling by Kwoma artists from the East Sepik region — a work commissioned by the Gallery for ‘The 7th Asia Pacific Triennial of Contemporary Art’ in 2012–13.

The Koromb (spirit house) 2012 highlights the importance of these buildings as places of local decision making and acknowledges the Kwoma-inspired ceiling of Parliament House in Port Moresby and the parliamentary legacy of the Westminster system via an Australian administration in PNG. Follow the installation process on Flickr.

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Installation view of the elaborately carved and painted ironwood posts from Kwoma Arts’ Koromb (Spirit house) 2012, APT7, GOMA, November 2012 / © The artists / Photography: Mark Sherwood, QAGOMA

The period around independence was a time of enormous energy and optimism in Papua New Guinea. The process of decolonisation created a new nation, and with it the need for new narratives, identities and dialogues, to which artists have made important contributions.

A focus of the exhibition is the period around Papua New Guinea’s independence in 1975, a time characterised by rapid creative experimentation and artistic vibrancy.

Works by pioneering artists Timothy Akis, Mathias Kauage, David Lasisi, Simon Nowep and Jakupa Ako draw on strong ties to culture while critically reflecting on the impact of new technologies and an increasingly urbanised lifestyle on PNG culture.

A group of Tolai Tokatokoi (headdresses) 2011, with the traditional ancestor figure replaced with images of the Virgin Mary, and a Sepik sculpture titled Adam and Eve 2011 are some of the works which reflect the continuing strength and flexibility of custom and culture as they meet and engage with Christianity.

The exhibition also celebrates women artists with works by Wendi Choulai, the Ömie people, Florence Jaukae-Kamel, Lisa Hilli, Julia Mage’au Gray, Taloi Havini and senior potter Mary Gole.

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George Telek, Musician, Papua New Guinea, Tolai people, East New Britain Province / Live performance for Lowy Institute, 40 years of Independence, GOMA September 2015

From 10am to 4pm on Saturday 15 October, the Gallery will present programs in conjunction with the exhibition including the a Bit na Ta performance featuring George Telek, the performance event Twist and Loop focusing on bilum and the innovative work of Florence Jaukae Kamel, artists talks, curator tour and a traditional sago cooking demonstration.

Accompanying the exhibition, our substantial and highly illustrated publication No.1 Neighbour: Art in Papua New Guinea 1966–2016 draws on the Gallery’s Collection and builds on the major presentation of work from the country in ‘The 7th Asia Pacific Triennial of Contemporary Art’ (2012), No.1 Neighbour highlights the Gallery’s strong focus on the contemporary art and culture of the Pacific and its unique manifestations in Papua New Guinea.

The illustrated publication No.1 Neighbour: Art in Papua New Guinea 1966–2016

‘No.1 Neighbour: Art in Papua New Guinea 1966–2016’ is supported by the Gordon Darling Foundation and through the Australian Government through the Australian Cultural Diplomacy Grants Program of the Department of Foreign Affairs and Trade.

John Siune, Papua New Guinea 1965–2016, Kuman people, Chimbu Province / Boi pren na girl Pren Tupela i stap long Port Morsbi city. Tupela lusim pasin bilong ples na kisim pasin bilong wait man (Boyfriend and girlfriend live in Port Moresby City. They leave traditional ways behind and take on whiteman style) 1999 / Synthetic polymer paint on canvas / Collection: Helen and Paul Dennett / © The artist

Smells like music cinema


Here is a selection of documentary and fiction films concerned with different genres of music, from country, disco, folk and hip hop to house, punk, metal, reggae and soul. It offers a unique platform from which to appraise the creative and social dynamics operating across these different musical subcultures, as well as acknowledging the exchange and movement between them. These films underline the idea that music, in all its endless permutations, can enrich our identities and transform both musician and listener into the somebody they want to be.

DELVE DEEPER: Dip into more music blogs

#1 Bob Marley — ‘Marley’ 2012 | Soul Shakedown Party

Bob Marley’s humble life and inspirational character is honoured in this superb account of the reggae legend, as told by his family and friends in new interviews spliced together with invaluable archival footage.  Poorly understood by the mainstream, this documentary succeeds in outlining the principles, aesthetic lineage and personal magnetism of this great innovator.


