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CURRENT Current Pasar Malam | Night Market Future Current 2024 2023 2021 2020 2017 2016 2014 2013 FUTURE Future MARKED: Tracing Modern Murals and Graffiti Culture in the Northern Territory PAST 2024 2025 Queer Territory Jenna Mayilema Lee: Of Smoke and Rain Bill Davies The Darwin Years Sanctuary Summit subterra: the NCCA Members Exhibition 2025 2024 From Rubble to Resistance: the 2024 Members Exhibition Cleverman Andrew Belletty: Noctambulation Taripang / Dharripa / Trepang Violet Bond: Bodies of Water 2023 2023 Annual Members' Show 2023 Unbordering Worlds: New Narratives for Northern Kosovo Alana Hunt: Surveilling a Crime Scene Dawn Beasley: Botanically Porcelain Blak Power: 50 Years of First Nations Superheroes in Australian Art James Drinkwater: P A S S A G E 2022 Annual Members' Exhibition: 24Hr Art Franca Barraclough: The Visitors Retribution: What Happens Next? Can You Hear My Voice? Timo Hogan Nigel Sense: Visitor Centre Manifesta 14 2021 2021 Lapsed, Missing & Working Sculptors Remake, Rework & Recycle Murrŋiny: a story of metal from the east Do I Seduce You Lapsed, Missing & Working Sculptors We Eat We Are 2020 2020 Off The Walls 2020 Vision - Annual Members' Exhibition ‘Welcome to Uluru’ ArtBack - Groundswell Escape the News priNT 2020 2019 2018 2017 2017 Tonality In Time & Space Punuku Tjukurpa Present Tense – Tennant Creek Mens’ Centre Art Tennant Creek Mens’ Centre Art Katherine Bradley Open Cut Portrait of a Senior Territorian Art Award 2016 2016 Spent It Artmart 2016Artmart 2016 Chronic Manageable Conditions CANZONE The Most Stolen Race on Earth Patience The Other The Bathroom Series The Geography of Here and There The Ochre Cloak Inheritance Seven Sisters …as the Serpent Struggles Patience 'We Eat We Are' Spectrum COnCREtE PROOF Domestic Bliss MouthfeelMouthfeelMouthfeel Machinations priNT FLEDGLING Bungaree’s Farm Cut Colony 2015 2014 2014 UNDER MY SKIN Grain & Gold Come Closer Away Arnhem H-way Cruise Control: Indonesian – Top End Artists’ Camp exhibition The comforting promise home Continuum (Part I and Part II) New sponsorship for NCCA The Pixels + Fibre Project Two Room One Between the sky and the ground 2013 2013 Skin Subaqueous Knit Travel Between Thresholds Once Upon a Toy Town Water for Object Past Perfect Future Continuous Wasted and Marginalized Groggy To Tell Another Story Swells of Enchantment Window Shopping Psychic Hairdo

Item List Balance Read More 'We Eat We Are' Read More 1 Million Years Read More 1 Million Years Read More 2020 Vision - Annual Members' Exhibition Read More Alana Hunt: Surveilling a Crime Scene Read More Andrew Belletty: Noctambulation Read More Annual Members' Exhibition: 24Hr Art Read More Annual Members' Show 2023 Read More Annual Members’ Show Read More Annual Members’ Show Read More Arnhem H-way Read More

Future 2023 Current 2022 2021 2020 2019 2018 2017 2016 2015 2014 2013 CURRENT Current Pasar Malam | Night Market FUTURE Future MARKED: Tracing Modern Murals and Graffiti Culture in the Northern Territory PAST 2023 2023 Annual Members' Show 2023 Unbordering Worlds: New Narratives for Northern Kosovo Alana Hunt: Surveilling a Crime Scene Dawn Beasley: Botanically Porcelain Blak Power: 50 Years of First Nations Superheroes in Australian Art James Drinkwater: P A S S A G E 2022 2022 Annual Members' Exhibition: 24Hr Art Franca Barraclough: The Visitors Retribution: What Happens Next? Can You Hear My Voice? Timo Hogan Nigel Sense: Visitor Centre Manifesta 14 2021 2021 Do I Seduce You Murrŋiny: a story of metal from the east Remake, Rework & Recycle We Eat We Are Lapsed, Missing & Working Sculptors 2020 2020 ArtBack - Groundswell ‘Welcome to Uluru’ 2020 Vision - Annual Members' Exhibition Off The Walls priNT 2020 Escape the News 2019 2019 Jimmy Bamble 2018 2018 Fecund 2017 2017 Open Cut Katherine Bradley Tennant Creek Mens’ Centre Art Present Tense – Tennant Creek Mens’ Centre Art Punuku Tjukurpa Tonality In Time & Space Portrait of a Senior Territorian Art Award 2016 2016 The Other Patience The Most Stolen Race on Earth CANZONE Chronic Manageable Conditions Artmart 2016Artmart 2016 Spent It Cut Colony Bungaree’s Farm FLEDGLING priNT Machinations MouthfeelMouthfeelMouthfeel Domestic Bliss PROOF COnCREtE Spectrum 'We Eat We Are' Patience …as the Serpent Struggles Seven Sisters Inheritance The Ochre Cloak The Geography of Here and There The Bathroom Series 2015 2015 2014 2014 UNDER MY SKIN Grain & Gold Come Closer Away Arnhem H-way Cruise Control: Indonesian – Top End Artists’ Camp exhibition The comforting promise home Continuum (Part I and Part II) New sponsorship for NCCA The Pixels + Fibre Project Two Room One Between the sky and the ground 2013 2013 Skin Subaqueous Knit Travel Between Thresholds Once Upon a Toy Town Water for Object Past Perfect Future Continuous Wasted and Marginalized Groggy To Tell Another Story Swells of Enchantment Window Shopping Psychic Hairdo

