The Seventh Asia Pacific Triennial of Contemporary Art

RINA BANERJEE India/United States b.1963 With or without name she was blue and who knew when she would slip into another mood for her understandable unwillingness to do, to speak to, to feel and determine her next move rests in her nest as would a Refugee (detail) 2009 Metal structure, feathers, fabric, shells, bells, skull / 176 x 94 x 73cm / Image courtesy: The artist and Galerie Nathalie Obadia, Paris Two decades ago, the Asia Pacific Triennial of Contemporary Art (APT) affirmed this Gallery’s commitment to programs of international and national relevance, and renegotiated the framework in which contemporary art was presented. In 2012, the APT remains just as vital, exciting and engaging as ever. While APTs have clearly played an important role in enhancing cultural dialogue in our region and providing a platform for diverse artistic practices, they have also dramatically shaped the character of our institution and informed new generations of art audiences here in Australia. The Queensland Art Gallery | Gallery of Modern Art (QAGOMA) remains one of the few public institutions in the world to collect both contemporary Asian and Pacific art, and these collections have been developed in tandem with the APT series. We have established genuine and lasting relationships with seminal artists, many of whom are now great ambassadors for our Gallery and who have continued to support our Collection development and exhibition programs. I also gratefully acknowledge the patronage of the generous individuals and organisations that support our Collection and programs through the Queensland Art Gallery Foundation. Strategically aligning art work acquisition with Asia and the Pacific has also redefined our curatorial and collecting areas. Many curators and museum professionals began their careers working on APT projects and we are proud of those who have continued to hone their expertise with us, as well as those who have gone farther afield to expand their experience. I, myself, joined the Gallery for APT2 in 1996, and feel tremendously privileged to present APT7 as the Acting Director at QAGOMA. This Gallery is renowned for its inclusive and innovative public programs, especially for children and families. Much of what we have learned in this field — developing interactive art works with contemporary artists and creating meaningful ways for audiences to engage with contemporary art — has been garnered from our experience of presenting the Triennial, particularly Kids’ APT. The overwhelming success of the APT series, and associated Collection and audience development, also provided the impetus for our second building, the Gallery of Modern Art (GOMA), which opened in 2006 with APT5. For their courageous vision to initiate the Triennial, and their resolute commitment to the negotiation, planning and construction of GOMA, I acknowledge the then Director, Doug Hall, am ; the Queensland Government and the Queensland Art Gallery Board of Trustees. Since its inception, the APT has thrived on the collective knowledge and experience of many people throughout the region. I thank all former Gallery staff and the external collaborators who have been involved in APT project teams, curatorial advisory boards and selection committees over the past 20 years — while there are far too many individuals and organisations to list here, your contributions are gratefully acknowledged. GOMA heralded a new era for the arts in Queensland. It opened with the Children’s Art Centre, and the Australian Cinémathèque, both purpose-built and the first of their kind in an Australian art museum. Since then, both the Kids’ APT and various cinema programs have continued to add dynamic new dimensions to the Triennial. It is fitting then, as we reflect on 20 years of cultural change, that one of the central themes of APT7 is the built environment and the way structures influence people’s engagement with their surroundings. This emphasis on ephemeral structures and transitory spaces is evident in many APT7 works — suggesting ideas of regeneration, re-evaluation and renewal. Spectacular examples include two major commissioned structures by Abelam and Kwoma artists from the East Sepik Province of Papua New Guinea. Also featured is a selection of masks from New Britain and the Sepik, making this the largest representation of work from Papua New Guinea to date in an APT. FOREWORD 22