Sweat Season

Copyright © 2021 ACCOMPLICE.

All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, email the publisher.

ISBN: 978-0-645-10032-7 (Paperback) Any references to historical events, real people, or real places are used fictitiously.

Names, characters, and places are products of the author’s imagination.

Created by the Sweat Collective.

Written by Haneen Mahmood Martin.

Edited by Britt Guy. Images by Matthew Van Roden.

Graphic Design by Jess Cussen.

Printed by Eprint Darwin, Northern Territory.

Published by Creative Accomplice Pty Ltd. First printing edition 2021.

www.creativeaccomplice.com.au

The Sweat Collective would like to acknowledge the Larrakia Custodians of the land on which we create on, and pay our respects to Elders past, present and future.

HA N EEN MA HMOOD MA RTI N This zine holds the interpretations of nine out of the ten Sweat Collective members.

The tenth being me. I was invited, or rather, invited myself into a space which was meaningful to each of them, and together we talked through their thoughts, ideas and reflections. Sometimes we sweat together underneath air-conditioning while trying to remain cool by sitting directly on the tiles, we were bitten by midges along the foreshore while we sipped Moscato, and other times we shivered in unison beneath the unrelenting chill of the automated air-conditioning within the confines of a PhD office.

I want to thank each person for their trust, for letting me record their thoughts in the most intimate moments of arts creation, the inception.

I relished moments where artists were hesitant and unsure as much as I did those who did not hold back. After all, what right does a person recording a conversation off their phone have to anyone’s privacy? I guess our phones are listening regardless; at least we had agency over that moment. So let’s circle back to the beginning.

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MATTH EW VA N RODEN UPON THE BALCONY OF THEIR NEW HOME Have you ever lost someone suddenly? So unexpectedly that it captures you so off guard that you are lost for breath and just, lost. The total and utter collapse of your safehouse, safeguard, safety blanket. A part of your being that has just now disappeared and it feels like there is no way to ever recover these lost fragments.

Humans like to fabricate the most bizarre excuses for the gut-wrenchingly painful. My favourite is that it was God’s will, that they had sat down in amongst the total chaos of the world and determined how you will leave in either the most gruesome or inane way. Perhaps it will be willed to happen right after you repent to your found family, only to be decapitated by your seatbelt days later. Your community, I suppose, forced to be at peace with the inexplicable complexities of a sudden separation that will not be resolved until you are in another realm, hopefully together.

You are, however, not healed, not reassured by the predetermined nature and you take your lost self and you drive the inexplicably wide streets of Darwin and suddenly, there you are. You are able to breathe and a sense of calm washes over you like a wave of warm Top End sea water. You are still sad.

You keep the sad in you for years, which is fair because, how could you not? I think everyone holds the sad within them in one way or another. But you learn to dissect fragments from this harsh confrontation now that you can breathe and you remember everything that they taught you; of kindness, of patience, of love. You –2–

assemble these fragments into the whole of yourself kindly, quietly, in front of your community. Unbeknownst to them is the dull ache of missing someone, but you know everyone knows.

It is generous to share such a universal feeling so freely. Imagine the moments of where you take an essential stranger’s hand into yours and cleanse them. The pregnant pauses; from awkwardness or unexpected intimacy. The honesty which unravels in a moment of total stillness, broken only by hands breaking into water. If we hold our hands together, maybe we will return whole.

JAM ES MA NGOH I G ON THE COUCH OF HIS IN-HOME RECORDING STUDIO To sit down with someone and ask them to play music that is meaningful in their lives back to you is no small request. In the first Sweat Season Artist Lab for 2020, James Mangohig (Kuya James) asked everyone to do exactly that – play a song that takes you to a place. In another workshop, he asked people to write down the emotions felt when he played them certain songs.

The effect was inspiring, encouraging the producer to depart from beats in order to focus on the human voice. A different means of tapping into emotion, a collective desire to extrapolate and understand how the world works, why we see things a certain way and how we can better connect with each other.

