Mouthfeel is a collection of five films curated by Megan Fizell exploring the mouth through its navigation, ingestion and expulsion of edible and non-edible substances. The films aim to evoke a synaesthetic response in the viewer, triggering the sense of taste and touch.
The films are produced and performed by four women artists and one husband-wife duo and include the following:
ELIZABETH WILLING, Lick, 2009
HILLERBRAND & MAGSAMEN, Coffee & Milk: Water Dance, 2005
HANNAH RAISIN, Rose Garden, 2009
MARTYNKA WAWRZYNIAK, Chocolate, 2010
NINA ROSS, The Foreignness of Language, 2011
Megan Fizell (feastingonart.com) is a Sydney-based writer and curator who specialises in the representation of food in the visual arts. She holds a Master of Arts (Art Business) from Sotheby’s Institute of Art - London, a Bachelor of Arts (History of Art) from the University of Michigan, and is currently working on a Master of Arts (Art Theory) from the University of New South Wales researching the use of edible materials in arts practice.
Fizell is the Gallery Manager at Brenda May Gallery, Sydney and her writing has appeared in Artlink, Ceramics Monthly, and Journal of Australian Ceramics among others. Previous curatorial projects include Sugar, Sugar (October 2013) and Art + Food: Beyond the Still Life (October 2012). Sugar, Sugar featured contemporary art made exclusively with sugar by ten female artists.
Angela Cavalieri explores the art of writing in visual form. In her large-scale, hand-printed linocuts, literary, religious and historical narratives eventually manifest as image. Sources include poetry, music, religious epitaphs and inscriptions on public buildings.
Fragments of experience and narrative find their form in Cavalieri's enlarged, broken and repaired text. Seeing the text as an image, she re-writes that part of history by re-working and integrating the text into forms that reinforce its physical and material presence. The narrative is constantly changing and rediscovering itself and new narratives appear.
Whatever the source, Angela’s inspiration derives from her migrant family background, Italian being her first language. It is this intimate and personal connection that Angela uses to play with the ideas and architectures of language, storytelling and culture.
Recently she has been exploring ‘music as storytelling’, particularly in the use of ‘word painting’ from Monteverdi’s operas and the early poets who inspired his madrigals. CANZONE – Music as Storytelling, a combination of art and music, was exhibited at fortyfivedownstairs Gallery, Melbourne, in association with the 2015 Melbourne Festival, 29 September – 24 October 2015.
The exhibition was a culmination of Cavalieri’s five-year exploration of Monteverdi’s madrigals, developed during a recent residency at La Scuola Grafica Internationale in Venice, a Creative Fellowship at the State Library of Victoria and a previous commission from the Arts Centre Melbourne.
Angela Cavalieri studied at the Victorian College of the Arts, Melbourne, Australia, from 1981-1983. She has since participated in numerous exhibitions. Most recently, in April/May 2015, Cavalieri was invited to La Scuola Internazionale di Grafica, Venice for a residency and exhibition.
Angela Cavalieri's Parole Viaggianti: Travelling Words, curated by Maroondah Art Gallery and LUMA| La Trobe University Museum of Art, Melbourne, 2011 is her most recent touring survey exhibition. Angela has also participated in The Venice Biennale, Italian Pavilion in the World Project, 2011.
Cavalieri has been awarded several prizes including the Manly Library Artist Book Award, New South Wales 2011; the Geelong Print Prize Acquisitive Award, Victoria, 2009 and the Silk Cut Print Award, Victoria, 2000. Her work is held in many public and private collections.
Launch: Friday 4 March, 6-8pm
The party is over, the glitter has shaken off. The Bathroom Series is emerging artist Tara McDonald’s post-party 3am self-capture from her bathtub.
“The images represent the side of me that very few people see, a side of isolation, introspection and at times melancholy.”
The Bathroom Series, a photographic-based installation including images screenprinted onto fabric, will show in the NCCA Boxset from 27 February to 26 March.
Tara McDonald is an emerging artist working in photography and print. McDonald presents her work in the Boxset as part of her Highly Commended Award in the 2015 Art of Pride exhibition, Mayfair Gallery, Darwin, in association with the 2015 Darwin Pride Festival.
