In the world of arts and culture, captivating an audience’s emotions is at the heart of every successful performance or exhibition. Whether it’s a thought-provoking play at a theater or a mesmerizing art display in a gallery, the ability to evoke emotions can leave a lasting impact on the audience. Understanding the link between emotions and audience behavior is a critical aspect of arts marketing. In this article, we will delve into the significance of emotions in theater and art gallery experiences and explore how Arts Marketing Australia (AMA) can assist in tracking audience emotional responses. The Power of Emotions in the Arts
Emotions are fundamental to human experience, and they play a pivotal role in shaping our perception of the world around us. In the realm of arts and culture, emotions can elevate a simple performance or artwork to a transformative encounter. From the sheer excitement of a thrilling performance to the contemplative calmness induced by a serene painting, emotions enhance our connection with the art and the artists themselves. Theatre: A Rollercoaster of Emotions
Theatre, as an art form, thrives on emotions. Whether it’s a comedy that leaves the audience in stitches or a tragedy that moves them to tears, the emotional journey is central to the theater experience. The success of a theater production is often measured by how effectively it captures the audience’s emotions and keeps them engaged throughout the performance. Art Galleries: A Visual and Emotional Symphony
Art galleries, on the other hand, are a sanctuary of emotions brought to life through visuals. Paintings, sculptures, and other forms of artwork have the potential to evoke a wide range of emotions – joy, awe, nostalgia, and even melancholy. Each piece tells a unique story, inviting the viewer to interpret and engage with the artwork on a personal and emotional level. The Role of Arts Marketing in Understanding Audience Emotions
For Arts Marketing Australia (AMA), deciphering the intricate relationship between emotions and audience behavior is a core focus. Understanding how audiences respond emotionally to theatrical performances and art exhibitions can help artists, theaters, and galleries tailor their offerings to meet the desires and preferences of their target audience. Emotional Analytics: Leveraging Data for Insights
AMA harnesses the power of cutting-edge emotional analytics tools to track and analyze audience responses during live performances and gallery visits. By employing advanced technologies like facial expression analysis, biometric sensors, and sentiment analysis, AMA can capture real-time emotional feedback from the audience. This data provides invaluable insights into which moments or artworks evoke the strongest emotional reactions, enabling artists and curators to refine their creative choices. Targeted Marketing and Personalization
Understanding the emotional preferences of an audience allows AMA to create targeted marketing campaigns that resonate deeply with potential attendees. By tailoring messages to evoke specific emotions related to a performance or an exhibition, AMA can entice individuals to engage with the arts on a much deeper level. Enhancing the Audience Experience
By tracking emotional responses, AMA can identify the strengths and weaknesses of a production or exhibition. This information enables artists and galleries to make necessary adjustments to enhance the overall audience experience, ensuring visitors leave with a memorable emotional imprint.
In conclusion, emotions are the heart and soul of any artistic experience. Capturing and understanding the emotional responses of audiences in theaters and art galleries are essential for refining artistic offerings and optimizing audience engagement. With Arts Marketing Australia’s innovative approach to emotional analytics, artists, theaters, and galleries can craft extraordinary experiences that leave a lasting impression on their audiences.
Through the marriage of creativity and data, AMA empowers the arts community to make informed decisions that will shape the future of arts and culture in Australia. By embracing the power of emotions, we can continue to foster a vibrant and thriving arts scene that captivates the hearts and minds of audiences for generations to come.
In the dynamic world of online marketing, crafting an immersive user journey has become paramount to the success of businesses and organizations alike. For Arts Marketing Australia (AMA), the artistry of designing user journeys lies not only in the visual elements but also in the power of language. In this blog, we explore how the choices of language on websites can lead to exceptional user experiences or, conversely, detrimental ones. By leveraging the expertise of AMA as a leader in user journey design, we unveil the transformative potential of language in shaping online interactions. The First Encounter: Language that Captivates
Imagine a user navigating through a website and encountering dry, uninspired language. The likelihood of that user losing interest and clicking away becomes quite high. However, with AMA’s expertise, a different story unfolds. By employing captivating language that speaks to the heart of the visitors’ interests, users are drawn in, captivated by the compelling narrative woven into every word.
AMA understands that a successful user journey begins with understanding the target audience. Our team delves into the depths of research to learn the language that resonates with different groups. This enables us to create tailored content that sparks an emotional connection, making the website feel like a welcoming space where visitors can find meaning and value. The Art of Clarity: Navigating Smoothly
Clarity is key in any communication, and it becomes even more critical when crafting user journeys. AMA recognizes the need for precision and simplicity in language to guide users seamlessly through the website. By avoiding jargon and complex terminology, we ensure that users can understand the content effortlessly.
Moreover, AMA employs concise language to convey information without overwhelming visitors. We believe that a well-designed user journey is akin to a well-composed symphony, with each note (or word) contributing to the overall harmony of the experience. The Power of Persuasion: Inspiring Action
An effective user journey goes beyond merely presenting information; it persuades users to take action. Here, the language becomes an influential force, encouraging visitors to engage with the arts, join a community, or support a cause.
AMA has mastered the art of persuasive language, delicately nudging users towards meaningful interactions. By seamlessly integrating calls-to-action within the content, we convert passive observers into enthusiastic participants, fostering a sense of belonging and excitement. Avoiding the Pitfalls: The Perils of Poor Language
While the right language can elevate user journeys to new heights, poor language choices can lead to disastrous consequences. Websites riddled with grammatical errors, confusing phrasing, or insensitive language can repel users and damage the reputation of the organization.
AMA’s meticulous attention to detail ensures that language-related pitfalls are skillfully avoided. Our team’s commitment to crafting error-free and culturally sensitive content guarantees that visitors feel respected and valued throughout their journey. Conclusion: Elevating User Journeys with Arts Marketing Australia
In the digital landscape, language is a powerful tool that can either elevate or hinder user journeys. Arts Marketing Australia (AMA) understands the intricacies of crafting immersive experiences that resonate with audiences across the board. Through captivating language, clarity of communication, and the art of persuasion, AMA creates user journeys that leave a lasting impact.