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While everyone in the room was an artist, our offerings/workshops/exercises/time spent together was an opportunity to do something that is rare in the arts world – to talk about anything but your own practice. For James, this also meant hanging out with artists who aren’t musicians, providing different ways of seeing and thinking.

It was a chance to learn how others worked and being able to share and learn from one another. A random interjection into a creative practice that has been centred around music since James was 14 years old.

To share something so personal, in your own words, is a chance to love someone new in a different way. It is a generous act for them to share their experiences with you in detail. It is unfathomably so when they agree to share with you a sound or a song to give you a whole other element, layer of appreciation. It is a way to make you feel with intensity and to encourage you to embrace that feeling.

James wants to match that generosity by removing beats from his work just for Sweat Season. A cappella. Voices, some familiar, others not, recorded specifically for this purpose. Just to see if it speaks to you like it does him.

TONY LEE IN A CORNER OF THE BUSTLING FORESHORE CAFÉ I am mostly here to listen to Britt and Uncle Tony speak. Uncle Tony is busy every day at the moment offering advice, doing Welcome to Country ceremonies, –4–

the whole lot. I like calling him Uncle Tony because it reminds me of being back home in Malaysia, which I haven’t been able to do lately and don’t know when I will again. To call your elders Uncle or Auntie is a sign of respect, done without a second thought, no matter how well we know them. I wonder why I feel shy to call him Uncle Tony to his face.

Uncle Tony actively listens, vocalising his opinions when necessary, but otherwise letting Britt update him on the project and where we are all up to. He speaks mostly to offer knowledge of sites for the event and information about lore that we would not have otherwise known. I suddenly feel like it’s dinner time and I’m sitting at my great-uncle’s dining room table, where I spend a lot of my time in Malaysia. I talk and talk about inane topics and he mostly nods, only interjecting to share family history, stories I only know now because I sat there with him. This is emphasised when Uncle Tony interrupts himself to make a connection between his use of the coffee bush for an art project, to mention to me that he learned about it from a Malaysian.

I think about how when Uncle Tony first met with us all earlier in the year and explained how there are seven layers of understanding in the world. Seven different layers, ways to interpret everything we see, touch and feel. This makes sense to me.

I understand in different languages, I understand that how I speak to one person changes when I speak to another, I understand that there are different ways of understanding and that if we really want to reach people and have them understand us, that we need to be better at building those layers. Mostly, I am just grateful to have attempted to understand everyone in the collective through writing.

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TA RZA N JU NGLEQU EEN AT THE END OF THE LONG COMMUNAL WORKING SPACE AT UNTITLED There are four seasons of the moonstruation; heat, pain, release, relief.

Heat: A hot chute of… something, that picks you up and barrels you into the darkness, away from the rest. For your safety and their perceived safety, get yourself off the ground and settle into your disappearance. Gather your most comforting possessions into your orbit and regret your pact to reduce your use of the air conditioning.

Pain: You become comfortable in your own discomfort and take a moment to be present.

Breathe in.

Breathe out.

Grimace at as a cramp pulls you inside out.

Marvel at the understanding of what is happening to you of its own accord. Place your hand on that part of your body to allow the energy to return within.

Release: When you are back, they will celebrate the glow that you shine upon them.

They will bask beneath it and place all meaning of the inexplicable into your homecoming, not knowing what you have been through in your absence. You will

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not know what they have been through, either, in your haste to escape for a moment of reprieve from the creeping heat within yourself.

Relief: They are grateful to be graced in your presence, yet too caught up in their own seasonal shift to notice that you had escaped them at all. Let them dance in your glow and wonder where you go the next time the heat strikes.

