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Desert Painters of Australia

Two Generations

September 24–November 7, 2020
Hong Kong

Installation view Artwork, left to right: © Bill Whiskey Tjapaltjarri; © George Tjungurrayi/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Installation view

Artwork, left to right: © Bill Whiskey Tjapaltjarri; © George Tjungurrayi/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Installation view Artwork, left to right: © Bill Whiskey Tjapaltjarri; © Makinti Napanangka/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Installation view

Artwork, left to right: © Bill Whiskey Tjapaltjarri; © Makinti Napanangka/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Installation view Artwork, left to right: © Makinti Napanangka/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020; © Warlimpirrnga Tjapaltjarri/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Installation view

Artwork, left to right: © Makinti Napanangka/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020; © Warlimpirrnga Tjapaltjarri/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Installation view Artwork, left to right: © Makinti Napanangka/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020; © Warlimpirrnga Tjapaltjarri/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020; © Emily Kame Kngwarreye/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Installation view

Artwork, left to right: © Makinti Napanangka/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020; © Warlimpirrnga Tjapaltjarri/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020; © Emily Kame Kngwarreye/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Installation view Artwork, left and right: © Emily Kame Kngwarreye/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020; center: © Bill Whiskey Tjapaltjarri

Installation view

Artwork, left and right: © Emily Kame Kngwarreye/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020; center: © Bill Whiskey Tjapaltjarri

Installation view Artwork © Emily Kame Kngwarreye/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Installation view

Artwork © Emily Kame Kngwarreye/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Installation view Artwork, left to right: © Emily Kame Kngwarreye/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020; © Yukultji Napangati/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020; © Bill Whiskey Tjapaltjarri

Installation view

Artwork, left to right: © Emily Kame Kngwarreye/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020; © Yukultji Napangati/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020; © Bill Whiskey Tjapaltjarri

Installation view Artwork, left to right: © Emily Kame Kngwarreye/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020; © Yukultji Napangati/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020; © Emily Kame Kngwarreye/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Installation view

Artwork, left to right: © Emily Kame Kngwarreye/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020; © Yukultji Napangati/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020; © Emily Kame Kngwarreye/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Installation view Artwork © Emily Kame Kngwarreye/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Installation view

Artwork © Emily Kame Kngwarreye/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Installation view Artwork, left to right: © Yukultji Napangati/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020; © Bill Whiskey Tjapaltjarri; © Emily Kame Kngwarreye/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Installation view

Artwork, left to right: © Yukultji Napangati/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020; © Bill Whiskey Tjapaltjarri; © Emily Kame Kngwarreye/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Installation view Artwork, left to right: © Bill Whiskey Tjapaltjarri; © George Tjungurrayi/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Installation view

Artwork, left to right: © Bill Whiskey Tjapaltjarri; © George Tjungurrayi/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Installation view Artwork, left and right: © Yukultji Napangati/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020; center: © Emily Kame Kngwarreye/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Installation view

Artwork, left and right: © Yukultji Napangati/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020; center: © Emily Kame Kngwarreye/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Works Exhibited

Emily Kame Kngwarreye, Anooralya–My Story, 1991 Synthetic polymer on linen, 47 ⅞ × 83 ⅞ inches (121.5 × 213 cm)© Emily Kame Kngwarreye/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Emily Kame Kngwarreye, Anooralya–My Story, 1991

Synthetic polymer on linen, 47 ⅞ × 83 ⅞ inches (121.5 × 213 cm)
© Emily Kame Kngwarreye/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Emily Kame Kngwarreye, Song of the Emu, 1991 Synthetic polymer on linen, 47 ⅞ × 83 ⅞ inches (121.5 × 213 cm)© Emily Kame Kngwarreye/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Emily Kame Kngwarreye, Song of the Emu, 1991

