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Cruise Control: Indonesian – Top End Artists’ Camp exhibition In Gallery 2 and Screen Room is Peach Blossom Spring | Cacotopia, an international group exhibition which addresses life in the digital age – fecund with imaginary potential but mired at the same time in environmental decay. Each of the eight exhibiting artists uses digital media in varying ways – largely through film, photography and printing – to negotiate meaning and generate critical enquiry within this shared global terrain. Key to their aesthetic investigations is a belief in the role of art to challenge and shape social identity, across cultural and national lines and as an active visual encounter. The eight artists operate from various cities around the globe: Darwin, Sydney, Portugal, Beijing, London, while the exhibition’s curator, Reg Newitt, has been largely based in Beijing over the past decade. An expanded version of the exhibition will run concurrently at Kui Yuan Gallery, Guangzhou, China, 22 November to 28 December 2014. Artists: Jayne Dyer, Andy Holden, Bu Hua, Gary Lee, James Newitt, Wayne Warren, Jason Wing, Wang Zhiyuan The dual-exhibition project has been produced with assistance from the Copyright Agency Limited Cultural Fund, Australia. 1/0

ArtBack - Groundswell 5 September – 30 September Groundswell: Recent movements within art and territory With accelerating momentum, contemporary artists are shifting the conceptual focus of their practices to address the intensifying crisis of Australia’s diminishing water supply. Alongside scientists and environmentalists, artists have historically presented as some of the first responders to this crisis, bearing witness to its effects through creative expression. Groundswell: Recent movements within art and territory showcases a selection of powerful reactions with particular focus on creeping changes to the Northern Territory’s water supply. It charts these changes by grouping artistic responses thematically into the prevailing resource issues of Access, Contamination, Scarcity and Culture. Groundswell features over twenty works by Northern Territory artists including Jacky Green, Kelly Lee Hickey, June Mills, Aly de Groot, Patricia Phillipus Napurrula, Lee Harrop, Maicie Lalara, Mel Robson, Jennifer Taylor and Tarzan JungleQueen. The works in Groundswell extend through vast geographies, perspectives and artistic mediums to stake their claim, spanning visualised data to ceramics, oil painting to recycled sculpture and printmaking to stand-up comedy. These works find commonality in their shared determination to bridge the message of each individual artist to our collectively shared concerns as Northern Territory citizens. In this way, visual culture is harnessed to agitate for the paradigm shift we so desperately need if we are to preserve our most precious resource into an uncertain future. Diverse in aesthetic beauty but united in unambiguous concern for country, Groundswell showcases works of formidable creativity and palpable substance. For this reason, its significance does not lie solely in its lucid demands but lies equally within its art historical context. Through these works we can identify the compelling first steps of an artistic movement in its own right. As streams form rivers, individual artworks combine to form a collective force. A groundswell has occurred. Quotes “As the 2020 SPARK NT curator I am excited to have been given this opportunity to develop my curatorial practice as a regional arts worker. Exploring the dual role of the curator as activist appeals to me. As a SPARK NT curator, Artback NT has provided me with a new platform to materialise these interests through the development of a touring exhibition. As an emerging curator holding strong concerns for my community, I am thinking about what I can contribute and how I can implement tangible change as an arts worker. I see communalism as our only way out if the Territory is to have a liveable environment and sustainable future” said Carmen Ansaldo, SPARK NT curator. “Groundswell is a timely and pertinent exhibition for the Territory. Social and political awareness of our rapidly changing climate has now reached a tipping point nationally. The narration of art within Carmen’s exhibition will pose poignant questions and engender insight into the prevailing issues of our fragile environment. Curatorial activism brings with it a responsibility. One where the curator uses the gallery as a counterpoint to bring to the forefront the concerns of the artist and the viewer. Carmen has risen to this challenge. She also argues that selected works are the compelling first steps of an artistic movement in its own right.” Louise Partos, Executive Officer, Artback NT About the SPARK NT