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Manifesta 14 22 July - 30 October 2022 The trio of curator Petrit Abazi, performance artist and painter Piers Greville and artist Stanislava Pinchuk will collaborate for Manifesta 14 Prishtina. Curator Petrit Abazi (1983, XK/AUS) was born in Mitrovica, Kosovo. His curatorial practice has a particular focus on borders (geographic, political and social) investigating how margins are drawn or erased and studies their relationality to lived experiences. Piers Greville (1972, AUS) is a contemporary artist with a studio practice in painting and field-based performance. A former mountain endurance athlete, Piers Greville returns to this activity of tracing the landscape, physically traversing the terrain and manifesting it through his work. Stanislava Pinchuk (1988, UKR) is an Ukrainian artist working with data-mapping the changing topographies of war and conflict zones. Her work surveys how landscape holds memory and is testament to political events, including drawings, installations, tattooing, films & sculpture. Catalogue Curator Petrit Abazi Artist Stanislava Pinchuk Piers Greville 1/0

Katherine Bradley Screenroom In the artist’s words, ‘Australia, long before it had that name is designed to take the viewer on a journey along the painted make-believe landscape, based on the country some of us now live in and others have been in for a long time. It will start at the beginning of time and by the inclusion of certain evidence of humans, animals, and plants, it will bring the viewer up to relatively recent times.’ Katherine Bradley is a Darwin-based artist with a landscape painting-based practice which dates from the late 1980s when she graduated with a Bachelor of Arts from the South Australian College of Advanced Education. Katherine has held numerous solo exhibitions around Australia beginning with Shelter in an Australian landscape (1995, Geraldton Regional Gallery) and, most recently, Australia, before it had that name (Series 1) (2014, Framed Gallery, Darwin) which laid the foundation for her current exhibition to occupy NCCA’s Screenroom as a 30-plus-metre frieze. Also strongly informing the exhibition is a 2016 residency at Territory Wildlife Park which enabled the artist to closely study local flora and fauna and seasonal changes (across 6 Top End seasons). Katherine also holds a Master of Fine Arts (1992, University of Tasmania) and she is a previous finalist in the Togart Award (2013). 1/0

MARKED: Tracing Modern Murals and Graffiti Culture in the Northern Territory 1 May - 11 July This exhibition offers a snapshot of the marks people leave on surfaces across the Northern Territory. Some are commercial, some are graffiti, and some are simply ways of sending messages. At their core, murals, graffiti, scrawls, and even signs all share the same purpose: they are forms of communication. Whether it’s a quick tag on a pole or a large‑scale mural on a wall, each mark says something about the people and places that made it. Guest Curator: Dave Collins and Shay Jayawardena 1/0

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

priNT 2020 1/0

CHANNEL Videos past & present ... perhaps 360 tours http://vrcinema.icu/tarzan/

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 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

Melaeluca 1/0

Raftopolous / Glenti 1/0

The Bathroom Series Launch: Friday 4 March, 6-8pm The party is over, the glitter has shaken off. The Bathroom Series is emerging artist Tara McDonald’s post-party 3am self-capture from her bathtub. “The images represent the side of me that very few people see, a side of isolation, introspection and at times melancholy.” The Bathroom Series, a photographic-based installation including images screenprinted onto fabric, will show in the NCCA Boxset from 27 February to 26 March. Tara McDonald is an emerging artist working in photography and print. McDonald presents her work in the Boxset as part of her Highly Commended Award in the 2015 Art of Pride exhibition, Mayfair Gallery, Darwin, in association with the 2015 Darwin Pride Festival. 1/0

COnCREtE Opening Friday 27 May, 6-8pm In many a Kalymnian household anywhere around the world can be found a proud mantle display of sea sponges. Once the main source of income for the island of Kalymnos, the sponge is both a commodity and a symbol of identity. Emerging artist and curator Koulla Roussos plays with concepts of fluidity and the concrete, incorporating the iconic sea sponge as a metaphor and tool for interrogating subjective manifestations of identity; asking the question, “How do I materialise my hybrid, fluid subjectivity for the anonymous spectator?” COnCREtE is an installation-based work incorporating sculpture, digital print, video and found objects. Koulla was born in Darwin. In 1987 she graduated from the University of Adelaide in Economics, and in 1993 with Honours in Law from the Northern Territory University. She was admitted to practice as a Barrister and Solicitor in the Supreme Court of NT in 1995, and is currently a barrister with John Toohey Chambers, Darwin, specialising in criminal law. Koulla is also a practicing artist and curator. She has undertaken postgraduate studies in Art History and professes a keen interest in exploring the ways contemporary art can engage with public spaces and create new understandings of a place. She has curated several exhibitions in Darwin including Monsters from the Black Lagoon (2015), TaNTtrum (with Jonathan Saunders, 2013/2014), Origin of a Species (2014), Flash Art (2013), and a year-long monthly program of arthouse film at NCCA (The Vault, 2015). 1/0