Rithika Merchant, India b.1986 / Temporal Structures 2023 / Gouache, watercolour and ink on paper / 105 × 150cm / The Taylor Family Collection. Purchased 2024 with funds from Paul, Sue and Kate Taylor through the QAGOMA Foundation / © Rithika Merchant

Rithika Merchant, India b.1986 / Temporal Structures 2023 / Gouache, watercolour and ink on paper / 105 × 150cm / The Taylor Family Collection. Purchased 2024 with funds from Paul, Sue and Kate Taylor through the QAGOMA Foundation / © Rithika Merchant / View full image

The 11th Asia Pacific Triennial

30 Nov 2024 – 27 Apr 2025
QAG & GOMA

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Maryam Ayeen, Iran b.1985 and Abbas Shahsavar Iran b. 1983 / Untitled (from 'Fall in dopamine' series) (detail) 2020-21 / Gouache and watercolour on paper / Ten pieces: 70 x 50cm (each) / Purchased 2022. Queensland Art Gallery | Gallery of Modern Art Foundation / Collection: Queensland Art Gallery | Gallery of Modern Art / © The artists

Maryam Ayeen, Iran b.1985 and Abbas Shahsavar Iran b. 1983 / Untitled (from 'Fall in dopamine' series) (detail) 2020-21 / Gouache and watercolour on paper / Ten pieces: 70 x 50cm (each) / Purchased 2022. Queensland Art Gallery | Gallery of Modern Art Foundation / Collection: Queensland Art Gallery | Gallery of Modern Art / © The artists / View full image

APT10

4 Dec 2021 – 25 Apr 2022
QAG & GOMA

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Elizabeth Watsi Saman, preparing Tsinsu / Women’s Wealth workshop, Nazareth Rehabilitation Centre 2017, Chabai, Autonomous Region of Bougainville / Photograph: R McDougall © QAGOMA

Elizabeth Watsi Saman, preparing Tsinsu / Women’s Wealth workshop, Nazareth Rehabilitation Centre 2017, Chabai, Autonomous Region of Bougainville / Photograph: R McDougall © QAGOMA / View full image

APT9

24 Nov 2018 – 28 Apr 2019
QAG & GOMA

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Uuriintuya Dagvasambuu, Mongolia b.1979 / Path to wealth (detail) 2013 / Synthetic polymer paint on canvas / 149 x 99cm / Purchased 2015 with funds from Ashby Utting through the Queensland Art Gallery | Gallery of Modern Art Foundation / Collection: Queensland Art Gallery | Gallery of Modern Art / © Uuriintuya Dagvasambuu

Uuriintuya Dagvasambuu, Mongolia b.1979 / Path to wealth (detail) 2013 / Synthetic polymer paint on canvas / 149 x 99cm / Purchased 2015 with funds from Ashby Utting through the Queensland Art Gallery | Gallery of Modern Art Foundation / Collection: Queensland Art Gallery | Gallery of Modern Art / © Uuriintuya Dagvasambuu / View full image

APT8

21 Nov 2015 – 10 Apr 2016
QAG & GOMA

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Zhu Weibing, Artist, China b.1971 / Ji Wenyu, Artist, China b.1959 / People holding flowers (detail) 2007 / Synthetic polymer paint on resin; velour, steel wire, dacron, lodestone and cotton / 400 pieces: 100 x 18 x 8cm (each) / The Kenneth and Yasuko Myer Collection of Contemporary Asian Art. Purchased 2008 with funds from Michael Sidney Myer through the Queensland Art Gallery Foundation / Collection: Queensland Art Gallery | Gallery of Modern Art / © The artists

Zhu Weibing, Artist, China b.1971 / Ji Wenyu, Artist, China b.1959 / People holding flowers (detail) 2007 / Synthetic polymer paint on resin; velour, steel wire, dacron, lodestone and cotton / 400 pieces: 100 x 18 x 8cm (each) / The Kenneth and Yasuko Myer Collection of Contemporary Asian Art. Purchased 2008 with funds from Michael Sidney Myer through the Queensland Art Gallery Foundation / Collection: Queensland Art Gallery | Gallery of Modern Art / © The artists / View full image