Launch: Friday 4 March 6-8pm
Melbourne-based artist Cate Consandine interrogates the Australian postcolonial in her film-based work Cut Colony (2012). Consandine explores in this work the relationship between subjects and unforgiving landscapes as physical expressions of psychological states. Both the clay pans and desert lakes of outback New South Wales set the stage for awkward and assertive interactions between the subject and the environment; tense performances that invoke and consider binaries of wet/dry, masculine/feminine, stillness/movement, open/contained, composed and uneasy.
Consandine explains, “The relationship that I have as a white Australian in this country to something that’s unnerving, unsettling about these expansive interior landscapes which for someone who’s living in Melbourne and kind of existing on the fringes of this continent… still finds it hard to reconcile herself with, as I think many Australians find it hard to reconcile themselves with their relationship to the Australian landscape and these central desert areas.”
Cut Colony will show in the Screeroom at NCCA 27 February to 26 March.
Cate Consandine works across a wide range of formal and discursive mediums, including sculpture and spatial practice, video and performance. Her research interrogates the body in the Australian landscape, and its condition in relation to the physiological and psychoanalytic elaborations of space and its emotion. Consandine has exhibited nationally and internationally since 1999. She is a Lecturer in Sculpture and Spatial Practice in the School of Art, Victorian College of the Arts, University of Melbourne. She received a PhD from Monash University in 2015, and is represented by Sarah Scout Presents gallery, Melbourne.
Launch: Friday 4 March 6-8pm with performative print by Mats Undén
As the Print Council of Australia (PCA) celebrates its 50th year, NCCA is giving over galleries 1 and 2 and the Boxset to priNT: a representative exhibition of printmaking from across the Northern Territory over the last 10 years.
Jobling explains, “This exhibition will show the diversity and depth of the work of over 20 artists mostly working from home studios… We have tried to choose works that fulfil the PCA advocacy of promoting prints and printmakers, works on paper, artists’ books and zines and collecting art on paper… I have especially chosen works that are experimental and challenge the conventional view of the print.”
priNT focuses on large-scale, 3D and highly experimental works from both indigenous and non-indigenous artists including:
Rob Brown, Franck Gohier, Jacqueline Gribben, Gadaman Gurruwiwi, Mikey Gurruwiwi, Colin Holt, Winsome Jobling, Glynnis Lee, Chips Mackinolty, Barrata Marika, Munuy’ngu Marika, Tara McDonald, Anne McMaster, Jemma Petch, Mamburra Raymond, Therese Ritchie, Merran Sierakowski, Neridah Stockley, Kerrie Taylor, Mats Undén, Gurmarrwuy Yunupingu, Nena Zanos.
Winsome Jobling has exhibited both nationally and internationally since 1990. Solo shows include: Earthworks, Nomad Gallery, Darwin; Winsome Paper, Kawing project exhibitions at the National University in Manila and Baguio, Philippines; Journal, IAPMA Congress Flinders University, Adelaide. Selected Group exhibitions include: Sofia International Paper Art Biennial, Bulgaria; Watermarks, IAPMA Conference Exhibition, Fabriano, Italy; Botanica 1, Godinymayin Yijard Rivers Arts and Culture Centre, Katherine; Fibre Face 3, Jogjakarta, Indonesia. In 2008 Jobling received a Churchill Fellowship researching Handmade Paper for Printmaking.
Mats Undén has over 20 years’ experience working as a professional printmaker, collaborating with artists both nationally and internationally. Undén is also a practicing sound artist, researching the relation between sound, moves and mark-making.
international group exhibition
In June/July 2015 NCCA ran its second Artists' Camp in the Top End for Indonesian artists. 5 Balinese artists and a Bali-based Javanese artist spent time in a number of Top End and Central Desert locations. They visited iconic sites such as Uluru, and were welcomed by Tiwi people on Melville Island. They made work – en plein air, in makeshift studios, on the road – and met and collaborated with other artists along the way.
