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Continuum (Part I and Part II) Showing in the Screen Room is Continuum, a new two-part video artwork by Melbourne-based artist Ash Keating whose decade-long practice deploying street, performance and public art has resulted in exhibitions and residencies throughout Australia and internationally. Part I, the shorter video (2min:26secs), was filmed at a wind farm while Part 2 is set between two specific sites in the Mildura region: at the southern hemisphere’s newest and largest solar photovoltaic installation, and at the lunette formations (a delicate, erodiing prehistoric landscape) in the ancient dry Lake Mungo National Park. Continuum presents a recurring movement/dance piece (performed by Lilian Steiner) through these sites, shot at varied times of the day. The video cultivates a meditative experience which ‘explores the notion of prolonged time through an alluring image of slow continuous human presence’. 1/0

MouthfeelMouthfeelMouthfeel Mouthfeel is a collection of five films curated by Megan Fizell exploring the mouth through its navigation, ingestion and expulsion of edible and non-edible substances. The films aim to evoke a synaesthetic response in the viewer, triggering the sense of taste and touch. The films are produced and performed by four women artists and one husband-wife duo and include the following: ELIZABETH WILLING, Lick, 2009 HILLERBRAND & MAGSAMEN, Coffee & Milk: Water Dance, 2005 HANNAH RAISIN, Rose Garden, 2009 MARTYNKA WAWRZYNIAK, Chocolate, 2010 NINA ROSS, The Foreignness of Language, 2011 Megan Fizell (feastingonart.com) is a Sydney-based writer and curator who specialises in the representation of food in the visual arts. She holds a Master of Arts (Art Business) from Sotheby’s Institute of Art – London, a Bachelor of Arts (History of Art) from the University of Michigan, and is currently working on a Master of Arts (Art Theory) from the University of New South Wales researching the use of edible materials in arts practice. Fizell is the Gallery Manager at Brenda May Gallery, Sydney and her writing has appeared in Artlink, Ceramics Monthly, and Journal of Australian Ceramics among others. Previous curatorial projects include Sugar, Sugar (October 2013) and Art + Food: Beyond the Still Life (October 2012). Sugar, Sugar featured contemporary art made exclusively with sugar by ten female artists. 1/0

