The Asia Pacific Triennial of Contemporary Art at QAGOMA opened over the weekend, bringing a flurry of artistic activities. With over 70 artists and projects from various regions, it showcases the diversity of artistic practices. Unlike themed exhibitions, its curatorial focus has remained consistent since 1993, surveying the most exciting and original art.

Uniting Art, Region, and Innovation

Opening Weekend Highlights

The weekend saw a plethora of artist talks, panel discussions, and performances. It was a warm celebration of the artistic community, with artists from Australia, the Pacific, and Asia coming together. This event not only showcases the talent but also fosters a sense of unity among the artistic fraternity.

Each artist brought their unique perspective and creativity to the table. The diverse range of artistic projects added to the vibrancy of the triennial, making it a must-visit for art enthusiasts.

From the delicate handmade wasli paper paintings of Sancintya Mohini Simpson to the mischievous ceramic birds of Tully Arnot, every piece had a story to tell. These artworks not only captivated the viewers but also sparked conversations about various social and political issues.

Curatorial Approach and Challenges

The triennial's curatorial focus has always been on surveying the most exciting and original art of the region. However, one of the challenges is to remain fresh and innovative. The decision in the 1990s not to appoint a freelance artistic director led to the development of in-house expertise.

Now led by Tarun Nagesh, the curatorial team wields a formidable depth of expertise. With curatorial partnerships in countries throughout the region, the connections with individual practitioners demonstrate an authenticity that is often lacking in large-scale exhibitions.

By staying true to its curatorial vision and forging partnerships, the triennial continues to push the boundaries of contemporary art.

Untold Stories and Local Communities

Sancintya Mohini Simpson's kūlī / khulā painting is a prime example of an untold story. Extending horizontally across the gallery walls, it depicts miniature figures in a landscape, entering into a long history of miniature painting while investigating gaps in the historical archive.

Tully Arnot's ceramic birds, installed in unexpected spaces, contribute to the ambient soundscape. There is a darker side to the work as the tweets are drawn from data and translated into sound, mediating on mass extinction.

Lê Giang's gem paintings, emerging from the gloom, pay homage to the local gem painting practice while highlighting the environmental costs of resource extraction. These artworks bring attention to the issues faced by local communities.

Film Programming and Family Appeal

The film programming at GOMA's Australian Cinémathèque is particularly noteworthy. It started with a film series dedicated to Malaysian-born director Tsai Ming-liang and will continue with a thematic selection of science fiction films from across Asia and the Pacific.

With the cost of living crisis, the triennial is free, making it an attractive destination for families and younger visitors. The comprehensive children's programming adds to the appeal, making it a memorable experience for all.

This decades-long investment in local communities has paid off. Undergraduates often cite their formative artistic memories being shaped by the triennial. In these uncertain times, the triennial's embodiment of soft regional diplomacy becomes even more important.