The National 2021 Presents New Australian Art - Kanebridge News
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The National 2021 Presents New Australian Art

The collaborative exhibition spans three venues and showcases 39 artists.

By Terry Christodoulou
Mon, Nov 16, 2020 6:02amGrey Clock 3 min

In the third edition of a six-year initiative presented in 2017 and 2019, the Art Gallery of New South Wales (AGNSW), Carriageworks and The Museum of Contemporary Art Australia (MCA) has announced The National 2021: New Australian Art.

The collaborative exhibition sees four curators bring together 39 exhibiting artists, collectives and collaboratives while connecting three of Sydney’s key cultural precincts.

The exhibition will display new and commissioned works by leading contemporary artists from around the country – including those in remote communities such as Aṉangu Pitjant-jatjara Yankunytjatjara (APY Lands), Yirrkala in north-east Arnhem Land, Zendah Kes (Torres Strait Islands), and Belyuen, on the north-west coast of the Northern Territory.

A combination of emerging, mid-career and established artists will represent overlapping themes of environment, planetary responsibility, global uncertainty, our relationship to country, collaboration and inter-generational learning across a diverse range of media including painting, photography, film, sculpture, textiles, installations and performance.

Co-curators Matt Cox and Erin Vink, of AGNSW, are presenting 14 artist projects with a view to frame art’s potential to heal and care for the natural and social ecosystems.

“The National 2021 at AGNSW will examine different modes of care: how it engenders our relationships with each other, how we navigate these relationships, and in turn the relationships we have with sentient Country,” says Cox and Vink.

Leyla Stevens Their sea is always hungry 2019, installation view, UTS Gallery, 17 September – 8 November 2019. Courtesy the artist © Leyla Stevens
Photo: Zan Wimberley

Elsewhere, Carriageworks will bring together over 40 artists to produce 13 projects – responding to the key issues of our time – emphasising sociality, collaborative enquiry and works that speak to history and experiences of place.

“The artists are connected across generations and brought together by a spirit of collaboration,” says curator Abigail Moncrieff. “With an attention to the present moment, many of the works consider responsibility and lived experience through psychological and intuitive responses, alongside some of the most urgent and activist voices from around Australia.”

Michelle Nikou Sage, Rosemary and Thyme, 2012–16 cement, sand, plaster, fibreglass, BondCrete, wood, neon, lead, steel, electrical components  128 x 275 x 68 cm overall  Image courtesy the artist and Darren Knight Gallery @ the artist

 

Further, thirteen artists consider diverse approaches to the environment, storytelling and inter-generational learning through their works in The National 2021 at the MCA.

“Unseen physical forces – wind, gases, emissions – power some works, while others transform plant matter, kangaroo teeth, echidna quills and plastic waste into powerful statements,” says MCA chief curator Rachel Kent.

Mehwish Iqbal, Assemblage of the Fragmented Land-scape (detail), 2020, silk screen, etching, collagraph, draw-ing, hand embroidery, 24k silver leaf on paper, image cour-tesy and © the artist, photograph: Mim Sterling

The National 2021: New Australian Art runs from 26 March – 5 September 2021 at AGNSW; 26 March – 20 June 2021 at Carriageworks and 26 March – 22-August 2021 at MCA. Entry is free at the three institutions.

The-national.com.au



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No trip to Singapore is complete without a meal (or 12) at its hawker centers, where stalls sell multicultural dishes from generations-old recipes. But rising costs and demographic change are threatening the beloved tradition.

By SEBASTIAN MODAK
Fri, Oct 18, 2024 6 min

In Singapore, it’s not unusual for total strangers to ask, “Have you eaten yet?” A greeting akin to “Good morning,” it invariably leads to follow-up questions. What did you eat? Where did you eat it? Was it good? Greeters reserve the right to judge your responses and offer advice, solicited or otherwise, on where you should eat next.

Locals will often joke that gastronomic opinions can make (and break) relationships and that eating is a national pastime. And why wouldn’t it be? In a nexus of colliding cultures—a place where Malays, Indians, Chinese and Europeans have brushed shoulders and shared meals for centuries—the mix of flavours coming out of kitchens in this country is enough to make you believe in world peace.

While Michelin stars spangle Singapore’s restaurant scene , to truly understand the city’s relationship with food, you have to venture to the hawker centres. A core aspect of daily life, hawker centres sprang up in numbers during the 1970s, built by authorities looking to sanitise and formalise the city’s street-food scene. Today, 121 government-run hawker centres feature food stalls that specialise in dishes from the country’s various ethnic groups. In one of the world’s most expensive cities, hawker dishes are shockingly cheap: A full meal can cost as little as $3.

Over the course of many visits to Singapore, I’ve fallen in love with these places—and with the scavenger hunts to find meals I’ll never forget: delicate bowls of laksa noodle soup, where brisk lashes of heat interrupt addictive swirls of umami; impossibly flaky roti prata dipped in curry; the beautiful simplicity of an immaculately roasted duck leg. In a futuristic and at times sterile city, hawker centres throw back to the past and offer a rare glimpse of something human in scale. To an outsider like me, sitting at a table amid the din of the lunch-hour rush can feel like glimpsing the city’s soul through all the concrete and glitz.

So I’ve been alarmed in recent years to hear about the supposed demise of hawker centres. Would-be hawkers have to bid for stalls from the government, and rents are climbing . An upwardly mobile generation doesn’t want to take over from their parents. On a recent trip to Singapore, I enlisted my brother, who lives there, and as we ate our way across the city, we searched for signs of life—and hopefully a peek into what the future holds.

