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NCCA EOI Support Material

VISIT US Vimy Lane, Parap, NT 0820, Australia Wednesday - Friday: 10am - 4pm Saturday: 8am - 2pm FREE ENTRY, ALL WELCOME, ALWAYS Gallery CONTACT PO Box 82, Parap info@nccart.com.au (08) 8981 5368 contact contact Access

Travel Between Thresholds Beastliness witnesses horizonless, post-species-specific possibilities, as we tango into the far-fetched future, propelled by unchecked hungers. Human physicality is entirely transformed by the technologies of everyday life. Miraculous conceptions are ordinary, death is deferred, biology is no longer destiny. Gender imperatives mate, proliferate and mutate. Beastliness invokes prancing, preening, coupling metaphor, sutured with history, folklore, mythos, queered archetype. Insult tangled with endearment acquires infinite appetite. Beastliness synthesises traditional handmade photomontage with digital animation into a dalliance with predatory, reckless sirens. Boxset Hey Hetero! is a public art collaboration between artist Deborah Kelly and photographer Tina Fiveash. The project’s six pieces have been seen in illuminated public advertising spaces, city billboards, magazines, books, newspapers, bus ads, postcards, galleries, and online. Hey Hetero! has appeared in Sydney, Melbourne, Adelaide, New Delhi and Wellington since 2001, when it won the major award of the Sydney Gay & Lesbian Mardi Gras Festival. It headlined the Glasgay festival, Glasgow, in 2006, and in 2011 appeared on 1,500 posters around Claremont, California. In 2013 it will be seen in advertising spaces across Skopje, in Macedonian. Hey Hetero! returns the gaze at heterosexuality: the privileged sexuality which makes gay, lesbian, bisexual and transgender movements both possible and necessary. In the form of simulated mainstream advertisements, the work invites heterosexuality into public discourse. Note: No heterosexuals were harmed in the creation of this artwork. 1/0

Arnhem H-way Arnhem H-way is the outcome of a recent residency at Gunbalanya (Oenpelli) where Betheras chanced upon a roadworks crew. Working with the roadcrew’s offcuts – sheets of oil-based paper laden with tar and bitumen – Betheras began to assemble the offcuts in various combinations. Part readymade, these works represent a signifcant experimental departure for the artist better known for his high-key figurative and semi-abstract paintings. Some works bear more of the artist’s painted mark than others while the raw expression inherent in the overall project conjures names like Anselm Kiefer, a conscious influence for the artist who was surprised to discover that Kiefer too had visited Gunbalanya (in the 1990s). Melbourne-based Betheras began his artistic career as a street/graffiti artist before moving into a career as an AFL footballer for Collingwood. He maintains his connection to football and has run various football academies in Aboriginal communities within the NT. ‘The football connection allows me to enter places’, writes Betheras, ‘and from that I am able to produce artwork specific to those places and to the experience of being there’. The ‘higher states of consciousness and physicial application needed to perform at the highest levels of sport’, according to the artist, are also manifest in his artistic process as a painter. 1/0

Hidden Hidden/Pulse disturbance takes the mangrove boardwalk at Fannie Bay and mines the site for environmental, sociological and material information. Starting with the somewhat vertiginous architecture of the boardwalk, this work plays with the ways in which ‘Nature’ is variously framed and disturbed by both human desire and activity – and in turn how nature itself assimilates and acculturates the effects of this human activity. Stray, the collaborative team of Natasha Anderson and Sarah Pirrie, seek to create strange parallel environments – third ecologies – somewhere between the framed cultural site of the gallery and the demarcated ‘natural’ environment. These third spaces mirror our contingent framing of the ‘natural’. 1/0

