The Commute: review by Megan Cope for un Projects by sarah biscarra dilley

excerpted from: un Projects.

THE COMMUTE

Institute of Modern Art
Meanjin/Brisbane
22 September - 22 December 2018

Megan Cope

Artists: Natalie Ball (Modoc, Klamath, Black), Hannah Brontë (Yaegel), Bracken Hanuse Corlett (Wuikinuxv, Klahoose), Chantal Fraser (Sāmoa), Lisa Hilli (Gunantuna), Carol McGregor (Wathaurung, Scottish), Ahilapalapa Rands (Kanaka Maoli, iTaukei Viti, Pākehā), and T’uy’t’tanat-Cease Wyss (Sḵwx̱ wú7mesh, Stó:lō, Irish, Métis, Kanaka Maoli, Swiss)

Curators: Freja Carmichael (Quandamooka), Sarah Biscarra Dilley (yak tityu tityu yak tiłhini Northern Chumash, Chicana), Léuli Eshrāghi (Sāmoa, Irānzamin, Guangdong), Tarah Hogue (Métis, Dutch) and Lana Lopesi (Sāmoa)

As we travelled across Quandamookagu jagan (Quandamooka country) it was still the time when Yalingbila (humpback whale) had returned with their kin, before they move slowly back south along ancestral pathways to Antarctica.

I continued to move west by train, toward the big smoke for ‘The Commute’, the meeting place/exhibition for eight First Nations artists: Natalie Ball (Modoc, Klamath, Black), Hannah Brontë (Yaegel), Bracken Hanuse Corlett (Wuikinuxv, Klahoose), Chantal Fraser (Sāmoa), Lisa Hilli (Gunantuna), Carol McGregor (Wathaurung, Scottish), Ahilapalapa Rands (Kanaka Maoli, iTaukei Viti, Pākehā) and T’uy’t’tanat-Cease Wyss (Sḵwx̱ wú7mesh, Stó:lō, Irish, Métis, Kanaka Maoli, Swiss). ‘The Commute’ is a collaborative project led by Indigenous curators Freja Carmichael (Quandamooka), Sarah Biscarra Dilley (yak tityu tityu yak tiłhini Northern Chumash, Chicana), Léuli Eshrāghi (Sāmoa, Irānzamin, Guangdong), Tarah Hogue (Métis, Dutch) and Lana Lopesi (Sāmoa), who were invited as the 2018 Visiting Curators at the Institute of Modern Art (IMA) in Meanjin Brisbane.

It’s immediately apparent that a great amount of care and patience has occurred in the conversations between artists and curators. Each piece in the space flows into the next, in the same way that the waters belonging to both curator and artist do. The most striking thing about this exhibition is the feeling of time standing still and no longer existing in the linear. The combination of ancestral practices, new technologies and materials sing to each other in language, illustrating this timelessness and resistance to colonial subjugation. It is a reminder of the unspoken and deep solidarity that unites First Nations peoples. It is also a gentle reminder of the power that exists in the cultural practice of caring and customary lore of offerings when visiting the lands of other Nations.

full review available at: http://unprojects.org.au/un-extended/reviews/the-commute/

artist spotlight: Natalie Ball by sarah biscarra dilley

Natalie Ball Pussy Hat 2018 balaclava, leather boxing gloves, Hudson's Bay Co. Trade Blanket toilet paper rolls, sinew thread, blush, human hair, abalone shells, galvanized pipe with floor flange. (head) 14'' x 7.5'' x 5.5''; (galv. pipe) 5' x 1.25'' x 1''; (floor flange) 1.25''  courtesy of the artist. 

Natalie Ball
Pussy Hat
2018
balaclava, leather boxing gloves, Hudson's Bay Co. Trade Blanket toilet paper rolls, sinew thread, blush, human hair, abalone shells, galvanized pipe with floor flange.
(head) 14'' x 7.5'' x 5.5''; (galv. pipe) 5' x 1.25'' x 1''; (floor flange) 1.25''

courtesy of the artist. 

The Commute contributing artist Natalie Ball named in Artsy

"These 20 Female Artists Are Pushing Sculpture Forward"

"Her Pussy Hat (2018), rather than the omnipresent pink accessory that emerged with the Women’s March in 2017, is a patchwork hybrid made from leather boxing gloves, abalone shells, human hair, balaclavas, and Hudson’s Bay Co. Trade Blanket toilet paper rolls. A product of materials that carry particular significance for Native American peoples, Ball’s hat proposes a complex, layered, and challenging counterpart to a garment that comes loaded with the trappings of white female identity in America."

