Brisbane, Australia — Several years after its subdued opening amid the global upheavals caused by the pandemic, the current Asia Pacific Triennial of Contemporary Art at Queensland Art Gallery and Gallery of Modern Art is making a bold statement with its hopeful motto: “Art that lifts you up.” As global conflicts and climate crises continue to surge, this grand exhibition wrapped in optimism, delivers more than just visual delight; it explores deeply the notions of community and nurture through diverse forms of artistic expressions.
Spanning across the dual venues of QAGOMA in Meanjin/Brisbane, the Triennial showcases a vast array of over 500 artworks by approximately 70 individual artists and collectives. Each piece serves as a narrative of resilience and introspection, focusing more on personal realms and communal ties rather than overtly political or environmental statements.
At the heart of the exhibit is the vibrantly engaging space crafted by Haus Yuriyal, a collective led by PNG-Australian artist Yuriyal Eric Bridgeman. The installation at Queensland Art Gallery features a dynamic assembly point flanked by an array of Papua New Guinean kuman (shield) designs. These colorful shields, painted and embroidered collectively, are rooted in the traditional combat gear of their highland tribes, symbolizing the protective ethos of their communities.
Adjacent to this setup, the collective includes a verdant garden cultivated by Bridgeman’s mother, Veronica Gikope, which not only offers a slice of Papua New Guinean flora with its corn, sugarcane and bananas but also promises a harvest that would nourish the bodies and souls of visitors in the form of meals over the exhibition’s opening weekend.
Delving into the sphere of other indigenous art forms within the Triennial, a noteworthy installation is the expansive woven mat by Tonga’s Lepamahanga Women’s Group from Tu‘anuku village, led by cultural practitioner ‘Aunofo Havea Funaki. Beyond its aesthetic charm, the mat represents a greater act of cultural preservation, an ongoing testament to the care for Ano Lake, Tonga’s largest freshwater ecosystem, vital to their community’s sustenance and traditions.
Moreover, responding to global conflicts subtly yet poignantly, Palestinian-Saudi artist Dana Awartani’s work draws viewers to consider the fragility of cultural heritage amidst warfare. Her installation features adobe tiles designed with Islamic geometric patterns, intentionally left unbound to highlight the imperfections caused by conflict.
Among other poignant displays is Thai artist Mit Jai Inn’s exploration of painting’s sculptural capabilities, which adds layers of interactive depth to the watermall of the Queensland Art Gallery with its adventurous forms and vibrant splashes of color.
Also in focus is the work by senior painter Yeung Tong Lung from Hong Kong, whose pieces subtly allude to international distress — like the war in Ukraine — by incorporating delicate representations into his panoramic views of COVID-era Hong Kong, symbolizing the global interconnectedness of contemporary issues.
Artistic responses to environmental concerns are visible in Karla Dickens’s ‘As Above, So Below,’ where the artist leverages recycled materials to comment on the cyclical nature of environmental degradation and cultural renewal. Her installation involves totem poles made from salvaged plastic, enwrapped in natural fibers, creating a stark visual narrative on sustainability.
APT’s crucible of art serves not merely as a showcase of aesthetic endeavor but as a dialogue on nurturing and protecting humanity’s collective culture and environment. It invites visitors to plunge into a realm where art doesn’t just ‘lift you up,’ but also urges a communal leaning-in and listening, fostering a garden of metaphorical and literal regeneration amidst the cacophony of global unrest. Such holistic engagement with the arts offers not just refuge but a poignant reflection on our capacity for resilience and empathy in turbulent times.