AM I NA MCCONV ELL AT A BENCH NEAR THE CHAPMAN ROAD CARPARK Amina and I met at the site of her initial proposal for Sweat Season, the one-sided picnic bench facing the ocean at the end of the Chapman Road carpark. An artist and community arts worker who creates Formalist Abstraction work, Amina had wanted to engage Sweat Season goers to participate in a drawing exercise which would result in the total refurbishment of the bench. The mental picture of a playful collaborative piece of non-objective abstraction that required no training or skill upon something which would still serve such a practical purpose is enticing, but unfortunately not possible at this time.

Heavily inspired by Brazilian Lygia Clark, Amina is interested in exploring the accessibility of art to those without any formal arts training, something which often isolates so many from engaging with the arts at all. By encouraging people to –7–

draw using simple yet strict parameters, Amina taps into the freedom of doodling or playing drawing games as a means of challenging a hesitant participant’s preconceived ideas that they are not qualified to take part in a joyful community activity.

Amina responded to the theme of ‘cycles’ in two different ways. The first, by reflecting and acknowledging that this time around, she sought a sophisticated continuity of outcome and strong sense of collective ownership over the final offering. The second was a response to the Sweat Collective’s desire for parameters in which to create at a time of mass upheaval, a cycle of routine and patterns with which to create and contribute to something larger than yourself.

J ESS ICA DEV EREUX ON THE FLOOR OF HER FLAT Desiring structure, edges and guidelines. We leap off the coast, onto a boat in croc-infested waters and break into song. Everything seems big. Somewhere between a restriction and a prescription of how to be seems reasonable at this stage before parachuting off the beach as the sun rises.

Everything needs to be simplified and simplified. Sitting on cool tiles, under air

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conditioning in the suburbs drinking home-made ginger beer. Thinking about the new ways we connect with family and each other; lives new and old, and what they will look like in the years to come. We are sitting and making, listening, getting comfortable with one another in these new ways. There is some comfort in thinking that some of the good things we are adjusting to now will remain. There is also comfort in the spontaneity and new approaches to creating. There is comfort in realising that it is ok to not know right now.

“Have you ever tried to conduct the noise around you?” She asks. Embracing fully the operatic cycles that we find ourselves living within. Evening and morning to evening and morning again, until the night falls and there is a song to wake you, to coax you into the safety, the comfort of the darkness when it is safe to emerge.

A song to wake you up before you go back to sleep, hibernating during the day under the whirring of fans which are conducting your daylight hours. It makes sense to work with nature rather than trying to override it.

Working with nature makes it easy to let go of ideas. Maybe instead of an opera, it is a fairy tale. Maybe instead of leaping onto the boat, we are lured to the coastline to witness a performance on the water. A siren call from a dinghy that we slowly trudge through the heat to find after following a trail of binoculars left for us by the siren. The binoculars mean that we can get close, but not too close. We can become comfortable with our proximity to the water, begin to feel at home with it before it takes over the land beneath our feet.

Maybe the siren takes her dinghy from the coast to the cliffs, it is the early morning now and the people who are here are not who you would have guessed to be here.

Why are they here? Don’t they want to go home?

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J EN ELLE SAU N DERS AT A TABLE UNDERNEATH HER TROPPO HOME The noisy oscillation of fans through a restrictive space guiding you to a series of shared moments that you have missed so dearly. Even here in the Northern Territory, we have had to stop and start. All connected to other places, we feel the joint guilt and strangeness of sharing confined spaces, touching, sweating, heaving.

In the strangeness and the unfamiliarity, you are still able to move together uncaring of appearances as you cumulatively amass puddles of sweat. You know when to stop and when to start. There are clear guidelines from the bass, the sounds, the rhythm of heaving chests. You are there ready to live in the moment. It all feels so good.

Sound matches movement. Movement matches sound. New sounds of slipping in sweat, of laughing awkwardly when you bump into someone, of your lips gliding past your teeth as you smile when you make eye contact with a stranger. Everything is reciprocated. You have had enough of feeling alone.

Working together, connecting and conversing through this communication you understand without explanation, you feed the Build Up. There is no line between the participatory and the observational, you are together.

