Exhibitions

2018

Fremantle Arts Centre Print Award

Ended on — at Fremantle Arts Centre

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.

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Ngaldjorlhbo – Mother of Everything

Ended on — at IDAIA - International Development for Indigenous Arts

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

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Blak Design Matters

Ended on — at Koori Heritage Trust

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

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KING & WOOD MALLESONS AWARD CONTEMPORARY ATSI ART PRIZE

Ended on — at NSW Parliament House

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

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Damibila Mimah – Bush Food Focus

Ended on — at Aboriginal Bush Traders

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;

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Karrang Kunred – Mother Land

Ended on — at The Cross Art Projects

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

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2017

Bábbarra: Women Printing Culture

Ended on — at The Cross Art Projects

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

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Big Mob Daluk

Ended on — at Central Craft

Karridjowkke Kunronj – Crossing Streams

Ended on — at Nomad Art

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

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Wiwa Bábbarra – Sacred Ground

Ended on — at ANU School of Art

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,

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2016

Beyond the Surface: New Textiles and Ceramics

Ended on — at Cairns Art Gallery

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

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2014

Intertwined: Pandanus Fibre, Culture and Design

Ended on — at Tactile Arts

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

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2013

Telling Stories on Fabric

Ended on — at ANU School of Art

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

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Selling Yarns 3: weaving the nation’s story

Ended on — at National Museum of Australia

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

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2009

Momentum: 18th Tamworth Fibre Textile Biennial

Ended on — at Tamworth Regional Gallery

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

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