curator Carmen Ansaldo currently works at City of Darwin and organises the Darwin Free University. She has worked in remote and regional art centres within the Northern Territory and Western Australia, as well as major arts institutions such as the Museum and Art Gallery of the Northern Territory and the Queensland Art Gallery & Gallery of Modern Art. Her arts journalism has featured extensively in national and international print and online publications over the past 15 years. Most recently, she represented the Northern Territory within the profession of arts journalism at the 58th Venice Biennale as part of the Australia Council’s Emerging Artworkers Program. About the SPARK NT Curator Program This is the third exhibition to be produced as part of the SPARK NT Curator Program, an Artback NT initiative which supports an independent or emerging curator, residing in the Northern Territory, to develop an exhibition project for tour. SPARK NT is designed to foster critical thinking in art and curatorial practice and provide artists from the Territory with opportunities to showcase their work within a curated touring exhibition. 1/0

IN THE NEWS Stories & Headlines New Arnhem Land art makes waves in debut exhibition August 7, 2021 With the help of an angle grinder, Yolngu artist Gunybi Ganambarr pulled apart an old water tank in his remote Arnhem Land home and reassembled it into striking etched artworks — something critics are labelling "revolutionary". Read more In the Press NT gallery pushes boundaries with help of cryptocurrency donation September 6, 2021 Read more Archer Asks: Tarzan JungleQueen August 7, 2021 By: Carmen Ansaldo Tarzan JungleQueen is a queer, non-binary, multidisciplinary artist based in Gulumoerrgin (Darwin), Northern Territory whose art practice straddles photography, graphic design, drawing, video, textual works, print making and everything in between. Read more July 19, 2016 July 19, 2016 Andy Ewing: Chronic Manageable Conditions A sea of images confronts the viewer upon entering Darwin’s Northern Centre for Contemporary Art. The exhibition, Chronic Manageable Conditions, 2015–16, is an installation of works on paper by Darwin artist Andy Ewing. It includes drawing, painting and collage. Each sheet is arranged in an assemblage that appears random at first, slowly revealing a logic that is more organic. Read more May, 2022 Darwin, Northern Territory, Australia: Telling the sacred stories of Country in Murrŋiny: a story of metal from the east, Interview with Director, Petrit Abazi Read more Press Release Upcoming Shows

PROOF PROOF is a photo documentary-based exhibition which foregrounds the NT/Top End as a photographic subject and the work of largely NT-based photographers. The exhibition is initiated by the Northern Centre for Contemporary Art (NCCA), Darwin, the NT’s leading independent public art gallery dedicated to contemporary art and now in its 26th year of operation. “Photography is a popular art form practiced and appreciated by professional and lay people alike” said Maurice O’Riordan, co-curator and Director of Northern Centre of Contemporary Art. “PROOF provides an opportunity to the public to appreciate the depth of photographic practice in the Top End” said Mr O’Riordan The first edition of PROOF took place in 2014 as an exhibition over two venues: NCCA and at the Darwin Waterfront. It showed the work of 13 photographers,mostly from the NT but also with national and international representation. Darwin audiences will get a unique glimpse into the diverse photographic practices capturing and depicting the landscapes, issues and day-to-day life in the Top End. For the exhibition, the ‘Top End’ takes in northern Australia as well as Darwin’s northern neighboring countries such as Indonesia, Papua New Guinea, East Timor and Singapore. “It’s our second photographic exhibition which foregrounds photography and photographic documentary in a contemporary art practice. The works capture that elusive quality that makes up the Territory and celebrate moments peculiar to our region” said Mr O’Riordan Miriam Charlie for example, chose eight images to be shown. They’re part of her recent project – My Country No Home which speaks to housing issues in Borroloola. Whereas, the Indonesian artist Dito Yuwono, in his evocative series The Secret Garden of Ledok Timoho, combines portraiture and landscape with simple everyday scenes in a garden to portray a series of green-thumbed squatters posing in a luscious garden. A highlight for Darwin artists, is a series of photographs from Fiona Morrison’s photo essay At The Studio – making in the top end which captures the intimate world of studios artists inhabit and verifies Darwin’s rich, eclectic contemporary art scene. In 2016, NCCA continues a dual-venue presentation of PROOF, at the NT Supreme Court Foyer and in the lane directly across from NCCA, with the exhibition co-curated by NCCA Director Maurice O’Riordan and Darwin-based photographers Glenn Campbell and Aaron Burton. Photographers for this year’s PROOF at the NT Supreme Court foyer: Miriam Charlie (NT) Sean Davey (ACT) Liss Fenwick (NT) Rossanne Pellegrino (UK/Australia) Dito Yuwono (Indonesia) Michael Marzik (Qld) Peta Burton(NT) Max Hynes(NT) Fiona Morrison(NT) Glenn Campbell (NT) 1/0