#2 Amy Winehouse — ‘Amy’ 2015 | Help Yourself

Amy is a detailed and sympathetic study of the charisma, controversy and talent that drove the late superstar Amy Winehouse. Filled with archival footage that reveals the brutal scrutiny that celebrities are subject to nowadays, the film is layered with Winehouse’s own feelings on her success and struggles.

#3 Nirvana — ‘Cobain: Montage of Heck’ 2015 | Smells Like Teen Spirit

Independent yet insecure, restless and fatigued – Kurt Cobain and his creative output was propelled by a mass of contradictions. Montage of Heck shows a driven and enthusiastic young Cobain that slowly came undone as his experiences turned into internalised suffering. Issues with family, drugs and depression shaped his potent and personal sensibility — yet ultimately his story of success wreaks misfortune and neglect.

#4 | Brian Jonestown Massacre — ‘DIG!’ 2004 | Going to Hell

DIG! follows the development and rivalry of the immensely creative yet self-destructive Brian Jonestown Massacre, and the more professional Dandy Warhols.  A classic tale of success and dysfunction unfolds as one band becomes an international sensation, while the other is revered but marginalised.

#5 Bikini Kill — ‘The Punk Singer’ 2013 | Rebel Girl

The Punk Singer chronicles the development of Bikini Kill vocalist Kathleen Hanna: her artistry, fight against sexism and misrepresentation in the media, and her personal life. Looking through all the career success and struggles, ultimately this film is a valuable document about an enduring courage and commitment to principle.

#6 WuTang — ‘Rock the bells’ 2006 | C.R.E.A.M.

Rock the Bells is an eye-widening backstage drama following the ultimate Wu-Tang fan and his attempt to reunite the clan for the first Rock the Bells festival concert. Pressure mounts until this dreamer is confronted by an explosive crowd of tens of thousands waiting impatiently for him to deliver the next to impossible.

#7 J Dilla — ‘Our Vinyl Weighs a Ton: This Is Stones Throw Records’ 2013 | Donuts

This portrait of one of the most respected labels in hip-hop music, and its inimitable founder Peanut Butter Wolf, is a great primer in the dynamics of the independent music scene. Includes interviews with Common, Kanye West, Dâm-Funk, Questlove, Talib Kweli and Madlib about their respect for Stones Throw Records.

#8 Charles Bradley — ‘Charles Bradley: Soul of America’ 2012 | Strictly Reserved For You

Soul of America tells the heart-rending story of Charles Bradley’s career transition from struggling James Brown impersonator to world-famous contemporary soul singer. With a debut album listed in Rolling Stone’s top 50 albums of 2011, Bradley’s performances are electrifying — fuelled by a lifetime of struggle that has been held together by an abiding belief in music.

#9 Beastie Boys — ‘Awesome; I … Shot That!’ 2006 | Sabotage (live in Glasgow)

One of the most innovative concert films of recent years, Awesome; I… Shot That!  dexterously weaves together the experiences of 50 audience goers armed with consumer camcorders by the Beastie Boys for a sold-out Madison Square Garden  performance in 2004.

#10 Prince — ‘Purple Rain’ 1984 | Diamonds and Pearls

In his debut feature Prince played a troubled, talented and seductive young musician struggling to keep his romantic life, band and family together. Riding his guitar like it was his screaming motorcycle on wet city streets, Prince’s chart-topping soundtrack pushes the groove with a restless tension throughout — the way that only he could.

View the Cinémathèque’s ongoing program / Delve into our Queensland Stories / Subscribe to QAGOMA YouTube to go behind-the-scenes

What You Want: Music Cinema‘ screened at the Australian Cinémathèque 2 September until 2 October 2016


You, me, art and everything: GOMA turns 10


Sugar Spin: you, me, art and everything is our major, free exhibition headlining the tenth anniversary celebrations for the Gallery of Modern Art (GOMA) this year. ‘Sugar Spin’ will showcase contemporary works from the collection across GOMA, every delight that ‘Sugar Spin’ offers also has an edge and the complex connections between humanity and the natural world are celebrated and reconceived.

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Carsten Höller, Belgium b.1961 / Left/Right Slide (detail) 2010 / Stainless steel, polycarbonate and rubber mats / Commissioned 2010 with a special allocation from the Queensland Art Gallery Foundation / Collection: Queensland Art Gallery / © The artist / Photograph: Natasha Harth, QAGOMA

From 3 December 2016 visit ‘Sugar Spin’ to experience major new commissions such as Nervescape 2016, a large-scale, multi-coloured landscape of synthetic hair by Icelandic-born, New York-based artist Hrafnhildur Arnardóttir, her first work in Australia and largest in the world to date. Nervescape will appear alongside a rich display of more than 250 artworks from the Gallery’s Collection.

