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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

Between the sky and the ground Between the sky and the ground considers the complexity of the image in relation to lived experience. The work presented for the Northern Centre for Contemporary Art includes a collection of images in the form of a digital publication online (Image/Air) and a corresponding video piece (Ground Squirrel) showing in the Box Set space. This work was developed during time spent as an artist in residence at The Banff Centre during May-June 2013, with support of the Victorian Government through Arts Victoria 1/0

Mind the Gap 1/0

Balance Balance Exhibition Congratulations to all the Artists who submitted work for the Balance | NCCA 2013 annual exhibition. Over fifty artists exhibited their work and the opening night was a resounding success. We would like to thank our two judges Louise Partos-Executive Director Artback NT: Arts Development and Touring, Neville Pantazis owner/manager of Parap Fine Foods, they did a great job of selecting the five award recipients this year. 1/0

The Most Stolen Race on Earth The Most Stolen Race On Earthis an installation-based exhibition by Sydney-based artist duo Blak Douglas (aka Adam Hill) and Adam Geczy. Taking up most of NCCA’s gallery spaces, this exhibition will present a mix of 2D, 3D and screen-based works which challenge the idea of a lucky, fair-go Australia, exposing the nation’s racial myths and fault-lines and continuing/escalating socio-political disempowerment of Indigenous Australians. Drawing on humour, satire and shock, this black-and-white duo shifts the ‘post’ in postcolonial and effectively maintains the rage. The Most Stolen Race On Earth> follows on from Douglas and Geczy’s The Most Gaoled Race On Earth exhibition at the Lock-Up Cultural Centre in Newcastle earlier this year, and from their Blakattak and BOMB exhibitions shown at the Sydney College of the Arts gallery (2015), and Museum of Contemporary Aboriginal Art, Utrecht (2014) respectively. The duo has been collaborating on artworks and exhibitions for almost a decade as well as maintaining their own practices. The Most Stolen Race On Earth marks their first major exhibition at NCCA after previously showing their video work Australia – the Trailer in NCCA’s Screenroom. Blak Douglas (aka Adam Hill)grew up in Blacktown (Blaktown), western Sydney on Booreberongal (Dharug) country and of predominantly Dhungatti (mid-north coast, NSW) and Scottish heritage. A Graphic Design graduate from the University of Western Sydney in 1994, Douglas held his first solo exhibition in 1999 and has since exhibited in numerous solo, duo and group exhibitions throughout Australia and internationally with his work held in key public and private collections. Douglas works with diverse media: painting, graphic design, sculpture, photography, performance, video and installation. Exhibitions include: Not a proper Aborigine, ‘10-year Survey’, 2010, Mosman Art Gallery; This is why we don’t stand for the anthem, 2008, Arc One, Melbourne; BOMB (with Adam Geczy), 2014-15, Museum of contemporary Aboriginal art, Utrecht; and Archibald Prize finalist, 2015, Art Gallery of NSW. Douglas is also a highly accomplished yidaki (didgeridoo) player with extensive national and international performing experience. He runs the BLAK• active gallery space in Redfern, Sydney. Adam Geczy is a Sydney-based artist, writer and lecturer of Austro-Hungarian and English descent. He graduated in Painting from Sydney College of the Arts and in the late 1990s his practice moved more into installation, performance and collaboration. He has engaged in several ongoing collaborative projects since 2000 – with artist Mike Parr, musicians Thomas Gerwin (Berlin) and Peter Sculthorpe, and artist Blak Douglas (aka Adam Hill). Geczy identifies two key strands of his practice: one abstract and tactile, the other conceptual and political. He is primarily interested in working across concerns and disciplines. Recent exhibitions include S/M Wonderland (solo), 2014, Australian Centre for Photography, Sydney; participation in the 11th International Sound Festival Berlin, Mitte Museum, Berlin, 2014; and (with Blak Douglas) Blakattak, Sydney College of the Arts, SCA Galleries, 2015. Geczy is also a prolific writer and art critic, and has authored and edited numerous books on art. Recent publications include: (authored with Vicky Karaminas) Fashion’s Double: Representations of Fashion in Painting, Photography and Film, Bloomsbury Academic, 2015 (hardback); and (authored with Jacqueline Millner) Fashionable Art, Bloomsbury Academic, 2015 (paperback). He is currently a Senior Lecturer, Sydney College of the Arts, University of Sydney. 1/0

