Menja Stevenson, I would like to become cat, 2017, photograph, 70 x 100 cm. Courtesy the artist
Jason Wing, Captain James Crook, 2013, bronze, 60 × 60 × 30 cm. Courtesy the artist and National Gallery of Australia, Canberra
3rd National Indigenous Art Triennial, National Gallery of Australia, Canberra, through 10 SeptemberSpeaking of alienation, the National Gallery of Australia is currently hosting its 3rd National Indigenous Art Triennial, titled Defying Empire. The exhibition features 30 artists ‘whose works’, the museum states, ‘mark the ongoing resistance, resilience and defiance of Aboriginal and Torres Strait Islander people against colonisation from first contact to recognition through the 1967 Referendum and up until today’. The referendum referred to is one that granted Indigenous peoples the right to be counted as Australian. ‘At the 50th anniversary of this watershed moment in Australian history, it is important to showcase the significance of Indigenous art in defining our national cultural identity,’ said NGA director Gerard Vaughan of the exhibition. So, a show about ‘them’ that seeks to demonstrate how they became ‘us’? With resistance too? Who wouldn’t want to see that? Identity: it’s a complicated business. And hence, so often the subject of art.
DEPARTURES: Intersecting Vietnamese Modern Art with R. Streitmatter-Tran, 2017 (installation view). Courtesy Richard Streitmatter-Tran and De Sarthe Gallery, Hong Kong
Departures: Intersecting Vietnamese Modern Art with R. Streitmatter-Tran De Sarthe Gallery, Hong Kong, through 8 JulyAn alternative story of indigeneity is explored in Hong Kong’s De Sarthe Gallery, with Departures: Intersecting Vietnamese Modern Art with R. Streitmatter-Tran. Richard Streitmatter-Tran was born in Bien Hoa, but raised from an early age in the US. He returned to Vietnam in 2003 to practice as an artist. In many ways he is both an insider and an outsider, something that is reflected in this exhibition, which locates his work in the context of other works from a century of Vietnamese modern and contemporary art, and the flow of artists and ideas from East to West and the reverse. In other words, this is an exhibition of historically significant Vietnamese art – by artists such as Le Pho, Le Quang Tinh, Le Thi Luu, Luong Xuan Nhi, Mai Trung Thu, Nguyen Gia Tri, Nguyen Hong Linh, Nguyen Phan Chanh, To Ngoc Van, Trinh Van and Vu Cao Dam – given new interpretations via relationships with Streitmatter-Tran’s own work in a variety of media. Identity explored in a radically different way.
Oliver Payne and Keiichi Tanaami, Untitled 16, 2017, ink, digital print sticker on paper, 46 × 38 cm. Courtesy the artists, Gavin Brown’s Enterprise, New York, and Nanzuka, Tokyo
Ryan Gander, Yo-yo Criticism, 2014, commissioned Adidas Original trainers. Photo: Jack Hems. © and courtesy the artist
Donation to The Library of Unread Books, 2016–. Courtesy Heman Chong, Renée Staal and MCAD, Manila
Christian Jankowski, Heavy Weight History, 2013. Photo: Szymon Rogynski. Courtesy the artist and Lisson Gallery, London, Milan & New York
Otomo Yoshihide + Aoyama Yasutomo + Ito Takayuki, without records – mot ver., 2015 (installation view, MOT Art Museum, Tokyo, 2015) [included in Sapporo Art Festival]. Photo: Maruo Ryuichi. Courtesy the artists
From the Summer 2017 issue of ArtReview Asia