The Eighth Asia Pacific Triennial of Contemporary Art

this theme — transcribing a passage from works that were ephemeral and an essential aspect of daily life, to becoming formal art objects that can be shown in a gallery or museum context. However, further examination reveals many similarities between these diverse and parallel practices. In APT8 a number of large site-specific installations are constructed from domestic or vernacular materials and entail a degree of performative engagement. Like Gond, Warli and Mithila painting of the past, these works are ephemeral, existing only during the exhibition. AsimWaqif’s installation All we leave behind are the memories 2015 was created by the artist on site and responds to the architectural space of GOMA, traversing walls and levels. Made by hand, it uses the characteristic worn and aged timber of south-east Queensland houses, recycling existing materials sourced from a local timber salvage yard. Waqif’s vast edifice occupies an interstitial space, refusing to be contained by a single discipline or designated exhibition area, reflecting the way in which he allows his materials to direct an ‘open-ended process’ of construction. Despite its precarious appearance, it is highly structured and ordered, and the artist invites viewers to enter and explore, encountering sensory elements activated by a passage through it. The seemingly ordered incremental grids of Haegue Yang’s Sol LeWitt Upside Down—OpenModular Cubes (Small), expanded 943 times 2015 contrast with the formlessness of Waqif’s viral entity. Hovering above QAG’s Watermall, Yang’s homage to American minimalist and conceptual artist Sol LeWitt’s white, modular units of the 1960s is composed of over 1000 venetian blinds — common domestic materials that are in constant, subtle movement. Yang comments ‘the materials remain what they are: abject, poor, and not necessarily sublime — and yet they colour the air around them with significance’. 11 She emphasises the ongoing nature of the sculptural process, its mobility and performativity as a process of constant ‘unfolding’. HAEGUE YANG South Korea/Germany b.1971 Sol LeWitt Upside Down – Structure with Three Towers, Expanded 23 Times 2015 Aluminium Venetian blinds, aluminium hanging structure, powder coating, steel wire / 350 x 1052.5 x 352.5cm / Image courtesy: The artist and Kukje Gallery, Seoul 184—185 AWORLD UNFOLDS