The Camp was not without a few stops and starts, from visas to volcanoes. In some cases a delay meant more studio and touring time. There was a lot of travel overall – by car, plane and boat – yet the artists produced a large and diverse body of work that clearly connects with the places and people they encountered. A small selection of this work (including opposite image) formed the exhibition desert trail at NCCA (Sept/Oct 2015) focusing on two Camp firsts: its visit to the Centre, and the inclusion of female artists, Ni Nyoman Sani and Suryani. A major exhibition of Artists’ Camp 2015-related work will show at NCCA 23 January to 13 February 2016.
6 artists – Made Budhiana, Wayan Wirawan, Made Sudibia, Made Suarimbawa (Dalbo), Ni Nyoman Sani and Suryani – were led on the camp by Melbourne/NT-based artist Rupert Betheras. Other artists who joined in at various stages include Emma Stewart (Alice Springs), Lionel Possum (Alice Springs), Xiaogang (Xavier) Yu (Alice Springs/Tiwi), Tom E. Lewis (Wugularr/Katherine), and Tiwi artists from Munupi Arts & Crafts, Pirlangimpi. Indonesian journalist Henny Handayani (Bali Arts) also joined the Camp for the first two weeks.
The Artists’ Camp 2015 follows on from NCCA’s 2012 Artist Camp which saw 4 Balinese artists spend time in two Top End National Parks and Darwin, culminating with The Artists’ Camp exhibition at NCCA (Aug/Sept 2012). The Camp recognises a seminal Top End precedent with the artist-in-the-field camps initiated by the late Colin Jack-Hinton (first Director of the Museum and Art Gallery of the NT) in the late 1970s.
The Artists’ Camp 2015 is sponsored by the NT Government, Commonwealth Bank Indonesia, and the Department of Foreign Affairs & Trade (Australia Indonesia Institute). NCCA also acknowledges the support and involvement of Mike Stitfold, Munupi Arts & Crafts, Djilpin Arts (Wugularr/Beswick), Injalak Arts (Gunbalanya/Oenpelli), Colin McDonald, and the Made Budhiana Gallery, Ubud, Bali.
Images of Artists' Camp 2015-related work by (top-bottom) Dalbo, Suryani, Made Sudibia, and Rupert Betheras; photos by Fiona Morrison
2015 Members' exhibition
Milestone is the theme for this year's 2015 Members' show, in honour of NCCA's milestone 25th year in 2015/16. NCCA first opened its doors as 24HR Art on April Fool's Day, 1990. Perhaps it seemed like a foolhardy venture back then but the gallery has gone on to prove its mettle through a diverse contemporary art program over the past few decades which has challenged and inspired audiences and represented thousands of artists and curators from Darwin, the NT, and beyond.
Exhibiting member-artists (and a collector) were encouraged to take up the milestone theme to commemorate NCCA's 25th year, or respond more broadly to the idea of milestone and what it might represent on a more personal or sociopolitical level.
Milestone judges Margie and Franck both have affiliations with the gallery stemming from its formative years; Margie was part of NCCA's founding board while Franck exhibited in the gallery's first exhibition even before it had a 'permanent' venue.
Special thanks to all who participated and supported our Milestone Members' Show - Celebrating 25 years of NCCA's enduring presence and commitment to providing a quality contemporary arts program in Darwin.
Congratulations to the following artists:
ANDREW EWING: who was the overall winner of Milestone and has won a trip to Brisbane to see APT8; courtesy of Brian Tucker Accounting & NCCA.
GAYE COYNE: 1st Honorable Mention with a $500 voucher courtesy Cope Sensitive Freight.
SARAH PIRRIE: 2nd Honorable Mention with a hamper courtesy Parap Fine Foods
Judges also commended the work of BILL DAVIES and WINSOME JOBLING.
NCCA awarded 2 prizes:
The BoxOpp Award went to JAN CARTER who will have the opportunity to show in the Boxset in 2016.
TEROMAH STUMPAGEE was awarded NCCA's inaugural Emerging Photographer Award sponsored by Baz Ledwidge.
NCCA thanks both judges for their involvement and expertise. We are also grateful to our prize sponsors:
Images of MILESTONE Members' Show 2015-related work by (top-bottom-left-right) Bill Davies, Andy Ewing, Winsome Jobling, Jan Carter, Gay Coyne, Sarah Pirrie, Teroma Stumpagee.
Collage & acrylic on paper.
Something is growing in the Boxset: feral, spiral, fungal … 'tis the season.
