亞澳 ‧ 新南島 _ Solidarity for Love: G’day from Aussie Minjung

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Solidarity for Love: G'day from Aussie Minjung

澳洲地理維度上的對話橋樑

「新南島」不同於「南島語系」只討論語言或 血緣上的源頭，它所涉及的還包括二十世紀「後殖 民時期」與「全球資本主義化」所造成的人口遷 徙與土地認同問題。而「亞澳 ‧ 新南島」展覽在 探究的正是如何從當代藝術底下來思考「新南島民 眾」的角色定義與藝術界定上的「主流」和「非主 流」間之價值標準。我們是否可以透過模糊西方所 界定的「疆界」後，來讓一般大眾從「展覽參與」 中閱讀些什麼出來？又或者是找尋到一種不同於以 往價值觀的文化生存力量。

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關於此展覽「亞澳 新南島」 ‧

Dr. En Young AHN, 崔綵珊

語言學者白樂思在 1985 年發表的文章中，提出臺灣是南島語族的起源地，文 化的遷徙語言的散佈，從西元前三千年就已經開始。而這樣的移動在工業革命後 則更為顯著，交通全面化的便捷配上全球資本主義的影響，「移民」與「溯源」 似乎早已展開某種程度上的對話。 高雄，台灣早期的工業重鎮，國際港口紀錄著城市發展與移工的生命過程，海 港城所集結的移工，撐起了高雄城製造業的經濟發展。人口組成從清朝時期來臺 開墾的先民，到二次大戰後國軍撤臺的「外省人」，與近十年大幅度增長的「新 臺灣人」。這之中關於「移動」所產生的土地、身份認同與文化的融合或相異， 幾乎是各國當代一直在探究的焦點之一。 而類似的移民也出現在同為南島島嶼的澳洲國境內。當澳洲「新住民」試圖表 示自己是「澳洲人」的同時，他人對其的「認同」或「排斥」就可能成為身份上 劃定是否為「外來者」的界線。此外澳洲「原住民」在大量西方文化的主流入侵 下，其「傳統藝術」之於「西方藝術」就成為另一層對照的狀態。類似的「衝突」 與「融合」其實不斷地在南島語系中的國家上演，而「亞澳 ‧ 新南島」展覽在 探究的正是如何從當代藝術底下來思考「民眾」角色的定義與藝術界定上的「主 流」和「非主流」間的價值標準。我們是否可以透過模糊西方所界定的「疆界」 後，讓一般大眾從中閱讀些什麼出來？又或者是找尋到一種不同於以往價值觀的 生存力量。 （一）「亞澳 ‧ 新南島」 澳洲的多元主義奠基在市民關係模式的聯繫，並給予到澳洲這塊土地上的澳洲 人表達自己的文化身分，並且在建構一個澳洲人的身分認同時能彼此合作。 回溯歷史之脈絡，澳洲主要人口的構成大多來自歐洲的移民。因此澳大利亞的 國族情感並非來自種族，而是歷史的共同記憶，以及在這座島嶼上共同的認同情 感。 移民特色將澳洲轉化為豐富文化的國家，也塑造開放、融合的國際形象。 但當在地知識分子已試圖運用「亞洲時代」作為復興國家多元文化主義的品 牌時，一些本地人士仍舊將亞洲視為他者，但許多亞洲人已經一部分融合為澳洲 人。在澳洲現在已經有將近兩百萬人使用亞洲國家的語言，其中包括 65 萬的中 國語系。 土地在國家敘述和身分認同建構過程中是很重要的一環，甚至是召喚國家想 像的一個象徵，因此本展覽並非強調多元文化的百花齊放，而是尋求地理維度上

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的對話橋樑。「橋樑」如同連結，是關係的確立與再建立。如同拉岡（Jacques Lacan）解釋人自我形成的過程，認為利用「鏡」的概念區分你我，但更重要的 是透過鏡像的凝視，得已看清自我與他者之間的關係。 （二）異文化／對話 獨特的多元文化形塑了澳大利亞，同時滋養本土藝術家創作，在作品中呈現獨 特的本土藝術。因此本展覽計畫囊括七位本土藝術家以及四位分別具有英國、中 國、哥倫比亞以及以色列移民背景的藝術家，試圖透過這些藝術家所呈現的作品 勾勒出澳大利亞性別、家族角色與時代的多元性。 同時也希望透過展覽帶出澳大利亞的原住民藝術在現代社會的角色。澳大利亞 原住民藝術可謂傳統藝術世界淵源的其中一支脈絡。藝術在原住民社會中占有重 要的角色，扮演著傳遞秘密、祖傳宗教或將自身傳統價值流傳世代等社會功能。 當原住民從部落家族中親屬的連結與情感關係面臨當代市民社會的挑戰，藝術在 部落社會的功能是否瓦解或轉化？本展覽計畫企圖回應澳大利亞原住民在後殖民 社會 / 現代市民社會中，藝術的主體與角色轉化。 （三）跨越疆界 本展覽計畫的核心在於挑戰所謂的疆界，無論是有形與實體，如同國與國之間 的國土邊界，亦或菁英與常民的美學價值。因此本次展覽希望塑造討論的空間， 因而於受邀藝術家中，有五位受專業藝術教育背景出身的藝術家，隨同四位起於 日常生活的常民藝術家。 當丹托 (Arthur Danto) 提出藝術終結論，過往在現代主義美學之下無法被接受 的藝術得以取得自己的論述空間。尤其本展覽所邀請的原住民藝術與常民美學， 更是長久被排斥於主流藝術討論之外的對象。但這並非意謂藝術的停滯而是帶出 藝術研究必須挑戰形式與物質性的課題的轉向。歷史文化脈絡與哲學形而上成為 藝術概念實驗下的新路徑。 但眼見挑戰長久在現代主義中心及歐美歷史發展下的美學概念的藝術走向，在 資本主義市場的掌控下似乎是失敗的，藝術分裂成個人／菁英式藝術以及大眾／ 庸俗藝術的兩條路徑。從意識形態與商業模式操弄著藝術生產與品味，並將其轉 化為經濟價值。為了重省專業與常民的藝術概念，這個展覽計畫希望能激起台灣 民眾，了解自身能在藝術中成為行動者／參與者的力量，去對抗在菁英藝術及大 眾文化生產體系裡被動的角色。