1/7 EXHIBITIONS WHAT'S ON Past Current Past Future Future SUBSCRIBE BECOME A MEMBER DONATE VOLUNTEER FOLLOW US 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. read more... VISIT US Vimy Lane, Parap, NT 0820, Australia Wednesday - Friday: 10am - 4pm Saturday: 8am - 2pm FREE ENTRY, ALL WELCOME, ALWAYS How to get here CONTACT US info@nccart.com.au (08) 8981 5368 Contact CONTACT

subterra: the NCCA Members Exhibition 2025 28 November - 20 December 2025 subterra what lies beneath We invite NCCA Member Artists to respond to this theme in any way they wish. It can be literal or physical, about a place, or an emotion. It could be what lies beneath a decision, a way of thinking, a framework of society. It could be what triggers certain responses or reactions and makes one feel the way one does. What lies beneath the earth’s crust, the waves, the places we cannot see? Why do any of these things matter? Why do they matter to you? KEY DATES: - Entries Close: By Monday 17 November 2025, 5pm - Launch Party: Thursday 27 November, 6pm - Exhibition Dates: 28 November – 20 December 2025 - Closing Party & Prizes: Saturday 20 December, 12pm PRIZES: Prizes this year are sponsored by Chapman & Bailey. First prize will be awarded by a judging panel and the People's Choice Award will recieve a voucher for Champan & Bailey. The judging panel for the main prizes will assess three criteria: - How well the entry responds to the theme. - Quality of artistic merit. This includes skill, techniques used and composition. - Level of innovation, ambition, experimentation or risk-taking. The panel of judges will be made public after the judging has been finalised. ___________________________ Subterra: a brief genealogy of narcissistic western thought Matthew van Roden A meteorite is a classic example of an extraterrestrial. Extra, in the sense of being outside, in addition, or beyond the scope of the usual or expected. Terrestrial comes from terra, that is, here, planet earth, our home as earthlings. What the ‘extra’ of extraterrestrial means, has never been universally held. It has and will no doubt continue to change as our being terrestrials–that is, earthlings by definition created and sustained by this earth–likewise changes. For example, Aristotle held the view that terra consisted of four elements: earth, water, air, and fire; elements in motion and subject to change. Beyond these were the celestial realm of the planets and of the stars, a realm of clear, consistent, unchanging aether. Within this worldview, earth, or, terra, is the centre of a concentric universe, albeit sublunary–that is, below the moon. And what lunatics we have been across the ages: tidal, cyclic, tempestuous, moved by deeper forces beneath the surface of our subjectivities, which sparkle on the oceans of our lives, like aftereffects of the setting sun over calmer seas. Copernicus puts the centrality of terra to bed with his 1543 publication De revolutionibus orbium coelestium (Kopernikus et al., 1992), shattering the long-held belief of a human-centred, concentric universe, placing us in flying orbit around the sun, on a now eccentric, not concentric, planet. No longer the planetary centre of our solar system, were we content to be, at least separate to nature, human terrestrials as the centre of creation? Darwin’s 1859 publication, On the Origin of Species ( Darwin & Bynum, 2009), dissolved any such illusion, placing us thoroughly within the experimental, emergent mesh and fortune of evolutionary processes. Now even the human is eccentric, in terra. Freud pushed the dial even further in 1899 with his Interpretation of dreams (Freud & Strachey, 1998), articulating a split between the realms of conscious and unconscious being; rendering human terrestrials not even the centre of ourselves. This seemingly essential eccentricity of the subject is even further radicalised by Deleuze and Guattari in their landmark 1972 publication Anti-Oedipus: capitalism and schizophrenia (Deleuze & Guattari, 1983), where the subject is displaced from its persistence in space and time; understood as a surplus residue of intensities—an after effect of desiring production—more sequential than durable. If we are beside ourselves, outside ourselves, eccentric in nature, on an eccentric terra. What lies beneath? Helium, as a matter of fact, was discovered on the sun before being found here on earth, through practices of spectroscopic celestial aura-gazing, which further confirmed the presence of elements such as Iron, calcium, sodium, and hydrogen in the celestial spheres (Nath, 2013; Schellen, 1872). Confirming, also, the sentiments of the Lord's Prayer, “On earth as it is in heaven” , or the much more ancient, “As above, so below.” So much for aether. If our meteorites are made of the same stuff of earth. If the most extraterrestrial visitors speak with the same subterranean, elemental tongue. Then what does lie beneath? Are we, on the surface, even as the surface, somehow between it? Donna Haraway invites us to embrace our eccentricity, to bring our decentred selves and situatedness to the new, old country which she calls, Terrapolis, and I quote, "not the home world for the human as Homo, that ever parabolic, re- and de-tumescing, phallic self-image of the same; but for the human that is transmogrified... into guman that worker of and in the soil” (Haraway, 2016, p. 11) In other words, we’ve got to get our hands dirty, gotta get our shit together. This again from Haraway, “Trouble is an interesting word. It derives from a thirteenth-century French verb meaning “to stir up,” “to make cloudy,” “to disturb.” We—all of us on Terra—live in disturbing times, mixed-up times, troubling and turbid times. The task is to become capable, with each other in all of our bumptious kinds, of response” (p. 1) And that brings us here, to Larakia Country, to Vimy Lane, to the Northern Centre for Contemporary Art. To the 2025 Member’s Show, Subterra . To the bumptious kinds of responses that this key organisation supports–through, in spite of, and precisely because of these troubling times. In the way it has held and continues to hold artists, ideas, communities and their discourses. So thank you all for supporting it. If you are not already, become a member. And if you bump into any one of the more than 60 extraordinary artists who have generously offered the fruits of their creative labour for your consideration and edification this evening. Ask them about their work, about their relation to the surface, the subterra that stirs their studios, and the ideas that get under their skin. Most importantly, enjoy the show. ______________________________________ 1 “From Proto-Germanic and Old English, guman later became human, but both come soiled with the earth and its critters, rich in humus, humaine, earthly beings as opposed to the gods” (Haraway, 2016, p. 169) Darwin, C., & Bynum, W. (2009). On the origin of species: By means of natural selection or the preservation of favoured races in the struggle for life . Penguin. Deleuze, G., & Guattari, F. (1983). Anti-Oedipus: Capitalism and schizophrenia . University of Minnesota Press. Freud, S., & Strachey, J. (1998). The interpretation of dreams ([3rd English ed.; rev.]). Avon. Haraway, D. J. (2016). Staying with the trouble: Making kin in the Chthulucene . Duke University Press. Kopernikus, N., Kopernikus, N., & Kopernikus, N. (1992). On the revolutions (E. Rosen, Ed.). Johns Hopkins University Press. Nath, B. (2013). The story of helium and the birth of astrophysics . Springer. Schellen, H. (1872). Spectrum Analysis in its Application to Terrestrial Substances, and the Physical Constitution of the Heavenly Bodies . Longmans, Green, & Co. https://digital.sciencehistory.org/works/2z10wr268 ___________________________________________________________ JUDGING PANEL: Kate Fell Kate Fell is the Artistic Director of Darwin Festival. Kate has over 25 years experience in the arts as a CEO, Creative Director, Program Director and Executive Producer in various venues, festivals and companies, including Brisbane Festival, Circa, Queensland Performing Arts Centre, and Youth Arts Queensland. She was a Creative Director of the Gold Coast Commonwealth Games cultural festival in 2018. Emily Collins Emily Collins is the Curator of Southeast Asian Art and Material Culture at the Museum and Art Gallery of the Northern Territory. Before joining MAGNT she worked as an independent curator in South Australia, implementing curatorial and collection projects on Australian art for various institutions and the Arts in Health sector. Franck Gohier Franck Gohier is a long-standing Darwin artist whose painting, sculpture and printmaking draw on the Territory’s people, politics and history. Active since 1987, his work appears in major national collections. In 2018 MAGNT presented a major retrospective celebrating his significant contribution to Northern Territory art and culture. 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

