The National 2021 Presents New Australian Art
The collaborative exhibition spans three venues and showcases 39 artists.
The collaborative exhibition spans three venues and showcases 39 artists.
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.
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.”
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.
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.
Hoping to recreate a freewheeling world tour from their youth, two retirees set themselves a ‘no itinerary’ challenge: Can they improvise their way across seven countries?
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Hoping to recreate a freewheeling world tour from their youth, two retirees set themselves a ‘no itinerary’ challenge: Can they improvise their way across seven countries?
In our 20s, my new husband and I took a year off from our fledgling careers to travel in Southeast Asia. Equipped with paper maps, we began in China and improvised each day’s “itinerary” on the go. A gap year for grown-ups, I called it, although I scarcely qualified as one.
Nearly 40 years later, we are new retirees with the same wanderlust. We wondered: Could we recapture the thrill of winging it, enduring rough roads and cheap hotels?
We could and did, but for 2½ months instead of 12. We mapped out a route that would take us up Africa’s east coast and then—who knows where? Here’s how we rolled and five important lessons we learned on a 6,000-mile trip.
Our first stop was the tiny, car-free island of Lamu, well-known for its high-profile visitors, from Kate Moss to the Obamas. This low-key getaway offered white-sand beaches, dhows — boats you can rent for day cruises and snorkelling — and lots of donkeys, the main mode of transport.
We considered the beachside Peponi Hotel in Shela, a hot spot since the 1960s (Mick Jagger bunked there). But room rates start at $250, far above our per-night budget of $70 or less. When contemplating almost 100 nights of travel, price matters.
So we chose a villa in the dunes called Amani Lamu, $61 per night for an en suite room with a private terrace and shared plunge pool.
We still had a cool Peponi moment come sunset: On the hotel’s whitewashed veranda, we sipped Pepotinis and plotted our next day’s interlude at the Majlis, Lamu’s fanciest resort (from $580).
With a $20 day pass, we could lounge around its pools and beach bars like proper resort habitués.
Lesson learned: Live like billionaires by day and frugal backpackers by night.
Must-go: Across the bay on Manda Island, bunk a night in a thatched-roof bungalow on stilts at Nyla’s Guest House and Kitchen (from $48 with breakfast).
After a dinner of doro wat, a spicy Ethiopian chicken stew and rice, the sound of waves will lull you asleep.
From Lamu, we flew to Aswan in Egypt. Our “plan”: Cruise down the Nile to Luxor, then take a train to Cairo, and venture to Giza’s pyramids.
Turns out it’s the kind of thing one really should book in advance. But at our Aswan hostel, the proprietor, who treated us like guests deserving white-glove service, secured a felucca, a vessel manned by a navigator and captain-cum-cook.
Since we’d booked fewer than 24 hours in advance and there were no other takers, we were its sole passengers for the three-day trip.
One day, we stopped to tour ancient temples and visit a bustling camel fair, but otherwise, we remained on board watching the sunbaked desert slide by.
We slept on futons on the deck under the stars. The cost: about $100 per night per person, including three meals.
Lesson learned: Ask for help. We found Egyptians kind and unfazed by our haplessness, especially when we greeted them respectfully with assalamu alaikum (“Peace to you”).
Must-go: For buys from carpets to kebabs, don’t miss Cairo’s massive Khan el-Khalili bazaar, in business since 1382. We loved the babouche, cute leather slippers, but resisted as our packs were full.
Next stop Tunisia, via a cheap flight on EgyptAir. We loved Tunisia, but left after six days because the weather got chilly.
Fair enough, it was January. We hopped continents by plane and landed in Istanbul, where it snowed. Fortunately, two of Istanbul’s main pleasures involve hot water. We indulged in daily hammams, or Turkish baths, ranging from $30 to $60 for services that included, variously, a massage, a scrub-down and a soak.
Beneath soaring ceilings at the temple-like Kılıç Ali Paşa Halamı, brisk workers sternly wielded linen sacks to dowse my body in a cloud of hot foam.
In between visits to Ottoman-era mosques and the city’s spice markets, we staved off the chill by drinking fruity pomegranate tea and sampling Turkish delight and baklava at tea salons.
A favourite salon: Sekerci Cafer Erol in Kadıköy, a ferry-ride away on the “Asian” side of Istanbul, where the city adjoins Asia.
Lesson learned: Pay attention to the weather gods. We foolishly took the concept of travelling off-season too far.
Must-go: Don’t miss the Istanbul Modern, the Renzo Piano-designed art museum in the historic Beyoğlu district.
After a long flight from Istanbul, we spent two weeks in Laos and then hopped another plane to Cambodia, specifically Koh Rong Sanloem, another car-free island.
Like vagabonds, we lolled by the warm, super-blue water of Sunset Beach, steps from our bungalow at Sleeping Trees (from $54 per night).
A caveat: You have to sweat to get to this island paradise. We took a bus, a ferry and then hiked for 40 minutes up and down a steep hill and through a jungle. You’ll find only a handful of “resorts”—simple bungalow complexes like ours. There’s nothing much to do. I’ll be back.
Lesson learned: Until our week in Cambodia, we’d been travelling too much and too fast, prioritising exploration over relaxation. This island taught us the pleasures of stasis.
Must-go: Spend one day in Cambodia’s capital city, Phnom Penh, to delve into its sobering history. Tour the Choeung Ek Genocidal Centre, site of a Killing Field, where nearly 9,000 Cambodians died.
We spent our last two weeks on the island of Ko Samui, where season three of “The White Lotus” was shot.
We went there for its astounding beauty, not the luxury resort experience that comes with too many boisterous lads on vacation, snake farms and traffic jams in town.
Truth be told, we flouted our budget rules to book an Airbnb with a pool (from $300) in the hills of Lipa Noi on the island’s quiet side. We joined the nearby Gravity Movement Gym to work out, but cooked our own meals to keep our final tabulation of expenses within reach.
Lesson learned: Pinching pennies feels restrictive, no matter how lush the surroundings. And it leads to bickering, as partners tally up who squandered how much on what.
With the end in sight, we splurged on the villa and even bought souvenirs, knowing we’d lug them for days, not weeks.
Must-go: Take the 30-minute ferry to sister island Ko Pha Ngan for its peace, love and yoga vibe and, once a month, full-moon parties.
Via Airbnb, we bunked at a Thai house called Baan Nuit, run by the Dear Phangan restaurant proprietors.
We sampled steamed dumplings, white fish in a Thai basil sauce and spicy noodles for a mere $15 apiece.
Hey, indulge in that “White Lotus” moment if you dare!