I Virii imagines growth as both voluptuous and viral, realised through the artist’s characteristic crochet of (often) tough, tensile materials.
Merran Sierakowski is a Darwin-based artist who has worked across a variety of media (mainly print, sculpture, installation) over the past two decades, and who generally deals with current issues of environmental and humanitarian concern. She exhibits regularly in solo and group shows in Darwin, nationally and overseas and, among other achievements, has been a serial finalist in the former annual Togart Contemporary Art Award exhibition (2006-13). Her most recent solo exhibition, Not Waving … Drowning (an eco-marine-themed soft sculptural installation), showed at Nomad Art, Darwin, in May 2015.
33 is a dual screen installation which draws on Burton’s My Mother’s Village project which premiered at the 2012 Colombo Art Biennale. My Mother’s Village is, as the artist states, ‘a journey of inheritance’. It focuses attention on Sri Lankan communities where Burton’s parents conducted field research in the late 1970s and produced The Sri Lanka Series (1980), comprising three ethnographic documentaries. 33 years later, Burton visits the same villages/communities and the same participants from The Sri Lanka Series. His filmic treatment (gathered over 4 years [2010-14] as part of his doctoral research) pursues the original themes and issues of the former: economic conditions, colonialism, the roles and position of women, religion and ritual, and intergenerational change. The 33 installation includes excerpts from The Sri Lanka Series juxtaposed against Burton’s recent footage.
Image: '33', installation view (detail), NCCA, 2015; image courtesy the artist
Aaron Burton is a documentary filmmaker, photographer, and visual artist. His personal storytelling approach to moving and still images traverses the boundaries of documentary, visual ethnography, and video art. In 2009 Burton was awarded the inaugural Jeremy Hynes Award by the Institute of Modern Art, Brisbane, for his video-based documentaries. Aaron holds a PhD in Media Arts from the University of New South Wales and is currently lecturing at Charles Darwin University, NT.
'The Sri Lanka Series', 1980, by Sharon Bell and Geoff Burton
‘Entelechia’ is a Latin word originating from the Greek term ‘entelekheia’ which relates to Aristotle’s philosophy describing ‘the condition of a thing whose essence is fully realised’. ‘Actuality’ as distinct from ‘potentiality’. For artist Rita Macarounas, it’s a term which denotes her Greek heritage and is akin to the idea of ‘being the best that we can be’. In this regard, Macarounas turns to the sunflower as a symbol of this state of being fully realised and of the cycle of life. ‘There’s a lot of doom and gloom around so I wanted something really intense to tell a story’, Macarounas says of this work which incorporates a gold leaf background in accordance with the philosophy and sunflower motif as well as harking back to previous training in the Greek Orthodox icon tradition. This work, showing in NCCA's Boxset over the Christmas/New Year break, belongs to an ongoing series of ‘Entelechia’ works, and marks the artist’s debut showing at NCCA.
Born in Darwin, Rita Macarounas studied visual arts at Campus Arts & Sciences, Athens, with Effie Halivoupoulou, and printmaking at Charles Darwin University with Mats Undén. Her art background also involves pottery and Byzantine iconography. She has been working as an artist since 1986, first showing work in the 29th Pan Hellenic Pottery Exhibition, Athens, 1987. Macarounas returned to Darwin four years ago after a long period living in Greece, and is actively involved in the local arts and Hellenic community. Primarily a painter, Macarounas is particularly drawn to the colour red and all its hues (‘symbolising life, passion, fear, danger, wealth, speed, and attraction’). Gold is also an important component in her work and identifies her Greek Orthodox spiritual heritage. She is currently working on a project based on the Hellenic Diaspora which will be exhibited at Darwin Visual Arts Association in May 2016. Macarounas’s work can be found in private collections in Greece, Holland, Belgium and Australia.
George Town (Gallery 2) is a kind of love letter to the vernacular architecture of this UNESCO heritage-listed city, the capital of the Malaysian island of Penang – ‘oozing’, in the artist’s words, ‘with the kind of tropical colonial stuff I love’. The exhibition furthers Darwin-based artist Chayni Henry’s interest in local built heritage, as seen with her most recent solo exhibition, Foundation – new paintings by Chayni Henry, at Outstation Gallery, Darwin (2013). George Town reflects the artist’s desire to ‘start a relationship with the architecture of SE Asia’, with the work continuing her distinctive painted cut-out, narrative forms, and drawing on a research visit to Penang earlier this year.