Curiously, movement matches sound, sound matches movement, the fans continue to whirr as you adapt to the heat until the final kapow.

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LEE HA RROP IN HER OFFICE AT CDU “Do we need to know the intentions of artists, their intended meaning of their work, in order to interpret their work? And more importantly, what is lost when we don’t take intentions of artists into account?”

Lee and I have bonded over the significance of good documentation. Her approach is more secure than mine because she has confidence that her intent is present, whether the viewer is aware of it or otherwise. The irony of this love for documentation is that there are some Sweat Season goers who will never get to witness Lee’s work live, and there are some who will never pick this up and read it.

Lee has a desire to explore text and creation as another means of showing intent.

Have you ever stopped in front of an artwork and considered the value of the extra parts surrounding it? What is the piece called? Is there an artist statement available?

As an artist guided by words before materials, Lee hung on to a word from another Sweat Collective member. Petrichor. The distinctive smell of rain hitting the earth. It almost feels fitting to have a word so obscure describe something so overwhelmingly universal, or at least achingly universal to Top Enders while we perspire endlessly waiting for that first big rain of the season to fall.

Petrichor turns into a whisper, building to a buzz as the letters are carved into a geological core sample, living another life and celebrated for its existence.

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Petrichor is retracted and transformed into Petri Chor; an alter-ego. Every artist needs a good alter-ego, or at the very least a reliable drag name. Here, Petra is the total utter chaos of thunder. She is engorged with the relentlessness of the patriarchy and smashes, dick first, into chunks of core onto the ground.

And then that’s it. For now, at least, until the artist collects her materials and breathes life back into these pieces once more.

BRITT GUY AT SARI RASA FOR LUNCH A great disservice is placed upon artists in group curatorial events when they are forced to work within guidelines that do not allow them to fully realise their creativity.

Sweat Season is a concept borne from the cycles of love, appreciation and critique.

After moving to Darwin, Britt, like many, fell in love with Darwin’s paradoxical nature of an Australian town sat so close to South East Asia, but felt that the collective output from arts institutions did not come close to the diversity that’s present in something so everyday like the Rapid Creek Markets. Rich cultural encounters exist most deeply within the geographical locations of those presenting – 12 –

cultures, with some inadvertent crossover of supporting a neighbour rather than seeking out a new experience. It is these almost accidental encounters that make living in Darwin exciting. Indeed, living in a multicultural world is more interesting because we have so much to learn and there is no clear way of learning it. We just have to be open.

In the formal arts world, institutions are less keen on shapeshifting and openness.

Creativity is most often presented through staged performances and exhibitions in places where many feel uncomfortable for all the wrong reasons. Sweat Season aims to tease the idea of creating work for a place, bringing different voices from a range of disciplines and experiences and without pressure placed upon a final product – a complete and utter luxury for an artist. We are entrusted with a solid concept that is constantly changing form in our own hands to suit us, our community, our cultural ties and responsibilities.

Sweat Season presents artwork for a place that sees the most intense extremes at a time where the world is providing more extremes than we could imagine. In this cycle of creativity, we interrogate the binaries within personal, moon, menstrual, yearly, weather and man-made cycles. We will cycle between two sites; restricted and controlled, open and immersive. We will make work for this place, near sacred Larrakia women’s sites, some of which are built over, some of which were nearly destroyed recently. We will make work to embrace the complete cycle of the year and not just the three months of the dry season, not representative of what it means to live in this place.

As a collective, we have been able to jump some less cautiously than others into the realm of experimental arts practice, to bring something unique to this place we love at this time of absolute disruption.

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Sweat Season carves out space for the creation of enmeshed experiences specific to the local place, environment and people of Garrmalang/Darwin. In Honduras there is a celebration that marks the day every year when the sky rains fish. In Phnom Penh the city sprays itself in water as the river annually changes direction.

