Tarnanthi

It is so much more than an exhibition of series of exhibitions, but a celebration of the tremendously varied indigenous art of the country’s Aboriginal and Torres Strait Islanders. First launched in 2015, Tarnanthi, pronounced tar-nan-dee, is a Kaurna word from the traditional owners of the Adelaide Plains which means to come forth or to appear. It is this idea of new beginnings that underpins the Festival, presented by the Art Gallery of South Australia that showcases a diverse body of work from artists and communities spread around the country.

Significantly, the festival that continues to grow in stature, highlights contemporary art, and the results are both powerful and inspiring as well as incredibly diverse, influenced both by deep seated tradition and contemporary forces, events and situations. Mediums too are diverse, with video works presented as well as sculptural pieces, more traditional paintings using different materials and even intricately woven marine life sculptures created from ‘ghost nets’ or discarded fishing nets.

Each piece, each work speaks to a particular time and place, showcasing the world of both individual artists working in cities and more remote communities as well as collaborative works from whole communities. 

In 2017-2018, Tarnanthi focuses on artists from South Australia’s Anangu Pitjantjatjara (APY) Lands, brining a wealth of work to the festival. Painting in particular is strong in the APY region and two collaborative paintings presented this year very much showcase both the style and theme of this region.

Kulata Tjuta – A work for Kunmanara (Gordon) Inkkatji, was created by 23 men, while the other, Kungkarangkalpa – Seven Sisters, was created by 24 women artists. Vibrant colours and intricate design and detail mark these works, while stunning photography that capture mark-making by artists from Tjungu Palya create a completely different dynamic.

The mediums are as diverse as the inspiration. Nonggirringa Marawili from Buku Larrnggay Mulka Centre in Yirrkala in northeast Arnhem Land has created a series of bark paintings, while Daisy Japilja, Sonia Kurarra, Tjigila Nada Rawlins and Lisa Uhl have created unique paintings on perspex. Still another artist, Ngarralja Tommy May has used metal as the medium for his painting.

Film projects capture another perspective of the artistic consciousness, from Peter Mungkuri, Alec Baker and Jimmy Pompey’s short film, Never Stop Riding, to a performance art piece captured on film of Reko Rennie, driving a 1973 Rolls-Royce Corniche,emblazoned in his signature camouflage,  literally carving his own mark into the land. 

Ceramics, canvas, bark, textiles and immersive photographic portraiture of many of the artists involved in these major collaborative projects, all ctell their own story and cumulatively create a rich tapestry that will captivate hose familiar with indigenous art and undoubtedly open a door for those who have not previously seen this side of the diverse material being created around the country. 

From traditional larrakitj (memorial poles) carved and painted Mokuy (spirits) that herald the trade winds that brought Macassan fishermen from Sulawesi to northeast Arnhem Land, to the artists of Erub (Darnley) Island and their Ghost Nets of the Ocean showing the artists’ concerns for the loss of marine life and environmental damage caused by rogue nets, traditional themes are intertwined with contemporary issues. The Kulata Tjuta – meaning ‘many spears’ is a project by the senior men from across the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands, which speaks of the effects of the atomic bomb tests on Anangu Country 60 years ago, with the spears hang in an explosive cloud formation that hovers above an installation of hand-carved piti (wooden bowls) made by Anangu women.

Certainly the material is as diverse in nature and inspiration as it is in execution and forms a living expression of Australian life as seen through the eyes of our indigenous artists and communities.

Tarnanthi at the Gallery runs until 28 January, 2018. Art Gallery of South Australia, North Terrace, Adelaide SA.

Images (from top)

1. Ray Ken in front of works by Barbara Mbitjana Moore, Tjungkara Ken and Yaritji Young, Tjala Arts, Amata, South Australia photo: John Montesi, June 2017.

2. Tjala Arts Women’s Collaborative painting, to be auctioned for the Purple House fundraising auction for the first renal dialysis unit at Ernabella, Tjala Arts, Amata, South Australia photo: John Montesi, June 2017.

3. Betty Kuntiwa Puamani, Antara, Mimili Maku Arts, Mimili, South Australia photo:John Montesi, 2017.

4.  Willy Muntjanti Martin (L) & Mumu Mike Williams (R) with their collaborative painting Ngura (Country), Mimili Maku Arts, Mimili, South Australia photo:John Montesi, 2017.

5. Robert Fielding, Mimili Maku Arts, Mimili, South Australia photo: John Montesi, 2017.

6. Alec Baker, Iwantja Arts, Indulkana, South Australia photo: John Montesi, 2017.

7. Vincent Namatjira with his work Donald and Obama, courtesy of This Is No Fantasy + dianne tanzer gallery, Melbourne and Iwantja Arts, Indulkana, South Australia, photo: John Montesi, 2017.

8. Betty Kuntiwa Puamani, Antara, Mimili Maku Arts, Mimili, South Australia photo:John Montesi, 2017.

9.  Pepai Jangala Carroll, Ernabella Arts, Pukatja, South Australia photo: John Montesi, June 2017.

10. Janelle Nakamarra Thompson, Ernabella Arts, Pukatja, South Australia photo: John Montesi, June 2017.

11. Robert Fielding, Installation on Country, Mimili Maku Arts, Mimili, South Australia photo: John Montesi, 2017.

12.  Robert Fielding, Mimili Maku Arts, Mimili, South Australia photo: John Montesi, 2017.

13. Mary Pan, Tjanpi nest, Tjala Arts, Amata, South Australia photo: John Montesi, June 2017.

14.  detail of a work by Mona Mitakiki, Tjala Arts, Amata, South Australia photo: John Montesi, June 2017.

15. Ceramic pots by Lynette Lewis and Alison Lionel, Ernabella Arts, Pukatja, South Australia photo: John Montesi, June 2017.

16. Ceramic pots, various artists, Ernabella Arts, Pukatja, South Australia photo: John Montesi, June 2017.