Founded in 1975, the IMA is the oldest contemporary art space of its kind in Australia. As one of the country’s first non-collecting public galleries, the IMA has played an integral role in developing contemporary art in Queensland, Australia, and internationally.
Casino Wake Up Time member, Kylie Caldwell, shares three poems which she has written about native plants and the diverse waterways which sustain them on Bundjalung country in the Northern Rivers. Nanna You Remember! is a poem about wetlands, and the animals and plants within these wetlands. It's a place where the weaving fibre, buckie rush, is collected. Kylie shares that wetlands are one of the most valuable ecosystems which act as reservoirs to collect water during big rains, reducing the effects of flooding. They protect coastal areas from storm surges by securing fragile soil and sand, and purify water by acting as a filter. Kylie dedicates this poem to her ancestors, who held a wealth of knowledge about these ecosystems. Picking Again is a poem about Casino Wake Up Time collecting rushes and other plants for weaving. A Survivor is a poem about lomandra, a plant that plays a significant role in supporting the banks of rivers and creeks and keeping these waters healthy and strong.
In this mediation, Hanna invites you to be transported to the mouth of the River Ythan in Aberdeenshire Scotland. A large colony of grey and common seals call out from the estuary banks. The sound of their calls are carried in the wind. Hanna shares two traditional seal-calling songs, and teaches an extract from one of these which she works with in her seal calling improvisations. This traditional Scottish Gaelic seal-calling song comes from the collection of Marjory Kennedy Fraser, an early twentieth century folklorist. It is a simple song created entirely from wordless sounds that imitate the grey seal's singing.
In this audio mediation, Marjetica talks about the referendum for water rights in Slovenia in 2021 and her collaboration with Uncle Ray Woods to make 2 visual essays titled The Rights of a River and The Life of the Lachlan River. The drawings tell of the struggles of two rivers in different parts of the world: the Soča River in Slovenia and the Lachlan River in Australia, in New South Wales. She invites the listener to consider rivers as a subject with whom we can foster a relationship with, rather than an object.
Audio Descriptions and Interpretive Texts for select works in Maluw Adhil Urngu Padanu Mamuy Moesik (Legends from the deep sitting peacefully on the waters) Selected works from the 23rd Biennale of Sydney: rivus
Audio Descriptions and Interpretive Texts for select works in Maluw Adhil Urngu Padanu Mamuy Moesik (Legends from the deep sitting peacefully on the waters) Selected works from the 23rd Biennale of Sydney: rivus
Audio Descriptions and Interpretive Texts for select works in Maluw Adhil Urngu Padanu Mamuy Moesik (Legends from the deep sitting peacefully on the waters) Selected works from the 23rd Biennale of Sydney: rivus
Audio Descriptions and Interpretive Texts for select works in Maluw Adhil Urngu Padanu Mamuy Moesik (Legends from the deep sitting peacefully on the waters) Selected works from the 23rd Biennale of Sydney: rivus
Audio Descriptions and Interpretive Texts for select works in Maluw Adhil Urngu Padanu Mamuy Moesik (Legends from the deep sitting peacefully on the waters) Selected works from the 23rd Biennale of Sydney: rivus
Audio Descriptions and Interpretive Texts for select works in Maluw Adhil Urngu Padanu Mamuy Moesik (Legends from the deep sitting peacefully on the waters) Selected works from the 23rd Biennale of Sydney: rivus
Since 2020, Gordon Hookey has made placards and banners which explore the visual histories of protest and his interpretation of contemporary politics. Join Hookey for an artist talk focusing on this area of his practice, specifically the new commission of eight banners presented in A MURRIALITY. In this talk facilitated by Cheryl Leavy, Hookey speaks to his process of making this body of work, drawing on his archive of posters that span forty-years and document issues from land rights to refugee advocacy, and Indigenous excellence in sports, music, and art. The commissioned works continue his witty critique of racism; exploring oral- and image-based history-making traditions, to create a biting satire of Australian culture and politics. A MURRIALITY is Gordon Hookey's first survey show, charting three decades of practice where artmaking and activism fuse. Please note: This exhibition contains adult content including strong language and graphic imagery.
