CCAS 2021 Annual Report by Canberra Contemporary Art Space

CANBERRA CONTEMPORARY ART SPACE

ANNUAL REPORT 2021

Canberra Contemporary Art Space Board and Staff respectfully acknowledge the traditional custodians of the Canberra and ACT region, the Ngunnawal and Ngambri peoples on whose unceded lands our galleries are located; their Ancestors, Elders past and present; and recognise their ongoing connections to Culture and Country. We also respectfully acknowledge all traditional custodians throughout Australia whose art we have exhibited over the past four decades, and upon whose unceded lands the Board and Staff travel.

Cover Image ELEFTERIA VLAVIANOS Other Days of Memory #2, 2020 Acrylic and pencil on canvas, 152 x 137cm Photo Brenton McGeachie

Annual Report 2021

Contents

Executive Summary

Artistic Program CCAS

Artistic Program CCAS Manuka

Statistics

Board and Staff

Thank You

Image DESIGN Canberra Opening at CCAS Photo: Dan Toua

CANBERRA’S CENTRE FOR INNOVATION, NEW IDEAS AND DIRECTIONS IN CONTEMPORARY VISUAL ARTS

Canberra Contemporary Art Space (CCAS) is Canberra’s flagship contemporary arts organisation. It promotes and presents new ideas, new art forms and delivers accessible contemporary art for all.

CCAS supports contemporary art in Canberra by presenting innovative exhibitions that challenge perceptions. It enables artists to connect with national and international peers and expand their practice. Exhibitions are supported by programs that engage with diverse audiences to examine and promote understanding of contemporary culture.

Recognised by artsACT as a Key Arts Organisation, CCAS is one of a national network of contemporary arts organisations that can be seen as laboratories for testing new ideas and directions for the contemporary visual arts. CCAS exhibitions and related public programs were located at Ainslie+Gorman Arts Centre and CCAS Manuka in 2019. CCAS is a notfor-profit association incorporated in 1984 and is supported by a Board and professional Staff that have up-to-date skills in the arts, law, finance, business, marketing and academia.

Executive Summary

Chair’s Report Following a year of lockdowns, disruption, and uncertainty 2021 began on a positive note. Homebound, the first exhibition at CCAS, attempted to reunite a fractured community with work by seven Canberra artists many of whom had spent months in isolation with limited support from government and/or institutions. The exhibition highlighted the challenges artists faced over the year and how practices changed as they worked from home with only those materials that were available. The opening reflected those pre-COVID-19 celebrations prior to 2020 and the return to some semblance of normalcy provided a significant morale boost for our community. Homebound was followed by austrALIEN, Dan Toua’s first major exhibition featuring first- and second-generation Australian women, investigating the complexities of balancing the cultures of their heritage with the culture they participate in today. Described by art critic Sasha Grishin as, “A brooding show perfect for our age of uncertainty”, Timeline opened late July as the second wave of COVID-19 Delta variant spread throughout New South Wales and eventually into Canberra. CCAS closed its doors again on August 12 and remained closed until 27 October. The cancellation of DESIGN Canberra, Capital Arts Patrons’ Organisation (CAPO) Art Auction + Exhibition and the final exhibition of the year, left us with Timeline until the end of the year and that is fortunate because it had only opened two weeks before lockdown. Wet weather, scarcely a trickle of tourists and atmosphere of cautiousness in the ACT community saw audience numbers dip and struggle to recover for the remainder of the year. While CCAS has continued to benefit from increased visitation with (Homebound attracting 2,320, austrALIEN 2,220 and Timeline 1,682 visitors respectively), we can only imagine audience numbers in a time of no global health emergency. Closed for the better part of a year, due to difficulties in monitoring CCAS’s COVID-19 Safety Plan off-site, CCAS Manuka finally reopened on 9 July with its own comprehensive safety plan and was closed again within five weeks as Canberra went into the second lockdown. One further exhibition at the end of 2021 highlighted the difficulties faced by artists, many of whom, have been waiting for exhibition space for two and a half years. While COVID-19 restrictions have compromised CCAS’s ability to hold fundraising events and severely reduced income from CCAS Manuka we appreciate the recurrent support provided by artsACT and Australia Council Visual Arts Craft Strategy which continued throughout the year. Rent Relief from the National Capital Authority during closure and JobKeeper payments in the early part of the year have also assisted CCAS to stay afloat. Throughout the year CCAS has developed a closer relationship with CAPO, hosting their Awards Night, a talk on Arts Funding and Policy with Tony Burke MP Shadow Minister for the Arts and Alicia Payne MP ALP Member for Canberra; unfortunately the CAPO Gala Auction was postponed due to lockdown and restricted numbers.

Executive Summary

Image ANDY MULLENS Tombs for the Reborn, 2014 Inkjet prints on10mm clear perspex, rice, light bulbs, cord, dimensions variable

Photo Brenton McGeachie

Executive Summary

There have been many twists and turns in the continuing saga of the Kingston Arts Precinct throughout the year but little tangible progress. CCAS staff and board members have been involved in the planning for this project for over a decade. 2021 saw a period of community consultation with residents and stakeholders and the formation of the KAP Steering Committee consisting of the directors of resident organisations. Together with artsACT and consultant Esther Anatolitis the Committee initiated a strategic planning process that focussed on Country as central to the ongoing development. Three representatives of First Nations communities joined the Committee to ensure that traditional custodianship, the arts and inclusivity would coalesce and form a solid direction for the developing the character of the centre. In November, however, the ACT Government announced that following slow progress Geocon had been dropped from the project which would now be delivered by the Suburban Land Agency (SLA) and the ACT Government. Citing heritage issues and a lack of focus on the arts the SLA reported an amicable break up and a renewed emphasis on community and stakeholder engagement. At the end of 2021 the SLA redrew the timeline for development and design with an amended delivery date extended to 2026. While CCAS and, I believe other resident organisations, have not always been comfortable with Geocon and believe the ACT Government and SLA the better option for delivery, we are extremely disappointed that the project is delayed for another (at least) 3 years. While we have been assured that as much of the planning as possible will be retained we are naturally concerned that the significant amount of time and work that has been dedicated to KAP since 2015 will need to be reconsidered and reconstructed. CCAS continues to be an enthusiastic supporter of this visionary development whose completion will impact not only on the future of CCAS but also the role played by ACT in Australia as a whole.