Violet Bond: Bodies of Water 17 May – 27 July 2024 Bodies of Water What challenges do you face as an artist living in remote locations in Arnhem Land, and how have you overcome them? A major obstacle when living remote is access to opportunities, this is not only true for the art space but for kids at school, employment in communities, health care and many other realities when living bush. There is always a balance for me in my art practice – the deep appreciation and privilege of living on Indigenous land with Indigenous people while being afforded the ability to be inspired by some of the most remote, wild and beautiful places in the world coupled with the deep sense of privilege, frustration and often anger that comes with the so many injustices in Australians appalling track-record with its First Nations people. I’ve always talked about the complex relationship I have with working in the environment as a white woman on stolen land and acknowledging the truth of that history while also trying to create work that is inspiring and hopes to connect its audience with their own environment and wilderness. The digital art space has been the biggest opportunity for me and my art career to date. From using Instagram to promote my wild clay ceramics while on Kunabidji country in Maningrida or using NFTs to create performance works in the environment at Bulman, becoming part of the global digital art community has allowed me to break down the barriers faced by many artists currently working in Remote Australia and allowed be to show my works across the world. How important is it to keep close to your roots and stay connected to the NT? There is just nowhere like the NT for me. The reality is that here, nature is literally trying to kill you and we amalgamate these realities and that ‘realness’ into our everyday lives. The NT also grapples with so many parts of the Australian identity, Indigenous Australia and the realities of colonisation alongside the cattle industry and fourth generation Chinese families; this melting pot of cultures, complex, difficult but real and connected is something I love about the Top End. Not to mention every dirt road and every crocodile is endless inspiration for me. Your photographic, video and installation work has developed from your environmental sculpture and wild earth ceramics practice. How did that evolution come about? I actually started out by creating sculptures from bones and feathers and that led to working with wild earth and through that I came to NFTs. But at my core I am always a photographer. The first time I developed film in a darkroom I knew it was a magic that I wanted to do for the rest of my life. The video works, I have always seen more as moving photos than films, single moments or fragments of moments rather than a story with a beginning, middle and end. Someone said to me once “Oh so now you are the Pot”. I think that was the best explanation of the move to performance and photography from ceramics. I never got into ceramics to fire work and sell ‘pottery’. I got into ceramics to make clay from the dirt, to pull something out of the ground that was deeply of its place. Recently, I have been doing that with my body rather than a wheel. Do you have any plans to get back to the wheel and kiln to produce sculptural and ceramic works? I do but they will probably be more ephemeral, muddy sculptures that can be returned to the dirt in the rain or clay and on skin that can wash away – or as is the case with this show, an installation work that has at its core the idea of disappearing and seasonal change and the impermanence of all things. What is your favourite Top End season and why? Unsurprisingly, it would be the two most ‘extreme’ ones. The very depth of the wet season, thunder storms, wild grey seas, jellyfish and deep, murky rivers. And the late dry season when all the countryside is blackened and nothing remains but charcoal and the promise of life to come. Bodies of Water is an homage to The Wet season of the Top End. How did this series come about? Well it was the wet season haha – but more seriously, it was about how The Wet is like an entity that covers the landscape; a blanket of life that smothers everything that came before. I find it impossible to not be inspired by it. Water also means danger in the Top End. “Stay away from the water”, is something parents find themselves repeating daily. When I was small I refused to go kayaking in a dam in NSW because the water was murky and I thought it would be full of crocs. The water is life and death all at once. What’s the story behind the work ‘Kiss of Death’ which shows you with a crocodile? This crocodile was found dead by the Mimal Rangers while recording buffalo damage on country. I have never had to explain my work to Indigenous Australians; they are usually the first to understand. Before I made self-portraits I made a series called Burial Rites which was about honouring the lives of dead animals by creating arrangements for them in the environment, photographing them and burying them. Aboriginal people often brought me animals they found in the environment. Like it was the most natural thing in the world “worro dead one” - even as a child I cared for snakes, magpie geese, eagles and many other creatures that Aboriginal people in Maningrida had given me as pets or because they were injured. I will also say that I have always been very comfortable in the presence of death. I owe that acceptance to my family in Maningrida who walked us non-indigenous people through all the rituals of grief for the last 50 years. I wanted this photoshoot to be a combination of the ideas of European belief systems of the underworld and Persephone combined with the environmental nature of death and drifting away both metaphorically and physically in bodies of water. The story of a goddess that comes from the underworld to collect the souls of the dead and returns them from whence they came. Some of the river and billabong locations you work in are inhabited by salties (estuarine crocodiles). How does it feel to make work whilst sharing the environment with an apex predator. What is the Territory without its crocodiles, hey? I think we underestimate just how much knowledge we have living up here, how much we read the landscape. We all understand where to swim, where not to swim, when jellyfish are in the water, where we are prepared to take risks. Although I don’t underestimate the risks I take, they are also calculated and often come from a place of understanding. Although, sometimes, there is a bit of a ‘hope, pray and get out of the water’ thought process going on. How do you hope your audience will interpret or engage with your work? We can not protect what we are not connected to. I always want my work to ask the question: what is wrong with the dirt? Why am I worried about that water? What do I feel like when I see this image? I want people to rediscover their relationship with their own wilderness and to be able to feel it in their bones and then fight for it. First Paris, now Darwin. What’s next for Violet Bond? Although this year alone I have had work shown from Paris to Bucharest to New York and 16 other places in between, there is always something important about showing work here, at home, to people that know exactly how the red dirt feels on your skin, how dark water makes you nervous and what it’s like when you feel the first rain of the wet season. Artworks on Sale All photographic artworks listed below are for sale. There are 10 editions total of each artwork. You can choose from one of the following sizes should you wish to purchase: A1: $495 (signed and edition of 10) A0: $950 (signed and edition of 10) A5 collection : $45 (signed and edition of 4) If you wish to purchase an artwork, please pick a size and contact the gallery. Email : info@nccart.com.au Phone: +61 (08) 8981 5368 1. Mud 3. Dark Water 3 4. Dark Water 5 5. Dark Water 4 6. Dark Water 1 7. Dark Water 2 8. Dark Water 6 10. Cicadas 11. The Lovely Bones 12. The Lovely Bones no1 13. Wild 14. Skin 15. Pandanus 16. Underworld 2 17. Surface 18. Underworld 1 19. Breathe in the mud 1.jpg 20. Breathe in the mud 21. Breathe in the mud 3 22. Breathe in the mud 4 23. Spring 24. The Kiss No.11 25. Water 27 Waters Edge 28. Faces in the Rain (A5 Prints) 41 41 41 41 41 41 41 41 41 41 41 41 41 41 41 41 41 41 41 41 41 41 41 41 1/0

