September 22, 2018 - Institute of Modern Art - The Commute
September 22, 2018

Institute of Modern Art

Carol McGregor, black seeds, 2016 (detail). Possum skins, cotton, ochre, ash, and resin, 187 x 93 cm. Courtesy of the artist and Redland Art Gallery Collection.

The Commute
September 22–December 22, 2018

Opening: September 22, 4:30–8pm

Institute of Modern Art
420 Brunswick Street
Fortitude Valley
Brisbane Queensland 4006

T +61 7 3252 5750
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Drawing from the experiences of commuting cultures, the Visiting Curators at the Institute of Modern Art present The Commute. This exhibition encompasses a series of commissioned projects by artists located around the Great Ocean, also known as the Pacific Rim, who assert complex, wide-ranging, contemporary Indigenous experiences inclusive of both ancestral knowledges and global connections. The Visiting Curators have worked closely with eight Indigenous artists, Natalie Ball (Modoc, Klamath, Black), Hannah Brontë (Yaegel), Bracken Hanuse Corlett (Wuikinuxv, Klahoose), Chantal Fraser (Sāmoa), Lisa Hilli (Gunantuna), Carol McGregor (Wathaurung, Scottish), Ahilapalapa Rands (Kanaka Maoli, iTaukei Viti, Pākehā), and T’uy’t’tanat-Cease Wyss (Sḵwx̱ wú7mesh, Stó:lō, Irish, Métis, Kanaka Maoli, Swiss).

Commuting between centres and edges, between cities and countrysides, and between worlds is increasingly normal—necessary even. A commute or regular journey of some distance to and from one’s workplace is something many of us engage in on a daily basis. A commute as a multidirectional trip not only takes one to work but also leads one home and to places of learning and socio-political connection. If we take this as fact, then we understand commuting as comprising two key factors, place and travel.

Through networks of migration, trade, and exchange engendered in both deep time and every day, place and travel become integral to contemporary Indigenous experience. We understand migration, trade, and exchange as forms of commuting, and understand ourselves as commuting cultures. So, then commuting also requires vigilance of the forces driving our understanding of place and movement, such as displacement, diaspora, and ecological devastation across various territories.

On a basic level, commuting describes the way in which the international group of Indigenous Visiting Curators are working with the IMA, the exhibiting artists, and pockets of the local community. But in a greater sense, it also encapsulates the mobile yet located nature of being Indigenous today. Rather than attempting to package such diverse experiences neatly within a conceptual framework, The Commute explores the mess, the entanglements, and the disparities of contemporary Indigenous experiences.

The Commute is a collaborative project led by Indigenous curators Freja Carmichael (Quandamooka), Sarah Biscarra Dilley (yak tityu tityu yak tiłhini Northern Chumash, Chicana), Léuli Eshrāghi (Sāmoa, Irānzamin, Guangdong), Tarah Hogue (Métis, Dutch Canadian), and Lana Lopesi (Sāmoa).

About the Institute of Modern Art
Since 1975, the IMA has been one of Australia’s leading independent forums for art and its discourses. The IMA is supported by the Queensland Government through Arts Queensland, the Australian Government through Australia Council for the Arts, and the Visual Arts and Craft Strategy, an initiative of the Australian Federal, State, and Territory Governments.

The Commute is supported by the IMA and has received assistance from the Australia Council for the Arts, Australian Government through the Australian Cultural Diplomacy Grants Program of the Department of Foreign Affairs and Trade, Creative New Zealand, Canada Council for the Arts, Queensland Government through Arts Queensland, and Queensland Government through Arts Queensland in partnership with Brisbane City Council.

Institute of Modern Art
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