Amanda Biggs

Chair

Executive Summary

Image EMMA BEER everlasting, 2020 Acrylic on cotton canvas, 120 x 100cm

Photo Brenton McGeachie

Executive Summary

Director’s Report In another difficult year for artists and arts organisations Canberra Contemporary Art Space’s (CCAS) significantly reduced program concentrated less on what we wanted to produce and more on what was possible. The postponement of four exhibitions required that programs were flexible and could be easily adapted to restricted movement for artists, audiences and the work itself. As various States and Territories locked down, borders opened and closed, not always at the same time, artists were unable to attend openings and the transport of work was disrupted. 2021 was a year that challenged artists and curators to reconsider the normal expectations associated with realising projects and work through situations in a way that required patience and adaptability. Despite the obstacles provided by 2021 CCAS’s program was able to continue exhibiting Australian artists in a national, although not international context. In a time of crisis, exhibitions focused on and reflected contemporary issues in a time of uncertainty and crisis. Homebound, for example, concentrated on ways that artists dealt with isolation and vastly reduced support from a depleted and struggling ecology while Timeline called upon senior artists who with significant bodies of work produced revealed bleak visons of past, present and future. austrALIEN on the other hand represented women from diverse cultural backgrounds reconciling their practices to represent heritage in the context of a new and sometimes challenging environment. While 2021 afforded many disappointments and much frustration CCAS continued to celebrate the excellence and achievements of Australian artists and present itself as an organisation able to adapt and make the best of adversity.

David Broker

Director / Public Officer

Executive Summary

Image CAROLINE GARCIA Queen of the Carabao (video still), 2020 Two-channel video, colour, sound scape, 30’00” duration, looped

Image courtesy of the artist

Executive Summary

Treasurer’s Report CCAS achieved an overall operating surplus for the year of $927 (compared to a $33,067 surplus for 2020). This financial result shows effective management of resources in a year of operational disruption and consolidation due to the COVID-19 Health Emergency. The Board would like to thank every member for their contribution this year, and also take this opportunity to acknowledge the ongoing financial support CCAS receives from both artsACT and the Australia Council for the Arts (AusCo). Grants were received totalling $204,691 (operational) from the ACT Arts Fund and $49,735 from the Visual Arts and Crafts Strategy (VACS), ACT Government, and $37,876 from AusCo (VACS). This support is greatly appreciated and fundamental to the financial viability of CCAS. CCAS, like many similar arts organisations, faced unusual challenges this year. The Board is acutely aware that during 2021, due to COVID-19, CCAS did not have the opportunity to earn income from functions, events and the CCAS Manuka Gallery (Manuka income totalled $4,018 in 2021, down from $13,660 in 2019). CCAS was, however, eligible for JobKeeper payments of $36,000, and the National Capital Authority (NCA) reduced rent payments during Canberra’s lockdown. Although CCAS received subsidised rent between August and October 2021, the $27,877 depreciation and amortisation expense covers payments of $21,808 to the NCA, and our financial statements reflect the depreciation of the lease as per accounting standards AASB 16 introduced in 2019. The Board is pleased to have been able to operate at a small surplus in a year when CCAS was unable to operate any fundraising activities due to COVID. We are aware that going forward we will not receive government support from Job Keeper and fundraising activities remain an important function for both Board and CCAS management. No fundraising events have been held since we relocated to our higher-profile lake-front location in early 2020. We remain very optimistic of our ability to use this location to ensure the ongoing financial viability of CCAS into the foreseeable future. Finally a big thank you to all the staff at CCAS for continuing to provide a great service to our community in very challenging times and particularly making my job as Treasurer easy.

Ian Whyte

Treasurer

Image JOEL ARTHUR Golden Fleecing, 2021 Oil and acrylic on canvas, 145 x 165cm Photo Brenton McGeachie

Artistic Program CCAS

Artistic Program, CCAS HOMEBOUND

JOEL ARTHUR, RORY GILLEN, AIDAN HARTSHORN, ROBBIE KARMEL, ROSALIND LEMOH, NATALIE MATHER, CURATED BY DAVID BROKER 3 March – 2 May 2021 Audience: 2320 Homebound brought together six Canberra-based artists and one expat who resides in Melbourne. This multi-media exhibition included painting, drawing, performance, 3D sculpture, installation of found objects and digital photography focusing on found objects. The title ‘Homebound’ was a double entendre, meaning to be confined to home and also to return home. The title succinctly describes the situation for artists during the 2020 nation-wide lockdown. Unable to leave their residences, they spent time consolidating skills and reassessing practices. Homebound is essentially a story of resilience and survival. The romantic stereotype of the impoverished, introverted artist, working solo in their garret rang strangely true in 2020 but this was no matter of choice. As COVID-19 exposed the developing cracks in every culture and society, preying upon the vulnerable, artists with their already fragile career paths suddenly found themselves in a particularly precarious position. Unlike other industries, the arts and practitioners received little to zero support from Government and were literally, left to their own devices. It is these devices that this exhibtion focuses on. The works in Homebound reflected the mindset and processes artists undertook during the first wave of the global health emergency. Rosalind Lemoh’s sculptures reflect a “stream of consciousness” with concrete crash helmets and Perspex thought bubbles, revealing her inner most thoughts about the Black Lives Matter movement and restricted lockdown activities while cycling past the gallery on Queen Elizabeth Terrace. Robbie Karmel made art that questions its own worth, with objects and performances that address notions of futility. Throughout 2020 he produced one drawing every day confined to a bedroom at his parents’ home, mapping shifting moods and emotions. Like an island between the two main gallery spaces, Aidan Hartshorn’s Growth signalled new directions for his practice that considers furniture (and materials) as vehicles for discussion around conflicting identities imposed upon First Nations peoples by a persistent colonial hangover. His installation was a symbolic impression of a colonial parlour that also addressed the artist’s Indigenous heritage: created with minimal means, two dilapidated chairs, Wambuwany (kangaroo) fur and a well-worn Persian carpet.