Synthetic polymer on linen, 47 ⅞ × 83 ⅞ inches (121.5 × 213 cm)
© Emily Kame Kngwarreye/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Emily Kame Kngwarreye, Desert Ceremony, 1994 Synthetic polymer on linen, 48 × 119 ¾ inches (122 × 304 cm)© Emily Kame Kngwarreye/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Emily Kame Kngwarreye, Desert Ceremony, 1994

Synthetic polymer on linen, 48 × 119 ¾ inches (122 × 304 cm)
© Emily Kame Kngwarreye/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Emily Kame Kngwarreye, Yam Dreaming, 1995 Synthetic polymer on linen, 48 ¼ × 84 ⅛ inches (122.5 × 213.6 cm)© Emily Kame Kngwarreye/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Emily Kame Kngwarreye, Yam Dreaming, 1995

Synthetic polymer on linen, 48 ¼ × 84 ⅛ inches (122.5 × 213.6 cm)
© Emily Kame Kngwarreye/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Emily Kame Kngwarreye, Yam Dreaming, 1996 Synthetic polymer on linen, 48 × 36 ¼ inches (122 × 92 cm)© Emily Kame Kngwarreye/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Emily Kame Kngwarreye, Yam Dreaming, 1996

Synthetic polymer on linen, 48 × 36 ¼ inches (122 × 92 cm)
© Emily Kame Kngwarreye/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Makinti Napanangka, Untitled - Lupulnga, 2002 Synthetic polymer paint on linen, 60 ⅜ × 72 ¼ inches (153.2 × 183.4 cm)© Makinti Napanangka/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Makinti Napanangka, Untitled - Lupulnga, 2002

Synthetic polymer paint on linen, 60 ⅜ × 72 ¼ inches (153.2 × 183.4 cm)
© Makinti Napanangka/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Makinti Napanangka, Untitled, 2004 Synthetic polymer and enamel on linen, 60 ¼ × 48 inches (153 × 122 cm)© Makinti Napanangka/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Makinti Napanangka, Untitled, 2004

Synthetic polymer and enamel on linen, 60 ¼ × 48 inches (153 × 122 cm)
© Makinti Napanangka/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

George Tjungurrayi, Clayton Site of Mamultjulkulnga, 2000 Synthetic polymer on linen, 60 ¼ × 48 inches (153 × 122 cm)© George Tjungurrayi/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

George Tjungurrayi, Clayton Site of Mamultjulkulnga, 2000

Synthetic polymer on linen, 60 ¼ × 48 inches (153 × 122 cm)
© George Tjungurrayi/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Warlimpirrnga Tjapaltjarri, Untitled, 2008 Synthetic polymer on linen, 48 × 48 inches (122 × 122 cm)© Warlimpirrnga Tjapaltjarri/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Warlimpirrnga Tjapaltjarri, Untitled, 2008

Synthetic polymer on linen, 48 × 48 inches (122 × 122 cm)
© Warlimpirrnga Tjapaltjarri/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Yukultji Napangati, Untitled, 2011 Synthetic polymer on linen, 59 ⅞ × 72 ⅛ inches (152 × 183 cm)© Yukultji Napangati/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Yukultji Napangati, Untitled, 2011

Synthetic polymer on linen, 59 ⅞ × 72 ⅛ inches (152 × 183 cm)
© Yukultji Napangati/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020

Bill Whiskey Tjapaltjarri, Country and Rockholes near the Olgas, 2006 Synthetic polymer on linen, 48 × 72 ⅞ inches (122 × 185 cm)© Bill Whiskey Tjapaltjarri

Bill Whiskey Tjapaltjarri, Country and Rockholes near the Olgas, 2006

Synthetic polymer on linen, 48 × 72 ⅞ inches (122 × 185 cm)
© Bill Whiskey Tjapaltjarri

Bill Whiskey Tjapaltjarri, Country and Rockholes near the Olgas, 2006 Synthetic polymer on linen, 59 ⅞ × 72 ⅛ inches (152 × 183 cm)© Bill Whiskey Tjapaltjarri