In Garrmalang/Darwin a city slows impossibly down as the crime rate rises, the white tourists flee, and jackfruit and mango start fermenting as the ocean turns venomous. Sweat Season is an annual celebration of an ancient shift in Darwin/ Garrmalang, the Build Up; three months of sweaty, tense, weather culminating in the Wet Season, three months of downpours.

Sweat Season is realised by the Sweat Collective a group of local artists that through individual research residences, collective arts lab, creative experiments commit to investigating new ways of being and creating alongside each other in the environmental, cultural, and community melting pot of Garrmalang/Darwin.

Creating new participatory, experimental, durational, cross artform and site specific works that celebrate and interrogate the rituals of the Build Up - new, old, and impossible.

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ACCOMPLICE is based on Larrakia Country in Darwin and is committed to creating and delivering high quality projects and initiatives that are distinct to the Northern Territory, while connected nationally and internationally.

TONY LEE Tony ‘Duwun’ Lee is from Darwin, and is part of the Larrakia mob. His areas of expertise include Exhibiting Artist (prints, paintings, carvings, sculpture), Public Art, Art by commission, Healer, Welcome to Country presenter, Didgeridoo musician, Smoking ceremony facilitator, Workshop facilitator and Cultural Advisor. Duwun is a painter, printmaker, carver and conceptual artist. He has worked in multiple public art projects as a designer and conceptual artist based on the meaning of traditional artefacts and music.

Duwun’s three Aboriginal bloodlines are a major influence of his work.

BRITT GUY Britt Guy is a producer, curator, community arts and youth worker with a track record of working across agencies both nationally and internationally. Her experience includes roles within not-for- profit organisations, festivals and events and local government.

Within this she has established and built programs and festivals investing in the work and development of artists and their creative practices while creating high quality creative community programming.

In 2016 she established her own independent company, ACCOMPLICE, interested in interrogating western or institutionalised models of arts process and art form boundaries, finding them unsatisfactory for the regional place and time we live in, creating intersectional spaces for artists and audiences to create cultural experiences together.

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HANEEN MAHMOOD MARTIN Haneen Mahmood Martin is a Malaysian born writer, artist and curator based in the Northern Territory.

MATTHEW VAN RODEN Matthew van Roden is a Darwin-based visual artist with a multidisciplinary practice incorporating performance, new media and wax. Their work often explores the relationship between text and the body and is deeply rooted in critical theory. Van Roden’s formative experiences of Pentecostalism are a profound influence on their work, lending their practice a charismatic tone that pairs well with a natural style of camp, hell bent on the queering of those sacred texts seared into their heart from birth.

She utilises her creative practice to interrogate her experiences as an Arab-Malay Muslim woman, to explore what it means to be an outspoken woman of colour in Australia, ranging from existing between multiple worlds, negotiating pride in her culture through food while recognising and examining the higher beauty standards we hold ourselves to in order to be accepted in our day-to-day lives. In 2020, her story ‘Hair Unruly’ was a Frankie Magazine ‘Good Stuff Awards’ finalist. Her writing has been published by The Guardian, Liminal Magazine, SBS Voices and others and she has exhibited her artwork throughout the country. Haneen creates work for those who have not had the luxury of seeing their stories in the mainstream.

Van Roden has a background in Philosophy and Theology. They have a Masters In Visual Arts at Charles Darwin University and have exhibited nationally including the Biennale of Australian Art (Ballarat). Solo shows include Apocryphilia – Northern Centre for Contemporary Art (NCCA), Darwin (2019), The Word becomes flesh - CDU – Bega Valley Regional Gallery, NSW (2018), The Word becomes flesh - CDU Nan Geise Gallery (2018), You train your child – Pirrie Space (2017).

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acclaimed Artistic Co-Directors Tim Newth & David McMicken.

