National Gallery of Australia | Audio Tour | National Indigenous Art Triennial 07

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Sinopsis

Audio guide to thirty works from the National Indigenous Art Triennial 07: culture warriors shown at the National Gallery of Australia, Canberra 14 July – 16 October 2006

Episodios

  • Philip GUDTHAYKUDTHAY, Wagilag Sisters, with child 2007

    20/11/2007 Duración: 02min

    This painting represents a component of the Wagilag Sisters epic creation story. The upper-left corner of the work shows Wititj the sacred python emerging from its home, Mirarrmina waterhole. Wititj has already swallowed and regurgitated the sisters and their child, and the child is drinking the Mirarrmina water from a mungulk (a paperbark water vessel). The rarrk roundels in the work are djamundurr or gunda, which are stones. The stones are found surrounding Mirarrmina waterhole and the sisters use the stones for killing goannas to eat. ‘How much goanna? one, two, three, four…buduk (wait)…five. Five goanna.’ The goannas are djarrka(the Mertens’ water goanna) who live in hollow logs around the waterhole. This goanna is painted as a body design on initiates in high-order ceremonies such as Ngulmarrk and Djungguwan. Not all men make it to this level of ceremonial initiation as it is reserved for the (potentially) more powerful leaders and lawmen. The triangular shapes are ngambi (stone spearheads) collected

  • Danie MELLOR, The contrivance of a vintage Wonderland (A magnificent flight of curious fancy for science buffs, a china ark of seductive whimsy, a divinely ordered special attraction, upheld in multifariousness) - Installation 2007

    20/11/2007 Duración: 01min

    A wonderland of truly wondrous things That nowhere else upon this Earth are found; Of reptiles rare, and birds that have no wings, And animals that live deep in the ground; And those poor simple children of the Earth, (A disappearing race you here may meet), Whom whites have driven from their land of birth To regions still untrod by booted feet.1 Danie Mellor’s (re)creation of this gleefully contrived never-never land is realised in his phantasmagorical tableau The contrivance of a vintage Wonderland (A magnificent flight of curious fancy for science buffs…a china ark of seductive whimsy…a divinely ordered special attraction…upheld in multifariousness) 2007, which is the kind of diorama that should have been on display in the social history museums of the past. Mellor’s magical installation conjures up flights of fancy that might have been the imaginations of those terrified and ignorant initial ‘boat people’. Mellor’s creatures are manufactured from an amalgam of the man-made and the natural: real macro

  • Gordon HOOKEY, FIGHT: To Survive, To Live; To Die! Conject Jar 2007

    20/11/2007 Duración: 02min

    A while ago I was asked to do some work about the Chris Hurley case. Because I wasn’t directly involved I decided to do a more general painting on black deaths in custody. This is it: FIGHT: To Survive; To Live; To Die! My first thought was to depict a subversion of events. Instead of a blackfella being beaten by the cops, here, you’ve got the cops being beaten by a blackfella. My central figure is the key to this painting: an image of resilience, of fighting back against the odds. The boxing tent to the left refers to a history of blackfellas fighting in Australia. Here I use it as a sign of empowerment with the blackfellas as heroes and the redneck crowd as villains. The left panel shows the faces of the rednecks. Like criminals, their faces are obscured by stockings. This obscurement refers to how racism can be masked or institutionalised. It’s a kind of crowd mentality. The crow on the right of the central panel refers to the spirit of blackfellas who have died in custody, ascending from the jail cell. To

  • Owen YALANDJA, Yawkyawk 2007

    20/11/2007 Duración: 01min

    Kuninjku artists Owen Yalandja and Anniebell Marrngamarrnga have created three-dimensional representations of the same ancestral being, the yawkyawk. Yawkyawk (also known as yawk yawk and yalk yalk) are female water spirits that are often referred to within European cultures as mermaids. They are half fish, half Ancestral Being, who entice unsuspecting men beneath the water of the billabongs and lagoons, where they reside throughout Arnhem Land. In some representations they have long reed-like hair, referring to the waterweed, and are able to transform their features into that of a fish snake. They are able to morph further as they grow into adulthood, leaving their watery domicile and flying like dragonflies. Closely associated with the powerful Ancestral Being Ngalyod the Rainbow Serpent, yawkyawk are often linked with sorcery. Yalandja’s majestic, elegant carvings of Yawkyawk 2007, hewn from eucalyptus trunk, denote strength and power. The chevron design, his signature design, indicates the shimmering scales