Bill Whiskey Tjapaltjarri, Country and Rockholes near the Olgas, 2006

Synthetic polymer on linen, 59 ⅞ × 72 ⅛ inches (152 × 183 cm)
© Bill Whiskey Tjapaltjarri

About

Whole lot, that’s the whole lot. Awelye (my Dreaming), Arlatyeye (pencil yam), Arkerrthe (mountain devil lizard), Ntange (grass seed), Tingu (a Dream-time pup), Ankerre (emu), Intekwe (a favorite food of emus), Atnwerle (green bean), and Kame (yam seed). That’s what I paint: whole lot. . . . 
—Emily Kame Kngwarreye

Gagosian is pleased to announce the first major exhibition in Hong Kong dedicated to work by contemporary Indigenous Australian artists. It is the third in a series of critically acclaimed exhibitions presented by the gallery, following New York and Los Angeles in 2019. Desert Painters of Australia: Two Generations is organized in collaboration with D’Lan Davidson, a leading Melbourne-based consultant in the Indigenous Australian art market.

Indigenous Australians constitute the longest surviving civilization in human history for more than 60,000 years. While affinities may be perceived between remote Indigenous Australian art and other modern art forms, the individual practices that are developed in relative isolation stem from the oldest continuous art traditions in the world.

This exhibition is designed to introduce the local audience for the first time to rare works by some of Australia’s most renowned Indigenous artists from remote regions of the continent. The intergenerational selection includes the late Emily Kame Kngwarreye, Makinti Napanangka, and Bill “Whiskey” Tjapaltjarri, and living artists such as Yukultji Napangati, George Tjungurrayi, and Warlimpirrnga Tjapaltjarri.

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全部,這就是全部。我的夢幻時代「Awelye」、長薯「Arlatyeye」、澳洲魔蜥 「Arkerrthe」、草籽「Ntange」、夢中的小狗「Tingu」、鴯鶓「Ankerre」、鴯鶓喜歡的食物「Intekwe」、青豆「Atnwerle」和長薯種子「Kame」。我所畫的就是這些:所有東西……
—埃米莉·凱米·寧瓦瑞

高古軒欣然宣佈舉辦以當代澳洲原住民藝術家為主題的首場大型展覽。繼2019年於紐約及洛杉磯舉行廣獲好評的展覽後,畫廊如今呈獻系列的第三場展覽。「澳洲沙漠原住民藝術家:兩世代」展覽由高古軒與來自墨爾本的澳洲原住民藝術市場專家D’Lan Davidson攜手策劃。

澳洲原住民的歷史可以追溯至超過6萬年前,是人類歷史上最古老的現存文明。雖然偏遠的澳洲原住民藝術與其他現代藝術形式不乏相似之處,但在相對與世隔絕的情況下發展而成的獨特藝術,卻源自世上最古老、流傳至今的藝術傳統。

展覽旨在向本地觀眾首次介紹部分來自澳洲偏遠地區的著名原住民藝術家的珍罕作品,並精心挑選兩代藝術家的佳作,包括已故的埃米莉·凱米·寧瓦瑞(Emily Kame Kngwarreye)、馬堅蒂·娜巴南卡(Makinti Napanangka)及比爾·韋斯奇·賈帕加利(Bill “Whiskey” Tjapaltjarri),以及玉柯媞·納潘加蒂(Yukultji Napangati)、喬治·通古拉里(George Tjungurrayi)及沃林賓亞·賈帕加利(Warlimpirrnga Tjapaltjarri)等在世藝術家。

