Hear from some of the leading cultural minds of our time in Perspectives, a new initiative developed by The Bob Hawke Prime Ministerial Centre, ACE Open and Guildhouse.
This series of thought-provoking lectures invites leading artists, makers and thinkers to Adelaide to engage with compelling ideas currently shaping our world.
Leading the program in 2019 is acclaimed photographer Hoda Afshar, (Tuesday 7 May). Having recently won the $30,000 William and Winifred Bowness Photography Prize with her portrait of Berhouz Boochani, and exhibited at the MCA’s Primavera 2018 with the moving work ‘Remain’, made on Manus Island in collaboration with Boochani, Afshar will discuss the connection between images and representation, and asks how the medium of photography might be used to untangle them.
Arts and cultural tourism academic Adrian Franklin (Tuesday 16 July) will introduce the concept of the anti-museum, document its conceptual history since the eighteenth century, and identify its increasing relevance and presence to contemporary art today. Franklin’s book The Making of MONA was published in 2014, with forthcoming titles set for publication through Routledge and Sydney Unversity Press across 2019-20.
New Zealand based artist and curator Ema Tavola will round out the series (Saturday 19 October), reflecting on aspects of her practice including curating as a mechanism for social inclusion, its potential to shift representational politics and exhibition making as a mode of decolonisation.
Image courtesy Ema Tavola.
Is The Gallery Enough?
New Zealand-based independent artist and curator Ema Tavola unpacks power and privilege in the South Pacific through the lens of the art world.
With the unbalanced power dynamic of the arts ecology ever-visible, and the experiences of art world Othering becoming increasingly clear, Tavola argues that moves to diversify arts programming are too often tokenistic and rarely representative of systemic change. Instead, confronting disturbing truths and creating space for uncomfortable conversations is a necessary part of challenging the value system and institutionalisation of arts and culture in the colonised South Pacific.
By considering the complex anthropology of race, class, intellectualism and privilege that is embedded within gallery walls, Tavola reflects on 15 years of practice-based research to discuss how enabling the genuine presence of Pacific art, artists and audiences in institutions is not a radical act, but rather a conscious decolonisation of the Gallery and its potential.
Perspectives: shaping the world through visual culture.
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