Highlights include Carsten Höller’s much-loved Left/Right Slide 2010 that will spiral visitors from the top to the bottom of GOMA, Ron Mueck’s oversized woman In bed 2005, Olafur Eliasson’s interactive installation of thousands of white Lego pieces The cubic structural evolution project 2004, Kohei Nawa’s bubble encrusted Pix-cell Double Deer #4 2010, and Céleste Boursier-Mougenot’s musical installation of live finches, from here to ear (v.13) 2010.

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Celeste Boursier-Mougenot, France b.1961 / from here to ear (v.13) (and detail) 2010 / Five octagonal structures (each made in maple and plywood), harpsichord strings piano tuning pins, audio system (contact microphones, amplifiers, guitar processors and speakers), coat hangers, feeding trays and bowls, seeds, water, nests, sand and grass / Purchased 2011. Queensland Art Gallery Foundation / Collection: Queensland Art Gallery / © The artist / Photograph: Natasha Harth, QAGOMA

Our 10-year milestone is a time to reflect on GOMA’s impact locally and nationally, and to look toward its future. GOMA has been a force for cultural change, stimulating our audience’s appetite for contemporary art and ideas. QAGOMA takes pride in a decade of world class exhibitions and programs and celebrates wonderful additions to the state art Collection. It’s only fitting that in marking this milestone the gallery offers visitors of all ages a multi-faceted, sensory and participatory art experience.

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Ron Mueck, England b.1958 / In bed 2005 / Mixed media / Purchased 2008. Queensland Art Gallery Foundation / Collection: Queensland Art Gallery / © The artist / Photograph: Natasha Harth, QAGOMA

On 3 December we will unveil a series of birthday gifts to the Collection, among them the electrifying Heard by American sculptor and performance artist Nick Cave. This group of brightly coloured sculptural horse costumes will be brought to life by dancers at the GOMA Turns 10 opening weekend and become part of the exhibition’.

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Nick Cave b.1959 / HEARD DETROIT 2015 / Photograph: James Prinz / Image courtesy: The artist and Jack Shainman Gallery, New York

‘Sugar Spin’ will also include many acquisitions secured through the Gallery’s flagship Asia Pacific Triennial series of exhibitions, such as Huang Yong Ping’s monumental skeletal serpent Ressort 2012, Monir Shahroudy Farmanfarmaian’s multi-panel mirror mosaic Lightning for Neda 2009 and Lee Mingwei’s invitation to share intimate stories of how we relate to others in Writing the unspoken 1999.

‘Sugar Spin’ will make full use of GOMA’s unmatched exhibition spaces, taking audiences on a journey from the majestic to the minute, traversing five distinct chapters: ‘sweetmelt’, ‘blackwater’, ‘soaring’, ‘treasure’, and the dramatic finale of ‘cosmos’.

The exhibition will reflect the colour and energy of Queensland, Australia’s sugar state, drawing works from our leading artists together with their global peers. Playful and seductive, ‘Sugar Spin’ will bring moments of joy together with dizziness and a deeper sense of unease. It will reflect the beauty of the world we live in, as well as the complex challenges of these turbulent times.

Nervescape is Hrafnhildur Arnardóttir’s first work in Australia and her largest to date. Part beast, part hair-do, part colour field painting, Nervescape has been created especially for GOMA’s expansive Long Gallery. Like many works in ‘Sugar Spin’ it is super sweet, pumped with colour, energy, and a hint of disquiet.

From 19 November, GOMA’s Children’s Art Centre will present ‘Mirror Mirror’, a free and interactive project that has been developed in collaboration with Arnardóttir. In this immersive installation inspired by the artist’s vibrant and tactile practice, young visitors can create their own extraordinary paper hairstyle and help style a wall of artificial hair-like material.

To continue the celebrations, the Gallery will host the GOMA Turns 10 Summer Festival, an all-ages festival from 18-22 January 2017. The festival will include artist talks, tours, creative workshops, storytelling, a crash course in contemporary art and an all-star line-up of musicians for Summer Festival Up Late, including tailored performances for children.

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