LOGOS Gallery CONTACT PO Box 82, Parap email us (08) 8981 5368 contact

Pasar Malam | Night Market 13 February - April 11 2026 Contemporary Printmaking from Indonesia and Australia PASAR MALAM | NIGHT MARKET Contemporary Printmaking from Indonesia and Australia A Krack Studio exhibition in partnership with 16Albermarle Project Space At the night market you can buy fake Rolex watches, fried grasshoppers and amulets with “magical” powers. Skinny guys with tattoos operate carnival rides that definitely aren’t safe. There’s a haunted house and a giant python. Gangsters, pickpockets and revolutionaries lurk in the shadows. The morning market is for groceries and gossip, but the night market is the world reversed; where our repressed fears and desires are set loose. Many of the works in this exhibition reference mysticism, mythology and ritual; conjuring the dark glamor of “otherness”. For some it’s about revealing stories that have been hidden from the national narrative; for some it’s about pursuing what they believe is right in a world that believes otherwise; for others it means charting the dark terrain of our inner, psychological worlds. Every community has a Night Market; a shadow place of buried secrets and illicit pleasures. Pasar Malam is an exhibition of large-format screenprinted works, each 200 x 150 cm, created by Krack Print Studio, Yogyakarta, in collaboration with leading Indonesian and Australian artists. The curators are Krack founding co-partners Malcolm Smith and Sukma Smita, working with the Krack team. In keeping with the slightly seedy, mysterious and precarious night markets of Java, the exhibition is designed as an immersive and engaging experience. Visitors will navigate a crowded and colourful space, in which our 15 artists bring to life the chaos and permissiveness of the Night Market. The entrance will be guarded by a “loket” (a ticket booth), and coloured lights and strings of flags will lure visitors into the darkness. A specially commissioned soundtrack will animate the clatter of carnival rides, shrieking crowds and spruikers, underscored by contemporary Indonesian experimental music. Pasar Malam launched in Yogyakarta in May 2025 followed by a showing in Semarang. From 2026 to 2027 it will tour Australia, with the Northern Centre of Contemporary Art in Darwin as the first of 6 venues on the national tour. A unique Indonesian/Australian collaboration, Pasar Malam invites artists in each country to work with one of Indonesia’s leading printmaking studios to realise their visions. In so doing the exhibition reveals a range of creative response to Indonesian society and culture since independence in 1945, while simultaneously repressed fears, desires and histories relevant to people of all countries and nationalities. Australian artists Amina McConvill | Ida Lawrence | Jumaadi | Leyla Stevens | Malcolm Le Smith | Tobias Richardson Indonesian artists Alfin Agnuba | Enka Komariah | Ipeh Nur | Prihatmoko Moki | Restu Ratnaningtyas | Rizqi Maulana Rudi Hermawan | Tamarra | Timoteus Anggawan Kusno This exhibition is proudly supported by the Australian Government's Visions of Australia program and the Musem and Art Gallery of the Northern Territory (MAGNT). LAUNCH: 6pm, Thursday 12 February EXHIBITION: 13 February - 11 April 2026 ______________________________________________________________ PUBLIC PROGRAMING: UPCOMING Pasar Malam | Night Market: Contemporary Printmaking from Indonesia and Australia In conversation: Alfin Agnuba with Emily Collins at NCCA Join us at NCCA, Parap on Thursday 11 April, for a conversation between Krack Studio artist Alfin Agnuba and MAGNT’s Curator of Southeast Asian Art, Emily Collins. Agnuba’s work draws on personal and political perspectives, often exploring the lost or erased history of Indonesia through the practice of printmaking. This conversation will provide insights into his print in the exhibition Pasar Malam and how its concepts intersect with Indonesian night markets, his collaborative work with Krack Studio, and the contemporary printmaking scene in Yogyakarta. 5:30pm | Thursday 9 April | NCCA, 3 Vimy Lane, Parap | No bookings needed - RSVP here Free entry All welcome, always This exhibition was produced by Krack Studio in collaboration with 16albermarle Project Space and is supported by MAGNT and the Australian Government’s Vision of Australia program. This artist visit has been assisted by the Consulate of the Republic of Indonesia. PAST Pasar Malam floortalk with Malcolm Smith & Rudi Hermawan NCCA 10am, Saturday 14 February Join Exhibition Producer Malcolm Le Smith at the Northern Centre of Contemporary Art, Parap (NCCA), for a guided tour of Pasar Malam , an exciting exhibition developed by Krack! studio in partnership with 16albermarle Project Space and brought to Darwin by NCCA and MAGNT. Free entry RSVP here In Conversation | Collecting Contemporary Southeast Asian Art MAGNT 2pm, Saturday Feb 14 February An exciting opportunity to join two of Australia’s leading private collectors of contemporary art from Southeast Asia, John Cruthers and Stephen Shaul, in conversation with MAGNT Curator of Southeast Asian Art, Emily Collins. The collectors will share their experiences and expertise and discuss hot trends emerging from the Southeast Asian art scene today. John Cruthers opened 16albermarle Project Space in Sydney in 2019 to present recent works by Southeast Asian artists to Australian audiences and his gallery is touring the exhibition Pasar Malam | Night Market: Contemporary Printmaking from Indonesia and Australia to Darwin. Stephen Shaul is a specialist in contemporary Indonesian art and the generous donor of the Shaul Collection of Contemporary Indonesian Art to MAGNT. In Conversation is part of the public programs developed by NCCA and MAGNT for the exhibition Pasar Malam | Night Market: Contemporary Printmaking from Indonesia and Australia at the Northern Centre for Contemporary Arts (NCCA) in Parap from 13 February - 11 April. Free entry | Limited places Book here 1/0