‘HARKING BACK TO THE LOVELY SURREALITY OF BEING BACK IN CANBERRA A COUPLE OF WEEKS AGO FOR HOMEBOUND @CANBERRACONTEMPORARY. CELEBRATING IN ANY FORM RIGHT NOW IS PRECIOUS, AND I FEEL LUCKY TO HAVE SEEN SO MANY WONDERFUL PEOPLE IN ONE NIGHT’ @NATALIEMATH.ER

Image JOEL ARTHUR, AIDEN HARTSHORN, NATALIE MATHER and EMMA BEER HOMEBOUND installation photograph, Canberra Contemporary Art Space, 2021 Photo Brenton McGeachie

Artistic Program CCAS

An interesting conversation develops between Hartshorn’s work and that of Joel Arthur containing a colonial narrative of a very different kind. In the context of Homebound, Arthur’s three paintings contain elements that reflect Australian history and the role of painting/art in attempting to come to terms with strange lands, harsh conditions and prevalent danger through deference to what settlers considered to be ‘superior’ European influences. Golden Fleecing (2021), for example, samples South Australian painter Hans Heysen’s Droving into the Light (1921) a work that encapsulates a distinctively European impression: painted in Handorf on the lands of the Peramangk peoples. During the first wave of COVID-19 Rory Gillen considered his ongoing practice as a photo media artist and how he could translate the image making process, from a physical object to a photographic object, and the distortions that can occur within this transformation. High gloss prints of a found circuit board are the focal point from which he created the works Transcription I-V (2020) and stem from his desire to understand or translate the function of this ‘hieroglyphic object’ while drawing attention to the humanity and creativity embedded in unnatural objects such as the technologies we employ on a daily basis and yet know so little about, both in terms of their aesthetics and machinery. Everlasting (2020), was an example of the way that Emma Beer has been working over a decade, with its 1950s colour scheme dominated by black, yellow and white, with a hint of green and beige, overlapping, undermining and underlining transparent brushstrokes close to the surface. Famous for her titles that lift the works from the canvas and walls and insinuate the presence of the artist into each piece, Everlasting sits apart from …… , getting to know thy self from the kitchen table, or not, 1-30, (2020) informing the audience that nothing is everlasting, particularly in a year like 2020. From her kitchen Beer worked with blank pages torn from a sketchbook, painting overlapping geometrical forms, lines and textures drenched with colour. These paintings on paper, reminiscent of previous works, address a different time and place of production and are therefore a significant departure brought about by necessity. Like a number of artists in 2020 Natalie Mather did not always have access to her studio at the Stables, Victorian College of the Arts, and also spent much of the year drawing from her kitchen table. It was her three-panel painting cardiopharmacy (2020), however, that seemed most appropriate for Homebound in that it describes a state that could be applied to the year in its entirety. If Futurism reflected the post war energy and dynamism of the 1920s and 30s, Mather’s immersive paintings are evocative of a complex global malaise resulting from myriad national responses to pandemic: from lockdown, to heard immunity and in some cases, complete denial. Elements of Vorticism, Cubism, Geometric Abstraction and Abstract Expressionism, along with powerful architectural and design referents populate

Artistic Program CCAS

her vibrant canvases. As seductive as they are jarring, each series explored the idea of ‘heterotopia’, a concept elaborated by philosopher Michel Foucault to describe certain cultural, institutional and discursive spaces that are disturbing, intense, incompatible, contradictory or transforming. COVID-19 generated such a heterotopic world that included all of these things. The participants in Homebound represent a group of emerging artists from 10 years ago several involved in CCAS’s suspended Studio Residency Program: Rosalind Lemoh, Emma Beer, Joel Arthur and Natalie Mather. The exhibition was also an opportunity to show Robbie Karmel who has recently emerged with a Doctorate from University of New South Wales, and recent graduates from the Australian National University’s School of Art and Design, Aidan Hartshorn and Rory Gillen. Homebound attempted to raise public awareness of the difficulties faced by artists during the lockdown by including artists whose work reflected their personal experience of pandemic. The works in this exhibition shine a light on the artists ouevre during a time when practitioners were producing work but not showing it publicly. In other words, the works expressed raw feeling, disappointment, fear, frustration, renewal and were without pretence. Homebound revealed the short-term effects of isolation on arts practices and in some instances, dire consequences that were not hidden from audiences. It was also an opportunity for artists to show work after a long break of one to two years and to bring Canberra’s visual arts community back together. The lack of contact with audiences and colleagues had left many artists with a sense of isolation and several described a certain loss of confidence following a period of limited or no feedback. Was the work made in these isolated circumstances, outside the familiar support structures and studios of a standard that warrants public display? Many participants were caused to consider how they might re-engage with audience and even if their practice was relevant in such challenging and fast changing times. As a gathering point for audiences who may not have visited a gallery in some time, Homebound reintroduced visitors to the gallery experience while informing them how artists had adapted, or perhaps not adapted, to a situation beyond their control. For artists the act of producing and showing new work had a cathartic effect: providing relief through the open expression of strong emotions and the ability to express such feelings to a receptive, culture starved audience.

Image ROSALIND LEMOH and ROBBIE KARMEL Homebound installation photograph, Canberra Contemporary Art Space, 2021 Photo Brenton McGeachie

‘AWESOME SHOW AND A REAL PLEASURE TO CONNECT UP AGAIN WITH SO MANY FAB ARTISTS AFTER A SHAKY 2020’ @ROSALINDLEMOH

Artistic Program CCAS

Image MARIANA DEL CASTILLO PAUSE, 2021 Recycled wool blankets, wood, metal, paper, cotton, tyre detritus, plastic, dimensions variable

Photo Brenton McGeachie

Artistic Program CCAS

austrALIEN

LARA CHAMAS, MARIANNA DEL CASTILLO, CAROLINE GARCIA, SANCINTYA MOHINI SIMPSON, ANDY MULLENS, ELEFTERIA VLAVIANOS, CURATED BY DAN TOUA 14 May - 11 July 2021 Audience: 2220 austrALIEN brought together seven first- and second-generation female Australian artists, for an exhibition that explores how each of these artists deals with, and reconciles the complexities of becoming accepted in their new home, while honouring the importance of their family’s histories and cultures. The title speaks to how the seven artists continue to contend with their parents’ adopted country and current culture in Australia, while feeling like outsiders and singals the intent of the exhibition, which featured painting, video and sound, installation, works made from found objects and archival pigment prints. Each of the artists in this exhibition have built their practice on investigating their own identity politics as first- and second-generation Australians. Each work explores culture, examines authenticity, confronts stigma and challenges audiences to connect with otherness. Marianna del Castillo immigrated to Sydney with her family in 1972 following the Whitlam Government’s dismantling of the ‘White Australia’ policy that had gripped Australia since Federation in 1901. Revisiting her Ecuadorian hometown 40 years later, the artist found the pilgrimage to be both revelatory and instrumental in reaffirming the artist’s work. del Castillo’s practice has always utilised recycled materials, and the stark contrast between the throwaway consumerism of Australian society and her Ecuadorian upbringing centred around reusing and recycling confirmed the importance of her making methods. As a first-generation Australian, Andy Mullens has an interest in the narratives of children of the diaspora, and the tension between assimilation and keeping the culture of one’s homeland alive, and how survival and pride play out. Through her work, Mullens examines dislocation and connection; and the different stages of affirming ownership of culture, in observing how one’s relationship to culture can shift and evolve.