By entrusting your user journey design to AMA, you can rest assured that every word, phrase, and sentence contributes to an unforgettable experience. So, whether you aim to engage new audiences, foster a sense of community, or promote the arts, let AMA guide you through the enchanting world of language and elevate your online presence. Unlock the magic of language in your user journeys with Arts Marketing Australia – where artistry meets innovation. Connect with us today to embark on a transformative digital journey like no other.
Lights, camera, analytics! In today’s digital age, understanding your audience is more crucial than ever for theatre companies looking to take centre stage. With the rise of online platforms and digital marketing strategies, harnessing the power of data has become essential to success. Enter Arts Marketing Australia (AMA), your ultimate partner in leveraging the wonders of Google Analytics 4 (GA4) for the arts industry. Join us on this exhilarating journey as we explore how AMA can help theatre companies transform data into applause-worthy performances!
Tracking the Pulse of Your Audience:
AMA’s expertise in Google Analytics 4 enables theatre companies to delve into the minds of their audience members like never before. With the ability to track user behaviour across multiple devices and platforms, GA4 paints a vivid picture of your audience’s journey—from initial interaction to ticket purchase. It’s like having a backstage pass to your patrons’ digital footprints!
Spotlight on User-Centric Insights:
Using AMA’s GA4 capabilities, you can unlock valuable insights into your audience’s preferences and behaviours. Discover which pages on your website resonate the most, identify the most effective marketing campaigns, and gain a deeper understanding of what drives ticket sales. With this knowledge in hand, you can tailor your marketing efforts to captivate your audience and keep them coming back for encore after encore!
Casting a Wide Net:
In the vast ocean of digital advertising, knowing where to cast your net is crucial. AMA’s GA4 expertise helps theatre companies navigate the intricacies of online marketing campaigns. By tracking key metrics like audience engagement, conversion rates, and acquisition channels, AMA ensures that your marketing efforts are targeted, cost-effective, and yielding the best results. It’s like having a crystal ball to predict the success of your marketing endeavours!
Applauding Conversion Optimisation:
Theatre companies strive to turn website visitors into ticket holders, and AMA’s GA4 proficiency is here to save the day. By examining user behaviour on your website, AMA identifies friction points and opportunities for optimisation. Whether it’s streamlining the ticket purchasing process, refining your website’s user experience, or personalising content, AMA will help you put your best foot forward, leading to increased conversions and standing ovations!
Laughter is the Best Feedback:
Here at AMA, we believe in the power of humour. After all, laughter is contagious, just like a captivating theatre performance! So, let’s spice up this article with a couple of theatre-themed jokes:
Why did the scarecrow become a theatre critic? Because he was outstanding in his field! Why was the computer cold? It left its Windows open!
With Arts Marketing Australia (AMA) by your side, harnessing the incredible potential of Google Analytics 4 becomes an artistic masterpiece. By peering behind the curtain and understanding your audience’s desires, preferences, and behaviours, you can create marketing strategies that resonate and leave your competition in the wings. So, don’t miss your cue—reach out to AMA today and let us help you turn data into standing ovations!
Remember, in the words of Oscar Wilde, “Theatre is the art form of the present moment.” And with AMA and GA4, you’ll be sure to make every moment count!
Greetings, theatre enthusiasts and aficionados! Welcome to Arts Marketing Australia (AMA), your one-stop destination for unlocking the secrets of captivating and delighting audiences. Today, we’re here to explore the incredible power of listening to your audience and how it can transform your theatre company’s journey towards success. But hold on tight because we’re about to take you on a whimsical and lighthearted adventure!At AMA, we firmly believe that the magic of theatre lies not only in the spellbinding performances on stage but also in the connection between artists and their audience. Think of it as a delightful dance, where each step is guided by the harmonious rhythm of understanding and responsiveness. So, let’s put on our dancing shoes and embark on a journey where your theatre company becomes a master at the art of listening!
But why is listening so crucial? Well, imagine this: you’re a performer on stage, and the spotlight shines upon you. In that moment, there’s nothing more exhilarating than hearing the uproarious laughter, the heartfelt gasps, and the thunderous applause from an engaged and captivated audience. Their reactions are the ultimate validation of your craft, and they hold the key to your success.
Now, here’s where AMA comes to the rescue! We’ve crafted a vibrant checklist to help your theatre company embrace the power of listening and transform it into a secret weapon for success: Engage in Conversations: Open up channels for dialogue with your audience. It could be through social media, email newsletters, or even post-show surveys. Ask them what they loved, what moved them, and what they’d like to see in the future. Tailor Your Offerings: Use the valuable insights gained from your conversations to tailor your productions, workshops, and events. By understanding your audience’s preferences, you can create experiences that resonate deeply and leave a lasting impact. Foster Community: Bring your audience closer together by nurturing a sense of community around your theatre company. Organize pre- and post-show events, workshops, and discussions. Encourage audience members to share their experiences and connect with one another. Embrace Feedback: Whether it’s positive or constructive, embrace feedback with open arms. Every comment is an opportunity for growth and improvement. Celebrate your successes, learn from your missteps, and let your audience know that their voice matters. Surprise and Delight: Surprise your audience with unique experiences and unexpected moments of joy. Whether it’s a behind-the-scenes tour, interactive installations, or meet-and-greets with the cast, sprinkle some extra magic to create lifelong memories. Cultivate Relationships: Build long-lasting relationships with your audience. Make them feel like part of your theatre family by acknowledging their support, offering exclusive perks, and inviting them to be part of your creative process.
At AMA, we’re here to guide you through every step of this marvelous journey. Our team of experienced arts marketers and strategists are well-versed in the art of listening and can help you craft strategies tailored to your theatre company’s unique voice and goals. So, what are you waiting for? Join the AMA community today and unlock the true potential of your theatre company by embracing the power of listening to your audience. Together, let’s create moments of theatrical brilliance that will leave your audience spellbound and craving for more!