When we're open Monday: closed Tuesday: closed Wednesday: 10am -4pm Thursday: 10am – 4pm Friday: 10am – 4pm Saturday: 8am – 2pm Sunday: closed How to get here Public transport access The best bus to catch from the city centre is Route #4, which has a stop about 300m away from our gallery. Click here (https://nt.gov.au/__data/assets/pdf_file/0004/935149/darwin-bus-interchange-departure-times-poster.pdf)for a timetable, and here (https://nt.gov.au/__data/assets/pdf_file/0008/159281/route-4-public-bus-map.pdf)for a map. Parking access and drop off There is plenty of parking (including disabled/parent parking) at the Parap Village, as well as ample street parking in surrounding suburbs. Wheelchair access NCCA is wheelchair accessible, however our main entrance currently comprises a flight of six steps. The gallery has a side entrance with a ramp, which is utilised for wheelchair access. NCCA staff will assist you in accessing the gallery via the side entrance, by operating the roller door. Please call our friendly team on (08) 8981 5368 to receive assistance operating this door- there will always be a staff member in the gallery during opening hours. Gallery floorplan and description The main entrance of NCCA is up a flight of six steps. This entry includes a single glass door which opens inwards. This door is not power assisted so may be heavy. When suitable, this door is propped open. The width of the doorway is 92cm. The main gallery and screening room are situated on ground level. The gallery floor is sealed cement- all areas are accessible to wheelchair users. The NCCA office is located on the first floor of the building. Access is via the stairway in the gallery. If you are attending NCCA for a meeting with staff, we encourage you to advise us of your access requirements in advance. Meetings can be arranged downstairs or off-site. Click here (https://nccart.com.au/gallery-floorplan)to see our floorplan. Please note that NCCA uses temporary walls, which will change the format of the gallery and front desk for each exhibition. Gallery conditions Please note that gallery conditions will vary depending on the current exhibition. If you have any access requirements, you are welcome to ring our friendly team on (08) 8981 5368 for a description of current gallery conditions, including seating, sound and light levels, and exhibition content. Please note that lighting and sound can be adjusted by that attending staff upon request. Seating: NCCA has light-weight portable seating with backrests available for use upon request. Sound levels: Exhibitions may feature sound played at varying volumes throughout the gallery. Light levels: The front entrance is glass, and therefore the gallery has some natural light. The lighting changes for each exhibition and can range from darkness (such as in the screening room, to very low light, coloured light, or fluorescent lighting. Temperature control: NCCA is fully air-conditioned. Gallery amenities There are two gender neutral, single occupant toilets located at the rear of the gallery. The doors open inwards. ACCESSIBILITY The Northern Centre for Contemporary Art acknowledges that accessibility is multifaceted. We acknowledge the range of barriers people face, including but not limited to: disability, race, sexuality, gender, class and an intersection of these things. We are committed to continually evaluating and improving our accessibility, and welcome your guidance and feedback. Download a pdf version of our Access Guide here . FLOORPLAN GALLERY FLOOR PLAN

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Join our team! Applications are sought for the position of Assistant Curator The Organisation 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. Our values Exchange – Connect and engage artists and audiences across the Northern Territory, Australia and Asia Experimentation – Be ambitious and provide a critical space for artists and curators to take risks. Supportive – encourage artists and audiences to engage with challenging ideas to think about the world differently. Diversity – to be diverse and inclusive in who we are and what we do. Integrity - Conduct business with respect, honesty and transparency. The Position The Assistant Curator role is made for a dynamic all-rounder, operating both