Chayni Henry is one of Darwin/the NT’s leading contemporary artists with a practice (since 2002) largely involving painting and printmaking. In 2012, she re-launched Red Hand Prints with fellow Darwin artist Franck Gohier. She was the overall winner of the inaugural Togart Award (2007), and was represented in the annual Primavera exhibition (Museum of Contemporary Art, Sydney) in 2006. Chayni has previously held 10 solo exhibitions (in Darwin, Sydney, and Hobart), and participated in numerous group exhibitions. Her work is held in many notable public and private collections, including the National Gallery of Australia, Corrigan Collection, Laverty Collection, Artbank, and the Museum of Contemporary Art, Sydney. www.redhandprints.com
Chayni's research trip to Penang was assisted by the NT Government through Arts NT.
Claudine Marzik, Tijn Meulendijks
Seed to Seed (Gallery 1) is a collaboration by Cairns-based artists Tijn Meulendijks and Claudine Marzik which has involved them in a series of exhibitions over the past 4 years cultivating a shared interest in the natural environment and abstraction, expressed through their different mediums: primarily painting (Claudine), and ephemeral plant-based installations (Tijn). ‘Although growing up in Switzerland and the Netherlands’, the artists write, ‘we both have been living in Australia for many years and we have an extensive knowledge of plant and plant material from Australia. In Seed to Seed, we engage with the cycle of vegetation observing the rules; we aim to capture its movement and rhythm, and to give form and shape using a similar perception. Although we are using different mediums, our views have similar aesthetic values.’
Seed to Seed comprises 2- and 3-dimensional works which respond to, and reinterpret Australia’s tropical far north including a site-specific installation of Darwin plant life.
Image: 'Seed to Seed', installation view (detail), NCCA, 2015; image courtesy the artists
Claudine Marzik is a self-taught artist, primarily painter, who is influenced by mid-20th century Abstraction and Minimalism. Born in Basel, Switzerland, she migrated to Australia in 1988 and is based in Cairns. She has held around 16 solo or duo exhibitions in various cities around Australia and internationally (Japan, Switzerland), and including venues such as Perc Tucker Regional Gallery, Townsville, and Kick Arts Contemporary Arts, Cairns. Claudine won the Painting Prize in the 2013 Waterhouse Natural Science Art Award (SA Museum, Adelaide), and the Primary Award in the 2012 Redlands Art Awards, Queensland. www.claudinemarzik.com
Tijn Meulendijks works with nature, and with vegetation in particular. He holds a Master of Floral Design from Hertogenbosh, The Netherlands (2004) and his lifelong interest in botany and the human perception of nature has become the greatest influence in a practice largely involving site-specific installation and works on paper. Tijn has exhibited his work throughout Queensland, and in The Netherlands, and including for key ephemeral sculpture-based events such as Floating Land, Noosa Regional Gallery, and Strand ephemera, Perc Tucker Regional Gallery, Townsville. He is a past winner (2009, with Claudine Marzik) of the Port Douglas Sculpture Award. www.tijnmeulendijks.com
Ni Nyoman Sani, Suryani
In June/July 2015 NCCA ran its second Artists' Camp in the Top End for 6 Indonesian artists from Bali. For the first time the Camp travelled to the Centre and also included two women artists, Ni Nyoman Sani and Suryani. desert trail (Gallery 2) is a small selection of their work focusing on their time in and around Alice Springs including a visit to Uluru. The exhibition is a prelude to the main Artists' Camp 2015 exhibition to be held in Darwin towards the end of the year, and to also include the work of Made Budhiana, Wayan Wirawan, Made Sudibia, Made Suarimbawa (Dalbo), Rupert Betheras and Lionel Possum.