Remember, success is just a step away, and AMA is here to make that journey an enchanting one. Happy listening, theatre lovers! Disclaimer: This blog post is sponsored by Arts Marketing Australia (AMA), the leading marketing agency for theatre companies. With our expertise and passion for the arts, we’re committed to helping you build a thriving
In today’s digital age, where information is readily available at our fingertips, the question arises: Are printed materials still relevant for arts companies? With the rise of online marketing and communication channels, some may argue that printed brochures, programs, and posters have become obsolete. However, in this blog post, we will explore the merits of arts companies keeping printed materials and why they continue to hold value in the realm of arts marketing.
Tangible and Memorable
One of the key advantages of printed materials is their tangible nature. In a world inundated with digital content, a physical brochure or program can provide a unique and memorable experience for the audience. Holding a beautifully designed brochure or program in hand creates a sense of connection and engagement with the arts company and its offerings. The physicality of print can evoke emotions and leave a lasting impression, enhancing the overall brand experience.
Targeted and Personalized Approach
Printed materials offer arts companies the opportunity to employ a targeted and personalized approach to marketing. By tailoring the content and design of brochures, programs, and posters, arts organizations can cater to specific audiences, such as subscribers, donors, or sponsors. Personalization creates a sense of exclusivity and demonstrates that the arts company values its patrons individually. Additionally, printed materials can be strategically distributed at relevant events, partner locations, or local establishments, allowing arts organizations to reach potential audiences who may not be actively searching for information online.
Enhanced Branding and Perception
Printed materials serve as a powerful tool for enhancing branding and shaping the perception of an arts company. A well-designed brochure or poster can effectively communicate the organization’s mission, values, and artistic identity. The use of high-quality printing techniques, paper stocks, and finishes can further elevate the perceived value of the arts company and its productions. The physical presence of printed materials also lends credibility and professionalism to the organization, as it showcases a commitment to the arts and a dedication to creating a holistic experience for the audience.
Access for All
While digital platforms have made information more accessible, it is essential to recognize that not everyone has equal access to online resources. Printed materials offer a way to bridge the digital divide and ensure that arts organizations reach diverse audiences. Brochures, programs, and posters can be made available in public spaces, libraries, community centers, and other locations where people may not have regular access to the internet or digital devices. By embracing printed materials, arts companies can engage with a wider cross-section of the community, fostering inclusivity and expanding their reach.
Complementing Digital Efforts
Printed materials should not be viewed as adversaries to digital marketing efforts; instead, they can be seen as complementary tools that work hand in hand. Integrating QR codes, personalized URLs, or augmented reality features within printed materials can seamlessly connect the physical and digital worlds. These features can direct audiences to additional online content, ticket purchases, or interactive experiences, effectively bridging the gap between print and digital marketing strategies. By using printed materials as an entry point, arts organizations can cultivate and deepen their online engagement with audiences.
Conclusion
In an era dominated by digital communication, printed brochures, programs, and posters continue to hold value for arts companies. Their tangible nature, targeted approach, branding potential, accessibility, and ability to complement digital efforts make them an integral part of a well-rounded arts marketing strategy. By embracing the merits of printed materials, arts organizations can create a lasting impression, engage diverse audiences, and foster meaningful connections with their patrons. In the evolving landscape of arts marketing, the decision to print, keep, or ditch must be guided by an understanding of the unique advantages that physical materials can provide.
And hey, let’s not forget the joy of holding a beautifully designed brochure in your hands. It’s like finding that rare vintage vinyl record in a dusty old store or stumbling upon a hidden gem in your grandmother’s attic. There’s something magical about flipping through the pages and feeling the texture of the paper—no amount of scrolling on a screen can replicate that experience. Plus, who doesn’t love the sound of a crisp page turning or the smell of freshly printed ink? It’s the little things in life that make us smile!
So, arts companies, let’s keep those printing presses rolling! Embrace the power of print, the nostalgia it brings, and the opportunity to create a lasting impression. Remember, a well-designed brochure can be a work of art in itself—worthy of framing and displaying in your living room. And who knows, maybe one day, it’ll become a collector’s item and earn you a fortune on the Antiques Roadshow. Okay, maybe not a fortune, but a little extra cash for your next production wouldn’t hurt!
In conclusion, print it, keep it, and cherish it. Because in this digital age, there’s still room for a little humor, a touch of nostalgia, and the magic of holding something tangible in your hands.
Greetings, art enthusiasts and marketing maestros! If you’re an arts company looking to skyrocket your online presence and climb the elusive Google rankings, you’ve come to the right place. In this blog post, we’ll take you on a whimsical journey through the intricacies of search engine optimization (SEO) for arts companies, sprinkling some art-inspired humor along the way. And fear not, for Arts Marketing Australia (AMA) shall be your trusty companion on this exhilarating quest!
Brush Up Your Keywords: Just as a painter carefully selects their colors, keywords are the palette for your online success. Find the perfect combination of words that capture the essence of your arts company and weave them into your website, content, and meta tags. Remember, it’s all about “artful” wording! AMA’s expert team can guide you through this keyword jungle with finesse, ensuring you hit the right notes with Google.
Craft Engaging Content: Content is king, and for arts companies, creativity reigns supreme. Embrace your inner poet, dancer, or actor and create compelling content that showcases your artistic prowess. Share intriguing stories, behind-the-scenes glimpses, and interviews with talented artists. But beware of “artificial” intelligence, for Google can sniff out mediocre content from a mile away. Partnering with AMA grants you access to a treasure trove of content wizards who can transform your words into enchanting narratives.
Unleash the Power of Social Media: Art has the power to move hearts, and social media has the power to move the masses. Embrace platforms like Instagram, Twitter, and Facebook to amplify your artistic presence. Share breathtaking visuals, funny anecdotes, and engaging videos. Remember, the more shares, likes, and comments you garner, the more Google’s algorithms will adore you. Let AMA be your social media genie, helping you craft captivating posts that leave your audience craving more.
Link like a Pro: In the vast realm of the internet, links are like the threads that connect art movements throughout history. Seek out collaborations, partnerships, and exchanges with other reputable arts organizations. Acquire quality backlinks to your website, and Google will reward your popularity. But tread lightly, my artistic friend, for quality is paramount. With AMA by your side, you’ll navigate this web of connections with grace and finesse.