Image SHIVANJANI LAL Palwaar, 2019 Haldi watercolour on Masi, dimsions variable: each approximately 90 x 300cm Photo Brenton McGeachie

Artistic Program CCAS

As a descendant of indentured labourers, Sancintya Mohini Simpson’s practice navigated the complexities of migration, memory and trauma through addressing gaps and silences within the colonial archive. Dhūãna akase mararai is made up of 32 archival pigment prints, and displayed in two rows of 16 photographs. Each photograph depicts a plantation landscape in varying scenes. This series of photographs questions the colonial archive that has stood to represent Mohini Simpson’s family and this history of sugar and exploitation – reframing this lens. Acknowledging the archive of images and research from this period, existing images took the form of commercial postcards, handcoloured and selling the industry and agriculture of the region, depicting people as commodities and landscapes. The artist reimagines this archive and the silences present through reframing the ownership of this history of missing stories and histories, ghosts of forgotten women, sent out across those dark waters. Lara Chamas is second-generation Lebanese, Australian artist whose practice investigates postcolonial and migrant narratives using both humorous and poetic notions. Through her practice Chamas explores cultural comparatives, which have provided relativity and perspective into contemporary Australian culture as experienced by the artist. Chamas’ work focuses on an exploration of transformation and adoption, highlighting the transitional states of being and belonging through life and faith, with both the medium and practice of the work alluding to ritualistic or mystic processes. What started as a bold assertion of subversion - ‘Islamifying’ an Australian icon, such as the kangaroo - to confront conservatives and alarmist narratives expressed in Australia, has become a peaceful merging of seemingly opposed cultures. Caroline Garcia is an interdisciplinary artist working across live performance and video. Garcia’s practice investigates alterity (the state of being different / other), and in her work she adopts the role of shape shifter - sliding into the gaps between cultures and experiences of otherness. Shivanjani Lal is a member of the indentured labourer diaspora from the Indian and Pacific oceans. Lal is a twiceremoved Fijian-Indian-Australian artist and curator tied to a long history of familial movement and her practice uses personal grief to account for ancestral loss and healing. Palwaar (meaning ‘family’ in Fijian Indian) is her monumental 13-piece ‘watercolour’ on Masi, fibrous pounded wood native to Fiji. A fundamental concern in the work is how art develops and represents culture as it transitions between contexts, while also probing the experiences of women in these situations of flux.

Artistic Program CCAS

Elefteria Vlavianos’ paintings have been produced by applying layers of paint; deep emerald greens and sapphire blues emerge from the dark, shadowy voids. examines how abstract painting can facilitate the retrieval and renewal of a displaced cultural aesthetic from one context into another. She also examines loss and cultural memory, looking through the lens of the Armenian Genocide coupled with her own personal loss as a product of diaspora. austrALIEN is a relatable exhibition for many, as most Australians have a diverse background. Many audience members commented on how particular parts of the exhibition reminded them of their parents, their home, or their own migration story and growing up in Australia. For CCAS this exhibition spoke directly to our values of presenting high-quality work from a diverse range of artists. austrALIEN also champions female artists, another of CCAS’ core values – supporting artistic minorities with diverse histories and experiences that influence their practice and their work. austrALIEN showcased the diversity we have in our artistic Australian community and attempted to engage multicultural audience members. Ultimately austrALIEN showcases the three stages of coming to terms with living in Australia with a migrant history: 1) realising you are different (and it’s often only when your otherness is pointed out to you that you realise you’re different), 2) trying to cover or erase your history in order to assimilate, and finally, 3) reaffirming your otherness, exploring your identity politics, navigating your diaspora and understanding that your relationship to your culture can evolve.

Image ELEFTERIA VLAVIANOS austrALIEN installation photograph, Canberra Contemporary Art Space, 2021 Photo Brenton McGeachie

Image ALEX ASCH The Legacy of Forgetfulness, 2021 Photographic collage printed on Dibond, painted plywood and graphite anti-grip powder, 82 x 168cm Photo Brenton McGeachie

Artistic Program CCAS

TIMELINE

ALEX ASCH, PAT HOFFIE, CURATED BY DAVID BROKER 23 July - 19 December 2021 Audience: 1682 Patricia (Pat) Hoffie AM is a Queensland based artist born in Scotland 1953. Trained as a painter, her practice includes a range of media including installation, assemblage and sculpture. Since her first solo exhibition in Brisbane in 1974, she has exhibited extensively in Australia and internationally. She has engaged in residencies across the Asia-Pacific region as well as in Europe, and has worked collaboratively with artist communities including, and especially, those in the Philippines. She has also worked on projects and exhibitions that include Australia’s changing role in the AsiaPacific region; on Art and Human Rights; on the changing nature of land and place; and on the effects of globalisation on local cultural production exhibitions, both in Australia and overseas. For many decades she has worked as an academic and writer and regular contributor to national arts journals and contemporary art debate and development. Pat has held positions on a number of leading national boards and committees including the Australia Council for the Arts, Asialink, the National Association of the Visual Arts, the Institute of Modern Art, the Australian Flying Arts School and the Queensland Artworkers Alliance. Alex Asch was born in Boston, Massachusetts, USA and was involved in university art programs in Los Angeles and New York before moving to Australia and studying art at the Australian National University in 1988. He has exhibited extensively in solo and group exhibitions throughout Australia and provides technical assistance to a number of arts organisations around Canberra. In 2017, Alex recieved the Fellowship Award by the Capital Arts Patrons Organisation (CAPO) and was the recipient of the Workplace Research Associates Award by CAPO in 2015. Alex’s work has been collected by the National Gallery of Australia and is also included in the collections of Artbank, ACT Legislative Assembly and Canberra Museum and Gallery as well as corporate collections in Australia, USA, UK and Netherlands. In 2020, Alex worked as an art mentor and tutor for Regeneration an arts organisation working with local bushfireaffected communities. Timeline saw a steady decline in audience numbers following extended lockdowns across Australia and a general reluctance among regular visitors to venture out as the highly contagious Delta and Omicron variants of COVID-19 spread throughout ACT communities over a period of six months. Bad weather during this time also impacted upon audiences creating a perfect storm.