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Solidarity for Love: G'day from Aussie Minjung Dr. En Young AHN

This exhibition illustrates how cultural diversity and multiculturalism have been a unique strength of Australian artistic creativity practice. Towards this aim, the exhibition includes five Australian indigenous artists and four artists with a migrant background (from England, China, Colombia and Israel), along with two bona-fide 'local' Australian artists. The exhibition's selection of the artists also reflects the diversity of Australians and Australian artists in terms of gender, family roles and age.

Australian multiculturalism is based on a citizenship model of integration and has ensured the right of newly arrived 'Australians' to express their cultural identity and incorporate this identity into their own personal constructions of being Australian.

Historically, migrants have made up a large component of the Australian population and the majority of this migration has come from Europe. However, there are now increasingly more Australians born in Asia and other parts of the world. According to the 2011 Census, the proportion of migrants born in Asia increased from 24% of the overseas-born population in 2001 to 33% in 2011. This new trend in migration patterns has transformed Australia into a more richly diverse society. While the country's elite opinion-makers are eager to utilize 'the Asian Century' in reinvigorating Australia's nation-building brand of multiculturalism, some Australians still think that Asia is something out there, wholly apart from them. Yet, a lot of Asia is in fact already a part of Australia. There are now more than two million speakers of Asian languages in Australia, including some 650,000 speakers of Chinese.

The exhibition will also examine the institutional notion of 'art' and the 'professional artist'. In this regard, the exhibition will present four artists who straddle the boundary between amateur and professional, alongside the five established Australian indigenous artists.

The art of Aboriginal Australia is one of the longest continuous traditions of art in the world, dating back at least fifty millennia. Art has played an important role in Aboriginal societies. This role has increased in significance in post-colonial Aboriginal societies. There is no exact equivalent for the Western term 'art' in any of the hundreds of Aboriginal language studied. Until the arrival of Europeans in Australia during the 18th century, Aboriginal art was made purely to fulfill traditional Aboriginal cultural needs, for example the transmission of secret and sacred ancestral or religious knowledge and values across generations.

The selected four non-indigenous artists are case studies of the diversity artists and art practices in Australia – a county that despite its enviable economic wealth lacks an American style of philanthropic tradition – who strive to find various ways to combine work and artistic life. They have a serious commitment to their art, regardless of the fact that their work is not the main source of income or that they have not yet been formally recognized as an 'artist' by the 'art world' (defined by Arthur Danto and George Dickie). They will provide Taiwan audiences with a glimpse into different

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strategies of surviving as an 'artist' in an increasingly ďŹ ercely competitive, globalised art world, while balancing their art practice and other aspects of life such as social and family commitments.

The selection of artists for this exhibition is designed to challenge the notion of 'art' that has evolved predominately in the context of a modernism-centered EuroAmerican historical development of aesthetic perception and appreciation. Under capitalist conditions, art practice can be divided into a cultural/individual/professional art and a populist or vernacular/anonymous/non-professional art, and is further divided either into artists or consumers. For ideological and economic reasons, capitalism discriminates both artistic production and tastes. Capitalism translates the scarcity and novelty of the artworks produced by distinguished individuals who can devote themselves professionally to art into a questionably subjective economic value, while equating the artistic creations by 'minjung' (people) merely as amateur hobbies, to ensure the highest achievable profits. Minjung, which is generally translated as 'people', has certain political connotations of the grass roots, the oppressed or marginalised people. This exhibition has chosen diverse 11 artists to represent Australian minjung, in order to highlight the under-recognised ordinary peoples' creative contribution to a country in its making of a modern nation, in contrast to the characterisations of ordinary people as the quantitative, de-personalised passive mass.

The current 'liberal' capitalist conditions have galvanised rather than weakened the pre-modern, undemocratic monopoly of art by the minority elites. By disrupting the institutional concepts of 'professional' and 'amateur', the proposed exhibition hopes to encourage Taiwan minjung to recognise themselves as an active participant in artistic activities, while resisting the elitist categorisation of the passive target consumer group of the popular culture industry.

The selection of the artists is also designed to challenge the concept of 'an emerging artist'. This exhibition will illustrate that 'emerging' is a very relative term.

For example, Dganit Kedair can be regarded as an emerging artist in her 50s.

The curatorial rationale of the proposed exhibition is designed to spark a series of debates among Taiwan audiences on the deďŹ nitions of 'native', 'local' and 'artist', as demonstrated by the wide variety of artworks chosen for the exhibition. We hope that one outcome of this will be to generate further meaningful cross-cultural dialogues and exchanges between Australia and Taiwan.

Special Thanks I would like to express a special thanks to Mr. Edwin Easydorchik, an Australian artist and a retired Professor of the New Castle University, New South Wales, for his generous help without which I could have not managed the shipment of the artworks on time.

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of the art works

Dimensions in centimeters: H (Height) x W (Width) x D(Depth)

David BRAZIL, The Upper Reaches, 2013, a group of four pints 23 x 23 and a group of four prints 50 x 50. Total 8 prints.

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Andres CAYCEDO, Reversed Garbage Excited Pet, 2012, slip-cast earthenware with blue glaze, 20 x 18 x 15.