Get Artsy with Local SEO: In the realm of Google, local SEO is your secret weapon. Optimize your website for location-specific searches and ensure your arts company shines brightly on the local stage. Use geotags, claim your Google My Business profile, and foster relationships with local media. AMA’s local SEO expertise will ensure your arts company becomes the shining star of your community.
Congratulations, dear art aficionados! Armed with these artful strategies, you are now ready to conquer the Google rankings and make your arts company shine like a Pollock splatter or a da Vinci masterpiece. Remember, AMA is your guiding light, leading you through the labyrinth of online marketing with creativity, humor, and expertise. So, grab your brushes, tune your instruments, and embark on this thrilling journey. Your online success awaits!
Disclaimer: No actual artworks were harmed in the making of this blog post. No paintbrushes or canvases were mishandled, and no dancers were twisted into pretzels for comedic effect. Happy climbing!
In the wake of an unprecedented global pandemic, the arts and culture sector has endured immense challenges, with venues shuttered and performances postponed. As we gradually emerge from this period of uncertainty, it is crucial for arts organizations to rebuild their audiences and reignite a profound sense of loyalty among their patrons. In this heartfelt blog post, we will explore the power of emotional connections in growing audience loyalty post-pandemic and highlight how Arts Marketing Australia (AMA) can serve as a compassionate partner in achieving this shared vision.
Embracing Digital Transformation with a Personal Touch: The pandemic has shown us that while digital platforms can connect us virtually, true emotional connections must remain at the heart of arts experiences. AMA empathizes with the desire to create meaningful connections and can guide you in crafting digital campaigns that evoke genuine emotions. By leveraging AMA’s expertise in storytelling and digital marketing, you can bridge the virtual divide, ensuring that your online presence resonates with audiences and fuels their loyalty to your organization.
Nurturing Personalized Experiences that Ignite the Soul: Loyalty thrives when individuals feel seen, valued, and understood. Post-pandemic, arts organizations must strive to personalize the patron experience, going beyond mere transactions to cultivate profound connections. With AMA’s data-driven marketing strategies, you can delve into the depths of your audience’s preferences, dreams, and aspirations. By crafting tailored experiences that speak directly to their souls, you can foster a sense of belonging that keeps them coming back, time and again.
Weaving the Threads of Community and Belonging: Communities hold the power to uplift and sustain arts organizations. To grow audience loyalty, it is essential to forge authentic bonds within your local community. AMA recognizes the strength in collective endeavors and can assist you in nurturing community engagement. Together, you can build partnerships, organize inclusive events, and extend your artistic offerings to all corners of your community. By fostering a sense of shared ownership, you will ignite a flame of loyalty that burns brightly in the hearts of your audience.
Elevating the Member Experience: A Tapestry of Care: Within your membership program lies a tapestry of loyal supporters who yearn for deeper connections with your organization. AMA understands the significance of these cherished relationships and can help you weave a member experience that showcases gratitude and care. From tailored communications to exclusive benefits and rewards, you can shower your members with appreciation and create a sense of belonging that transcends a mere transactional association.
Embracing All: Celebrating Diversity and Inclusion: Post-pandemic, it is imperative that arts organizations embrace inclusivity and accessibility. AMA can guide you in creating initiatives that dismantle barriers, ensuring that diverse audiences feel welcome and celebrated within your artistic realm. By embracing all voices, backgrounds, and perspectives, you can not only expand your audience but also ignite a loyalty that stems from a deep sense of shared values and understanding.
Growing audience loyalty post-pandemic requires a compassionate and empathetic approach. As arts organizations navigate the path toward rebuilding their audiences, Arts Marketing Australia (AMA) stands ready to extend its heartfelt support and guidance. With their unwavering commitment to evoking genuine emotions, personal connections, community engagement, enhanced membership experiences, and inclusive initiatives, AMA can help you cultivate a loyal following that stands beside you through thick and thin. Together, let us embark on a journey of profound connections and create a tapestry of loyalty that will endure for generations to come.
Introduction: As the curtains rise once again in theaters across the globe, the performing arts industry finds itself at a critical juncture. The COVID-19 pandemic has had a profound impact on the theatre industry, causing disruptions, closures, and changes in audience behavior. However, amidst these challenges lies an opportunity to rekindle and grow audience loyalty. In this blog post, we explore strategies to cultivate theatre audience loyalty in the post-pandemic era, ensuring a thriving and sustainable future for the performing arts.
Embrace digital innovations: The pandemic accelerated the adoption of digital technologies in the arts world. Although live performances will always remain the heart of theatre, integrating digital innovations can enhance audience engagement and accessibility. Explore live streaming options, on-demand performances, and virtual experiences that allow patrons to connect with your theatre even when they can’t attend in person. Leverage social media platforms, podcasting, and online forums to foster a sense of community and keep audiences informed and engaged.
We Need the Audience
Offer personalized experiences: Audience loyalty thrives when patrons feel a sense of individual connection and value. Collect data on audience preferences, demographics, and behaviors to create personalized experiences. Utilize this data to tailor marketing communications, recommend shows based on past attendance, and offer exclusive benefits to loyal patrons. Investing in customer relationship management (CRM) systems can streamline data management and enable targeted marketing campaigns that resonate with your audience.
Foster community engagement: Theatre is not just about the performances; it is also about building a vibrant community. Encourage audience participation through workshops, talkbacks, and behind-the-scenes events. Engage with local schools, colleges, and community organizations to create outreach programs that promote theatre education and inclusivity. By actively involving your audience in the creative process, you can foster a sense of ownership and loyalty.
Enhance accessibility and inclusivity: Post-pandemic, it is crucial to prioritize accessibility and inclusivity in your theatre’s operations. Ensure your venue is physically accessible, providing accommodations for individuals with disabilities. Invest in assistive technologies such as audio descriptions, closed captions, and sign language interpretation to make performances more inclusive. Develop relationships with diverse artists and productions that reflect the richness of your community, appealing to a broader range of audiences.
Build strategic partnerships: Collaboration is key to cultivating audience loyalty. Partner with local businesses, arts organizations, and community groups to cross-promote events and leverage each other’s networks. Joint marketing initiatives, loyalty programs, and package deals can attract new audiences and provide added value to existing patrons. By working together, you can strengthen the cultural ecosystem and generate shared enthusiasm for the performing arts.
