As introduced in a previous post, Quentin Sprague was recently involved in the No Name Station project, a residency for a number of Chinese and Australian artists and curators (and a writer) in the remote Gija community of Warmun in the North East of WA. The resulting exhibition opened in October at Iberia Centre for Contemporary Art in Beijing, which will travel to Gertrude Contemporary in Melbourne in 2011. Here Quentin pursues some pertinent issues raised by the experience of the project:
“A project like this raises a number of questions about how remote Indigenous Australian works of art operate when seen from outside the established framework that exists in Australia. In a broad context of contemporary practitioners, without the presence of didactic wall texts, and across the barrier of language that exists in a place like China, an audience can only approach these objects as art – or so the logic goes. That is, in its Chinese frame, an awareness of relevant traditional, historical or contemporary contexts cannot be assumed to underlie any reading. So, what’s left when these various groundings are removed? What are other cultures seeing when we present remote Indigenous practice as a dynamic contemporary form?
Zuo Jing photographs Alex Hall, Great Northern Highway near Warmun, WA (author’s photograph)
For the Chinese artists and curators during the residency in July this year, it was perhaps hard not to approach Gija practice as a kind of ‘folk art’, and draw comparison to the practices of minority groups in China. So while dialogue with the urban based Australian artists was fairly easy to establish within the common grounding of International contemporary art, the practice of the Gija was much harder to place, at least in similar terms to how key practitioners are seen in Australia. This is not necessarily meant as a criticism – rather it is a response that I feel highlights differences in production and representation which, let’s face it, still presents challenges in the Australian art world, let alone in International contexts.
Representing cultural difference now forms a significant part of a global contemporary art discourse. This fairly recently emerged willingness on the part of artists and curators to actively explore points of cultural exchange can sometimes be a difficult process. As the No Name Station residency group discovered, actual cultural differences can be fundamental and although art practice can present a common grounding in these contexts it doesn’t necessarily offer up easy resolutions.
Installation view of No Name Station at Iberia Centre for Contemporary Art, Beijing, (L-R), Rusty Peters, Berrngalanginy, 2008, Newell Harry, Lloyd Treistino, 1967-2009 (installation in progress) (author’s photograph)
The image above shows Gija artist Rusty Peter’s work alongside the installation in progress of Newell Harry’s work Lloyd Treistino, an exploration of his family’s story of migration shown through selected family photographs and related archived materials presented in vitrines, including letters, watercolours and objects.
The desire to explore this area in regards to the representation of remote practice within wider frameworks raises a series of valid questions, often resulting directly from such difficulties. Like how to negotiate the contemporary in ways that resonate across truly different cultural contexts. And, what does ‘contemporary’ really mean when applied to remote practice anyway? Simply that the art is being made now? Maybe the term is best seen as a particularly Western one – one that emphasises innovation and change – rather than a concept projected onto a totally different tradition of cultural production that has largely emphasised the relative immutability of cultural forms. Does its use set up expectations that aren’t necessarily helpful when considering the real position of the work in question?
The argument can be made that the complex series of exchanges that the indigenous art object represents is perhaps its most interesting aspect in a contemporary art context. When presenting remote indigenous practice in an International arena, or anywhere really, the question of how to articulate its various realities in relation to broader notions of contemporary art is ever present. Maybe without this area being explored in the exhibition context, or at least without it being apparent to some extent to the audience, the work is presented with an unescapable element of artifice…”