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Will COLES, Denial Day Plaque , 2012, resin and iron dust, 16 x 20. Edition of nine

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Sara HELLSING, Bound (not shown here), 2012, blown and cold worked glass, found objects, 3 x 9 x 8.

Sara HELLSING, Klubbholmen, 2012, blown and cold worked glass, decal, wire. Dimensions variable.

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Adam HILL, Sky Spirit (not shown here), 2012, mixed media, found object assemblage, 57 x 47.

Adam HILL, Yandi put him in and Yandi'll get him out (top image), 2012, mixed media, found object assemblage, 31 x 120.

Adam HILL, Uber Koori, 2012, mixed media, found object assemblage, 72 x 205.

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Dganit KEDAIR, Gandhi, 2012, hand-built stoneware with terra sigilata, 28 x 28 x 17.

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Jenny LIU, Life Cycles Series, 2012, dimensions variable

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Isobel Gorey NAMPINTJINPA, Kapi Tjukurrpa (Water Dreaming) – Wan, 2012, acrylic on canvas, 91 x 51.

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Tilau NANGALA, Mikantji , 2012, acrylic on canvas, 46 x 122.

Tilau NANGALA, Mikantji (not shown here), 2012, acrylic on canvas, 152 x 61.

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Beyula Puntungka NAPANANGKA, Kalinykalinypa Tjukurrpa, 2012, acrylic on canvas, 122 x 71.

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Susan Nakamarra NELSON, All About Jesus (not shown here), 2012, acrylic on canvas, 197 x 29.

Susan Nakamarra NELSON, Jesus dies on the cross, 2012, acrylic on canvas, 75 x32.

2 Curators , 11 Artists16

* Dr. En Young AHN

A Korean-born Australian independent art historian, art critic and curator

* 陳光興教授 Prof. Kuan-Hsing CHEN

Kuan-Hsing Chen is Professor in the Graduate Institute for Social Research and Cultural Studies

1. David BRAZIL

An Australian-born "emerging" photographer and a single dad

2. Andres CAYCEDO

A Colombian-Australian "emerging" male artist

3. Will COLES

An English-Australian male artist

4. Sara HELLSING

An Australian-born emerging female glass artist

5. Adam HILL

An Australian indigenous male artist and didgeridoo performer

6. Dganit KEDAIR

An Israeli-Australian "emerging" artist and mother

7. Jenny LIU

A Chinese-Australian "emerging" artist and mother

8. Isobel Gorey NAMPINTJINPA

An Australian indigenous female artist and grandmother

9. Tilau NANGALA

An Australian indigenous female artist, respected Australian indigenous elder and grandmother

10. Beyula Puntungka NAPANANGKA

An Australian indigenous female artist and grandmother

11. Susan Nakamarra NELSON

An Australian indigenous senior female artist and grandmother

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En Young AHN En Young AHN 博士是韓國出生的澳大利亞獨立藝術史家，藝術評論家和策展人，居 住在坎培拉。她的專業與學術研究主要是以現代澳大利亞和亞洲領域交流為主，她也同 時組織並參與各種文化、藝術和學術的交流，尤其是澳大利亞和韓國間，及新加坡、馬 來西亞、日本、美國和英國之間的文化差異與融合。 如，在 2004 年，她曾發起並策劃「我們的國家」展覽，該展覽在澳大利亞駐華大使 館的協助下，讓當代澳大利亞原住民藝術家順利的在首爾的展出。民眾對於此展覽反應 非常熱烈，除了有 10 家不同的韓國報社和國家電視台大篇幅報導外，媒體更對此展覽 作出了半頁的評論。此外，也另有兩篇文章刊登在坎培拉時報上（1 月 24 日和 2004 年 3 月 22 日）。

Dr. En Young Ahn is a Korean-born Australian independent art historian, art critic and curator, based in Canberra. Through her professional experience and scholarship in contemporary Australian and Asian art, she has initiated, organised and been involved in various cultural, artistic and scholarly exchanges, particularly, between Australia and Korea, and between Singapore, Malaysia, Japan, the US and England.

For example, in 2004 she initiated and curated the exhibition Our Country, Our Art: Welcome to the Art of Contemporary Australian Aboriginal Artists, with assistance from the Australian Embassy and Austrade in Seoul. The exhibition (held on 30 Jan. - 20 Feb. 2004 at the POSCO Art Museum in Seoul) received an overwhelming response, including half-page reviews in 10 Korean newspapers and interviews with me on the National TV station along with two major commercial stations. There were also two articles on it in The Canberra Times (24 Jan. and 22 Mar. 2004).

Employment From 1995 : Independent art historian, art critic and curator 2008 to 2010 : Visiting Fellow, ANU 2005 to 2007: The Australia Research Council-funded Postdoctoral Fellow in Art History and Curatorship, Humanities, College of Arts and Social Sciences, ANU 2004

: Postdoctoral Fellow, the School of Humanities, Faculty of Arts, Australian National University (ANU)

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Professional Affiliations A member of the AICA (Association Internationale des Critiques d'Art) Australia since 1998 A member of the Korean Studies Association of Australasia (KSAA) since 1999 A member of the Asian Arts Society of Australia since 1994 Education Ph.D. in Art History, The Australian National University, Canberra, 2003 Master of Visual Arts by Thesis, The University of Sydney, Sydney 1995 B.A (Visual Arts), Sookmyung Women's University, Seoul, 1989

陳光興 Kuan-Hsing CHEN 國立交通大學社會與文化研究所教授，交大亞太／文化研究室召集人，並為國際期刊

Inter-Asia Cultural Studies: Movements 主編、《人間思想》期刊主編。著有 Asia as Method: Toward Deimperialization （2010）、《去帝國：亞洲作為方法》（行 人出版社，2006）。

Kuan-Hsing Chen is Professor in the Graduate Institute for Social Research and Cultural Studies, and also the coordinator of Center for Asia-Pacific/ Cultural Studies, National Chiao Tung University, Hsinchu, Taiwan. He is the co-executive editor of the journal and books series of Inter-Asia Cultural Studies: Movements. His recent publication is Asia as Method: Toward Deimperialization (2010).