Read more about her work, intention, and practice here

Meet The Commute by sarah biscarra dilley

Meet ‘The Commute’

25 March 2018 – 1:00PM-4:00PM

Event Type: Symposium

In 2018 the IMA has invited five Indigenous curators from across the Great Ocean to develop a series of exhibitions and programs in collaboration with indigenous artists. The group will share recent work, discuss their project, The Commute, and announce the commissioned artists featured in the project this September-December.

The Commute is developed by Sarah Biscarra Dilley (yak tityu tityu yak tiłhini Northern Chumash, Chicana), Freja Carmichael (Quandamooka), Léuli Lunaʻi Eshraghi (Sāmoa), Tarah Hogue (Métis, Dutch Canadian) and Lana Lopesi (Samoa).

The project will assert complex, wide-ranging, contemporary Indigenous experiences including deep ancestral knowledges and global connections.

Join us for an afternoon where the distinctive perspectives of the visiting curators will be shared and discussions about the formation of the project will take place.

 

Biographies:
Sarah Biscarra Dilley is a multidisciplinary artist and scholar currently residing in the unceded homeland of the Chochenyo Ohlone people. She is a member of the yak tityu tityu yak tiłhini Northern Chumash tribe. Her academic and visual work has been exhibited nationally and internationally at Yerba Buena Center for the Arts, California Historical Society, University of California at Santa Barbara, SOMArts Cultural Center, First Peoples House at University of Victoria, California Consortium for Urban Indian Health, Toronto Free Gallery, Open Engagement, and Native American and Indigenous Studies Association.

Freja Carmichael is a Ngugi woman belonging to the Quandamooka People of Moreton Bay. She is an Independent curator working broadly across Aboriginal and Torres Strait Islander visual arts sector and has strong interest in traditional fibre practices and collaborative curatorial approaches. She has completed curatorial work with Redland Art Gallery, kuril dhagun at State Library of Queensland and is a member of Brisbane based Indigenous curatorial trio, Blaklash Collective. In 2014, she received an Australia Council for the Arts emerging curatorial fellowship and was awarded the 2016 NGA’s International Indigenous Arts fellowship. Recently Carmichael was awarded the inaugural Macquarie Group First Nations emerging curatorial award.

 Léuli Māzyār Lunaʻi Eshrāghi is a curator, artist and Monash University PhD candidate visiting Kulin Nation lands and waters. Eshrāghi hails from the Sāmoan villages of Āpia, Leulumoega, Siʻumu, Salelologa, from Irānzamin, Guangdong, and other ancestries. His work centres on ceremonial-political practices, language renewal, and Indigenous futures. He has undertaken residencies at Para Site Hong Kong, Banff Centre for Arts and Creativity, University of British Columbia – Okanagan, and Tautai Pacific Arts Trust. He serves on the board of the Aboriginal Curatorial Collective (Canada), editorial advisories for Broadsheet and un Magazine, and the Pacific Advisory Group to Melbourne Museum.

Tarah Hogue is a curator, writer and uninvited guest on xʷməθkʷəy̓əm (Musqueam), Skwxwu7mesh (Squamish), and səl̓ilwətaɁɬ (Tsleil-Waututh) territories/Vancouver, British Columbia where she has lived since 2008. She is a member of the Métis Nation of Alberta. Her work activates Indigenous and feminist methodologies of reciprocal relationality and collaboration, and attends to the politics of place. Hogue is the inaugural Senior Curatorial Fellow, Indigenous Art at the Vancouver Art Gallery (2017–2020). She was the 2016 Audain Aboriginal Curatorial Fellow at the Art Gallery of Greater Victoria (Canada), and has curated numerous exhibitions and discursive projects.

Lana Lopesi is a critic of art and culture based in Tāmaki Makaurau, Aotearoa New Zealand. Lana is the Editor-in-Chief for The Pantograph Punch and Editor for Design Assembly, where she writes a monthly column called Graphic Matters. Lopesi has held residencies in Taipei, Taiwan and Auckland, Aotearoa New Zealand. Lana’s writing has featured in a number of publications in print and online including New Zealand publications PaperboyArt New ZealandHOME MagazineAotearoticaBulletin and The Spinoff; Australian publications Un MagazineBroadsheet and Runway; and international publications such as GARAGE Magazine and VICE.