APT6

5 Dec 2009 – 5 Apr 2010
QAG & GOMA

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Ai Weiwei, China b.1957 / Boomerang 2006 / Glass lustres, plated steel, electric cables, LED lamps / 700 x 860 x 290cm / Site specific work for ‘The 5th Asia Pacific Triennial of Contemporary Art’ (APT5). Gift of the artist through the Queensland Art Gallery Foundation 2007 / Collection: Queensland Art Gallery | Gallery of Modern Art / © Ai Weiwei / Photograph: N. Harth © QAGOMA

Ai Weiwei, China b.1957 / Boomerang 2006 / Glass lustres, plated steel, electric cables, LED lamps / 700 x 860 x 290cm / Site specific work for ‘The 5th Asia Pacific Triennial of Contemporary Art’ (APT5). Gift of the artist through the Queensland Art Gallery Foundation 2007 / Collection: Queensland Art Gallery | Gallery of Modern Art / © Ai Weiwei / Photograph: N. Harth © QAGOMA / View full image

APT5

2 Dec 2006 – 27 May 2007
QAG & GOMA

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Yayoi Kusama, Japan b.1929 / Narcissus garden 1966/2002 / Stainless steel balls / 2000 balls (approx.) / Site specific work for ‘The 4th Asia Pacific Triennial of Contemporary Art’ (APT4). Gift of the artist through the Queensland Art Gallery Foundation 2002 / Collection: Queensland Art Gallery | Gallery of Modern Art / © Yayoi Kusama, Yayoi Kusama Studio Inc / Photograph: N. Harth © QAGOMA

Yayoi Kusama, Japan b.1929 / Narcissus garden 1966/2002 / Stainless steel balls / 2000 balls (approx.) / Site specific work for ‘The 4th Asia Pacific Triennial of Contemporary Art’ (APT4). Gift of the artist through the Queensland Art Gallery Foundation 2002 / Collection: Queensland Art Gallery | Gallery of Modern Art / © Yayoi Kusama, Yayoi Kusama Studio Inc / Photograph: N. Harth © QAGOMA / View full image

APT4

12 Sep 2002 – 27 Jan 2003
QAG

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Cai Guo-Qiang, China b.1957 / Bridge Crossing 1999 / Bamboo, rope, rainmaking device, aluminum boat, and laser sensors / Site specific work commissioned 1999 for ‘The 3rd Asia Pacific Triennial of Contemporary Art’ (APT3) / Courtesy: Cai Guo-Qiang

Cai Guo-Qiang, China b.1957 / Bridge Crossing 1999 / Bamboo, rope, rainmaking device, aluminum boat, and laser sensors / Site specific work commissioned 1999 for ‘The 3rd Asia Pacific Triennial of Contemporary Art’ (APT3) / Courtesy: Cai Guo-Qiang / View full image

APT3

9 Sep 1999 – 26 Jan 2000
QAG

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The Waka Collective featuring (left to right) My grandmother was born on a boat 1996 by Bronwynne Cornish, Pumice from the mountains 1993 by Chris Booth, and Kahukura 1995 by Brett Graham / Photograph © QAGOMA

The Waka Collective featuring (left to right) My grandmother was born on a boat 1996 by Bronwynne Cornish, Pumice from the mountains 1993 by Chris Booth, and Kahukura 1995 by Brett Graham / Photograph © QAGOMA / View full image

APT2

27 Sep 1996 – 19 Jan 1997
QAG

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Shigeo Toya, Japan b.1947 / Woods III 1991-92 / Wood, ashes and synthetic polymer paint / 30 pieces: 220 x 30 x 30cm; 220 x 530 x 430cm (installed) / The Kenneth and Yasuko Myer Collection of Contemporary Asian Art. Purchased 1994 with funds from The Myer Foundation and Michael Sidney Myer through the Queensland Art Gallery Foundation and with the assistance of the International Exhibitions Program / Collection: Queensland Art Gallery | Gallery of Modern Art / © Shigeo Toya

Shigeo Toya, Japan b.1947 / Woods III 1991-92 / Wood, ashes and synthetic polymer paint / 30 pieces: 220 x 30 x 30cm; 220 x 530 x 430cm (installed) / The Kenneth and Yasuko Myer Collection of Contemporary Asian Art. Purchased 1994 with funds from The Myer Foundation and Michael Sidney Myer through the Queensland Art Gallery Foundation and with the assistance of the International Exhibitions Program / Collection: Queensland Art Gallery | Gallery of Modern Art / © Shigeo Toya / View full image