  • H.J. WEDGE, No more drinking 2006

    20/11/2007 Duración: 01min

    H.J. WEDGE, No more drinking 2006, painting, synthetic polymer paint on canvas, 120.0 (h) x 120.0 (w) cm, courtesy of Boomalli Aboriginal Artist Co-Operative Ltd. © H.J. Wedge

  • Arthur Koo'ekka PAMBEGAN JNR, Face Painting 2006

    20/11/2007 Duración: 01min

    Arthur Koo'ekka PAMBEGAN JNR, Face Painting 2006, painting, natural earth pigments and hibiscus charcoal with synthetic polymer binder on canvas, 56.0 (h) x 168.0 (w) cm, purchased 2007 © Arthur Pambegan Jnr, courtesy of Andrew Baker Art Dealer, Brisbane

  • Dennis NONA, Ubirikubiri 2007

    20/11/2007 Duración: 03min

    This is a legend that took place on the Mai Kusa River on the western coast of Papua New Guinea. Following the death of his wife, a man decided to give his daughter a pet to help console her and keep her company. He brought her a puppy but she didn’t like it. He then brought her a piglet but she didn’t like that either ... One day when he was out spearing fish in the back he came across a baby crocodile, which he caught and took home to show his daughter. She really liked it and named the crocodile Ubirikubiri. As the crocodile grew, the man kept enlarging the pen. After Ubirikubiri had become fully grown, the father went to visit friends in another village, and he neglected to feed the crocodile the entire time he was away. When he returned Ubirikubiri was very hungry and very annoyed at having been left without food for such a long time. As the father went to feed Ubirikubiri some fish, the crocodile grabbed him and killed him, then it broke out of the pen, placed the father on his back and headed to the Ma

  • Doreen Reid NAKAMARRA, Untitled 2007

    20/11/2007 Duración: 01min

    Marrapinti is the rock hole site west of the Pollock Hills in Western Australia. Ancestral women of the Nangala and Napangati subsections camped at Marrapinti during their travels east. There, the women made nose bones, also known as marrapinti. During ceremonies relating to Marrapinti, the older women pierced the nasal septums of the younger women who were participating in the ceremony. Now, nose bones are only used by the older generation for ceremonies. Upon completion of the ceremonies at Marrapinti, the women continued their travels east, passing through Wala Wala, Ngaminya and Wirrulnga, before heading north east to Wilkinkarra [Lake Mackay]. The lines in the painting represent the surrounding tali (sand hills) in the area around Wirrulnga. A group of ancestral women once gathered at this site to perform the dance and sing the songs associated with the area. Wirrulnga is known as a traditional birthing site for the women of the area, and while the women were at Wirrulnga a woman of the Napaltjarri ki

  • Lofty Bardayal NADJAMARREK, Dulklorrkelorrkeng and Wakkewakken 2005

    20/11/2007 Duración: 01min

    Wakkewakken, the legless women, is associated with the ancestral honey in areas around where Nadjamerrek lives – his country Kabulwarnamyo. Dulklorrkelorrkeng has legs, arms, an ‘arse like a monkey’ and the pushed backed face of the ghost bat. Nadjamerrek depicts Dulklorrkelorrkeng with a black whip snake at its thumb. The Wakkewakken was painted first and Nadjamerrek indicated early that he was going to paint a row of four or five of these beings – obviously a change of mind occurred soon after. The areas of hatching on the malevolent Dulklorrkelorrkeng and snake have been executed by two hands – Nadjamerrek’s and his son’s wife Jenny. Nadjamerrek moved to his granddaughter’s house to finish this work. Here his son and wife were also camped and Jenny was instructed to infill the marked out areas of his design. Her practical hand is honest and workman like, differing to his lines, which not only show his confident lightness of touch, creating tonal variation, but also of an old man’s tremor. Dulklorrkelorrkeng ar

  • Ricky MAYNARD, Coming Home, Portrait of a Distant Land 2007

    20/11/2007 Duración: 01min

    I can remember coming here as a boy in old wooden boats to be taught by my grandparents and my parents. I’ll be 57 this year and I have missed only one year when my daughter Leanne was born. Mutton birding is my life. To me it’s a gathering of our fellas where we sit and yarn, we remember and we honour all of those birders who have gone before us. Sometimes I just stand and look out across these beautiful islands remembering my people and I know I’m home. It makes me proud to be a strong Tasmanian black man. This is something that they can never take away from me. Murray Mansell, Big Dog Island, Bass Strait, 2005

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