the churchie 2021-
Artists: Akil Ahamat, Tiyan Baker, Christopher Bassi, Leon Russell (Cameron) Black, Ohni Blu, Riana Head-Toussaint, Visaya Hoffie, Kait James, Alexa Malizon, Kyra Mancktelow, Ivy Minniecon, Nina Sanadze, Jayanto Tan, and Joanne Wheeler
Curated by Grace Herbert
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Read more about the churchie emerging art prize 2021 here.
dihan bitugung da pasar, 2021
This work was inspired by an affectionate and longing message Baker’s aunt sent to relatives in a family Whatsapp chat:
“Gati kinde neg miri kita rarak nalo maan dihan bitugung da pasar / Everyone come here and together we can eat the durian piled up in the market.”
Leon Russell (Cameron) Black
Pupuni Jilamara, 2021
Pupuni Jilamara, 2021
“My paintings are about my country and my culture. My dreaming is Nyarringari (Magpie Geese). From my father side my country is Jurrupi. From my mother side my country is Yapalika. My Mother Lidwina Tepomitari is a well-known artist, she has been taught by my grandfather Romuald Puruntatameri—he was a great artist, cultural leader, and song man. My uncle Tracy is a really good carver. I have seen them all paint since I was a little boy. I learnt from them, looking at them painting and carving. I only paint with natural ochres. In my paintings I can tell everything about my life in Pirlangimpi, paint all these things in the Tiwi way, in my way, my own way.”
White Washing, 2021
Displaced, disembodied, de-contextualised, and piled together like corpses, the sculptural archive forms a different kind of monument: a memorial. The interactions between individual sculptures create random, evocative, and dramatic compositions. Once monumental and victorious, these sculptures now appear fragile and insignificant, alluding to the impermanence of political eras and ideologies. Apotheosis resurrects an erased visual history, its unorthodox and seemingly violent arrangement prompting us to consider its ongoing sociological value. The work is an iteration of 100 Years After and 30 Years On, an installation originally presented at the 3rd Tbilisi Triennial in Georgia.
No Perception – Head Adornment, 2021
“Our Old People were unclothed but never naked. Our Old People dressed in their identityIn body scars and pigments marking ceremoniesThe same way the white man wears a uniform. Our Old People trimmed their hair with bones, feathers, fibres, and shells. The same way a King wears his crown. Our Old People wore adornments around their necks and on their bodies.The same way the wealth flash their jewels.Our Old People carried their dillies against their skin.The same way a Queen holds her purse.Our Old People were named savages by the nakedness of their bodies by newcomers who colonise us, stigmatise us, and fetishise us.”
The Garden and The Sea, 2021
THE GARDEN AND THE SEA
Shells tangled in the roots
First Language, 2020
Riana Head-Toussaint considers, “What happens to movement that is not recognised in this way? As a wheelchair-user, I have a movement language that is intricate and precise. It is a part of my bodily memory and has taken a lifetime to hone. However, there is no recognised lexicon to communicate and legitimise my wheelchair movement. If I want to share my practice with others, there is no validated language available for us to utilise. First Language is a response to that: a concentration on the visible language in silent revolt against the erasure and non-recognition of legitimate forms of cultural expression.”
Every second loop of the video is accompanied by audio description of the action appearing on screen, facilitating another form of witnessing movement derived from disability culture. This alternate use of language distils the previously unseen into the seen and heard.
The loop of the video without audio description starts at 00:00. The loop with audio description starts at 03:28.
Life is pretty shitty without a Treaty, 2020
Lucky Country, 2021
Captain Fu**er, 2021
Bloody Shit, 2021
Invaders, game over, 2019
Olden Times, Ntaria, 2021
Joanne Wheeler describes her works:
“Family used to be walking round all along Finke River, find all them emu. Looking. Looking. Real hungry one. This is my Country. Good Country, sandhill Country, green Country, lots of grass, sandhill, mountain. This is my family on Country before Hermannsburg Mission Times. Long ago those people, long ago. That’s how things were. And here I am. Lots of people, family, from different community coming to Hermannsburg for sports day. Staying in the house, mix up. Basketball, softball, football. People walking down the street, mothers pushing baby in the prams to the oval. And they going to the shop to get some takeaway, fuel station, filling up with fuel.”
Rich in cryptocurrency, 2021
Dawn of a day too dark to call tomorrow, 2021
The work contends with the futility of the extended argument in the face of misinformation and shortening attention spans. Dawn of a day too dark to call tomorrow advocates for emotional affect and immediacy in the collapse of the information age and the post-truth era.
Using intimate ASMR sound design and intricately detailed cinematography, the work sensorially reproduces the main question posed in the script; what do we do when we can’t trust what we see?
Potluck Party Pai Ti Kong (A Praying The Heaven God), 2021
As an immigrant artist, who fled poverty and political oppression in search of a better life in Sydney, Tan created these objects as homage of the victims of the Riot of May 1998 throughout Indonesia. The riot largely targeted Chinese-Indonesians and thousands of people where were violently attacked and massacred. Despite the tragedy remaining unresolved politically, this ceramic work is intended to symbolise life and hope.
Water Doesn’t Tell me to Lose Weight, 2019
Official Opening + Prize Announcement
Friday 22 October, 6–8pm
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Potluck Party: Pai Ti Kong Feast
Saturday 9 October, 3–4.30pm
'the churchie' Curator Exhibition Tour
Saturday 23 October, 1–1.30pm
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Professional Development for Educators
Sunday 10 October, 10–11.30am
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