Retribution: What Happens Next? 29 Sep - 12 Nov 2022 At the start of our life on Earth, each one of us is born into a framework of responsibility to the collective. Whether this manifests as duty to family, kin, community, ancestors, gods or ecologies, these responsibilities embed us meaningfully within our wider environment. In exchange for being reared as children and held as adults, there is an unspoken expectation upon us to reciprocate this care by upholding what our communities deem to be good and proper in life. This ‘good and proper’ has always been contextually defined (and continuously redefined), but across the board we are now experiencing communal systems of care shifting from their central position within human organisation to make way for the capitalist imperative of ruthless competition. As the social contract gives way to this new emphasis on individualism at all costs, interconnective and interrelational ways of being are trampled in our desperation to survive. As a result, our duties to the human project—such as custodianship of the land/seas, community care, group identification and collective ritual—are increasingly neglected; overshadowed by the increasing pressure to trade what holds collective value to secure our personal livelihoods. Showcasing recent works by eleven Northern Territory artists, Retribution: What happens next, asks: What fate awaits us for passing on less than what those before gave us? And what will this fate look like? Whether it’s served as payback, atonement, purgatory or plain old revenge, Retribution delivers a cautionary tale whose warning we must heed if we are to withstand the reckoning dealt to us by this world-in-crisis. Featuring recent works by Franca Barraclough, Rupert Betheras, Fabian Brown, Jonathon 'World Peace' Bush, Liss Fenwick, Crystal Love Johnson Kerinaiua with Francis Jules Kapijiyi Orsto and Jens Johnita Cheung, Elizabeth Martin, Eve Pawlik and Matthew van Roden. Curated by Carlo Ansaldo, exhibition design by Kate Fennell. Proudly sponsored by the Northern Territory Government. PERFORMANCE: 6PM THURSDAY 29 SEPTEMBER Aunty Crystal Love Johnson Kerinaiua presents Mapurtiti Nonga - EVIL ASS DREAMING with Tiwi Sistagal elder Francis Jules Kapijiyi Orsto and Jens Johnita Cheung. ARTIST TALKS: 10AM SATURDAY 1 OCTOBER Hear from exhibition curator Carlo Ansaldo, as well as artists Crystal Love Johnson Kerinaiua, Francis Jules Kapijiyi Orsto & Jens Johnita Cheung, Liss Fenwick, Matthew Van Roden and Eve Pawlik. Curator Carlo Ansaldo Artists Franca Barraclough Rupert Betheras & Fabian Brown (Tennant Creek Brio) Liss Fenwick Jonathon 'World Peace' Bush Crystal Love Johnson Kerinaiua with Francis Jules Kapijiyi Orsto and Jens Johnita Cheung Elizabeth Martin Eve Pawlik Matthew van Roden NTG Logo Black.jpeg NTG Logo Black.jpeg 1/1

Broken Line Jan Hogan's Broken Line For Broken Line, Hogan will instal a large-scale drawing done on a roll of Rives BFK paper which she has dipped in a waterhole at Mirima, cascaded over rocks and drawn on with Sumi ink. In transit and over time the paper has weathered and been worked on both sides by Hogan with ochres and fixative. Further, ‘the drawings have been washed, mended and folded’. Hogan also proposes to add another layer of mark-making to the fragmented roll once in the gallery space, through drawings in charcoal. The installation’s placement in NCCA’s Screen Room ties in well with Hogan’s narrative interest and the way her paper medium, like film, both fragments and fuses time and process.Jan Hogan’s Broken Line is a drawing-based installation inspired by site visits at Mirima National Park, an area outside Kununurra in the east Kimberley region – now characterised by eroding rock formations but at various stages over its ancient history also mountain ranges, seabeds, and sand dunes. It is a site, as Hogan writes, ‘of form and formlessness, a continuous becoming and changing’. Artist Jan Hogan 1/0

Portrait of a Teenage Territorian 1/0

The comforting promise The comforting promise comprises a bunch of soft banana sculptures made of the plastic sheets that are used to make cheap travel packing bags, and cotton fillings. This work underlines the tradition of consuming imported food in Australian society, inspired by some histories which record that bananas were first brought to Australia by Chinese migrants in the mid-1800s. Zhou fashions her ‘bananas’ from the travel bag material that has cultural associations with Asian migrants, prompting us to consider the Asian influence in Australia’s food industry. Zhou is a Chinese-born artist who migrated to Australian in the mid-2000s. A previous resident of Darwin, she now resides in Melbourne where she is undertaking a Masters in Visual Arts at Victorian College of the Arts. Zhou’s Box Set installation is presented with support from The Australian Artists’ Grant, a NAVA (National Association for the Visual Arts) initiative, made possible through the generous sponsorship of Mrs Janet Homes à Court, and the support of the Visual Arts Board, Australia Council for the Arts. 1/0