independently and in a collaborative team environment. No two days will be same and the successful candidate will be working across all areas of the organisation. This role requires multitasking, excellent time management skills and the capacity to work efficiently in order to deliver high-quality shows within short time-frames. The successful applicant will support and contribute to the development and delivery of the Centre’s exhibitions and associated projects, managing and supporting many administrative procedures including grant writing and correspondence with many of our key stakeholders. There is the potential to curate exhibitions depending on experience and programming requirements. The Assistant Curator will undertake relevant logistical tasks in relation to the exhibition management for the Centre and will report to and work under the guidance and support of the Director. Reporting structure The Assistant Curator reports to the Director, who in turn reports to the Board through the Chair. Contract, Conditions and Hours of Work This is an ongoing position and subject to a six-month probation period. This role has the potential to become a full-time position in 2025, subject to funding. This is a 0.8FTE position, or 30 hours per week. During exhibitions, this will generally be Wednesday-Friday 9am-5pm and Saturdays 8am-2pm. In between exhibition install and de-install, the Saturday hours can be worked on Tuesdays. The salary for this position is in the order of $57,000 per annum pro-rata, inclusive of leave entitlements. Superannuation is 11% as per statutory requirements. Leave entitlements are pro-rata and include four weeks annual leave, and two weeks personal/sick leave. The successful applicant must be an Australian citizen or permanent resident and should obtain a current NT Working with Children Check. The NCCA is an Equal Opportunity Employer and values diversity in the workplace. Aboriginal and Torres Strait Islander people and those who identify as culturally and linguistically diverse, are encouraged to apply. To submit your application Please include a cover letter (max 1 page), responses to the selection criteria (max 2 pages), your current CV and three contactable professional referees. Applications are to be submitted via email to the Director, Petrit Abazi, petrit@nccart.com.au by midnight, Sunday 4 February 2024. Please contact Petrit if you have any questions relating to the role. Key Selection Criteria 1. Relevant tertiary qualifications in visual arts (fine arts, art history, curatorial studies, arts administration etc.) and/or knowledge of art gallery practices through work experience. 2. Understanding of curatorial practice and exhibition development, preferably in the areas of contemporary Australian Aboriginal, Australian and International art with demonstrable research and development of exhibition content, checklists and cataloguing skills. 3. Excellent written and oral communication skills, including demonstrated research skills with attention to detail. 4. Proven high level organisational skills and the capacity to prioritise and manage multiple tasks simultaneously with the capacity to work within short time-frames. 5. Proven administration experience with excellent computer skills including the capacity to utilise digital platforms such as Adobe Suite (preferrable) and create word documents, spreadsheets, and databases. Demonstrated high level record management skills that maintain the accuracy and integrity of administrative outputs. 6. Demonstrated understanding of exhibition installation procedures including Workplace Health and Safety principles. 7. A team player with well-developed interpersonal skills and the proven ability to work cooperatively with others including volunteers and casual staff and an ability to interact effectively with people of different cultures. ASSISTANT CURATOR JOB DESCRIPTION Curatorial & Exhibitions Under the guidance of the Director, assist, administer, research, develop and deliver NCCA’s exhibition program, including external and in-house, as well as guest-curator projects. Curate NCCA’s annual end-of-year ‘Members’ Show’ including undertaking administration, sourcing works and seeking members’ participation in order to continually improve and develop the exhibition. There is the potential to curate other exhibitions depending on experience and programming requirements. Under the guidance of the Director implement meaningful education and public programs including workshops, openings and other events that deliver audience engagement objectives. Participate in, and contribute to the installation (including the preparation of exhibition spaces, and installation of labels), maintenance/monitoring and deinstallation of exhibitions in consultation with the Director