賓土比(Pintupi)、路里加(Luritja)、瓦爾皮瑞(Warlpiri)和阿特瓦提(Anmattyerr)族人在1950年代被迫遷移到北領地的帕潘亞(Papunya)定居後,部落成員便開始集體創作場地特定的畫作。這些集體藝術創作參考人體裝飾、沙畫、木雕及典禮儀式,最終演變成個別藝術家利用畫布創作的獨立作品。為了守護原住民文化獨有的儀式,藝術家利用多變的抽象圖案隱藏神聖的標誌和智慧,只有原住民才能解讀。作品展現的專注和節奏鮮明的筆觸,創造出視覺效果極其複雜的迷人作品,包括點彩法星座圖、自由流動的線性形態、不斷擴大的同心圖案、拓撲幾何空間和令人目眩的波紋,代表原住民的「夢幻時代」(Dreaming),為澳洲原住民營造一種有序現實感的世界觀,構成一個讓他們理解和解讀世界及人類在世上位置的框架。這些有關人類生命的珍貴知識包括求生策略、祖宗歷史、地球的神話及宇宙。

埃米莉·凱米·寧瓦瑞是烏托邦地區一位備受尊敬的長老,也是澳洲史上最享負盛名的藝術家之一。在她離世前的短短十年裡,她無拘無束地完成大量畫作,肆意探索數之不盡的風格和表達方式。《Anooralya──我的故事》(Anooralya–My Story,1991年作)是埃米莉以早期「魚眼」點彩法技巧創作的代表作,她利用整個身體投入創作,在畫布上畫出無數獨特的印記。在這幅過去30年鮮有亮相的作品中,精緻的圓點匯聚成帶有波紋的水池和蜿蜒溪流,令人聯想到銀河系的宏觀宇宙體系,以及野生長薯根部結構中的微觀世界,而野生長薯象徵豐饒肥沃和埃米莉的夢幻時代。當被問及她的靈感來源時,埃米莉的回答總是:「所有東西。」換言之,每幅作品也代表她所屬的整個文化,涵蓋她與「國土」(有形的土地及在當中居住的神明)的親密關係,還有人民與傳統之間的關係。

馬堅蒂·娜巴南卡的繪畫頌揚賓土比族婦女的表演和儀式傳統。自由流淌的琥珀色和紫色顏料令人想起以頭髮手工織成的裙「Nyimparra」,以及部落婦女在傳統儀式上跳舞時裝飾身體的天然赭色。馬堅蒂充滿力量的構圖取材自賓土比族的神話,特別是源自塑造了Lupulnga地貌的兩位女祖先Kungka Kutjarra的旅程。在是次展出的作品中,富有表現力的色彩線條令人想起髮絲線裙在舞者跳舞時的律動,還有表演現場炙熱土地出現的海市蜃樓。

世代以來,這片土地和當中的故事為沙漠畫家帶來不少創作靈感,啟發喬治·通古拉里及沃林賓亞·賈帕加利創作出令人目眩的迷宮和力量澎湃的構圖。這些賓土比族男子將傳統的繪畫技巧(為工具和身體畫上配合儀式的圖案)融入畫布上的顏料,以起伏有致的線條勾勒出充滿張力的視覺構圖。通古拉里的畫作通常展現火焰般的色彩,令人想起太陽和大地,而賈帕加利則使用含蓄內斂的灰色顏料,呼應廷加里(Tingarri)神話裡清爽的沙漠夜晚。賈帕加利的多幅畫作也令人想到麥凱湖(Wilkinkarra),女祖先會在入夜後到這個巨大的鹽湖進行神聖的膜拜儀式。玉柯媞·納潘加蒂是賈帕加利的妹妹,她也在麥凱湖附近一個名為Murruwa的水泉出生。在她精緻複雜的畫作裡,她將數以千計的同色系垂直筆觸層層堆疊,營造起伏的光影效果,猶如閃閃生光的草原、不規則的沙丘圖案,以及來自其國土動物毛皮的紋理。

比爾·韋斯奇·賈帕加利是來自西部沙漠地區的皮詹加加拉族(Pitjantjatjara)藝術家,以獨特的製圖技巧繪畫規模宏大的作品,猶如其先祖曾經以蠟筆在包肉的紙上為白人人類學代表繪製的遼闊國土地圖。比爾兩幅最大型的作品均稱為《國土和奧爾加斯附近的岩洞》(Country and Rockholes near the Olgas,2006年作),描繪烏魯魯(又稱艾爾斯岩)和卡塔丘塔(奧爾加山)附近的區域。從深邃的海藍色到鮮豔的珊瑚色,這些作品的用色細膩,加上複雜的線條輪廓,重新演繹比爾人生中常見的奪目地質現象色彩和獨特地形。