APT1

17 Sep – 5 Dec 1993
QAG

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Lee Paje, The Philippines b.1980 / Somewhere, someday when we are the sea 2021 / Oil on copper / 12 panels: 45.7 x 121.9 (each) / Commissioned for ‘The 10th Asia Pacific Triennial of Contemporary Art’ (APT10). Purchased 2021 with funds from Tim Fairfax AC through the Queensland Art Gallery | Gallery of Modern Art Foundation / Collection: Queensland Art Gallery | Gallery of Modern Art / © Lee Paje

Lee Paje, The Philippines b.1980 / Somewhere, someday when we are the sea 2021 / Oil on copper / 12 panels: 45.7 x 121.9 (each) / Commissioned for ‘The 10th Asia Pacific Triennial of Contemporary Art’ (APT10). Purchased 2021 with funds from Tim Fairfax AC through the Queensland Art Gallery | Gallery of Modern Art Foundation / Collection: Queensland Art Gallery | Gallery of Modern Art / © Lee Paje / View full image

This is a unique event. There is no other art exhibition quite like it in the world.

Edmund Capon AM OBE (1940–2019)

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    5 David Bowie film costume highlights

    Ziggy may have played guitar, but it was David Bowie who played an alien, a vampire, a Roman emperor, and a goblin king, all with effortless style and savoir faire. ‘The Cracked Actor: Bowie on Screen’ film program at the Australian Cinémathèque, GOMA from 17 August – 5 October 2024 celebrates some of Bowie’s most notable on-screen roles and is a rare chance to see a different side to this chameleonic performer. DELVE DEEPER: David Bowie on screen… behind Bowie’s now iconic stage personas lies a complicated love affair with acting that took his passion for performing from the concert stage to the silver screen. As with many great performances, a sharp costume, a snappy accessory or even the right hair piece can add a new dimension to a character and create an unforgettable cinematic moment. An enigmatic and continually changing performer, David Bowie was synonymous with bold looks and edgy styles that walked a fine line between fashion and costume. From invisible ties to sparkling sceptres, here are five of our favourite David Bowie costume highlights. Get tickets to ‘Bowie on Screen’ or see what’s screening Australian Cinémathèque, GOMA 17 Aug – 5 Oct 2024 #1 The ‘Air tie’ see it in The Man Who Fell to Earth (1976) R18+ Is there life on Mars? According to writer Walter Tevis and director Nicholas Roeg, there’s life, and it has an excellent eye for sharp tailoring and designer eyewear. Taking direction from Bowie’s ‘Thin White Duke’ persona, David Bowie worked closely with designers May Routh and Ola Hudson to create a simple look for the Thomas Newton character that would suit an alien explorer looking to blend in with their new surroundings. Bringing together Bowie’s love of cabaret, German expressionism and jazz from the 1940s and 50s, the result was a selection of dark boxy suits, slender silk shirts, black platform shoes and a non-existent tie (affectionately known as the ‘air tie’), forming a striking look that Bowie would continue to showcase as part of his ‘Station to Station’ album tour. Screening: 2.00pm, Saturday 17 August & 6.00pm, Wednesday 18 September 2024 The Man Who Fell to Earth will screen from a 4K digital restoration. #2 Ziggy’s hair see it in Moonage Daydream (2022) M In the early 70s, David Bowie’s vibrant crop of laser-red hair formed the basis of his most famous stage persona, Ziggy Stardust, and has undoubtedly become one of the most iconic haircuts of all time. Until 1972, Bowie’s hairstyles had largely consisted of Teddy