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David BRAZIL Brazil 是一名以 Blue Mountains 為活動基地的攝影家，1966 年出生於坎培拉。打從 拿起父親的德製相機 Rolleiflex 那一刻起，就開啟他長達三十年對攝影的長久熱情。 他曾在雪梨大學學習攝影，並在 1990 年代早期在當時新成立的《綠色左翼週刊》擔 任志工，拍攝雪梨街頭的抗議人士和樹林中的抗議營，同時也負責管理該週刊的暗房。 他一邊在大學裡兼職教平面設計和多媒體，一面仍對攝影保持著強烈而堅持的熱情。他 的教學也讓他與其他藝術家保持聯繫，並維繫他對藝術的興趣，特別是攝影。 2012 年初，Brazil 獲選參加 Magnum 工作坊 並與當時 知名的 法籍攝影師 Antoine d'Agata 一起工作，這是他人生的轉捩點，同時也讓他的攝影作品邁向下一個階段。 Brazil 希望以攝影作為自己的生活中心，但這份熱情必須不斷和日常生活的現實協商， 也就是他身為有一個小女兒的單親爸爸和必須照顧孤寡父親的兒子，還有和憂鬱症與焦 慮症的奮鬥。 在這次展覽中，Brazil 從 The Upper Reaches 系列創作中選出 28 張攝影作品。這 系列創作是用 iPhone 記錄他在 Blue Mountains 的日常生活，這個地方在他生命階段中 具有重要含意。The Upper Reaches 是這名藝術家的視覺日記，紀錄他在悼念母親時 的行動、心情和觀察。當他四處走動、採買，帶小女兒上學，或是做些生活例行事務時， 他就拍下照片。這些照片除了透過他身為藝術家的眼睛，在生命中的特定時刻訴說著他 居住的地方背後的故事，也是一扇扇窗戶，讓觀眾可以看到一個外人通常看不到或不瞭 解的獨特社群。Brazil 鏡頭下的塗鴉、火車月台上的雨的形狀、小孩的遊樂器材或是垃 圾桶上一個被霜覆蓋的輪子，都是要表達他在日常生活中發現的美與啟發。其中一些看 似「家常」的影像不只詭奇地充滿情緒，又同時拒絕被以表面上的明顯意涵來理解。

Brazil is a photographic artist based in the Blue Mountains.

Brazil was born in Canberra in 1966. He has had an abiding passion for photography for over thirty years since first picking up his father's German camera Rolleiflex. He studied photography at Sydney University's Tin Sheds and Canberra School of Art. In the early 90s, he volunteered with the newly formed Green Left Weekly, covering rallies on the streets of Sydney and bush protest camps as well as running the paper's darkroom. Some years later, after returning from 3 years in Europe, he went on to complete further studies in Photography at Sydney Institute of Technology and set up a studio with a fellow photographer in Redfern. Photography has been a strong and constant passion, while working as a p art-time teacher in graphic design and multimedia at universities and TAFE colleges. His teaching has kept him to continuously engage with other artists and stay in touch with his artistic interest, especially photography.

Early 2012, Brazil was selected to participate in a Magnum Workshop with the renowned French photographer Antoine d'Agata (1961-) as part of the “FotoFreo 2012: The City of Fremantle Festival of Photography”. This was a life-changing opportunity for him and helped him to take his photography to the next level.

Brazil hopes to place his photographic practice at the core of his life.

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However, he has constantly needed to negotiate this desire with his everyday realities as a single father of a young daughter and a carer for his widowed ailing father, coupled with his own battle with depression and anxiety.

For the proposed exhibition, Brazil will contribute a selection of 28 phototropic works from The Upper Reaches, his 'first' exhibition in Sydney in June this year. By using an iPhone he photographed the everyday life in the Blue Mountains, the place that has a personal significance at a particular stage of his life. Each image is displayed as it was captured on the iPhone camera – no retouching or cropping or Photoshop. The Upper Reaches is a visual diary of the artist's movements, moods and observations during his grieving over the loss of his mother. He took photos as he was walking around, shopping, taking his daughter to school, doing other daily routines. It also tells an insider's story about the place the artist lives. The story is told through the artist's eyes, at a particular moment in his life, but it is also a window into a unique community that is not always seen or understood by the visitor. Brazil's photographic images of graffiti, the pattern of rain on a train platform, children's play equipment and the frost covered-wheel of a garbage bin are to convey the beauty and inspiration which he found in the everyday.

Some of these homely images are uncannily moody but resist the obvious interpretations of their meanings.

Solo Exhibition 2013 The Upper Reaches: Blue Mountains Street Photography, Leichhardt Public Library, Sydney

Andres CAYCEDO Caycedo 是哥倫比亞裔的澳洲男性藝術家，1968 年出生於哥倫比亞，並於 1998 年開 始在澳洲生活。他已經有二十年的創作資歷，以繪畫創作與數位藝術創作為主。2011 年 時他進入 Gymea TAFE 的三年制陶瓷創作班。Caycedo 一直對陶瓷創作感興趣，而這些 課程也幫助他獲得發展與實踐自己藝術創作的深度知識。 Reversed Garbage Excited Pet 這件作品蛻變自一門課堂創作，他在那堂課學到鑄模 版和組裝的技巧。他喜歡用日常生活的廢棄物如塑膠罐、壞掉的燈泡和被扔棄的塑膠玩 具來製作模版進行創作。

Caycedo is a Colombian-Australian male artist.

