The Seventh Asia Pacific Triennial of Contemporary Art

1 Djon Mundine, ‘Some people are stories’, in No Ordinary Place: The Art of David Malangi [exhibition catalogue], National Gallery of Australia, Canberra, 2004. 2 ‘Australian Aboriginal Art: An overview’, in Vision in Disbelief: The Fourth Biennale of Sydney 1982 [exhibition catalogue], Biennale Committee, Sydney, 1982 pp.14–15. 3 Brenda Croft, ‘Up in the sky, behind the clouds’, in Michael Riley: Sights Unseen [exhibition catalogue], National Gallery of Australia, Canberra, 2006, p.29. 4 Doug Hall, ‘Foreword’, in The First Asia Pacific Triennial of Contemporary Art [exhibition catalogue], Queensland Art Gallery, Brisbane, p.6. 5 Gordon Bennett generally tries to avoid being categorised as an Aboriginal/Indigenous Australian artist. 6 Nicholas Thomas, ‘The body’s names: Gordon Bennett’s “Notes to Basquiat”,’ in Beyond the Future: The Third Asia Pacific Triennial of Contemporary Art [exhibition catalogue], Queensland Art Gallery, Brisbane, p.174. 7 Margo Neale, ‘A moment out of time’, in Beyond the Future: The Third Asia Pacific Triennial of Contemporary Art [exhibition catalogue], p.176. 8 Vivien Johnson, ‘Michael Nelson Jagamarra’, in Beyond the Future: The Third Asia Pacific Triennial of Contemporary Art [exhibition catalogue], p.182. 9 Rhana Devenport, ‘The APT3 curatorial process: Negotiating cultural moments’, in Beyond the Future: The Third Asia Pacific Triennial of Contemporary Art [exhibition catalogue], p.25. 10 Avril Quaill, ‘Michael Riley – The extraordinary Mister Riley (Wiradjuri)’, in APT 2002: Asia Pacific Triennial of Contemporary Art [exhibition catalogue], Queensland Art Gallery, Brisbane, p.95. 11 As stated earlier regarding Gordon Bennett, Tracey Moffatt also tries to avoid categorisation as an Aboriginal/Indigenous Australian artist. STEPHEN PAGE Australia b.1965 Nunukul/Munaldjali/Yugambeh people QLD Kin 2006 Commissioned for APT5, 2006 / Sean Page, Hunter Page-Lochard and Samson Page in performance at the Gallery of Modern Art / Photograph: Joanne Bell images — essentially an act of rebuilding, the task of so many communities today. Similarly, Michael Cook’s iconic works from the photographic series ‘Civilised’ 2012 present Australian colonial experiences as those shared with many throughout the region. He muses on the first encounters between European explorers and Indigenous peoples — empire building is questioned by asking what makes a people truly civilised. Timothy Cook looks to the skies in large-scale canvasses, in which he reveres the moon god Japara and the Tiwi Kulama ceremony. He introduces his own personal world view through Christian symbolism and multiple layers of meaning, which speak to the dramatic changes that ‘traditional’ societies are undergoing, and the constantly evolving identities engendered by these changes. Lorraine Connelly-Northey’s giant scrap metal bags also articulate ideas of change and tradition, and the rebuilding of culture, history and memory from fragments. Her rusty sculptures bring beauty to the detritus of our civilisation and reflect her country in regional Australia. Shirley Macnamara’s ephemeral dwelling, made from spinifex runners and a turpentine shrub that grows in abundance on her cattle property near Mount Isa, relates to the theme of structures explored in APT7, and signals an Aboriginal interest in a revival and extension of local traditions. The five artists in APT7 highlight a broad range of Aboriginal experience, from remote, regional and urban contexts. Their works enter dialogues about maintenance and about change — in tradition, colonial and family histories, political struggle, and the reinvigoration and renaissance of culture. These artists — like the Indigenous artists in previous Asia Pacific Triennials — make strong statements about Aboriginal life and issues of significance to their people. But, most importantly, all speak more broadly to ways of life, politics and change across the Asia and Pacific region. 48