Boy quiffs and long blonde waves. That was until Bowie’s then wife Angie Bowie (née Mary Angela Barnett) introduced him to London hairdresser Suzi Fussey. Armed with a selection of magazine cutouts including pictures of model Christine Walton in Paris Vogue and the latest looks from Japanese designer Kansai Yamamoto (who would later design Bowie’s infamous wide-leg jumpsuit made from black vinyl with white stripes), the musician walked into the Evelyn Page hair salon in Beckenham as David Bowie and walked out as Ziggy Stardust. Screening: 12.30pm, Saturday 31 August & 6.00pm, Wednesday 2 October 2024 #3 Warhol’s wig see it in Basquiat (1996) M Pop artist Andy Warhol began wearing wigs in his early twenties as a way of concealing his premature baldness. As Warhol’s wigs gradually morphed into an integral part of the artist’s persona, they took on more bold and outlandish forms, the most famous being coined the ‘fright’ wig due to its wild and static styling. After admiring Warhol for years, David Bowie finally met the artist in 1971, and (after an initially awkward exchange) the two struck up a conversation over a pair of bright gold shoes that Bowie was wearing from T. Rex front man, Marc Bolan. In 1996, Bowie was given the chance to play Andy Warhol in painter Julian Schnabel’s Basquiat. Courtesy of the Andy Warhol Museum in Pittsburgh, Bowie was lent one of the artist’s wigs and leather jackets to wear on set, to channel Warhol’s larger-than-life character. The result was a playful and highly memorable coming together of two cultural superstars on-screen. Screening: 3.00pm, Saturday 7 September 2024 Basquiat will screen from an archival 35mm print. #3 Vampires in Yves Saint laurent see it in The Hunger (1983) M Vampiric elegance meets 80s shoulder pads in Tony Scott’s The Hunger 1983. Taking inspiration from the German expressionist and film noir movements, costume designer Milena Canonero partnered with fashion designer Yves Saint Laurent to bring together Bauhaus-inspired tailoring with fishnet tights, black leather jackets and angular sunglasses, giving the characters a timeless look with a gothic twist. The costumes worn by both David Bowie and Catherine Deneuve in the film were so striking, that they inspired fashion designer Alexander McQueen’s 1996 spring/summer ready-to-wear collection, appropriately titled ‘The Hunger’. Screening: 8.45pm, Wednesday 18 September & 3.00pm, Saturday 5 October #5 The ‘Swagger stick’ see it in Labyrinth (1986) M What do you get if you cross a new-romantic singer with an orb-wielding sorcerer? The answer is David Bowie’s unforgettable rendition of Jareth the Goblin King in Jim Henson’s Labyrinth. On envisioning the role of Jareth, Bowie initially pictured the character as a vein and temperamental new romantic, a nod to the flamboyant and eccentric style of the new romantic movement, who might resemble the type of popstar idolised by the young teenage character Sarah (played by Jennifer Connelly). Critical to this imagining of the character was the sceptre, or ‘swagger stick’ as Bowie called it, that would act as a type of microphone for the Goblin King to posture with. Despite its seemingly fictious name, the swagger stick is a genuine piece of military paraphernalia with origins that trace back to the Roman army, although few (if any) were adorned with crystals befitting a goblin king. Screening: 3.00pm, Saturday 28 September 2024 ‘The Cracked Actor: Bowie on Screen’ is an exploration of the visionary performer’s foray into...
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    Mad Science theatrics