Caycedo was born in 1968 in Colombia. He has lived in Australia since 1998.

He has been making art for about 20 years .

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In 2011, he enrolled in a 3 year Diploma of Ceramics at Gymea TAFE. He had been always interested in ceramics and this course is providing him with the depth of knowledge that he needs to develop his art practice.

Reversed Garbage Excited Pet is evolved from a class project where he leant about slip casting and assemblage. He is interested in making moulds of discarded everyday objects like plastic containers, used light bulbs, and discarded plastic toys.

Group Exhibitions 2012 Works in Clay, The Muse Gallery, Ceramic Design studio Gymea TAFE, NSW 2011 Resolution, The Muse Gallery, Ceramic work by students Gymea TAFE, NSW Melting Pot, 10th Biennale National Ceramics Exhibition, Cairns Regional Gallery, Cairns Queensland Blue Room, Gymea TAFE Ceramic Exhibition 2004 Shopping makes you free, Cairns Regional Gallery 2005 1st International Biennial of The Islamic World Poster, Tehran, Iran 2003 Transmediale 03, International Media Arts Festival, Berlin Festival for Expanded Media, Stuttgart

Will COLES

Coles 是個雕塑家、街頭藝術家及「自由的歐洲人」，目前主要活動於雪梨。

出 生 於 Warwickshire 的 他 是 在 Suffolk 鄉 間 長 大， 在 搬 到 雪 梨 之 前 曾 在 倫 敦 及 Glasgow 待了幾年。他的祖父 Norman Sillman 也是一名雕塑家，所以 Coles 在成長過 程中很容易接觸到現代與古典藝術及藝術理論。他曾就讀於雷文斯本藝術學院、溫布爾 登藝術學院和格拉斯哥藝術學院接受正規藝術教育。一般而言，他在雕塑形體的創作時 常只以肢幹來表現，有時只有一或兩個肢體，或一個肢體來表現建築式的增長。他喜愛 的藝術時期、人物和概念包括古希臘、西非、米開朗基羅、日本浮世繪、中國書法、摩爾、 羅丹、街頭藝術等等，這些都形塑了 Coles 的創作風格。

Coles is a sculptor, street artist and'freelance European', based in Sydney.

Born in Warwickshire, he grew up in the Suffolk countryside and spent several years in London and Glasgow before moving to Sydney, Australia. His grandfather, Norman Sillman, is a sculptor and he had easy access to modern and classical art and art theory when he was growing up. For his formal art training he went to Ravensbourne College of Art, Wimbledon School of Art and Glasgow School of Art. Generally when he sculpt figures they are usually

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reduced to torsos, sometimes with a limb or two, or with a mechanical or architectural growth where a limb generally projects. These can be considered more classical, conservative or old school depending on people's views of modern art. Some of his favourite periods, people and concepts in art history include Ancient Greek, West African, Michelangelo, Japanese Ukiyo-e, Chinese calligraphy, Moore, Rodin, street art, Goldsworthy, McCullin, Rothko, HamiltonFinlay, Richier. These interests have shaped his art work.

Solo Exhibitions 2011 Tom of Blokeland, Wilson Street Gallery, Sydney 2010 Brenda May Gallery, Sydney 2009 Brenda May Gallery, Sydney 2007 Buy More Art, New View Gallery, Newtown A Hater’s Guide to Art, Buzzzbar, Newtown

Sara HELLSING Hellsing 是一位新銳女性玻璃藝術家。1987 年出生於坎培拉，除了在八歲那年在英國 和瑞典待了一年之外，她在在那裡一直生活至今。 對她而言，用玻璃來創作才是重點，而非雕塑。她喜歡探討人們收集或喜愛的物件之 中所蘊含的意義。這些物件帶著過去擁有者們留下的痕跡，變成故事與記憶的容器。這 些物件提供了那些不在場的人們與地方之間的聯繫。

Hellsing is an emerging female glass artist. She was born in Canberra in 1987. She has lived in Canberra all her life, except a year spent in England and Sweden when she was 8.

Creating artworks in glass is her focus, rather than creating sculptures.

She is interested in the meaning embedded within the objects people collect or hold dear. Carrying traces of their former owners with them, these objects become containers for story and memory. They provide a physical connection to absent people and act as placeholders in their stead.

Awards 2013 Bassett Downs Honours Scholarship for Glass 2012 ACT Legislative Assembly Award 2012 Strathnairn Arts Association Exhibition Award

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Teaching Experiences 2012-13 Instructor – Kiln Forming Off The Street Program, The Canberra Glassworks, Canberra 2010-11 Instructor & Technical Assistant – Hot Glass Off The Street Program, The Canberra Glassworks, Canberra Professional Memberships Ausglass Craft ACT: Craft and Design Centre Golden Key International Honour Society

Adam HILL

Hill 出生於 1970 年，居住在雪梨，是一位多才多藝的澳大利亞原住民畫家、攝影師、 平面設計師、插畫家、Didgeridoo 演奏家和教育家。在 Hill 的創作主題裡常不斷省思所 謂真實性以及它在當代原住民社會的意義價值，雖然他較以畫家身份廣為人知，但其作 品實際上非常廣泛，包括雕塑，攝影及社區藝術等等。 Hill 曾獲新南威爾士州議會原住民藝術獎，Telstra 國家原住民藝術獎及懷恩獎，並連 續入圍 MIL-PRA 獎。他的公共藝術作品更出現在澳洲的學校、地方議會建築，以及大型 商場等地方，他同時也繪製童書繪本。過去十年中，他有 14 次個展與多次受邀參與慈 善展覽。 他的作品目前被 AIATSIS、雪梨議會、藝術銀行、新南威爾士州議會、澳大利 亞國家美術館和國際私人所收藏。

Adam Hill (aka the Black Douglas, born in 1970) is an accomplished Indigenous Australian painter, photographer, graphic designer, illustrator, Didgeridoo performer and educator, based in Sydney. He is best known for the powerful art works in which he engages in direct conflict with the current Australian political situation. A constantly recurring theme in his work is the idea of authenticity and what it means in contemporary Aboriginal society.