Timo Hogan 6 August - 17 September 2022 Timo tells of the Tjukurpa within the landscape of Lake Baker, and the inhabitants that made it so. He surveys the Wati Kutjara Tjukurpa (Two Men Creation Line) of his birthright, and brings this into focus on the two-dimensional plane for all to see. Timo grew up with stories of life in the Spinifex Lands. His mother and family dug themselves into the sand dunes to try to avoid the smoke from the Maralinga atomic bomb. Before he was born she walked to a location close to Tjuntjuntjara and found a pile of tin meat left by the patrol officer. A white man came and picked all the people up in an old Landrover and drove them into Cundeelee Mission. Later his mother was driven from Cundeelee to the old hospital in Kalgoorlie for Timo’s birth in 1973. After his birth, Timo’s mother succumbed to the lure of alcohol in Kalgoorlie and struggled to look after a new baby properly. Timo’s father came and took him to Mt Margaret. He spent his formative years here with his father, Neville McCarthur and his stepmother Alkawari. They lived at Mt Margaret until the family moved to Warburton, closer to his father’s traditional lands. Alkawari did not speak Pitjantjatjara or Ngaanyatjarra as she was from a different Aboriginal tribe, but spoke in English to Timo and he is now fluent in all three languages. Once back on country Timo’s father took him to all the culturally significant places. He wanted to introduce him to the country, to the spirit caretakers and teach him the law. “My father took me to Lake Baker, all around, rockhole and all. I know all these places but I can’t show them. Millmillpa (dangerously sacred). I’m taking over this country now, as my father is gettng old. I’m the only son and people say we are like twins, my father and me. We look the same. I know how to use spears – he taught me everything.” Timo went through Men’s Business initiation at Warburton. The group travelled down to Tjuntjuntjara on the business run. “My father’s really a Spinifex Man. His brothers are Hogan and Jamieson”. After going through business Timo settled in Tjuntjuntjara and lived with his mother. His father visited regularly before he got too old to make the long journey. For a brief period in the 2000’s Timo lived at Kalka as his mother married a man from there. He did his first canvas, a painting of Lake Baker with Ninuku Artists in 2004. After a long break of nearly 10 years he has started painting again. Painting his country, the vast salt lake, the place he now has cultural obligations to look after. A place of power and danger. “I’ve rediscovered my love for painting. I do painting all the time now. I’m painting my country Lake Baker” In 2021 Timo’s work ‘Lake Baker’ was the overall winner of the prestigious Telstra National Aboriginal and Torres Strait Islander Art Awards. His works are highly sought after and hang in major public institutions and art museums as well as substantial private collections. Catalogue Matt Ward Paul Johnstone Timo Hogan 1/0

Psychic Hairdo Zebras and poisonous caterpillars. That stark black and white just don’t sit right in the environment—like cane toads and capitalism. There’s a golden view to Dripstone Cliffs in the afternoon, set against the urbanization and the industrialization, the ugly-fication, awfulization and cyclone fences. Mountainous clouds in the build-up and the beautiful strangeness of it all. It’s the war years and the hits just keep on coming. 1/0

CANZONE Music as Storytelling Angela Cavalieri explores the art of writing in visual form. In her large-scale, hand-printed linocuts, literary, religious and historical narratives eventually manifest as image. Sources include poetry, music, religious epitaphs and inscriptions on public buildings. Fragments of experience and narrative find their form in Cavalieri’s enlarged, broken and repaired text. Seeing the text as an image, she re-writes that part of history by re-working and integrating the text into forms that reinforce its physical and material presence. The narrative is constantly changing and rediscovering itself and new narratives appear. Whatever the source, Angela’s inspiration derives from her migrant family background, Italian being her first language. It is this intimate and personal connection that Angela uses to play with the ideas and architectures of language, storytelling and culture. Recently she has been exploring ‘music as storytelling’, particularly in the use of ‘word painting’ from Monteverdi’s operas and the early poets who inspired his madrigals. CANZONE – Music as Storytelling, a combination of art and music, was exhibited at fortyfivedownstairs Gallery, Melbourne, in association with the 2015 Melbourne Festival, 29 September – 24 October 2015. The exhibition was a culmination of Cavalieri’s five-year exploration of Monteverdi’s madrigals, developed during a recent residency at La Scuola Grafica Internationale in Venice, a Creative Fellowship at the State Library of Victoria and a previous commission from the Arts Centre Melbourne. Angela Cavalieri studied at the Victorian College of the Arts, Melbourne, Australia, from 1981-1983. She has since participated in numerous exhibitions. Most recently, in April/May 2015, Cavalieri was invited to La Scuola Internazionale di Grafica, Venice for a residency and exhibition. Angela Cavalieri’s Parole Viaggianti: Travelling Words, curated by Maroondah Art Gallery and LUMA| La Trobe University Museum of Art, Melbourne, 2011 is her most recent touring survey exhibition. Angela has also participated in The Venice Biennale, Italian Pavilion in the World Project, 2011. Cavalieri has been awarded several prizes including the Manly Library Artist Book Award, New South Wales 2011; the Geelong Print Prize Acquisitive Award, Victoria, 2009 and the Silk Cut Print Award, Victoria, 2000. Her work is held in many public and private collections. 1/0

Jimmy Bamble 1/0