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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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The Ochre Cloak In 2015 photographer and writer Peta Burton walked around Uluru 100 times in 30 days, photographing as as she went. 70 years earlier Burton’s Polish grandmother had held a similar interest in Uluru and had created a painting of the eastern side of the rock. Burton brings together her grandmother’s painting and her own work in a photographic-based installation capturing multi-generational impressions of Uluru. Peta Burton has worked extensively in journalism (TV, print and radio). In 2014 she founded the Trek Series which saw her walk 1014km in 30 days from Cairns to Cape York and raise thousands of dollars for charity. Her Uluru walk began as the Adelaide to Darwin World Record Charity Trek which ended abruptly on its first day and eventually became a feat of bonding and endurance in the desert. The Ochre Cloak is also the name of Peta’s forthcoming book documenting her Uluru walk. 1/0

Tonality In Time & Space Tonality in Time and Space, is contemporary printmaker and sound artist Mats Undén’s solo exhibition on show in September at the Northern Center for Contemporary Art in Parap. Undén’s solo show follows on from the artist’s performative print as part of priNT, an NT print survey exhibition at NCCA (Feb/March 2016) and co-curated by Undén and Winsome Jobling. Mats Undén is a Darwin-based artist and musician originally from Sweden, specialising in interdisciplinary and experimental printmaking and sound/electronic art. In a broad sense Undén is exploring how music and printmaking interact outside their traditional frameworks. When introducing music and dance into the creation of visual arts, when do we actually move from one discipline into the other? The exhibited works draw on a series of experimental dance-print performances in Darwin with dancers Bryn Wackett and Jenelle Saunders, and involves a new performance with dance, sound and large-scale printmaking. In partnership with 2017 Darwin International Film Festival Undén will transform the screen room into an immersive experience of sound, light and projection to soothe your busy mind. The show opens Friday 1st September at 6pm, with a new large-scale performative print being created by the artist delivering live electronic noise, and invited dancers Bryn Wackett (Darwin), Jenny baker (Milingimbi), Putu Warti (Bali) and Jinu Mathew (India). 1/0

Internal Reflection Balance Exhibition ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. 1/0

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

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