Adam HILL is known mainly as a painter, but his oeuvre is very broad, including sculpture, photography and community art projects.

Hill is a multi award winner in the medium of acrylic on canvas, a continual finalist in the Mil-Pra Award, Parliament of NSW Aboriginal Art Prize, the Telstra National Indigenous Art Award and recently the Wynne Prize. Hill's public artworks have adorned the walls of schools, council structures, shopping malls, banners and flower beds. He has also illustrated several publications including the 2009 books Curly & the Fent by Sally Morgan and Children. Over the past decade, He has staged more than 14 solo exhibitions

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and many group, invitational and charity exhibitions. He is currently represented in Melbourne and Sydney and has works collected by AIATSIS, City of Sydney Councils, Art Bank, NSW Parliament, the National Gallery of Australia and international private collections.

Solo Exhibitions 2013 Smellin' it like it is, National Aboriginal Cultural Institute – Tandanya, Adelaide 2012 ONEinFOUR (Dec) Damien Minton Gallery, NSW 2010 Not a proper Aborigine, '10yr Survey' (Sept) Mosman Art Gallery NSW 2010 Caste-ing Call, Harrison Galleries, Paddington (July) NSW 2010 I'm not racist but, Arc One Gallery- Melbourne (March) VIC 2009 A Colony of Terrors, Harrison Galleries, Paddington (May) NSW

Dganit KEDAIR Kedair 出生於 1962 年，是一名以色列裔澳洲藝術家，同時也是兩位孩子的母親。她 過去從事的職業一直與手工活動有關，如園藝家，庭院設計家或是住宅翻新家。 2011 年她取得了陶瓷創作文憑。除了在 28 年前曾上過一門珠寶課之外，她和藝術的 關係總是作為一名熱情的觀察者，常參觀畫廊與展覽。如今她相信自己找到一條正確的 路。甘地像這個作品是發展自她的第一份雕塑課作業。自從讀了甘地的自傳之後，甘地 的生命故事和他所代表的意義讓她留下深刻印象。而她近期到澳洲中部 Uluru（也被稱 為 Ayers Rock）這個地方的旅行，也是軀體的顏色和形狀的靈感來源。

Kedair was born in1962. She is an Israeli-Australian artist and a mother of two children. Her career path over the years has always involved manual activities such as being a gardener, garden designer and home renovator.

In 2011 she commenced the Diploma in Ceramics. Apart from a jewellery course 28 years ago, her involvement with art was as an enthusiastic observer, visiting galleries and exhibitions. She believes that she has found the right path. Gandhi was developed from her first class exercise in sculpting busts.

Ever since reading An Autobiography or the Story of My Experiments with Truth by M.K. Gandhi, she was deeply impressed by the life story of this man and what he stands for. A recent visit to Uluru (also known as Ayers Rock) in Central Australia was the inspiration behind the colour and the shape of the torso.

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Group Exhibitions 2012 The Downing Centre art exhibition 2012 The MUSE gallery, end of year exhibition 2011 The MUSE gallery, end of year exhibition 2011 Ceramic Design studio industry award 1984-86 OMANIT College of jewellery, Tel-Aviv

Jenny LIU Liu 是一名活動於雪梨的華裔澳洲藝術家，也是位母親。 1962 年出生於中國四川省，2003 年移民到澳洲。她在中國是位建築師。過去十年間， 她撫養兩個如今已上高中的兒子長大。這段期間的日常生活和看著孩子成長的經驗，影 響到她的創作理念及對世界的理解，也因此，日常生活經驗及建築背景兩者都成為她藝 術創作的靈感來源。 她表示，此系列創作就像一座橋，象徵她從建築師轉為藝術家的過程。她的陶瓷作品 就像是一座迷你建築，她相信每一件作品都有自己的獨特生命和靈魂。

Liu is a Chinese-Australian artist based in Sydney and a mother.

She was born in 1962 in Cheungdu, Sichuan province. In 2003 she immigrated to Australia from China. She was an architect China. In the last 10 years she has been raising her two sons who are now attending High Schools. Her daily routine of this period and watching her children grow up that have deeply influenced her philosophy and understanding of the world.

The experience of daily life, coupled with her experience as an architect, has become the source of inspiration for her art.

According to Liu, the series is like a bridge, which symbolising her transition from an architect to an artist. According to the artist, her ceramic work is a miniature building. She believes that each of her ceramic works should possess a unique life and soul of its own.