Recognize and reward loyalty: Appreciating loyal patrons goes a long way in building lasting relationships. Implement a loyalty program that offers perks such as discounted tickets, early access to shows, and exclusive events. Recognize long-term patrons publicly, showcasing their support and commitment. Send personalized thank-you notes, special offers, or behind-the-scenes content to express gratitude and reinforce the bond with your audience.
Conclusion: In the wake of the pandemic, rebuilding and expanding theatre audience loyalty requires creativity, adaptability, and a commitment to inclusivity. By embracing digital innovations, personalizing experiences, fostering community engagement, enhancing accessibility, building partnerships, and recognizing loyalty, theatres can lay a strong foundation for a vibrant post-pandemic future. Together, let us create a theatre landscape that celebrates both the art form and the unwavering support of its dedicated audience.
Anticipation is building as major works by artists Rocky Cajigan (Philippines), Chong Kim Chiew (Malaysia) Alia Farid (Kuwait), Brian Fuata (Aotearoa/Australia), I Made Djirna (Indonesia), Jumaadi (Indonesia/Australia), Vipoo Srivilasa (Thailand/Australia) and others are being prepared and installed for ‘The 10th Asia Pacific Triennial of Contemporary Art’(APT10) at the Queensland Art Gallery I Gallery of Modern Art (QAGOMA).
They join previously-announced artists including Kaili Chun (Kanaka Ōiwi, Hawai’i), Gordon Hookey (Waanyi people, Australia), Kimiyo Mishima (Japan), Salote Tawale (Fiji/Australia) and Grace Lillian Lee and Uncle Ken Thaiday Snr (Meriam Mir people, Australia).
QAGOMA Director Chris Saines said the installation of the tenth chapter in the Gallery’s flagship series was underway, with the full list of artists announced for the exhibition, which is due to open from 4 December 2021 until 25 April 2022.
‘Since its first edition almost 30 years ago, APT has established an international reputation as a challenging and dynamic exhibition, highlighting the most exciting developments in contemporary art from across our culturally diverse region,’ Mr Saines said.
‘Presented at both QAG and GOMA and including recent and newly-commissioned works, APT involves a great depth of research by the Gallery’s in-house curators working closely with a broad network of artists and specialists across an expansive geography.
‘APT10 is full of stories of travel, journeys, migrations and connections to place. It’s layered with responses, questions and ideas about the present moment, the many issues facing humanity, and propositions towards the future from a diversity of cultural perspectives. It includes works of art that are by turn highly personal, deeply political, and full of joy.
‘We are now undertaking the mammoth process of receiving, preparing and installing 69 projects by more than 150 emerging and established artists, collectives and filmmakers from more than 30 countries.
‘With the global impact of COVID-19, APT10 has presented logistical challenges, but it has also been exceptionally rewarding to see how artists work through such tremendous change. It has necessitated new approaches to exhibition-making, and we’ve worked virtually with artists, advisors and collaborators to facilitate exchanges and outcomes from afar.
‘More than ever before, community and collaboration is a major feature of this Triennial with many artists achieving ambitious results through working with groups or as part of collectives, such as the Bajau Sama Dilaut people in Sabah Borneo, Gidree Bawlee Foundation of Arts in north-western Bangladesh and Seleka International Arts Society Initiative in Tonga.’
Mr Saines said the Gallery’s research arm, the Australian Centre for Asian and Pacific Art (ACAPA) had provided the framework for new initiatives that will further broaden community engagement – supported by the Australian Government through the Office for the Arts.
‘The ACAPA Pacifika Community Engagement Project, created with a dynamic team of ten local Pacific Islanders, and five community groups in south-east Queensland, has informed the way Pasifika projects in the exhibition are presented, broadened relationships and translated artwork labels into Pacific languages,’ he said.
The development of APT10 has also played host to the inaugural Creative New Zealand Pacific Curator Residency (Australia) with Auckland-based artist and curator Natasha Matila-Smith and includes learning initiatives driven by artist-in-residence Brian Fuata.
Minister for the Arts Leeanne Enoch said the Queensland Government was a founding supporter of the Asia Pacific Triennial (APT), which showcases and celebrates the diverse arts and cultures of the Asia Pacific region.
‘The Palaszczuk Government’s continued investment in the APT has enabled QAGOMA to build a truly outstanding event of international significance bringing communities together with powerful voices telling their own stories,’ Minister Enoch said.
‘Over the past nine exhibitions, the Asia Pacific Triennial has attracted more than 3.7 million visitors, which is great news for local tourism.
‘Most recently, APT9 alone attracted 718,000 visits, contributing almost $35 million to Queensland’s economy and generating more than 288,000 visitor nights.
‘That’s why the Palaszczuk Government is supporting APT10 with blockbuster exhibition funding.
‘The arts are key to delivering our plan for economic recovery from COVID-19, each year contributing $8.5 billion to the state’s economy and supporting more than 92,000 jobs for Queenslanders.’
Tourism Minister Stirling Hinchliffe said the APT was featured on the Tourism and Events Queensland It’s Live! in Queensland events calendar.
‘Art events like this bring many new visitors to our city which benefits accommodation and transport providers, restaurants and local tourism operators,’ Mr Hinchliffe said.
‘We’re encouraging visitors to enjoy Brisbane’s great art institutions and local culture, as well as the city’s many tourism experiences.
‘Art, events and tourism are important for supporting local jobs and the Palaszczuk Government’s Covid-19 Economic Recovery Plan.’
The expansive, free exhibition will incorporate a multi-strand APT10 Cinema program, seven interactive artist projects for children and families as part of APT10 Kids, a two-night Up Late program in 2022 and a full-colour publication.