and in liaison with the installation crew. Ensure that all conditions of loan and touring exhibition agreements are met. Contribute to the receipt, documentation, unpacking and condition reporting of works for exhibition; ensure that exhibition spaces are tidy at all times and that works are appropriately presented respecting artists’ intentions and adhering to OH&S requirements. Manage and work with interns and volunteers on special projects. Complete administrative and practical tasks in support of the delivery of the exhibition program including coordination of the signage schedule, liaising with external designers and various contractors. As required, research, prepare and write exhibition labels and interpretive texts; source images for reproduction and secure copyright clearances; liaise with artists, photographers and other relevant parties, meeting all deadlines. Archive administrative materials including invoices accordingly. Maintain day-to-day upkeep of gallery, exhibitions and gallery services areas. Administration Undertake administrative support for the exhibition program. Provide a professional interface with visitors, stakeholders and artists whether in person, on email or on the telephone. Maintain a register of NCCA members and assist the Director in developing the Membership base. Manage contracts with artists and guest curators in a timely manner. Contribute to the care, storage, maintenance and cataloguing of exhibition equipment and furniture including display plinths. Maintain an inventory of exhibition equipment and furniture including AV equipment. Provide administrative support to the Director as required, including assistance with writing grants and acquittals. Communications Publicise all NCCA artistic and public programs. Promote NCCA’s activities through mail, email and online, including the careful drafting and proofreading of text in line with NCCA’s style guide. Provide and develop content pertaining to the NCCA’s exhibitions and operations on social media platforms. Ensure information on the NCCA website is current and accurate including exhibition content and the calendar of events. General Meet and greet visitors at the front desk during opening hours (Wednesday – Thursday, 10am-4pm and Saturdays 8am-2pm) Develop and maintain good working relationships within the arts sector. Proactively participate in other associated organisational initiatives and activities as required. Regularly brief the Director of developments, including prompt communication and careful management of changes or risks. Prepare and deliver run-sheets for speeches and ensure opening nights, art talks and lectures run smoothly. Assist with the identification of OHS risks, seek improvements and induct all artists into NCCA’s OH&S policy and general operations before they start work on site. Maintain close communication with Director. Other duties as required by the Director. Applications are due by midnight, Sunday 4 February. Submit via email to petrit@nccart.com.au Click here to download a pdf version of the position description. Got questions? Get in touch so we can start working together. First Name Last Name Email Message Send Thanks for submitting! A team member will be in touch soon.

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

SUPPORT US Thank you for choosing to make a difference. Your donation plays a vital role in supporting the growth of our ambitious exhibitions, projects and programs. Thanks to our loyal supporters and benefactors, we can continue to be a stronghold for contemporary art in the Northern Territory and beyond. All donations above $2 are tax deductible. Donate

Open Cut Public programs: Artist panel, Saturday 12 August 12 noon; other public programs tba. An exhibition of photographic portraits by Therese Ritchie forms the core of the exhibition, supported by paintings by Jacky Green. The works overall represent a collection of Garawa voices from Borroloola in the Gulf region of the NT in response to the impact of development and mining in particular on their country. Ritchie’s portraits continue a recent development in her photo-based practice where the body of the subject/sitter is inscribed with text that has been chosen/stated by the sitter; the works are highly collaborative in their construction and in this case facilitated by Jacky Green and Sean Kerins, a Canberra-based anthropol- ogist who has researched and written extensively on the Gulf region and related cultural and economic issues, and who has previously collaborated with Jacky Green to present exhibitions in Melbourne and Canberra. This show is to coincide with the Telstra National Aboriginal and Torres Strait Islander Awards exhibition at the Museum and Art Gallery NT, Darwin; part of Darwin Festival program. 1/0