Group Exhibitions 2013 Intangible, Hazelhurst regional Art Gallery, Gymea, Sydney 2012 Works in Clay, The Muse Gallery, Ultimo, Sydney

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2011 Resolution, The Muse Gallery, Ultimo, Sydney 2010 One Hundred and Forty Eight, The Muse Gallery, Ultimo, Sydney 2009 On Fire, Church Gallery, Paddington, Sydney

Isobel Gorey NAMPINTJINPA 所在社群：Papunya Tjupi Nampintjinpa 在 1958 年 出 生 於 澳 洲 北 部 的 Laramba。 父 親 Jim Gorey Tangala 是 來 自 Ti Tree 的 Warlpiri/Amnatyerre 人， 母 親 Gloria Gorey Nungurrayi 則 是 來 自 Hermannsburg 的 Arrente 原住民。在她八歲時，舉家從 Laramba 搬到 Papunya，之後 她完成了 Yirara 學院的學位，並回到 Papunya 與第一任丈夫 Neil Brown 結婚並育有四 個孩子。她現在有好幾個孫子，且多半在 Papunya 診所裡工作。 Nampintjinpa 是素人畫家。她是在 2006 年和其他成員一起創建 Papunya Tjupi Arts 之後才首度開始畫畫。在實驗過多種不同繪畫技巧之後，她才決定以如今的方式描繪她 的 Tjukurrpa 故事，且畫作中有著非常鮮明的個人風格。在她的作品裡常描繪父親的故 鄉，這位藝術家說：「我是為了我所屬文化的未來和家人而作畫。」

Community: Papunya Tjupi.

The artist was born in 1958 at Laramba, Northern Territory, 1958. Her father was Jim Gorey Tangala, a Warlpiri/Amnatyerre man from Ti Tree who worked as a stockman on Narwietooma station. Her mother Gloria Gorey Nungurrayi was an Arrente woman from Hermannsburg. When Isobel was eight years old her family moved from Laramba to Papunya where she attended Papunya school. Later Isobel boarded at Yirara College in Alice Springs for several years. She returned to Papunya where she married her first husband, Neil Brown. Together they had four children. After Neil's death Isobel married Keith Jarra and later separated. Isobel has several grandchildren and use to work at the Papunya Clinic as a Health Worker and then in health education.

Self-taught, Isobel did her first paintings after joining as a founding member of Papunya Tjupi Arts in 2006. After experimenting with many different painting techniques and ways of depicting her Tjukurrpa stories, she arrived at her current distinctive personal style.

She paints Water Dreamings for Watupunyu and Bush Onion for Karrinyarra, both her father's country. Isobel is a leader in the women's song and dance for this country. She said, 'I paint for the future of my culture and for the family'.

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Group Exhibitions 2013 Artstage Singapore presented by Mossenson Galleries, Singapore 2012 The Keeting Speech, Damien Minton Gallery, Sydney 2012 Desert Rhythm - Papunya Tjupi Arts, Mossenson Galleries, Melbourne 2012 Darwin Aboriginal Art Fair, Darwin 2012 Desertmob, Araluen Art Centre, Alice Springs 2012 Papunya Tjupi, Marshall Arts, Adelaide

Tilau NANGALA 所在社群：Papunya 出生於 1933 年的 Nangala 是一位資深女律師，在 Papunya 社群中非常受人敬重，她 為 Papunya Tjupi 藝術中心作畫，並教導兩個女兒及孫女們創作。她多數畫作是在描繪 父親的故鄉，那是位於 Yuendemu 西部的水之夢地（water dreaming site）。 Nangala 從未上過學，孩童時期在森林中度過。當她們全家搬到 Papunya 居住的時候， 她已經結婚並育有兩個女兒了。自那之後她一直住在 Papunya，起先在醫院工作，後來 則到學校，把她對舞蹈的熱愛傳給下一代的孩子們。身為一名資深律師，她對家園和慶 典的熱愛，讓她大膽如詩歌般具表現力的繪畫作品描繪出有如流水般感覺的山川和溪谷 景色。她從父親那兒繼承到的 Mikantji 水之夢地幾乎是她作品永遠的主題。她表示，她 的阿姨教她認識文化和傳說，但她自行發展出用繪畫描繪它們的方式。她之所以要畫畫， 是因為「這樣孩子們就可以看著我畫並學習，我才能把我的夢之地和故事傳承給孫子。 Papunya 是我母親兄弟們的家園。」

Country: Mikantji.

Community: Papunya Indigenous Language Groups: Luritja and Warlpiri Tilau is a senior law woman and respected elder in the Papunya community, where she paints for Papunya Tjupi Art Centre and has taught both her daughters and granddaughters to paint.

Many of her paintings depict her father country, a water dreaming site to the west of Yuendemu.

Tilau Nangala was born c. 1933 at Haasts Bluff of Ngaliya/Warlpiri parents.

Tilau never attended school - during her childhood the family still lived in the bush, supplementing their diet of bush tucker with supplies collected from

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Haasts Bluff ration depot. When the family came across from Haasts Bluff to Papunya in the first days of the settlement, Tilau was already married, with two young daughters. Two more daughters and a son were born in Papunya.

Ever since, Tilau has lived at Papunya, where she worked in the Papunya Hospital, in the old Papunya communal kitchen and more recently in the Papunya School, passing on her love of dancing to the children. As a senior law woman, her deeply felt knowledge of country and ceremony empowers her bold lyrical and expressive paintings depicting the topography of hills and creeks that create the feeling of flowing water. The great Water Dreaming site of Mikantji she inherited from her father is nearly always her subject. She says her auntie taught her culture and stories but she developed her own ideas on how to paint it. She paints 'so the children can watch me paint and learn, so I can pass on my Dreaming and stories to my grandchildren. Papunya is my mother's brother's country'.

In the past, Tilau was a prodigious carver of coolamons and clap sticks and maker of ininiti seed necklaces, but these days she mainly paints - and has also produced prints with Cicada Press College of Fine Arts, University of New South Wales.

