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Words will never hurt me Words will never hurt me (2014) is an installation-based work by Adelaide-based artist James Tylor. The work comprises video footage and three plum tree sticks inscribed with the word ‘Aboriginal’. The work draws on the primary school recollections of Tylor’s great grandmother, Grace (Campbell) Summers, who would get beaten around her legs with sticks by the white children and called ‘Aboriginal’. ‘It is such a strong oral story in our family’, writes Tylor, ‘because we can’t trace our Aboriginal ancestry back to a language group’. Tylor is a Masters (Visual Art) graduate from the South Australian School of Art, University of South Australia. His work explores Australia’s cultural representation through alternative photography mediums, sculpture, installation and video inspired by his multi-racial heritage involving Aboriginal, English and Maori-Australian ancestry. The showing of Words will never hurt me;in Darwin coincides with Tylor’s finalist representation in 2014 Telstra National Aboriginal and Torres Strait Islander Art Awards. Tylor’s work features in Australian public and private collections; he is represented by Marshall Arts Gallery, SA; Vivien Anderson Gallery, VIC; and Paul McNamara Gallery, NZ. 1/0

DAWN BEASLEY: BOTANICALLY PORCELAIN NOW SHOWING: What's On Based in Darwin on Larrakia Country, the Northern Centre for Contemporary Art (NCCA) is an independent arts organisation that connects audiences with NT, national and international artists through contemporary art exhibitions and programs. NCCA is a forum for ideas and critical engagement with social, aesthetic and conceptual concerns relevant to Northern Australia and Asia. 2021 MURNINNY 2 Darwin Welcome Pack, 2022 SP_MAIN-2560x1921 2021 MURNINNY 2 1/8 CURRENT EXHIBTIONS FUTURE Past PAST SUBSCRIBE BECOME A MEMBER DONATE VOLUNTEER FOLLOW US VISIT US 3 Vimy Lane, Parap NT 0820, Australia Wed - Fri: 10am - 4pm Sat: 8am - 2pm Opening Hourse CONTACT US info@nccart.com.au (08) 8981 5368 contact contact Subscribe Subscribe Become a Member Become a member Donate

home Exhibition opening Thursday 18 September, 6-8pm Mid-career artist Skye Raabe returns to Darwin for her solo exhibition home, in Gallery 2. An installation consisting of works on paper, text, photography and in-situ wall panel, home further extends Raabe’s investigation into interpretations of ‘site’, (loaded) space, absence contained within space, and forms of abstraction and temporality. home references the architectural and the performative within the architectural, continuing Raabe’s practice of combining media and her process as a conceptual artist, whilst paying homage to the materiality of her early-career works. home is an allusion to the constructed, the deconstructed, and the yet to be constructed; both a playful take on home as we know it, and a psychological entrée into the subtle and intangible. 1/0

The Journey of a Site Specific Pipe Cleaner Through photography UK artist Helen Bowes documents her site specific sculptures on their journey through Europe. These ‘Nomadic Trademarks’ as she calls them are a concept based on connection and trace, how place and people connect in society and the world at large. 1/0

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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

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