藝術家簡介:

埃米莉·凱米·寧瓦瑞(約1910–1996)是Anmatyerr部落的長老,也是最赫赫有名的澳洲原住民藝術家,她在晚年才開始在烏托邦地區的Alyawarra社區繪畫。她以快速和系統性地探索不同風格和創新形式而著稱,大部分作品也呼應婦女的儀式活動。她早期的圓點畫作從自己製作傳統蠟染布的經歷取材,後來畫作逐漸變得更著重姿勢,細節更簡單,形態特色則更自由奔放。埃米莉的作品經常在澳洲和日本大型博物館展出,更成為2015年第56屆威尼斯雙年展的焦點展品。

馬堅蒂·娜巴南卡(約1930–2011)生於近北領地和西澳邊界的金托爾(Kintore)社區曼加里(Mangarri)。她居於Haasts Bluff社區,其後移居帕潘亞,展開多產的繪畫生涯。在1999年,馬堅蒂接受了白內障手術,其後她的畫風漸趨成熟,出現富有表現力的粗線條和更加鮮明的色彩。

玉柯媞·納潘加蒂(1975年生)是「九個賓土比人」(Pintupi Nine)的其中一員,他們是最後一批以傳統狩獵和採摘野果為生的原住民部落。納潘加蒂在1984年脫離這種生活,開始接觸現代澳洲社會。她的獨特畫風源於代代相傳的祖先敘事或夢幻時代,在大幅畫布上交織出強烈而細緻的印記,形成呼應自然現象的懾人視覺體驗。

喬治·通古拉里(約1947年生)是賓土比族人和帕潘亞圖拉成員,熱愛其文化的儀式傳統,特別是來自其國土的廷加里神話故事。通古拉里創作出一種抽象語言,將他與這些神聖之地的關係細節昇華,也將這些地點的資訊融入以單一精準線條(而非匯聚的圓點)繪畫的動感線性構圖之中。他曾在澳洲及悉尼雙年展舉行個展,將作品放在地上和掛在牆上展出。

沃林賓亞·賈帕加利(約1958年生)是「九個賓土比人」的成員之一。他觀摩親戚於西澳偏遠社區奇威爾庫拉(帕潘亞圖拉藝術家已在當地建立合作社)繪畫後,在1987年開始利用亞克力繪畫。賈帕加利最早期的畫作被買下並捐贈予墨爾本的維多利亞國家美術館。此後,他亦曾經參與德國第13屆卡塞爾文獻展等大型展覽。

比爾·韋斯奇·賈帕加利(約1920至2008)是一位著名的醫治者(Ngankari),其暱稱源自他濃密的鬍鬚。他在奧爾加斯(Olgas)附近的Pirupa Akla出生,並在北領地利比格山附近的Haasts Bluff社區居住。他在85歲時開始繪畫,直到四年後離世。他的作品曾在澳洲以至歐洲及亞洲等地展出。

D’LAN DAVIDSON簡介:

作為私人藝術經紀人、拍賣行專家工作十五年的D’Lan Davidson於五年前在墨爾本開設自己的畫廊,曾在澳洲及美國舉辦偏遠澳洲原住民藝術展覽且為其製作精美展覽圖錄。D’Lan Contemporary恪守嚴格的道德政策,展出的所有作品均擁有清晰的社區藝術中心來源,並透過他創立的「自願轉售版稅」計劃,協助澳洲原住民社區的經濟發展。該計劃邀請賣家將轉售收益的2.5%回贈予作品的藝術家或遺產委員會,然後他亦會相應捐出同等金額。

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Press

Sutton
Carol Lo
carol@suttoncomms.com
+852 2528 0792

Gagosian
presshk@gagosian.com
+852 2151 0555