At Amoy Street Food Centre, near the central business district, 32-year-old Kai Jin Thng has done the math. To turn a profit at his stall, Jin’s Noodle , he says, he has to churn out at least 150 $4 bowls of kolo mee , a Malaysian dish featuring savoury pork over a bed of springy noodles, in 120 minutes of lunch service. With his sister as sous-chef, he slings the bowls with frenetic focus.

Thng dropped out of school as a teenager to work in his father’s stall selling wonton mee , a staple noodle dish, and is quick to say no when I ask if he wants his daughter to take over the stall one day.

“The tradition is fading and I believe that in the next 10 or 15 years, it’s only going to get worse,” Thng said. “The new generation prefers to put on their tie and their white collar—nobody really wants to get their hands dirty.”

In 2020, the National Environment Agency , which oversees hawker centres, put the median age of hawkers at 60. When I did encounter younger people like Thng in the trade, I found they persevered out of stubbornness, a desire to innovate on a deep-seated tradition—or some combination of both.

Later that afternoon, looking for a momentary reprieve from Singapore’s crushing humidity, we ducked into Market Street Hawker Centre and bought juice made from fresh calamansi, a small citrus fruit.

Jamilah Beevi, 29, was working the shop with her father, who, at 64, has been a hawker since he was 12. “I originally stepped in out of filial duty,” she said. “But I find it to be really fulfilling work…I see it as a generational shop, so I don’t want to let that die.” When I asked her father when he’d retire, he confidently said he’d hang up his apron next year. “He’s been saying that for many years,” Beevi said, laughing.

More than one Singaporean told me that to truly appreciate what’s at stake in the hawker tradition’s threatened collapse, I’d need to leave the neighbourhoods where most tourists spend their time, and venture to the Heartland, the residential communities outside the central business district. There, hawker centres, often combined with markets, are strategically located near dense housing developments, where they cater to the 77% of Singaporeans who live in government-subsidised apartments.

We ate laksa from a stall at Ghim Moh Market and Food Centre, where families enjoyed their Sunday. At Redhill Food Centre, a similar chorus of chattering voices and clattering cutlery filled the space, as diners lined up for prawn noodles and chicken rice. Near our table, a couple hungrily unwrapped a package of durian, a coveted fruit banned from public transportation and some hotels for its strong aroma. It all seemed like business as usual.

Then we went to Blackgoat . Tucked in a corner of the Jalan Batu housing development, Blackgoat doesn’t look like an average hawker operation. An unusually large staff of six swirled around a stall where Fikri Amin Bin Rohaimi, 24, presided over a fiery grill and a seriously ambitious menu. A veteran of the three-Michelin-star Zén , Rohaimi started selling burgers from his apartment kitchen in 2019, before opening a hawker stall last year. We ordered everything on the menu and enjoyed a feast that would astound had it come out of a fully equipped restaurant kitchen; that it was all made in a 130-square-foot space seemed miraculous.

Mussels swam in a mushroom broth, spiked with Thai basil and chives. Huge, tender tiger prawns were grilled to perfection and smothered in toasted garlic and olive oil. Lamb was coated in a whisper of Sichuan peppercorns; Wagyu beef, in a homemade makrut-lime sauce. Then Ethel Yam, Blackgoat’s pastry chef prepared a date pudding with a mushroom semifreddo and a panna cotta drizzled in chamomile syrup. A group of elderly residents from the nearby towers watched, while sipping tiny glasses of Tiger beer.

Since opening his stall, Rohaimi told me, he’s seen his food referred to as “restaurant-level hawker food,” a categorisation he rejects, feeling it discounts what’s possible at a hawker centre. “If you eat hawker food, you know that it can often be much better than anything at a restaurant.”

He wants to open a restaurant eventually—or, leveraging his in-progress biomedical engineering degree, a food lab. But he sees the modern hawker centre not just as a steppingstone, but a place to experiment. “Because you only have to manage so many things, unlike at a restaurant, a hawker stall right now gives us a kind of limitlessness to try new things,” he said.

Using high-grade Australian beef and employing a whole staff, Rohaimi must charge more than typical hawker stalls, though his food, around $12 per 100 grams of steak, still costs far less than high-end restaurant fare. He’s found that people will pay for quality, he says, even if he first has to convince them to try the food.

At Yishun Park Hawker Centre (now temporarily closed for renovations), Nurl Asyraffie, 33, has encountered a similar dynamic since he started Kerabu by Arang , a stall specialising in “modern Malay food.” The day we came, he was selling ayam percik , a grilled chicken leg smothered in a bewitching turmeric-based marinade. As we ate, a hawker from another stall came over to inquire how much we’d paid. When we said around $10 a plate, she looked skeptical: “At least it’s a lot of food.”

Asyraffie, who opened the stall after a spell in private dining and at big-name restaurants in the region, says he’s used to dubious reactions. “I think the way you get people’s trust is you need to deliver,” he said. “Singapore is a melting pot; we’re used to trying new things, and we will pay for food we think is worth it.” He says a lot of the same older “uncles” who gawked at his prices, are now regulars. “New hawkers like me can fill a gap in the market, slightly higher than your chicken rice, but lower than a restaurant.”

But economics is only half the battle for a new generation of hawkers, says Seng Wun Song, a 64-year-old, semiretired economist who delves into the inner workings of Singapore’s food-and-beverage industry as a hobby. He thinks locals and tourists who come to hawker centers to look for “authentic” Singaporean food need to rethink what that amorphous catchall word really means. What people consider “heritage food,” he explains, is a mix of Malay, Chinese, Indian and European dishes that emerged from the country’s founding. “But Singapore is a trading hub where people come and go, and heritage moves and changes. Hawker food isn’t dying; it’s evolving so that it doesn’t die.”