Cleverman 24 February - 27 April 2024 a superhero for the past, present and future ‘Cleverman: a superhero for the past, present and future’ celebrates the groundbreaking comic and critically acclaimed Indigenous TV series. Brought to the Northern Territory from the Australian Centre for Moving Image (ACMI), the exhibition explores First Nations storytelling, language and creativity, presenting the audience with props, costumes, production design and audio-visual installations. Audiences are invited to listen first and immerse themselves in this powerful contemporary expression of The Dreaming. Cleverman stormed onto ABC TV in 2016 as a dystopian sci-fi with a difference. With a predominantly Indigenous cast and senior crew, the series takes a selection of well-known Aboriginal origin stories and recasts them in a contemporary context, exploring themes of class, racism and power. Including interviews with the cast and crew, and original artwork from the comic book series, the exhibition experience maps the making of the television series from Aboriginal Dreaming and mythology, to contemporary moving image. This exhibition was produced by ACMI and ACMI’s First Nations curator Kathrine Clarke (a proud Wotjobaluk woman from the Wimmera) and co-curated by Cleverman concept creator Ryan Griffen and Cleverman production designer Jacob Nash. ACMI’s Cleverman exhibition was conceived and developed in close consultation with a multi-disciplinary Indigenous Advisory Group. This exhibition is ACMi’s first in the Territory, and is proudly supported by the Australian Government’s Visions of Australia program. Curator Kat Clarke 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

ArtMart 2019 1/0

Cocoon of Prayers Levin Diatschenko 1/0

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