    As the ‘Mad Science’ film program unfolds at the Australian Cinémathèque, GOMA until Sunday 23 June 2024, curatorial volunteer Talor Marshall highlights a few ways in which science fiction embraces theatrical and melodramatic elements to heighten the madness of the science on-screen. RELATED: On-screen scientists we’re absolutely mad about Often portraying outsiders, the following four films feature scientists, monsters, and machines whose cinematic dramatisation highlights taboo subjects and societal misunderstandings. Told with dramatic flair, these films bring a dash of melodrama through their expressive, playful, and outlandish sensibilities. Let the fun begin! #1 Bride of Frankenstein (1935) PG A classic of the genre, James Whale’s Bride of Frankenstein (1935) is arguably the director at his most expressive and is the memorable sequel of Frankenstein (1931), birthed from a line in Mary Shelley’s novel in which the monster asks for a mate. A delirious mix of Freudian anxieties surrounding the female body coupled with queer sensibilities, the film features memorable costumes by designer Vera West. Paired with the heightened physical performance of Elsa Lanchester as the monster’s bride, and Boris Karloff as the Monster, West’s now iconic costumes — and the bride’s fabulous updo — compliment Whale’s gothic aesthetic and theatrical direction. 2.45pm, Sunday 2 June & 1.00pm, Sunday 23 June 2024 Bride of Frankenstein will screen from an archival 35mm print. #2 The Devil Bat (1940) 15+ Featuring a performance by legendary horror actor Bela Lugosi, best known for his portrayal of Count Dracula in Dracula (1931) and Ygor in Son of Frankenstein (1939), The Devil Bat (1940) is a low-budget thriller which brings together a mad scientist and his murderous bat. A deliciously over the top pharmaceutical revenge tale, the maniacal Dr. Paul Carruthers (Lugosi) directs the killing power of his winged assailant through scent: each bat victim has applied an aftershave specially brewed by the mad scientist to mark his targets. Classically trained actor Bela Lugosi brings to the screen his own sinister-yet-comical flair, aided by large goggles and a menacing grin, making for one of the actor’s most melodramatic on-screen performances. The bat’s histrionic shriek and lo-fi puppetry charm is the perfect B-grade compliment to this hugely enjoyable thriller. 7.30pm, Wednesday 12 June & 2.45pm, Sun 23 June 2024 #3 Andy Warhol’s Flesh for Frankenstein (1974) R18+ Andy Warhol’s Flesh for Frankenstein (1974), directed by Paul Morrissey, is a subversive satire in which Udo Kier’s Baron von Frankenstein pursues a fascination for flesh. The film leans heavily into visual spectacle and embraces an unusual baroque stylisation of the doctor’s medical experiments. A frequent collaborator with Andy Warhol, Morrissey was able to garner additional attention for the film thanks to Warhol lending his name to the production. Morrissey dials up the gothic and borrows from Giallo sensibilities to deliver a transgressive take on the traditional Frankenstein blueprint. Udo Kier’s startlingly good looks are a striking counterpoint to his questionable ethics and maniacal pursuit of creating life. 6.00pm, Friday 7 June & 3.15pm, Saturday 22 June 2024 Andy Warhol’s Flesh for Frankenstein will screen from a 4K restoration. #4 From Beyond (1986) MA15+ From Beyond (1986) reunites director Stuart Gordon and producer by Brian Yuzna, the creative team behind Re-Animator (1985) (also screening in ‘Mad Science’ at 6.00pm Friday 21 June), in Lovecraftian dread. In their second collaborative effort, a mad scientist and his assistant have created the Resonator: a machine that allows those within its range to perceive a reality from another dimension. However, when their experiment succeeds, they are attacked by horrifying life forms from the beyond. Starring legendary horror icons Jefferey Combs, Ken Foree and Barbara Crampton, these recognisable veteran genre-actors bring a satirised zeal to the film. Glowing with pink-tinged, special effects, the film’s narrative of scientific experimentation gone wrong is an outlandish sci-fi romp that will delight fans of 1980s horror. 8.05pm, Wednesday 19 June & 8.00pm, Friday 21 June 2024 #5 Our wild card Live Music & Film: Dr Jekyll and Mr Hyde (1920) All Ages Dabbling in laboratory experiments to interrogate his theory that all humans contain a duality of good and evil, the accomplished Dr Jekyll inadvertently calls forth his own depraved and dangerous nature: the alter ego Mr Hyde. John Barrymore playing the titular role is masterful in his miraculously eerie transformation between both personalities: in turn a distinguished doctor who charitably runs a clinic for the poor and Mr Hyde, a vicious and violent criminal. The Wurlitzer Organ is the perfect pairing for this creepy classic. A new live score will be performed on the Gallery’s much loved 1929 Wurlitzer Style 260 Opus 2040 Pipe Organ. Hidden beneath the stage of the Australian Cinémathèque and only revealed for special screenings is our Pipe Organ, its original home Brisbane’s Regent Theatre which opened in 1929. Read more to go behind-the-scenes. 11.00am, Sunday 16 June 2024 Talor Marshall is Curatorial volunteer, Australian Cinémathèque, QAGOMA The Australian Cinémathèque The Queensland Art Gallery | Gallery of Modern Art (QAGOMA) is the only Australian art gallery with purpose-built facilities dedicated to film and the moving image. The Australian Cinémathèque at GOMA provides an ongoing program of film and video that you’re unlikely to see elsewhere, offering a rich and diverse experience of the moving image, showcasing the work of influential filmmakers and international cinema, rare 35mm prints, recent restorations and silent films with live musical accompaniment by local musicians or on the Gallery’s Wurlitzer organ originally installed in Brisbane’s Regent Theatre in November 1929. Featured image: Production still from Andy Warhol’s Flesh for Frankenstein (1974)
Guests enjoyed the Business Leaders Network Welcome to 2022 Cocktail Event, GOMA 2022 / Photograph: Joe Ruckli © QAGOMA

Guests enjoyed the Business Leaders Network Welcome to 2022 Cocktail Event, GOMA 2022 / Photograph: Joe Ruckli © QAGOMA / View full image

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