Image PAT HOFFIE The Earthquake, 2019-20 Watercolour and gouache on architectural drafting paper, 220 x 300cm Photo Brenton McGeachie

Artistic Program CCAS

Timeline featured artists who have a distinguished track record of artistic achievement. Most importantly it was an exhibition that reflects the uncertain times we live in while drawing upon the artists personal histories of struggle with politics and social upheaval over periods of thirty to forty years. Despite their experience artists at this stage of their careers often find it difficult to secure exhibition opportunities and Timeline went some of the way in drawing attention to the struggle experienced by practitioners in terms of sustainable careers as well as personal views. It was Pat Hoffie’s Countdown to Midnight Series (2020) shown at Fireworks Gallery in Brisbane (February/March 2021) that drew my attention to notions of time being a constant thematic in many an artists’ practices. Seven prints, reminiscent of travel posters with banner headlines, proclaim ‘TOMORROW’ in dominating white text that has not quite registered. Each ‘countdown’ variously addresses a contemporaneous sense of unbridled economic growth based on the exploitation of human and environmental resources, and the consequences: degradation, destruction, disaster, death and ultimately extinction. Countdown to Midnight is a series of bleak expressionistic water colour and gouache paintings printed, ironically, on glossy paper that intensifies the saccharine colours used to convey a sense of questionable commercial design for the promotion of a dubious destination. The ‘queasy’ pastels of a pre-teen bedroom clash to assault their audience with an apocalyptic vision of the future that is quite simply a legacy of its past. Hoffie’s TOMORROW, is today. Alongside this sequence were paintings from the Clusterfkk series including I am scared. I stand up (2020) with its title borrowed from Colin McCahon’s pronouncement of existential anxiety followed by a decisive declaration of fortitude and faith, Scared (1976). Clusterfkk responds to the idea of the epic, a form that since Breughel and perhaps before, used the events of the time to spotlight the folly of humanity with an occasional glimmer of hope. Alex Asch, gave new purpose to Time Life photography annuals he had discovered, worn, damaged and discarded. From 1936 Time Inc. dominated global publishing for sixty-five years covering politics, science, environment, technology, and entertainment. Humanist values were sometimes expressed through iconic photographs that situated photojournalism and portraiture at the forefront of a communications revolution that would inundate the global masses (albeit) with a distinctly American brand of humanitarian philosophy. Asch notes, “Although I was five years old in 1970, I always think of myself as a child of the 60s. I remember this time in black and white: the outstretched arms pointing over the balcony after King’s assassination; the Vietnamese girl running crying, covered in napalm burns; the dead student bleeding at Kent State. These searing images that showed America’s descent into madness were always in black and white. This dystopian kaleidoscope seemed to point towards our future.”

Artistic Program CCAS

Image ALEX ASCH The man through his industry poisons his son, 2021 Photographic collage printed on Dibond, painted plywood and graphite anti-grip powder, 82 x 330cm

Photo Brenton McGeachie

Artistic Program CCAS

WONDERFUL DARK EXHIBITION ‘TIMELINE’ BY ALEX ASCH AND PAT HOFFIE AT CANBERRA CONTEMPORARY ART SPACE ON UNTIL JANUARY 16. IT IS MOODY, APOCALYPTIC AND ESCHATOLOGICAL WITH GORGEOUS WATERCOLOURS AND PRINTS BY HOFFIE AND SOMBRE PHOTOGRAPHIC COLLAGES BY ASCH. A BROODING SHOW PERFECT FOR OUR AGE OF UNCERTAINTY.

SASHA GRISHIN

Artistic Program CCAS

Image PAT HOFFIE I am scared, I stand up, 2019-20 Watercolour and gouache on architectural drafting paper, 220 x 300cm

Photo Brenton McGeachie

Artistic Program CCAS

Drawing upon a personal romance with the past Asch’s ‘assemblages’ were sourced from Time Life Annuals of the 1960s and 70s, re-presented as fragments of images that reflect upon how we arrived at today. The juxtapositions were variously disturbing, mundane, stylish, mysterious and powerful, reflecting the eclectic layouts of variety magazines. Celebrating the seminal socio-political role of photography during the 1970s, as well as its craft and quality, Asch’s reconstructed black and white worlds discharge a volley of recent history into our present. Like Hoffie’s prints they represent a perplexing composite of times past, present and future. Only a short time ago ‘timeline’ referred to the graphical representation of a period of time, for example Curricula vitae and artists’ retrospectives were timelines. With the advent of social media, however, the terminology finds itself in an expanding universe that incorporates a list of posts created and shared on social media such as Twitter, Instagram TikTok or Facebook. Generally visible from a profile page, personal timelines are widely accessible and might reveal considerable amounts of personal information, such as locations and encounters, that would otherwise not be public. While Hoffie and Asch are active on platforms like Instagram and Facebook they are of a generation that uses such devices with restraint. Their work in this exhibition, however, reveals a timeline of passionately held views and values, evident in the ways they interpret their present as a legacy of the past, which in turn frames the future. Timeline brought together and presented the work of two highly skilled artists with who have developed major bodies of work in recent years. Both artists have experimented with materials creating specific hybrid media to produce works that reach similar conclusions regarding the state of the planet and how this impacts upon humanity. Asch takes influential photographs from the past to produce uncomfortable collages that reflect the present and envisage the future. He also introduced elements of painting in tones of grey and sculptural framing to highlight the stark monochromatic environment he created. While Ash’s works are solid and didactic, Hoffie works with fragile architects tracing paper and watercolours. Constructed from panels Hoffie’s works overwhelm with size and a sense of frenetic activity. The characters that occupy her canvas (humanity) are foolish greedy and destructive. They have not learned from the past and repeat their mistakes. Reviews and comments around Timeline note how successfully the exhibition reflects the times we live in, a bleak vision of past, present and future that offers only glimmers of hope.

Artistic Program CCAS Manuka

Image NIGEL DOBSON Soviet Banner, 2020 Aerosol and ink on canvas, 180 x 120cm

Photo courtesy of the Artist

Artistic Program CCAS Manuka

Artistic Program, CCAS Manuka UFO UTOPIA // KGB DYSTOPIA Nigel Dobson 9 - 19 July 2021

UFO UTOPIA // KGB DYSTOPIA is an exhibition of paintings by Nigel Dobson. The show is intended to have two aspects of influence - science fiction, outer space and ufo’s as well as propaganda and communist art. Both space exploration and authoritarian regimes has been filling the news cycle over the past number of years, these have been major influences for the paintings in UFO UTOPIA // KGB DYSTOPIA and the artworks draw on motifs from both areas of influence. The paintings are on large canvases and the artworks have been created with spray paint, acrylic paint, and a number of markers and ink mop pens traditionally used for graffiti. The intention of this choice of medium was to create images that could be replicated on the streets as a quick graffiti art piece, in reference to propaganda and revolutionary symbols.