Also accompanying APT10 is Asia Pacific Art Papers: Contemporary Contexts, Practices and Ideas, a three-part digital resource offering new insights into the changing conditions and practices of artists in the region – assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body. The first set of essays are online now at www.apap.qagoma.qld.gov.au
Among the many highlights of APT10 will be:
Vipoo Srivilasa’s immersive, participatory installation Shrine of Life/ Benjapakee Shrine 2021, featuring five hand-crafted ceramic deities representing attributes important to the artist: identity, love equality, creativity, security and spirituality. Finished with gold lustre and floral embellishments, the work reflects Srivilasa’s holistic approach to life, and encourages audiences to appreciate the things that unite us.
Hairloom 2021, a dramatic, newly commissioned ten metre-long loom of human hair by Rocky Cajigan, reflecting the artist’s personal history and exploration of the material, culture, indigeneity and museology of the Cordillera region of the Philippines
A series of enormous sculptural vessels in fibreglass and synthetic resin by Kuwait City- and San Juan, Puerto Rico-based artist Alia Farid, offering a poignant message about the ever-increasing issue of water scarcity across West Asia.
Senior Balinese artist I Made Djirna’s dense, cave-like environment created from found, natural materials, a work strongly informed by the artist’s Balinese culture, ritual and landscape.
A new series of large-scale paintings by Indonesian-Australian artist Jumaadi, created on delicate cloth prepared by artisans in Indonesia and illustrating the unique storytelling of the artists that reflect on emotions ranging from love and human relationships to displacement and isolation.
New work by Chong Kim Chiew, including a towering installation of maps painted directly onto tarpaulin, expressing a compulsive reorientation of the geographic and political topography of Malaysia and its Southeast Asian neighbours.
The full list of artists featured in APT10 is:
3AM est. 2016, Myanmar. Live and work in Yangon, Myanmar
BaniAbidi b.1971, Karachi, Pakistan. Lives and works in Berlin, Germany and Karachi.
ACAPA Pasifika Community Engagement Project(ACE)
Air Canoe: Northern Oceania: Chuuk, Pohnpei, Kosrae, the Republic of the Marshall Islands and their diasporas.
EdithAmituanai b.1980, Auckland, Aotearoa New Zealand. Lives and works Auckland.
NazgolAnsarinia b.1979, Tehran, Iran. Lives and works in Tehran, Iran.
Maryam Ayeen and Abbas Shahsavar b.1985, Bojnord, Iran & b.1983, Kermanshah, Iran. Live and work in Tehran, Iran.
ApenisaBainivalu, Laweni TekinaLaiseane & Veniana MaraiaPaulina b.1959, Mokani village, Tailevu Province, Fiji; b.1964, Naroi village, Lau Province, Fiji; & b.1951, Nasilai village, Rewa Delta, Fiji. Live and work in Nasilai village.
BajauSama Dilaut Weavers Semporna, Sabah, Malaysia.
RathinBarman b.1981, Tripura, India. Lives and works in Kolkata, India.
RockyCajigan lfontok and Kankanaey people, b.1988, Bontoc, the Philippines. Lives and works in La Trinidad and Bontoc.
ChongKim Chiew b.1975, Kuala Lumpur, Malaysia. Lives and works in Kuala Lumpur.
GenevieveChua b.1984, Singapore. Lives and works in Singapore.
Kaili Chun Kanaka Ōiwi people, b.1962, O’ahu, Hawai’i. Lives and works in Honolulu, Hawai’i.
I MadeDjirna b.1957, Kedewatan, Bali, Indonesia. Lives and work in Kedewatan.
AliaFarid b.1985, Kuwait City, Kuwait. Lives and works in Kuwait City and San Juan, Puerto Rico.
Between Earth and Sky: Indigenous Contemporary Art from Taiwan
(Anli Genu, Dondon Hounwn, Fangas Nayaw, Etan Pavavalung, Aluaiy Pulidan, Ruby Swana, Yuma Taru, Masiswagger Zingrur).
BrianFuata b.1978, Wellington, Aotearoa New Zealand. Lives and works in Brisbane, Australia.
HikaruFujii b.1976, Tokyo, Japan. Lives and works in Tokyo.
Joyce Arasepa Mary Gole OL b.1941, Oro Province, Papua New Guinea. Lives and works in Port Moresby, Papua New Guinea.
JamilahHaji b.1989, Narathiwat, Thailand. Lives and works in Narathiwat.
HaoJingban b.1985, Shanxi Province, China. Lives and works in Beijing, China.
HaoLiang b.1983, Chengdu, China. Lives and works in Beijing, China.
Gordon Hookey Waanyi people, b.1961, Cloncurry, Australia. Lives and works in Brisbane, Australia.
Chia-Wei Hsu b.1983, Taichung, Taiwan. Lives and works in Taipei, Taiwan.
Hu Yun b.1986, Shanghai, China. Lives and works in Belgrade, Serbia and Shanghai.
Jumaadi b.1973, Sidoarjo, Indonesia. Lives and works in Sydney, Australia and Imogiri, Indonesia.
Kā Paroro o Haumumu: Coastal flows, coastal incursions: Alex Montieth with Vicki Lenihan, Kaihaukai Art Collective: Ron Bull Jnr and Simon Kaan and local elders. Aotearoa New Zealand
Grace Lillian Lee & Ken Thaiday Snr Meriam Mir people, b.1988, Cairns, Australia & b.1950, Erub (Darnley) Island, Australia. Live and work in Cairns.
AmyLien & Enzo Camacho b.1987, Dallas, United States, lives and works in New York, United States & b.1985, Manila, the Philippines, lives and works in Berlin, Germany.
MinoukLim b.1968, Daejeon, South Korea. Lives and works in Seoul, Korea.
Kimiyo Mishima b.1932, Osaka, Japan. Lives and works in Osaka and Gifu, Japan.
PhuongNgo with collaborators b.1983, Adelaide, Australia. Lives and works in Melbourne, Australia.
NguyênPhung Linh b.1985, Hanoi, Vietnam. Lives and works in Hanoi.
Nguyên Thi Châu Giang b.1975, Hanoi, Vietnam. Lives and works in Ho Chi Minh City, Vietnam.
JasmineNilaniJoseph b.1990, Jaffna, Sri Lanka. Lives and works in Jaffna
Shannon Novak b.1979, New Plymouth, Aotearoa New Zealand. Lives and works in Tāmaki Makaurau, Aotearoa New Zealand.