Jess’ practice spans choreography, teaching, participation and dance photography. She is known for her warmth & skill in facilitating contemporary dance experiences: traversing small-scale, intimate processes to large-scale community projects. Jess loves collaborative projects that make a social impact, are inclusive & joyous. Her love of collaboration was cultivated working at Tracks, contributing to outdoor performances, dance-films, Milpirri in Lajamanu, & facilitating workshops throughout Darwin. Jess led Tracks’ inaugural Choreographic Development Program, facilitating many emerging NT choreographers to develop their craft from ’09-’14, & then coled the program with fellow animateur Kelly Beneforti ’19-’20.

JESSICA DEVEREUX Jessica Devereux is a choreographer, performer & community engagement specialist. Jess studied at Victorian College of the Arts, BA Dance ’04 & Honours ‘08. Jess is currently Dance Animateur at Tracks, working alongside

Jess also works as an independent freelance dance artist, having made a number of intimate solo and ensemble works. She was rehearsal director for Gary Lang’s ‘Mokuy (Spirit) ‘14, and creator of solo work ‘Silver Sky’ Darwin Festival (‘12) and Beautiful Noise (’14-‘16) a unique cross-disciplinary project of performances, listening parties & recorded harp works made with musician Kris Keogh, developed at Territory Wildlife Park NT, and in public gardens in Croatia & Slovenia.

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AMINA MCCONVELL

LEE HARROP Lee Harrop is a PhD candidate in Visual Arts at Charles Darwin University. She has a Master of Fine Arts, First Class Honours, from Whitecliffe College of Arts and Design, New Zealand, on how violence is perpetrated through the structure of language. Her prior 15-year career in the New Zealand Police where she also specialised as a forensic photographer continues to inform her art practice. Lee emigrated to Australia in 2010 and spent 6 years in the Goldfields region of Western Australia before relocating to Darwin.

Her recent artworks offer a representation of mining that can be considered alongside the wider global discourse surrounding mining and its environmental impact. Her artwork is predominantly text-based and context-specific.

Lee is interested in demonstrating the ability of the arts to offer an experience that also becomes a form of criticism.

Amina works with geometric conceptualism with a practice that spans large-scale mural painting, wall drawing and sculptural installation. Amina has exhibited her mural and installation works extensively across Australia and in Southeast Asia, including at; Watch This Space (2010), 24HR Art/now NCCA (2010), Perth Institute for Contemporary Art (PICA) (Perth 2012), Jogja Gallery (Yogyakarta, 2012), Sangkring Project Space (Yogyakarta, 2013), KRACK! STUDIO (Yogyakarta, 2014), Griffith University Art Gallery (Brisbane, 2015), Verge Gallery/ University of Sydney (2015), First Draft (Sydney, 2015), Sydney Non Objective (2016), J-Studio (Manila/Philippines, 2016) and C3 Contemporary Art Space (Melbourne, 2019).

Amina has been included in the Gertrude Contemporary Studio 18 residency program and has received numerous grants and awards for her work as a visual artist.

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from the NT and Taiwan, with cross cultural collaborations happening in both Australia and Taiwan throughout 2017/18. In 2020 Mangohig released his first solo project titled ISA. JENELLE SAUNDERS

JAMES MANGOHIG James Mangohig is an ARIA nominated producer originating from Darwin, Australia.

He was one half of the duo “SIETTA” which has toured nationally and internationally and released 2 albums and 2 Eps to widespread critical acclaim. In the studio Mangohig has worked with everyone from Daniel Johns to Dr G Yunupingu. Along with Contemporary Asian Arts Performance, and Joel Ma he developed the theatre show “In Between Two” which has toured nationally for the last 4 years to rave reviews. Mangohig is part of the team that runs Barunga Festival and is the producer and co-creator of Darwin Festival’s “CLUB AWI”.

Through Skinnyfish he has also helped establish close relationships between Indigenous artists

Jenelle Saunders is a Darwin dwelling dance artist, performer and teacher (B. Ed, NTU. B. Let Dance, Deakin). She consistently works with a range of leading arts organisations across urban, rural and remote cross-cultural projects in the NT. She is a Teaching Artist for Sydney Theatre Company’s School Drama initiative, created in partnership with Sydney University. Her work spans contemporary forms from tender and studied, through to the irreverent and mercurial.