Trum's Legacy Yellafella Audio Description by Institute of Modern Art
Audio Descriptions and Interpretive Texts for select works in Gordon Hookey: A MURRIALITY
Audio Descriptions and Interpretive Texts for select works in Gordon Hookey: A MURRIALITY
Audio Descriptions and Interpretive Texts for select works in Gordon Hookey: A MURRIALITY
Audio Descriptions and Interpretive Texts for select works in Gordon Hookey: A MURRIALITY
Audio Descriptions and Interpretive Texts for select works in Gordon Hookey: A MURRIALITY
Audio Descriptions and Interpretive Texts for select works in Gordon Hookey: A MURRIALITY
Audio Descriptions and Interpretive Texts for select works in Gordon Hookey: A MURRIALITY
Join us for this accessible and generative conversation about contemporary art and psychoanalysis, grounded in the development of Natalya Hughes exhibition The Interior. Natalya Hughes is joined by clinical psychologist Dr Andrew Geeves and author and academic Professor Susan Best to talk about what psychoanalysis is and how it is useful in a contemporary context. The Interior evokes an exaggerated consultation room, playfully furnished for psychoanalysis. The forms and decorative surfaces of the works in this installation reference the consultation room and practices of the father of psychoanalysis, Sigmund Freud. Given the abundance of imagery which The Interior draws from Freud's work, we will ponder the question, how can art be informed by psychoanalysis and psychoanalysis informed by art?
Join Sydney-based independent curator and guest judge for ‘the churchie' Sebastian Goldspink, for this talk which details the realisation of his most recent project, the 2022 Adelaide Biennial of Australian Art: Free/State for the Art Gallery of South Australia. Goldspink unpacks the journey of a biennial from ideation to realisation. The 2022 Adelaide Biennial featured 25 prominent Australian artists from every state and territory across multiple generations from emerging to established.
Listen to Aha Ensemble in conversation with Professor Bree Hadley as they discuss their newly commissioned participatory installation Absolutely Everybody Judges.
Audio description with integrated interpretive text of Absolutely Everybody Judges by Aha Ensemble
How can circular design interrupt and divert the systems of production and use that dominate how we consume? How much scope does ethical and sustainable design have for change in a society that still operates under capitalist systems? This discussion features hyperlocal designers and makers as they share their approaches to practicing circular design principles. Facilitated by curator Ineke Dane, panellists include architect Emma Healy, fashion designer Maria Nelson Molloy and Clare Kennedy, representing design studio Five Mile Radius, whose work features in An Alternative Economics.
A conversation with award-winning visionary artist and director Jenn Nkiru to gain insight into her vibrant video practice. Nkiru will be in dialogue with fellow artist Atong Atem, to discuss experimental documentary-making, Afrofuturism, reclaiming the archive, and cultural histories in her video art practice.
Audio Descriptions and interpretive texts for select artworks in An Alternative Economics
Audio Descriptions and interpretive texts for select artworks in An Alternative Economics
Audio Descriptions and interpretive texts for select artworks in An Alternative Economics
Audio Descriptions and interpretive texts for select artworks in An Alternative Economics
Audio Descriptions and interpretive texts for select artworks in An Alternative Economics
Audio Descriptions and interpretive texts for select artworks in An Alternative Economics
Audio Descriptions and interpretive texts for select artworks in An Alternative Economics
Audio descriptions and interpretive texts from select works in 'This language that is every stone'.
Audio descriptions and interpretive texts from select works in 'This language that is every stone'.
Audio descriptions and interpretive texts from select works in 'This language that is every stone'.
Audio descriptions and interpretive texts from select works in 'This language that is every stone'.
Audio descriptions and interpretive texts from select works in 'This language that is every stone'.
Audio descriptions and interpretive texts from select works in 'This language that is every stone'.
Audio descriptions and interpretive texts from select works in 'This language that is every stone'.
Audio descriptions and interpretive texts from select works in 'This language that is every stone'.
Audio descriptions and interpretive texts from select works in 'This language that is every stone'.
In this podcast, the co-curators of This language that is every stone speak with the editor of the exhibition's forthcoming publication Olivia Fairweather about the development of the show, the postcolonial theories of Martinican philosopher Édouard Glissant, and what his work might mean in an Australian context. This podcast is a behind-the-scenes insight into the dynamic interaction of theory and art objects in curatorial practice—online from next Saturday 12 February.