Artistic Program CCAS Manuka

Image TONI HASSAN Untitled (Mapping Voice / An archive of bellowing), 2020-21 Gouache on recycled atlas and board, 9.5 x 13 cm

Photo courtesy of the Artist

Image ALI AEDY Lean In, 2020 Aluminium flashing, wood, paint and glue, dimensions variable Photo courtesy of the Artist

Artistic Program CCAS Manuka

TOGETHER ALONE Ali Aedy & Toni Hassan 23 July - 1 August 2021

These are challenging and deeply uncertain times. Many of us feel alone as we hold within us the weight of the world while yearning to come together. In this joint exhibition, artists Toni Hassan and Ali Aedy offer intimate works that speak of personal and universal experiences; the spaces between us, connection and disconnection, agency and loss.

Image ROSE MARY FAULKNER Neon study 1 (detail), 2019 - 2020 Kiln formed glass with decal imagery, neon tubing with argon mercury gas, 44 x 27.5 x 0.3cm Photo David Paterson

Artistic Program CCAS Manuka

Image SIOBHAN O’CONNOR Self portrait, 2021 4 colour separation print on kozo paper, 60 x 84cm

Photo courtesy of the Artist

Artistic Program CCAS Manuka

SOMETHING I AM SURE OF Rose-Marie Faulkner & Siobhan O’Connor 6 - 15 August 2021

A joint exhibition between glass and print artists RoseMary Faulkner and Siobhan O’Connor, exploring the ways in which we physically and emotionally understand the body through our own experiences and the gaze of others. Through their making Siobhan and Rose-Mary are able to consider the role of the gaze and express a female perspective on the female body and mind – one not often included in mainstream media or classical figurative painting.

Artistic Program CCAS Manuka

Image PETER VAN DE MAELE Burrewara Point, 2019 Graphite on paper, 60 x 86cm

Photo courtesy of the Artist

Artistic Program CCAS Manuka

HEADLANDS Peter Van De Maele

25 November - 5 December 2021 This solo exhibition by Peter Van de Maele is a personal exploration of the influence four different mediums (graphite drawings; multi-colour etching; oil painting and pottery) have on his approach to interpreting a chosen subject. While the chosen subject is the primary influence, a chosen medium, whether consciously or subconsciously, influences the means of interpretation. For example, the precision found with graphite drawing; deliberate and guided accidental mark-making of etching; the ease in use of colour and viscous texture achieved with oil painting; and the ability to produce 3D objects with pottery, along with textured surfaces and incidental mark-making from the wood firing. This work is part of an exhibition exploring how four different mediums influence the interpretation of a single subject. The subject is the coastal headland walk between Guerilla Bay and Rosedale on the South Coast of New South Wales. In essence, this exhibition celebrates the natural beauty of this coastline.

Artistic Program CCAS Manuka

Image EMANUELLA GAMBALE Three Bottles, 2021 Acrylic on canbvas, 40 x 30cm

Photo courtesy of the Artist

Artistic Program CCAS Manuka

SOLO EXHIBITION Emanuella Gambale 10 - 19 December 2021

A new solo exhibition by Canberran artist Emanuella Gambale, which investigated the various modes of visual representation including still life, abstraction and life studies through paint and drawing.

Statistics

Statistics Exhibition and Programming

CCAS

CCAS Manuka

Total visitors

6222

273

Total exhibitions

Total artists

Gender spread

11 5

5 2

Aboriginal and Torres Strait Islander

Artist Origin

0 International 7 Interstate 9 Local

Women Men

0 International 0 Interstate 7 Local

Statistics

Statistics Social Media Members 270 Paid Members 2.7K Followers Instagram

2.9K 35-44 66.6% 33.3%

Followers Primary Age Range Women Men

Facebook 5.2K Followers 4.5K Page Likes 25-34 Primary Age Range 65% Women 29% Men 4% Non-identifying Twitter 1K Followers 444 Tweet Impressions 116 Visitors CCAS Website 6.2K Users 7.9K Sessions 13K Page views 25-34 Primary Age Range 46% Women 53% Men 1% Non-identifying Social Pages 254 Followers 2,915 Page Views 1,248 Visitors

AMANDA BIGGS Chair Amanda is a passionate supporter of contemporary art. Scarcely a night goes by when you won’t see Amanda Biggs at an arts event or looking to add to her extensive collection. She previously worked as a gallery assistant for the Contemporary Arts Society in Adelaide, before moving to Sydney and working as a freelance cartoonist. By day Amanda is a senior researcher at the Commonwealth Parliamentary Library, researching and advising Parliamentarians on health and social policy issues. She graduated from Flinders University with a double major (Honours) in Fine Arts and English, and later completed a Graduate Diploma in Librarianship from UNSW and a Master of Arts from Deakin University. She has written numerous papers on health policy for the Parliamentary Library, as well as reviews and articles for the CAS Broadsheet and Words and Visions art magazine.

IAN WHYTE Treasurer Ian is a Chartered Accountant and Financial Adviser with over 40 years experience in Financial Services. He trained with international accounting firms KPMG and Deloitte for 9 years before establishing his own boutique practice – Whyte & Di Placido which he operated until 2004. In 2005 and 2006 Ian was General Manager of Sydney based multi media company Spinifex Interactive. Ian returned to Canberra in June 2007 and commenced a financial planning and SMSF advisory business Capital Advisory. This business was sold in 2018.

CCAS Board and Staff

CCAS Board KARINA HARRIS Secretary Karina Harris is an award-winning Landscape Architect based on Ngunnawal country and a passionate supporter of the arts in Canberra. A founding partner of Harris Hobbs Landscapes, Karina was president of the Australian Institute of Landscape Architects ACT Chapter from 2012-2014. She has taught design at the University of Canberra and The Canberra Institute of Technology for over two decades. Over the last 30 years Karina and her partner Neil have amassed a significant collection of Australian and international art. Their collection was featured in Art Collector magazine in 2019 and was the subject of the 2007 exhibition ‘Good Thing’ at CCAS. Karina has been a CCAS Board member since 2008 and sat on the DESIGN Canberra Festival committee in 2015 and 2016. As a philanthropist she has supported major commissions and prizes including the ANU School of Art and Design Postgraduate Materials Award since 2007.