Jenelle is a long-time collaborator of Tracks Dance as performer, artist and dance maker within a swathe of projects. A regular in their annual Darwin Festival works, she’s worked previously on Milpirri (Lajamanu) and 2020 saw her on film for Homebodies, in development for Seasons of Skin and as part of The Dead Singers Dance Society.

Her ability to create and lead is evident in Dancebox, Lola & Lola and Three Brunettes which have featured in both Territory and interstate

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festival programs. Most recently she has been a dance artist for StoryProjects’ Backstage and Sandra Thibodeaux’s Genius creative development.

Funders have invested in her skills training enabling her to partake in interstate festivals, open ability and Contact training intensives and further afield to Impulstanz, Vienna. She is currently undertaking a foray into the audio story making realm and ongoing arts engagement in the NT. TARZAN MCDONALD Tarzan JungleQueen is a multi-disciplinary, queer artist living in Darwin. They voyeuristically bring together graphic art, word collage, photography, and screenprint to create works that interrogate and deconstruct ideas of gender, mother nature and ‘the self.’ As a queer artist who grew up in a rural area and now live in a remote city, They want to interrupt the geographic privilege of big cities and remind people that queer voices are everywhere and they are finding a way to speak.

GROUNDSWELL Group show - Northern Centre For Contemporary Art, Darwin (September 2020).

PLOITIKANT Group show - Darwin Visual Arts, Darwin (June 2020).

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ARTIST IN RESIDENCE - Watch This Space, Alice Springs (February 2020).

TRAVELLING ARTIST IN RESIDENCE Screenprint facilitator - Artback, Northern Territory (January 2020 - Current).

SWEAT SEASON Hail Moon, Colab with Matthew Van Roden - Accomplice, Darwin (November 2019).

DESIRE IS NO LIGHT THING Group show - Mayfair Gallery, Darwin (July 2019).

OCTOPUS STORY CAMP Story Projects - Mentorship program, Tactile Arts, Darwin (January - June 2019).

BIENNALE OF AUSTRALIAN ARTS (BOAA) Colab with Matthew Van Roden and Koulla Roussos - Unicorn Lane / St Andrews Church, Ballarat (October 2018).

ART LAB ART AND GENDER Guest speaker - Charles Darwin University, Darwin (September 2018).

ASIA IN DARWIN - Survive Garage, Jogjakarta (November 2017).

THE BATHROOM SERIES - Northern Centre For Contemporary Art, Darwin (Feburary 2016).

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SW EAT SEASON PROGRAM FEBRUARY 18TH - 27TH 2021 Thursday 18th February 6pm - 8pm Sweat Season Opening and Book Launch Haneen Mahmood Martin in collaboration with the Sweat Collective Empty Shopfront next door to Dom’s Bar & Lounge, Nightcliff

Saturday 27th February 12pm - 1pm ^-+=(-+.>kinetic notation in three dimensions Jessica Devereux and Amina McConvell Tracks Dance Company, Darwin City

Friday 19th February 5pm - 8pm Ab/ob/jections Matthew Van Roden Nan Giese Gallery - Charles Darwin University, Casuarina

Saturday 27th February 9pm - 12am Sweat Season: Sweaty Duets with The Mango Double Jenelle Saunders, James Mangohig and special guests Lucky Bat Cafe and Pizzeria, Nightcliff

Wednesday 24th February 6pm - 9pm Hail Moon, Full Grace Matthew Van Roden and Tarzan JungleQueen WWII Oil Storage Tunnels, Darwin City

Throughout Welcomes Tony Lee and Bilawara Lee All sites

Saturday 27th February 12pm - 1pm Petri Chor, 2021 Lee Harrop Charles Darwin University Art Gallery, Casuarina – 24 –

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