Phi PhiOanh b.1979, Houston, United State of America. Lives and works in Da Nang, Vietnam.
Archie Oclos b.1989, Manila, the Philippines. Lives and works in Manila.
Lee Paje b.1980, Quezon City, the Philippines. Lives and works in Antipolo, the Philippines.
BagusPandega b.1985, Jakarta, Indonesia. Lives and works in Bandung, Indonesia.
ChristinaPataialii b.1988, Auckland, Aotearoa New Zealand. Lives and works in Wellington, Aotearoa New Zealand.
PalaPothupitiye b.1972, Deniyaya, Sri Lanka. Live and works in Colombo, Sri Lanka.
Shubigi Rao b.1975, Mumbai, India. Lives and works in Singapore.
Syagini Ratna Wulan b.1979, Bandung, Indonesia. Lives and works in Bandung.
KojiRyui b.1976, Kyoto, Japan. Lives in Sydney, Australia.
TitaSalina & Irwan Ahmett b.1973, Sumatra, Indonesia & b.1975, Java, Indonesia. Live and work in Jakarta, Indonesia.
Seleka International Art Society Initiative est. 2008. Haveluloto, Tongatapu, Tonga.
Thasnai Sethaseree b.1968, Bangkok, Thailand. Lives and works in Chiang Mai, Thailand.
Kamruzzaman Shadhin & Gidree Bawlee Foundation of Arts b.1974, Thakurgaon, Bangladesh & est. 2001. Live and work in Dhaka and Thakurgaon, Bangladesh.
KaranShrestha b.1985, Kathmandu, Nepal. Lives and works in Kathmandu and Mumbai, India.
Sumakshi Singh b.1980, Delhi, India. Lives and works in Gurgaon, India.
YasminSmith b.1984, Sydney, Australia. Lives and works in Sydney.
VipooSrivilasa b.1969, Bangkok, Thailand. Lives and works in Melbourne, Australia.
Adeela Suleman b.1970, Karachi, Pakistan. Lives and works in Karachi.
Som Supaparinya b.1973, Chiang Mai, Thailand. Lives and works in Chiang Mai.
SvaySareth b.1972, Battambang, Cambodia. Lives and works in Siem Reap, Cambodia.
Amin Taasha b.1995, Bamiyan, Afghanistan. Lives and works in Yogyakarta, Indonesia.
Salote Tawale b.1976, Suva, Fiji. Lives and works in Sydney, Australia.
ShannonTe Ao Ngāti Tūwharetoa, b.1978, Sydney, Australia. Lives and works in Wellington, Aotearoa New Zealand.
Than Sok b.1984, Takeo, Cambodia. Lives and works in Phnom Penh, Cambodia.
SubashThebe Limbu Yakthung people, b.1981, Dharan, Nepal. Lives and works in London, United Kingdom and Kathmandu, Nepal.
Michiko Tsuda b.1980, Kanagawa, Japan. Lives and works in Kanagawa.
Lesieli Kato Kakala TohiTupou & Sione Maileseni b.1944, Lofanga Island, Ha’apai, Tonga. Lives and works in Halaleva, Nuku’alofa, Tongatapu, Tonga & b.1983, Tafoa village, Tongatapu, Tonga. Lives and works in Kapeta, Tongatapu, Tonga.
Uramat Mugas (Uramat Story Songs) Indigenous Uramat Identity, East New Britain, Papua New Guinea.
Mayur & TusharVayeda Warli people, b.1992 & b.1987, Ganjad, Maharashtra, India. Live and work in Ganjad.
YeeI-Lann b.1971, Kota Kinabalu, Malaysia. Lives and works in Kota Kinabalu.
Yolngu/Macassan Project Yirrkala, Australia and Macassar, Indonesia.
YuJi b.1985, Shanghai, China. Lives and works in Shanghai.
On 3 November 2021, the National Gallery of Victoria (NGV) will re-open NGV International on St Kilda Road and The Ian Potter Centre: NGV Australia at Fed Square. On display upon re-opening, there will be the extended seasons of the world-premiere exhibitions Maree Clarke: Ancestral Memories, Big Weather and Naomi Hobson’s newly acquired painting and photographic series at NGV Australia and Camille Henrot: Is Today Tomorrow and Reko Rennie’s newest work Initiation OA_RR at NGV International.
In November, visitors will soon be able to experience newly opened exhibitions, including:
Sampling the Future opening on 5 November at NGV Australia
Found and Gathered: Rosalie Gascoigne | Lorraine Connelly-Northey opening on 6 November at NGV Australia and Golden Shells and the Gentle Mastery of Japanese Lacquer opening on 25 November at NGV International
In December, visitors will be able to visit three new exhibitions opening on the ground floor at NGV International and the NGV Architecture Commission in the NGV Garden:
Gabrielle Chanel. Fashion Manifesto opening on 4 December at NGV International
2021 NGV Architecture Commission pond[er] opening on 6 December at NGV International
Bark Ladies: Eleven Artists from Yirrkala opening on 17 December at NGV International
The Gecko and the Mermaid opening on 17 December at NGV International
Tony Ellwood AM, Director, NGV, said: ‘The NGV is pleased to welcome visitors back to our venues in line with the Victorian Government advice. We are grateful for the ongoing support we have received via our virtual programming throughout the recent closure and look forward reconnecting with our valued community on site.
‘The wellbeing of our staff and visitors remains our top priority. In accordance with Victorian Government guidelines, the NGV will implement the appropriate public health and physical distancing measures to ensure the safety of both our staff and visitors,’ he said.
At NGV Australia, Sampling the Future reveals some of the extraordinary ways that designers are imagining our near and distant futures – from 3D-printed coral to hand-knitted architecture, and ancient materials from a distant future. The exhibition showcases new work by leading experimental and speculative designers, including speculative architects Roland Snooks and Leanne Zilka, Alice Springs-based designer Elliat Rich, Sydney-based duo Kyoko Hashimoto and Guy Keulemans, and Melbourne duo Georgia Nowak and Eugene Perepletchikov, among others.