Membership NCCA MEMBERSHIP Belong to our dynamic community of people supporting contemporary artists, exhibitions, and programs in the Northern Territory. SIGN UP SIGN IN Wanapati Yunupingu. Gurtha , 2021. Benefits of membership include: • Feeling great about supporting new work of living artists • Invitations to exhibition openings, members-only events and previews • 10% discount at NCCA Shop • 10% Discount at Jacksons Drawing Supplies • 10% Discount at Art Decor Picture Framing • Invitation to exhibit your work in the annual members’ show Membership Fees Annual membership: $40 Concession: $30 Volunteer VOLUNTEER Do you have a passion for the arts and some spare time? We would love to hear from you. contact Exhibition proposals NCCA is proudly located on Larrakia Country, in Darwin, Northern Territory. We acknowledge the Larrakia people as sovereign custodians of the land on which we work, and extend our respect to Elders past, present and emerging, and to all First Nations peoples.

All Posts 2020 2019 2018 2017 2016 2015 2021 2014 2013 2012 Search info4182645 Nov 17, 2021 1 min Murrŋiny 7 August - 25 September Presented by Salon Art Projects in association with Northern Centre for Contemporary Art and Buku-Larrŋgay Mulka... 0 views 0 comments Post not marked as liked info4182645 Nov 17, 2021 2 min LAPSED, MISSING AND WORKING SCULPTORS October 8 - November 6 2021 Geoff Sharples Former Lecturer in Sculpture, Northern Territory University (now Charles Darwin University) It... 9 views 0 comments Post not marked as liked NCCA Jul 22, 2021 1 min A Meter Apart NCCA presents a series of contemporary music recitals in our gallery in Parap. Curated by visual artist and musician, Mats Unden, this is... 9 views 0 comments Post not marked as liked info4182645 Jul 22, 2021 1 min Temporary Puddles Raise Discomfortable Questions Do I Seduce You? Do I seduce you? Tarzan JungleQueen is a multi-disciplinary, queer, non-binary artist living in Darwin. They bring... 6 views 0 comments Post not marked as liked info4182645 Nov 30, 2020 1 min 2020 Vision Exhibition dates: Friday 27th November – Saturday 19th December 2020 Opening Night: Friday 27th November 6-8 pm Open Wed – Fri 10 am –... 2 views 0 comments Post not marked as liked info4182645 Oct 16, 2020 0 min REGINA PILAWUK WILSON 2 views 0 comments Post not marked as liked info4182645 Oct 16, 2020 0 min KETURAH ZIMRAN 2 views 0 comments Post not marked as liked info4182645 Sep 17, 2020 1 min GROUNDSWELL Ingress Egress Regress 2019 10 views 0 comments Post not marked as liked info4182645 Sep 17, 2020 0 min GROUNDSWELL 8 views 0 comments Post not marked as liked info4182645 Aug 27, 2020 1 min Groundswell Groundswell 6 views 0 comments Post not marked as liked info4182645 Aug 27, 2020 1 min GROUNDSWELL Groundswell 2 views 0 comments Post not marked as liked info4182645 Jul 23, 2020 0 min ‘Dry Summer Wind in Kakadu’ 2 views 0 comments Post not marked as liked info4182645 Jun 25, 2020 1 min ‘Three Faces from Katherine’ . 1 view 0 comments Post not marked as liked info4182645 Jun 25, 2020 0 min Wild Nights 5 views 0 comments Post not marked as liked info4182645 Jun 25, 2020 0 min Escape the News 3 views 0 comments Post not marked as liked info4182645 Jun 24, 2020 1 min Portrait of a Teenage Territorian’ Portrait of a Teenage Territorian is back for 2020 Portraits by teenagers of teenagers, this exhibition brings the world of selfies into... 3 views 0 comments Post not marked as liked info4182645 Apr 1, 2020 2 min Off The Walls ‘Off The Walls’, NCCA’s VR group exhibition curated by Rita Macarounas with Lukas Bendel in charge of the VR Tech, Projection Mapping and... 7 views 0 comments Post not marked as liked info4182645 Mar 31, 2020 1 min priNT 2020 Screen Print 5 views 0 comments Post not marked as liked info4182645 Mar 31, 2020 1 min priNT 2020 Monoprint 2 views 0 comments Post not marked as liked info4182645 Mar 31, 2020 0 min priNT 2020 4 views 0 comments Post not marked as liked

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