TINA BAUM Board Member Tina Baum is from the Gulumirrgin (Larrakia), Wardaman and Karajarri peoples of the Northern Territory and Western Australia with over thirty years’ experience in museums and galleries in Australia. Tina previously worked at the Queensland Museum, Museum and Art Gallery of the Northern Territory, National Museum of Australia and has been Curator of Aboriginal and Torres Strait Islander Art at the National Gallery of Australia since 2005. Tina curated the Defying Empire: 3rd National Indigenous Art Triennial, 2017 and the Emerging Elders exhibitions in 2009. She is a current recipient of the Australia Council for the Arts, Arts Leaders Program, 2020 and has participated in the NGA and Wesfarmers Arts, Indigenous Arts Leadership and Fellowship programs since its inception in 2010 as a mentor to the alumni and as a presenter and organiser.

ADAM PEPPINCK Board Member Adam is a partner in Mills Oakley’s Property team in Canberra. He has more than 15 years’ experience acting on a range of structured property transactions, in which he has advised public and private sector clients in relation to the leasing, licensing, divestment, acquisition, and development of real property. In addition to advising in relation to property law matters, Adam also regularly advises clients in relation to environmental, planning, heritage, and native title aspects. Adam has been listed every year since 2014 in the Best Lawyers publication and is again featured in the 2020 edition for Real Property Law, Leasing Law, and Government Practice, including being recognised as the 2020 Canberra Real Property Lawyer of the Year. Adam is the Chair of the ACT Law Society’s Property Law Committee and is a member of the ACT Division of the Property Council of Australia’s Economic Development and Infrastructure Committee.

PAUL MAGEE Board Member Paul first book of poems, Cube Root of Book (John Leonard Press: 2006) was shortlisted in the Innovation category of the 2008 Adelaide Festival Awards for literature. His second, Stone Postcard(John Leonard Press: 2014) was named in Australian Book Review as one of the books of the year for 2014. He is also the author of the surrealist ethnography From Here to Tierra del Fuego (University of Illinois Press: 2000). Paul studied in Melbourne, Moscow, San Salvador and Sydney. He is Associate Professor in Poetry at the University of Canberra, and is currently working on Rapid Eye Movements in the U.S.A., a travel book focused on what New York and San Francisco look like with your eyes closed.

CCAS Board and Staff

ELLIS HUTCH Board Member Ellis Hutch (aka Dr Kate M Murphy) has a drawing and photographybased practice which spans animation, mixed-media installation, performance and sound. She is fascinated with how people establish social relationships and transform their environments in order to create inhabitable spaces. Her practice-led PhD research Bringing Back New Worlds: A Poetics of Exploratory Space investigated the ways in which Antarctic and Lunar explorers’ accounts of their experiences in extreme environments form foundations for a poetics of exploratory space. Currently Ellis is focussing her research around the place she lives, Canberra; on Ngunnawal, Ngunawal and Ngambri country investigating the effects of human intervention on the Molonglo river and exploring wider themes of the impacts of ‘invasive species.’ Ellis has extensive experience working for organisations such as the National Gallery of Australia, Craft ACT, Art Monthly Australia and the Canberra Institute of TAFE and since 2004 has worked as a sessional lecturer in the Foundation Studies, Sculpture and Art Theory Workshops at the ANU School of Art & Design. She currently lectures there in Sculpture and Spatial Practice. DANIEL VUKOVLJAK Board Member Daniel Vukovljak is a visual artist. His practice explores themes of escape/ fantasy, grief, technology, portraiture and self. His work is in corporate and private collections in Australia and UK. He holds a Bachelor of Fine Arts (Honours 1st Class) and a Bachelor of Computer Science from the Australian National University. Prior to his art career, he was a founding partner in a number of successful businesses in the computer animation industry. He was a committee member of ANCA for five years, and in 2009 he was a recipient of the CCAS Emerging Artists Support Scheme (EASS) Residency and Exhibition Award.

CCAS Board and Staff

CCAS Staff DAVID BROKER Director David has previously worked as Administrator and co-editor of Broadsheet magazine at the Contemporary Art Centre of South Australia, Adelaide, and Deputy Director of Brisbane’s Institute of Modern Art from 1996-2006. Having completed a Bachelor’s Degree Visual Arts majoring in Photography and Film at the University of South Australia, David developed a parallel career as an arts journalist. His articles and reviews have been regularly published in periodicals such as Artlink, Art Monthly, Broadsheet, Eyeline and Photofile. He has also contributed to numerous books including Shoosh! A History of the Campfire Group, (IMA Brisbane 2005) and The Thrill of it All, Karin Hanssen, (MER Paper Kunsthalle, Antwerp 2010). For many years David also produced and presented arts radio shows on 4ZZZ in Brisbane and 5UV in Adelaide. David has curated and managed varied exhibition projects including, Beauty 2000 at the IMA in 1998, Primavera 2002 at Sydney’s Museum of Contemporary Art, the IMA/Ssamzie Space International Residency Exchange in Brisbane and Seoul in 2004, QPACifika, (with Professor Pat Hoffie) Griffith University 2005 and in 2008, Streetworks an exhibition of work by Shaun Gladwell and Craig Walsh toured by Asialink to Thailand, Malaysia, Singapore and Indonesia. More recently he contributed to the Centenary of Canberra (19132013) with Science Fiction: Monster and Kynic, Erica Seccombe and Benjamin Forster, two exhibitions that explore notions scientific reality and mutations within popular consciousness and media. In 2017 he worked with the Photomedia Faculties at Queensland College of the Arts, Griffith University and The University of South Australia School of Art Architecture and Design on an exhibition called Parallel Latitudes that explored the impact of divergent political administrations on contemporary art in Queensland and South Australia since the 1970s. At the ANU School of Art and Design Gallery in 2018 David curated Tulisi an exhibition by Wellington based artist Christopher Ulutupu focusing on issues affecting New Zealanders of Samoan descent as well as heartin-hand by Brenda Croft and Does she know the revolution is coming? by Amala Groom during NAIDOC week.

