Exhibition: 22 May 2021 – 17 October 2021
In partnership with 4A Centre for Contemporary Asian Art and the International Curator’s Forum (ICF), C-A-C presents I am a heart beating in the world: Diaspora Pavilion 2. The exhibition considers the navigations, imaginings and lived experiences of six artists based in Australia, the UK and the Caribbean: Abdul-Rahman Abdullah, Kashif Nadim Chaudry, Lindy Lee, Leyla Stevens, Zadie Xa and Daniela Yohannes.
The exhibition is an ongoing project that explores the distinct and yet shared reality of living at distance to an ancestral home. Belonging to a diaspora means that connection to these ancestral homes is often maintained through memories, myths and traditions. The artists presented in the exhibition all explore these personal connections. The exhibition is the first of a series of international events that begin in Sydney, then London, UK, and onward to Venice, Italy for the second edition of International Curators Forum’s (ICF) Diaspora Pavilion in collaboration with 4A Centre for Contemporary Asian Art.
Curators: Adelaide Bannerman, Mikala Tai and Jessica Taylor.
ABOUT THE ARTISTS
Abdul-Rahman Abdullah (b. Port Kembla, Australia 1977 lives and works in Perth, Australia) is a sculpture whose practice explores the different ways that memory can inhabit and emerge from familial spaces. Drawing on the narrative capacity of animal archetypes, crafted objects and the human presence, Abdullah aims to articulate physical dialogues between the natural world, politics and the agency of culture. Recent exhibitions include The National, Museum of Contemporary Art, Sydney, Australia (2019), Dark Horizons, Pataka Art + Museum, Wellington, Aotearoa New Zealand (2017) and Magic Object; Adelaide Biennale of Australian Art, Adelaide, Australia (2016).
Kashif Nadim Chaudry
Kashif Nadim Chaudry (b. Nottingham, United Kingdom 1976 lives and works in Nottingham, United Kingdom) is informed by his family heritage in tailoring which has influenced and focused his practice around the importance of materiality and craftsmanship. His work is characterised by the working, shaping and moulding of physical objects through the use of elaborate textile-based techniques to create monumental installations from fabric and found objects. Negotiating his identity as a British born gay man of Pakistani Muslim heritage much of Chaudry’s work questions how people choose to position themselves in the world. In relation, it is increasingly the sculptural and three-dimensional possibilities within his work that address the idea of positioning power, the sacred and the ceremonial. Recent exhibitions include Swags & Tails as part of the Asia Triennial, Manchester, UK (2014), The Three Graces, Turner Contemporary, Margate, UK (2016) and What is Home at National Trust Croome Court, Worcester (2019).
Lindy Lee (b. Brisbane, Australia 1954 lives and works in Byron Bay, Australia) has an expansive practice that explores her Chinese ancestry through Taoism and Ch’an (Zen) Buddhism – philosophies that see humanity and nature as inextricably linked. Symbolic gestures and processes that call on the element of chance are often used to produce a galaxy of images that embody the intimate connections between human existence and the cosmos. Rather than singular visual statements, they are thoughtful objects where meaning emerges from sustained meditation. Notable exhibitions include the major survey exhibition Lindy Lee: Moon in a Dew Drop, Museum of Contemporary Art (2020-2021); Lindy Lee: The Dark of Absolute Freedom, The University of Queensland Art Museum, Brisbane, Australia (2014), and the group exhibition Divided Worlds: Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide, Australia (2018).
Leyla Stevens (b. Cooroy, Australia 1982, lives and works between Bali, Indonesia and Sydney, Australia) is an Australian-Balinese artist and researcher who works predominantly within moving image and photography. Her practice is informed by ongoing concerns around gesture, ritual, spatial encounters, transculturation and counter histories. Working within modes of representation that shift between the documentary and speculative fictions, her work deals with a notion of counter archives and alternative genealogies. In 2021, Leyla Stevens was awarded the 66th Blake Prize for her work Kidung/Lament. Recent exhibitions include her solo presentations Their Sea is Always Hungry, UTS Gallery, Sydney, Australia (2019) and Of Love and Decomposition, Firstdraft, Sydney, Australia (2016) and group exhibitions The National 2021, Art Gallery of News South Wales, Breathing Room (collaboration with Woven Kolektif), Cement Fondue, Sydney, Australia (2019), BEAUT 19, Brisbane & Elsewhere Art UnTriennial, Brisbane, Australia (2018) and the John Fries Award, UNSW Galleries, Sydney, Australia (2018).
Zadie Xa (b. Vancouver on unceded Musqueam, Squamish and Tsleil-Waututh territory 1983, lives and works in London, UK.) produces work informed by her experiences within the Korean diaspora, as well as the environmental and cultural context of the Pacific Northwest. Forces of distance and relation—familial, cultural, spiritual—shape her constantly evolving notions of self. Her work often features garments, including cloaks and masks, used for performance, protection or ceremony. Xa’s practice is highly collaborative, and she has developed ongoing exchanges with dancers, musicians and actors. Since 2006, Xa has worked closely with artist Benito Mayor Vallejo. Recent solo projects include, “Moon Poetics 4 Courageous Earth Critters and Dangerous Day Dreamers”, Remai Modern, Treaty 6 Territory and the Homeland of Métis, Saskatoon Canada (2020-21), “Child of Magohalmi and the Echoes of Creation”, De La Warr Pavilion, Bexhill-on-Sea, UK (2020), Art Night London 2019 and “Meetings on Art” performance program for the 58th Venice Biennale 2019. Xa was one of the recipients of the Sobey Art Award in 2020, which for the first time was awarded to all 25 nominees.
Daniela Yohannes (b. 1982, lives and works in Guadeloupe in the French Caribbean) uses her own Ethiopian-Eritrean heritage as a lens in her work to reflect upon the racialised movement and conditional belonging of African diaspora. Through abstract portraiture and storytelling across multiple media, Yohannes explores the overlap of individual and collective subconscious and desire, and the destruction caused by displacement. Her work dwells on alternative Black realities, considering the bonds between herself, her family and other communities through magical symbolism. By embracing forms of hybridity and considering the artefacts of diaspora as a means of travel in themselves, she has built a dedicated interdimensional machine from emotionally charged objects.