Nina Sanadze received a special commendation for her work 'Apotheosis' in the churchie emerging art prize 2021. The exhibition was curated by Grace Herbert and judged by Rhana Devenport, Director of the Art Gallery of South Australia. Audio Described by Jan Pyke Image by Joe Ruckli
Visaya Hoffie received a special commendation for her work 'Rich in Cryptocurrency' in the churchie emerging art prize 2021. The exhibition was curated by Grace Herbert and judged by Rhana Devenport, Director of the Art Gallery of South Australia. Audio Described by Jan Pyke Image by Joe Ruckli
Kyra Mancktelow received a special commendation for her work 'No Perception' in the churchie emerging art prize 2021. The exhibition was curated by Grace Herbert and judged by Rhana Devenport, Director of the Art Gallery of South Australia. Audio Described by Jan Pyke Image by Joe Ruckli
In this talk ‘the churchie' 2021 judge Rhana Devenport traces pivotal moments in her collaborations, commissions and projects with artists, from performances in the first Asia Pacific Triennial and artist residencies in Aotearoa New Zealand, to her current work as a curatorial advisor for the Aichi Triennale 2022 in Japan.
See/Through - Audio Description by Institute of Modern Art
See/Through - Interpretive Text by Institute of Modern Art
How do First Nations artists approach representation in public spaces? Taking artist Yhonnie Scarce‘s new commission 'Missile Park' as a starting point, Blaklash co-founder Troy Casey, with architect Kevin O'Brien, and artists Judy Watson, and Tony Albert, explore the intersection of architecture, memorial culture, and the representation of First Nations histories in their own projects and practices.
Missile Park by Yhonnie Scarce is an exhibition at the Institute of Modern Art, Brisbane which runs from 17 July to 18 September, 2021. Recorded via video conference on the 27th of August, the artist is joined by IMA Executive Director Liz Nowell in conversation. Yhonnie Scarce was born in Woomera, South Australia in 1973, and belongs to the Kokatha and Nukunu peoples. Scarce is a master glass-blower, which she puts to the service of spectacular and spectral installations ranging from the intimate to the architectural, each full of aesthetic, cultural and political significance. Her work also engages the photographic archive and found objects to explore the impact and legacies of colonial and family histories and memory. Missile Park is a survey exhibition co-commissioned by the IMA with ACCA, Melbourne. It brings together work from the last 15 years of Scarce's practice, alongside a major new commission from which the exhibition takes its name.
Missile Park by Yhonnie Scarce is an exhibition at the Institute of Modern Art, Brisbane which runs from 17 July to 18 September, 2021. Yhonnie Scarce was born in Woomera, South Australia in 1973, and belongs to the Kokatha and Nukunu peoples. Scarce is a master glass-blower, which she puts to the service of spectacular and spectral installations ranging from the intimate to the architectural, each full of aesthetic, cultural and political significance. Her work also engages the photographic archive and found objects to explore the impact and legacies of colonial and family histories and memory. Missile Park is a survey exhibition co-commissioned by the IMA with ACCA, Melbourne. It brings together work from the last 15 years of Scarce's practice, alongside a major new commission from which the exhibition takes its name. This audio tour developed by Jan Pyke will describe four key works from Missile Park, followed by didactic text written by exhibition co-curators Lisa Waup, Liz Nowell, and Max Delaney to aid interpretation. Aboriginal and Torres Strait Islander people are advised that this exhibition tour discusses images of deceased people.
Missile Park by Yhonnie Scarce is an exhibition at the Institute of Modern Art, Brisbane which runs from 17 July to 18 September, 2021. Yhonnie Scarce was born in Woomera, South Australia in 1973, and belongs to the Kokatha and Nukunu peoples. Scarce is a master glass-blower, which she puts to the service of spectacular and spectral installations ranging from the intimate to the architectural, each full of aesthetic, cultural and political significance. Her work also engages the photographic archive and found objects to explore the impact and legacies of colonial and family histories and memory. Missile Park is a survey exhibition co-commissioned by the IMA with ACCA, Melbourne. It brings together work from the last 15 years of Scarce's practice, alongside a major new commission from which the exhibition takes its name. This audio tour developed by Jan Pyke will describe four key works from Missile Park, followed by didactic text written by exhibition co-curators Lisa Waup, Liz Nowell, and Max Delaney to aid interpretation. Aboriginal and Torres Strait Islander people are advised that this exhibition tour discusses images of deceased people.
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