Group Exhibitions: 2013 Papunya Tjupi Arts Group Show, Marshall Arts, Adelaide Seoul Art Fair, Seoul Art Stage Singapore presented by Mossenson Galleries, Singapore Papunya Tjupi Arts Group Show, Chapman Gallery, Canberra 2012 The Keating Speech, Damien Minton Gallery, Sydney

Beyula Puntungka NAPANANGKA 所在社群：Papunya Tjupi Napanangka 在 1966 年出生於澳洲中部的 Papunya，是 Papunya Tjupi 最資深而堅 持不懈的藝術家之一。 她是 Papunya Tula 先鋒畫家 Limpi Tjapangati 的女兒。當她還是個小女孩的時候， 就觀察父親作畫，並在紙板上練習畫畫。她和四個姐妹從父親那裡繼承了 Mereenie Range 這塊土地，她時常在畫中描繪這個地方。她也從祖母那聽到 Kali Karringpa 森林 大火的故事。

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Napanangka 靠著觀察父親來學習作畫，並和他一樣在繪畫上具著鮮明的風格。過去 六年來，Napanangka 的繪畫和版畫都有著顯著的發展，近年她以祖父告訴她的銀樺樹 之夢的故事作為繪畫主題。Napanangka 總是說，她創作是因為她享受繪畫與素描所帶 來的愉悅。

Community: Papunya Tjupi Language: Luritja Beyula was born in Papunya in 1966, a small community west of Alice Springs in central Australia. She has been exhibiting with Papunya Tjupi Arts since the art centre's first exhibition in 2007.

She is one of Papunya Tjupi's most senior and consistent artists. She had her first two-woman show at Mossenson Gallery in Melbourne in 2013.

She is the daughter of pioneer 'Papunya Tula' painter Limpi Tjapangati, whom she observed painting as a young girl, later practising for herself on cardboard. Beyula grew up in Papunya, attending the local primary school, where she completed Year 6. Later the family moved to Haasts Bluff where they remained until Limpi died in 1985. Beyula moved back to Papunya and married her first husband, with whom she had two daughters. After Lindsay's death, Beyula married Bob Dixon, who was a father to her two girls. They now have three grandchildren.

From their father Beyula and her four sisters inherited rights to the country near Mereenie Range which Beyula often depicts in her paintings. She also inherited a bush fire story Kali Karringpa from her grandmother. Her mother's Dreaming Place was the Dingo Dreaming site of Nyumanu near Kintore.

Beyula learnt to paint from watching her father, and like him she has a distinctive style. At Haasts Bluff she practised on cardboard, first painting commercially for Warumpi Arts.

Over the past six years, Beyula's painting and print-making have developed dramatically. These days Beyula paints her own dramatic version of the Honey Grevillea Dreaming story inherited from her grandfather. The works' strength lies in the abstracted organic lines that forms an immersive space where the viewer can feel and see the grevillea all at once. The artist, however, says she paints because she simply enjoys drawing and painting.

Solo Exhibitions 2013 Beyula Puntungka Napanangka and Doris Bush Nungarrayi - Two Person Show, Mossenson Galleries, Melbourne 2013 Papunya Tjupi Arts Group Show, Marshall Arts, Adelaide Seoul Open Art Fair, Seoul

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Susan Nakamarra NELSON Nelson 是一位資深原住民女性藝術家，也是一位 Waramungu/Walmanpa 族的長者， 住在澳洲北部的 Tennant Creek。她還是個小女孩的時候，在一個小天主教學校開始學 習用壓克力顏料作畫，當時有一名教士把基督教故事的著色畫發給小朋友們著色並學習 聖經故事，她對繪畫的熱愛和對聖經故事的著迷就從這時開始。每週三和週日晚上，她 會帶著這些畫到教堂和大家分享，並站在大家前面把畫中故事唱給信眾聽。現在她有三 個孫女，四隻狗與一隻貓，仍然是每天作畫。

Susan Nakamarra Nelson is a senior Indigenous female artist and Waramungu/ Walmanpa elder who lives in Tennant Creek in the Northern Territory. She was born just north of there at Banka Banka station, when the last soldiers were moving out, sometime after the end of WWII. Banka Banka is her country. She has three grandchildren, four dogs and one cat.

Susan first learnt to paint acrylic in the small mission school just outside of Alice Springs where she spent her years as a young girl. Pastor Long gave the children their posters depicting Christian scenes in basic outline. The illustrations were coloured in by the children who thereby learnt the story of the Bible pictorially. Here began Susan's love of paint and fascination with God's story. Every Wednesday and Sunday night in Tennant Creek, Susan takes these paintings to church for sharing. Here she stands out front with one or several rolled canvases, whose story she sings out to the congregation, sometimes with great theatrics. Sharing paintings are often completed in haste - taken home from the studio to be finished in her Mulga Camp home “just in time for night service. Sharings happen in town too, on the way to or from church, when pictures might be unfurled outside Foodbarn or Post Office for an inquiring mob of people.”

Group Exhibitions 2012 Sydney Twenty years on – Paul Keating's Redfern Park Speech, Damien Minton Gallery, Sydney 2011 Desert Mob, Araluen Gallery, Alice Springs 2010 Desert Mob, Araluen Gallery, Alice Springs 2000 Desert Mob, Araluen Centre, Alice Springs 2009 Desert Mob, Araluen Centre, Alice Springs

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Solidarity for Love: G'day from Aussie Minjung 澳洲地理維度上的對話橋樑

策 展 人： En Young AHN 陳光興 Kuan-Hsing CHEN 展覽日期： 2013/11/16 - 2013/12/05 開幕茶會： 2013/11/16（六）15:00 展覽論壇： 2013/11/16（六）15:30-18:00 展覽地點： 搗蛋藝術基地 Monkey-Wrenching Art Center （高雄市苓雅區四維三路 178 號）

行政執行： 崔綵珊 Tsui Tsai-Shan 美術設計： 想入流好不專業佈展工作室 morenice.begood@gmail.com 佈展協力： 想入流好不專業佈展工作室 Lin Ming-Yan

贊助單位：

搗蛋藝術基地 Monkey-Wrenching Art Center