CCAS Board and Staff

ALEXANDER BOYNES Curator, Program Manager Alexander Boynes completed a Bachelor of Visual Arts (Honours) at the Australian National University in 2004. Recent exhibitions include Hi-Vis Futures (Canberra Museum + Gallery, 2019-2020), Slow Hope (Beaver Galleries, 2019), Rewriting the Score (Latrobe Regional Gallery, 2019) , Gaia Hypothesis (Belconnen Arts Centre, 2019), Sydney Contemporary (Carriageworks, 2018), and As Above, So Below (MAYSPACE, 2018. He is represented in the collections of the Center for Art + Environment, Nevada Museum of Art (USA), Artbank Australia (VIC), the ACT Legislative Assembly (ACT), the University of Canberra (ACT), the Macquarie Group Collection (NSW) and numerous private collections throughout Australia and in the UK. Boynes is a Curator and Program Manager at the Canberra Contemporary Art Space. His most recent curatorial projects include BLAZE 14 (opening post COVID-19 closure, CCAS East Space), Unfinished Business (CCAS Gorman Arts Centre, 2019) and Straight Outta Canberra (MAYSPACE, Sydney, 2018). In 2013 Boynes established PRAXIS a multidisciplinary art collective with choreographer/dancer Laura Boynes, and cellist/composer Tristen Parr to explore the link between visual art, performance, and sound. Their most recent work Dark Matter was presented at the State Theatre of Western Australia in 2016. Boynes has also produced a series of major collaborative painting, moving image and sound works with Mandy Martin and Tristen Parr. These politically-charged works examine the ongoing and cumulative effects of industry on landscapes, fragile ecosystems and human conditions. Canberran audiences had the opportunity to experience these works for the first time in November 2019, when Boynes and Martin presented their exhibition Hi-Vis Futures at Canberra Musuem + Gallery. Alexander Boynes is represented by Beaver Galleries in Canberra.

DAN TOUA Curator, Gallery Manager Dan is an arts worker, curator and writer living and working on Ngunnawal and Ngambri country (Canberra, Australia). Dan holds a Bachelor in International Relations (2009) from the Australian National University, as well as a Graduate Diploma in Art History (2015) and a Master of Art Curatorship (2016) from the University of Melbourne. During her time in Naarm (Melbourne, Australia), Dan co-created the Art History Student Society in 2016 and served as its Secretary in its inaugural year. Curating, interning and volunteering at various gallery spaces across Melbourne helped inform Dan’s thesis, in which she explored the Western curation of non-Western art and artefacts, and how changing curatorial processes from within national institutions can shape contemporary art practice.

FAY DUFFEY Bookkeeper Fay was Gorman Arts Centre bookkeeper and receptionist for many years before the current CCAS Staff even arrived on the scene. It’s a similar story with her involvement at CCAS and what she doesn’t know about the finances isn’t worth knowing.

CCAS Board and Staff

ALEX ASCH Installation Alex Asch was born in Boston, Massachusetts, USA and was involved in University art programs in Los Angeles and New York before moving to Australia and studying art at the Australian National University in 1988. He has provided technical assistance to a number of arts organisations around Canberra, and has exhibited extensively in solo and group exhibitions throughout Australia and overseas. In 2008, Alex was awarded the Rosalie Gascoigne Award by CAPO in 2009. Alex was a finalist in Bondi’s Sculpture by the Sea, and was invited to represent Australia in Sculpture by the Sea in Denmark the same year. In 2013 was invited to take part in Centenary celebrations and exhibited at Canberra Museum and Gallery, Canberra Glassworks, Canberra Contemporary Arts Space and ANU Canberra School of Art. He exhibited work at the Inaugural Sydney Art Fair in 2013 and was a finalist in the Blake Prize. Alex’s work is in corporate collections in Australia, USA, UK and Netherlands as well as Artbank, the ACT Legislative Assembly, the Wesley Art Foundation and Canberra Museum and Gallery and National Australian Gallery. Alex Asch is represented by Beaver Galleries.

GOVERNANCE STATEMENT Declaration of conflicts of interest CCAS has strict policies in respect to conflicts of interest that require Board members to declare potential conflicts at the beginning of each Board meeting. The Board’s decisions with regard to conflicts of interest are recorded in the minutes of the relevant meeting. Board members are unable to benefit in any way, pecuniary or otherwise, from CCAS programs until one year following their resignation. People employed by CCAS cannot participate in the artistic program, except in exceptional circumstances, which must be approved by the Board. There were no conflicts of interest declared at Board meetings in 2021.

Thank You CCAS BOARD Amanda Biggs (Chair) Ian Whyte (Treasurer) Karina Harris (Secretary) Tina Baum Paul Magee Adam Peppinck Kate Murphy Dan Vukovljak CCAS STAFF David Broker (Director) Alexander Boynes (Curator/Program Manager) Dan Toua (Gallery Manager) Alex Asch (Installation) Fay Duffey (Bookkeeper) ARTISTS (CCAS) Joel Arthur, Alex Asch, Emma Beer, Lara Chamas, Mariana del Castillo, Caroline Garcia, Rory Gillen, Aiden Hartshorn, Pat Hoffie, Robbie Karmel, Shivanjani Lal, Rosalind Lemoh, Natalie Mather, Sancintya Mohini Simpson, Andy Mullens, Elefteria Vlavianos ARTISTS (CCAS Manuka) Ali Aedy, Nigel Dobson, Rose-Mary Falkner, Emanuella Gambale, Toni Hassan, Siobhan O’Connor, Peter Van de Maele, ARTSACT, THE ACT GOVERNMENT Tara Cheyne, MLA Minister for the Arts, Sam Tyler, Jenny Spear, Robert Piani, Jacqui Vardos, Libby Gordon, Mia Ching THE AUSTRALIA COUNCIL FOR THE ARTS, THE AUSTRALIAN FEDERAL GOVERNMENT Laura McLeaod, Frank Panucci, Mikala Tai, Tegan Richardson

Thank You

Thank You DONORS Vivienne Binns, Chaitanya Sambrani NATIONAL CAPITAL AUTHORITY Justine Nagel BGIS APAC Garry Robson, Luke Saltmarsh KINGSTON ARTS PRECINCT artsACT, GEOCON, Fender Katsalidis, Suburban Land Agency CONTEMPORARY ARTS ORGANISATIONS AUSTRALIA 4A Centre for Contemporary Asian Art, Sydney Ace Open, Adelaide Artspace, Sydney Australian Centre for Contemporary Art, Melbourne Australian Centre for Photography, Sydney Blak Dot, Melbourne Centre for Contemporary Photography, Melbourne Contemporary Art Tasmania, Hobart Firstdraft, Sydney Gertrude Contemporary, Melbourne Institute of Modern Art, Brisbane Northern Centre for Contemporary Art, Darwin Performance Space, Sydney Perth Institute of Contemporary Art, Perth West Space, Melbourne

CANBERRA CONTEMPORARY ART SPACE 44 QUEEN ELIZABETH TERRACE PARKES, CANBERRA ACT 2600 TUESDAY - SUNDAY, 11am - 5pm

www.ccas.com.au

CCAS IS SUPPORTED BY THE ACT GOVERNMENT, AND THE AUSTRALIAN GOVERNMENT THROUGH THE AUSTRALIA COUNCIL, IT’S ARTS FUNDING AND ADVISORY BODY.

CCAS 2021 Annual Report

Articles inside

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Artistic Program CCAS

Artistic Program CCAS Manuka