Found and Gathered: Rosalie Gascoigne | Lorraine Connelly-Northey brings attention to the shared materiality at the heart of the practices of Rosalie Gascoigne (1917–1999) and Lorraine Connelly-Northey (b. 1967). Both artists are known for their transformative use of found and discarded objects to create works of art that challenge our understanding of the landscape, and Country. Through a major display of more than 75 wall-based and freestanding sculptural works on the ground-floor of The Ian Potter Centre: NGV Australia, the exhibition highlights each artist’s unique and significant place within Australian art and the sympathetic relationships between their works.
Also on display at NGV Australia are new works by Southern Kaantju/Umpila artist Naomi Hobson, acquired as part of the annual NGV x MECCA partnership. Known for her gestural paintings and intimate photographic works, a major new painting Deeper 2020 and series of photographic works January First 2021 explore Hobson’s cultural identity, connection to Country and love for her community.
At NGV International, Golden Shells and the Gentle Mastery of Japanese Lacquer will celebrate the Japanese historical ‘shell matching’ game, kai-awase, commissioned by Melbourne philanthropist and NGV donor, Pauline Gandel AC. Comprising two large lacquerware shell boxes and 360 matching pairs of gold-gilded and hand-painted shells featuring designs of flowers from Japan, the Asia Pacific region and Australia, this is the first kai-awase game to be produced in over 150 years and the first to be exhibited in Australia.
In an Australian-first survey of the French-born, Berlin-based contemporary artist, Camille Henrot: Is Today Tomorrow explores the artist’s playful and inventive approach to addressing life’s big questions. Working across diverse media including sculpture, drawing, video and installation, Henrot references self-help, online second-hand marketplaces, cultural anthropology, literature, psychoanalysis and social media to question what it means to be at once a private individual and a global subject.
Celebrated Melbourne artist Reko Rennie’s newest work, Initiation OA_RR, is currently on display at NGV International. Initially commissioned for RISING Festival, this video work is a follow up to his 2016 work OA_RR and will be on display on Level 3 until 30 January 2022. In the video Rennie cruises through Melbourne’s western suburbs in a hot pink 1973 Holden Monaro cope and performs a series of burnouts. Rennie uses a variety of visual cues to reference ‘Westie’ drag-racing culture, as well as First Peoples initiation practices in an urban context, and the traditional sand engraving motifs of the Kamilaroi/Gamilaroi people.
At NGV Australia Maree Clarke: Ancestral Memories, the first retrospective of Melbourne-based artist and designer, Maree Clarke, who is a Yorta Yorta/Wamba Wamba/Mutti Mutti/Boonwurrung woman. Covering more than three decades of artistic output, the exhibition traverses Clarke’s multidisciplinary practice which often focusses on the reclamation of south-east Australian Aboriginal art and cultural practices, including elements of culture that were lost – or became dormant – as a consequence of colonisation.
Big Weather, also on display at NGV Australia, explores the sophisticated understanding of weather systems that exist within Aboriginal and Torres Strait Islander cultural knowledge. The exhibition highlights the vital role Indigenous artists and designers play in sharing stories that ensure cultural knowledge is protected, celebrating an intimate understanding of the land, which has been handed down over generations and has been recorded through song, dance and art.
Gabrielle Chanel. Fashion Manifesto is the first exhibition in Australia to exclusively focus on the significant contribution to twentieth-century fashion culture by the renowned French couturière Gabrielle Chanel (1883–1971). With more than 230 garments, accessories and jewellery pieces drawn from the rich holdings of the Palais Galliera and the Patrimoine de CHANEL in Paris, complemented by important loans from major public museums and private collections, Gabrielle Chanel. Fashion Manifesto showcases the impressive breadth of Gabrielle Chanel’s output and her design codes.
The 2021 NGV Architecture Commission pond[er] is designed by a Melbourne-based team comprising architecture firm Taylor Knights in collaboration with artist James Carey, offering a space for visitors to cool off during the summer months and reflect on their relationship with the environment. Envisioned as a space that becomes part the NGV garden rather than a separate architectural object, pond[er] invites audiences to move through a series of interconnected walkways and accessible platforms. Visitors can immerse themselves within and explore the spaces of flora and water and can even step down and wade through the pink pond.
Bark Ladies: Eleven Artists from Yirrkala is a major ground floor exhibition at NGV International that celebrates the NGV’s extraordinary collection of bark paintings and larrakitj (painted hollow poles) by women artists working out of the Yolngu-run art centre, Buku Larrngay Mulka Centre (Buku), situated in Northeast Arnhem Land. Before 1970, no Yolngu women painted sacred themes on bark or larrakitj in their own right; however, in recent decades, a number of women artists have taken to these media, becoming renowned both nationally and internationally for daring and inventive works that challenge tradition. The NGV has been acquiring important works on bark by artists from Buku for more than two decades, establishing one of the most significant collections of work by Yolngu women artists.
Coinciding with Bark Ladies: Eleven Artists from Yirrkala, NGV Kids presents an all-ages exhibition, The Gecko and the Mermaid that celebrates the vibrant culture and community of the Yolngu people through the work of two artists and sisters, Ms N. Yunupiŋu and Eunice Djerrkngu Yunupiŋu. The interactive exhibition will introduce young visitors to the two sisters, their art works and Yolngu culture and community through a custom-designed space featuring hands-on and multimedia activities produced especially for this exhibition.
Anticipation is building as major works by artists Rocky Cajigan (Philippines), Chong Kim Chiew (Malaysia) Alia Farid (Kuwait), Brian Fuata (Aotearoa/Australia), I Made Djirna (Indonesia), Jumaadi (Indonesia/Australia), Vipoo Srivilasa (Thailand/Australia) and others are being prepared and installed for ‘The 10th Asia Pacific Triennial of Contemporary Art’ (APT10) at the 
On display upon re-opening, there will be the extended seasons of the world-premiere exhibitions Maree Clarke: Ancestral Memories, Big Weather and Naomi Hobson’s newly acquired painting and photographic series at NGV Australia and Camille Henrot: Is Today Tomorrow and Reko Rennie’s newest work Initiation OA_RR at NGV International.