The Geography of Here and There Opening Friday 27 May 6-8pm Following a 1-month residency in Darwin (in association with George Brown Darwin Botanic Gardens and supported by the Australia Indonesia Institute) in October 2015, Jogjakarta-based early-career artist Dito Yuwono responds to ‘betwixt-and-between’ ideas of Darwin as Asian/Australian, city/town, natural/built environment. “I am interested in the issue of spatial history and memory. Space and memory are interrelated. Spatial history is an intertwined memory that is constructed and often reinterpreted. How a geographical space cultivates collective memory, and how each memory of the citizen constructs the image of a place interests me [to] explore the relationship between memory, history, people, and places. By presenting the correlation between those elements, the spatial history of a space and a city can be seen side by side with personal narrative of the citizen.” In The Geography of Here and There Yuwono explores Darwin’s proximity to Asia, and how NCCA is placed/located as an institution and through the archived memories of artists who have passed through it. Dito Yuwono is a young Indonesian contemporary photographer from Mes56 artist collective, Jogjakarta, Indonesia. He graduated in 2010 from Mass Communication of Atma Jaya Yogyakarta University. In 2011, he co-founded an independent space that aims to build a supportive and positive environment for young artists – Lir Space, Yogyakarta. Dito’s artistic practice is varied between photography, mix-media installation, video, and performance. He is especially interested in working with community and recollecting memories to find the link between memory-citizen-history. His work often serves as a form of storytelling using personal approach to subtly grasp the bigger picture of sociopolitical environments. Recent solo projects include: Have We Met? (2011), Finding Stillness (2012), The Memories of Unidentified Experience (2014), and Recollecting Memories: Tukang Foto Keliling (2013-now). 1/0

Artmart 2016Artmart 2016 Artmart began in 2015 as a way of drawing attention to Parap as an art gallery hub, with the Northern Centre for Contemporary Art joined by fellow Parap-based Nomad and Outstation galleries to form the Parap Galleries identity: parapgalleries.com. The ‘mart’ in Artmart embraces our location amidst the well-known Parap Market and promotes the idea of contemporary art as accessible and affordable. NCCA supports local talent being supported by local patronage, and exhibiting local talent alongside the work of their fellow NT, national and international peers. Participating artists include: Rupert Betheras (Darwin-Melbourne), Daniel Coloe (Darwin-Melbourne), John Eaton (Cairns), Liss Fenwick (Darwin/Humpty Doo), Jacky Green (Borroloola), Linda Joy (Darwin), Rita Macarounas (Darwin), Birendra Pani (New Delhi), Rossanne Pellegrino (London), Jason Sellaiah (Wadeye), Angus Titoko (Darwin) & Leigh Zaramis (Darwin) and artists from the Indigenous Jewellery Project representing Ernabella Arts: Niningka Munkuri Lewis, Malpiya Davey, Marissa Thompson, Thomas Tjiliya, Nicole Rupert, Hazel Rupert; Ikuntji Artists: Virginia Ngalaia Napanangka, Walter Jugadai Tjungurrayi. Exhibition Opening: (Black) Friday 13 May, 6-8pm Artmart 2016 will be accompanied by two screening sessions commemorating Fist Full of Films (FFoF), the much-loved NT-wide short film festival which last showed in 2014: fistfulloffilms.com.au Saturday 14 May 12 noon: ‘Clench’, a selection of award-winning works from previous 3 FFoFs click for ‘Clench’ program details, courtesy FFoF Sunday 15 May 12 noon: ‘Speakeasy’, a selection of animal-themed FFoF works curated by Matthew Van Roden click for Speakeasy program details, courtesy FFoF Screenings in NCCA Screenroom; free; byo cushion/chair 1/0

FLEDGLING FLEDGLING: The Best of CDU Printmaking Students Curated by Mats Unden Pop-up exhibition 1-2 Oct 9am-2pm Opening Friday 30th September 6.00-8.00pm. Fledgling focuses on work developed through experimentation; pushing the boundaries of printmaking materials and techniques. As the name implies, It is also the (gentle) pushing of CDU printmaking students – emerging artists – towards experimentation, professionalisation of creative practice and exhibiting work in a contemporary art space. 1/0