Kun-waral, a collaboration between Bábbarra Women’s Centre and Maningrida Arts & Culture, refers to the shadow or memory of powerful beings who transformed as they moved across country, before humans arrived. In the same way, the artists in this show transform and move across artistic mediums, presenting Japanese woodblock prints, etchings, linocuts on fabric and pandanus woven panels.
To complement John Mawurndjul: I am the old and the new , Bábbarra Designs in Maningrida have transformed the Studio with bold and colourful hand-printed textiles. Inspired by the plants and animals of Arnhem Land, experiment with repeating patterns to create your own layered design and learn the Kuninjku name for your favourite Australian animal! Presented by
Jennifer Wurrkidj’s ‘Kurulk Kare (Going Underground) was a finalist. This year the 43rd annual Fremantle Arts Centre Print Award supported by Little Creatures Brewing presents the best of Australian printmaking. Australia’s premier showcase of prints and artists’ books returns with a selection of works from established, emerging and cross-disciplinary artists from across the nation.
Ngaldjorlhbo | Mother of Everything | Mère de Toute Création Showcasing the art of the women artists from the Aboriginal community of Maningrida, in Western Arnhem Land (Australia), this is the first exhibition focusing on their multi-disciplinary artistic creative process in Paris, France. Co-curated with leading senior artists and sisters Deborah Wurrkidj and Jennifer Wurrkidj, and
As Aboriginal and Torres Strait Islander designers are leading a movement away from collaborative or consultative models to Indigenous-led design, this survey exhibition showcases contemporary Indigenous design projects from across Australia. From fashion, interiors, and product design to landscape, architecture and town planning, the exhibited projects will interrogate how Indigenous design is defined, received, and made visible
Raylene Bonson’s ‘Wubbunj’ was one of 32 finalists. The purpose of the King & Wood Mallesons Award – Contemporary ATSI Art Prize is to acknowledge the outstanding contribution made to Australian culture by Aboriginal and Torres Strait Islander artists in remote, regional and urban areas throughout Australia working in wall hung two or three dimensional
This exhibition focuses on the extensive knowledge of the propagation, harvesting, preparation and storage of bush foods held by Aboriginal people from different communities around the NT. Damibila in Gulumoerrgin (Larrakia) means ‘Barramundi’ and is also the name given to the season that signals the start of the dry season in the Top End. Mimah means food in Gulumoerrgin;
Opening: Friday 20th April 2018 at 6 pm Karrang Kunred/Mother Land unites three senior Kuninjku women of the Kurulk clan who are closely related: sisters Jennifer Wurrkidj and Deborah Wurrkidj and aunt Susan Marawarr. Artistic boundaries are pushed in this exhibition by connecting traditional bark paintings and lorrkon alongside experimental textile prints. Karrang Kunred in Kuninjku means
Women Printing Culture Bábbarra Designs, a contemporary art textile centre in the community of Maningrida, is Aboriginal owned and governed, run by women for women. It is one of a small group of Indigenous textile-producing art centres in Australia that design, print and sew product onsite, in community. Each silk-screened length of fabric is a
Karridjowkke Kunronj – Crossing Streams brings together five established female artists from the Kuninjku homelands of western Arnhem Land. The works integrate time-honoured traditions of art making with contemporary imagery. Deborah Wurrkidj, Jennifer Wurrkidj, Susan Marawarr, Helen Lanyinwanga and Melba Gunjarrwanga, are women of the stone country surrounding the remote homeland of Mumeka, who work with both Babbarra Designs and
The title for this exhibition ‘Wiwa Babbarra: Sacred Ground’ was chosen, with formal permissions from the traditional land owner and djunkai (land caretaker) of the land Babbarra. Babbarra billabong is a place of high sacred significance south of the community of Maningrida, and is also the namesake of our Women’s Centre. ‘Wiwa’ means my country,
Beyond the Surface: New Textiles and Ceramics explores the diverse ways in which images and designs are applied to contemporary ceramics, textiles and furniture as an aesthetic expression of culture and identity. A new initiative of the Gallery, Beyond the Surface brings together recent works produced by a selection of outstanding Indigenous and non-Indigenous ceramists, textile artists and
Marebu and Mukuy: The centerpiece of the exhibition will be a pandanus mat and baskets showing the traditional technique of weaving pandanus to create cultural objects. This will establish a visual link between the adaptation of traditional pandanus weaving to designs on fabric from Maningrida, and the creation of the sculptural Mukuy spirit beings from
This exhibition showcases the fine Indigenous textile art by the women of Maningrida in Central Arnhem Land. The work of these textile artists depicts many different ‘stories’. These stories relate to the landscape, dreaming stories, bush foods and bush crafts from ‘on country’. The variation in subject matter reflects the different cultural identity of the
Selling Yarns 3: Weaving the nation’s story was a four-day event that presented a conference, a market day, workshops, an exhibition and associated activities program, and launched the inaugural Indigenous Art Film program. As the premier national forum for Indigenous textile and fibre in the country it was supported by the Centenary of Canberra, drawing people
Curated by Valerie Kirk, Head of Textiles at the Australian National University. The theme for the Biennial was the gathering of momentum and ideas in response to evolving current technologies in textiles. “History and Tradition have not been negated. On the contrary, there is a reawakened interest in preserving knowledge and expertise, respecting past traditions