Ni Nyoman Sani is one of Bali's leading contemporary artists renowned for her depictions of the female form. She has been an active member of Bali's Seniwati Gallery for women artists, and also advocates for the nexus of spirituality, art and healing. She is a graduate of the STSI Art University, Bali, and her work the subject of the 2006 publication The paintings of Ni Nyoman Sani by I Wayan Sukra and Vidyasuri Utami. Sani was represented in the group exhibition Bali: Return Economy at Fremantle Arts Centre, 2014. Her practice combines painting, sound/music/performance, installation, photography/film and fashion design.
Nanik Suryani is an emerging artist originally from East Java who has been based in Bali over the past decade. She is primarily a painter with an interest in the Consensusism style characterised by the work of Dutch artist Ton Schulten and an emphasis on abstract geometric composition in balance with the roots of impressionism and the elements of shape, light and color. 'Although my parents sent me to University to study foreign literature and languages, it turned out that I am an artist', writes Suryani, who has held several solo exhibitions in Bali since 2013.
The Artists’ Camp is sponsored by the NT Government, Commonwealth Bank Indonesia, and the Department of Foreign Affairs & Trade (Australia Indonesia Institute).
‘… this is the contemporary challenge of seeing through moments of clarity while holding with frail hope the complex experience of being human …’
Of Beauty and Sadness brings together three strands of practice from NSW-based painter Michael Galovic. The first strand represents Galovic’s practice as an icon painter in the Christian tradition. This is the discipline that he is best known for and for which he has dedicated much of his practice since graduating from the Belgrade Academy of Arts, Yugoslavia, in 1974. As an icon painter Galovic is particularly interested in the Crucifixion and Stabat Mater (lit. ‘the Mother was standing’ [Latin], referring to the Sorrows of the Blessed Virgin Mary at the Cross).
Galovic’s second strand of practice is what he calls his ‘contemporary religious’ works. These paintings are strongly informed by the icon tradition but without adhering to all of its strict visual codes, allowing the artist to explore themes such as the Crucifixion more freely and to draw on wider influences including Paul Gauguin’s ‘The Yellow Christ’.
Galovic’s third strand of practice is his ‘contemporary non-religious works’ which embrace a range of mythological subjects and which arguably include his depicitions of Uluru in Central Australia, a subject which he began exploring around 16 years ago. Galovic's Uluru-related works form a major component of this exhibition. They reveal the way in which his different strands may converge given Uluru's sacred significance and his response to this, in some of the works, through the icon tradition.
After extensive travels around the world, Galovic settled in Australia in 1990. His work as an icon painter appears in hundreds of churches and religious institutions throughout Australia and overseas. He has held solo exhibitions around the country and the world, and he is a four-time finalist in the annual Blake Prize for Religious Art. Of Beauty and Sadness is his first exhibition in Darwin.
Above quote from Dr Rod Pattenden, ‘Dark Light: The Art of Michael Galovic’, in The Son of Man: Traditional icons and contemporary religious artwork by Michael Galovic’, 2014, p. 4.
Aly de Groot
Overfishing, combined with oceanic warming, is creating perfect living and breeding conditions for jellyfish across the planet. Various species are now found in places they never used to be, often in plague proportions. For example, box jellyfish are now found as far south as Coffs Harbor and Japan has a giant pink jellyfish problem that is destroying their fishing industry. Made from Japanese World War 2 helmets, and fishingline, The Jellyfish Wars (showing in NCCA's Screenroom) conveys the narrative of this surreptitious invasion. The helmets are covered in ghost nets, which are another intercontinental marine menace, and a big problem in Northern Australia. The installation is accompanied by Ghost Story: The Art of Aly de Groot - an evocative and haunting documentary directed by Timothy Parish and Shannon Swan as part of Art X North, a collaboration between ABC Arts Online and Screen Territory.
Aly De Groot’s creative agenda involves a thorough investigation into the use of marine detritus combined with basket making techniques, resulting in ethereal woven sculpture and installations that extend the conversation about the fragile marine eco-system and the importance of celebrating and protecting it. She is increasingly recognised as one of Australia’s leading contemporary fibre artists, winning the prestigious Toga Art Award in 2013. Her first major public sculpture was commissioned by the City of Darwin in 2014, and stands proudly seaside in the East Point Nature Reserve. As a recipient of a Charles Darwin University Post Graduate Research Scholarship, her PhD research (Underwater Basket Weaving) explores issues surrounding basketry and ecology.