12 Meaningful Ways to Experience Indigenous Culture in Australia

12 Meaningful Ways to Experience Indigenous Culture in Australia

Despite a (very disappointing) failed referendum in October that would have given Indigenous peoples greater political representation, Australia hasn’t completely turned its back on the world’s oldest living cultures. Aboriginal Australians and Torres Strait Islanders have been on the continent for more than 65,000 years, a lasting heritage represented by 250 distinct language groups. Thankfully, Indigenous tourism is alive and well and actively promoted by Tourism Australia, a government agency. Its curated list includes some 168 experiences offered by 45 businesses, a mix of tour operators, storytellers, activities, guides, and accommodations in every region. How to choose?

We know AFAR readers seek meaningful connections to places and people. They want to authentically engage with Indigenous cultures, listen to their stories, and view the world through their eyes. So two of our most frequent Australia travelers reviewed the tourism board’s list, and cross-referenced it with our own, to surface 12 of the best Indigenous-owned, -operated, and
-acknowledged experiences in Australia. Here’s how to enjoy ancient rock-art safaris, bush tucker, Dreaming (creation) stories, desert stargazing, and more.

Northern Territory

A guest room with a balcony at Cicada Lodge in Nitmiluk National Park

Cicada Lodge serves as the perfect base from which to explore Nitmiluk Gorge National Park.

Courtesy of Cicada Lodge

1. Check into Cicada Lodge and explore with Nitmulik Tours

Owned and operated by Jawoyn Traditional Custodians, Cicada Lodge, about 215 miles southeast of Darwin in the Northern Territory’s Top End (far north), makes the perfect base for exploring Nitmiluk National Park. The Jawoyn-owned park is an Edenic land of waterfalls, river systems, millennia-old rock paintings, secluded water holes, and 13 gorges. The park’s most famous, Nitmiluk Gorge (formerly known as Katherine Gorge), is marked by towering cliffs and a river wide and deep enough to cruise. The eco-lodge’s 18 rooms have polished timber floors and balconies—some with panoramic views of the sandstone landscape above Nitmiluk Gorge—and also feature paintings and carved works by local Aboriginal artists. There’s an outdoor pool for splashing around after a sweaty day adventuring in the Outback with its sister company Nitmiluk Tours, which offers guided gorge exploration.

A flat river that runs through Arnhem Land, with banks lined by trees

Lords Kakadu and Arnhem Land Safaris is able to take visitors to areas of the Northern Territory that are normally inaccessible to other tour companies by getting permission from Traditional land owners.

Courtesy of Vladimir Haltakov/Unsplash

2. See ancient rock art with Lords Arnhem Land and Kakadu Safaris

Best known for its beauty, isolation, and outstanding rock art, Arnhem Land (a vast wilderness area in the Northern Territory) is one of the largest Indigenous-owned reserves in Australia. It’s perhaps one of the last few places in Australia where Indigenous culture is still dominant. Like Arnhem Land next door, the UNESCO World Heritage–listed Kakadu National Park is also a place of immense cultural, religious, and social significance to the local Aboriginal people.

The terrain in the Top End switches from floodplains and rock escarpments to woodlands, waterfalls, and vine-filled monsoonal rain forests—and the diversity of wildlife is extraordinary. (To wit: Visitors can encounter wallabies, wallaroos, quolls, dingoes, bats, goannas, frogs, pythons, saltwater crocodiles, and 280 species of birds.)

Sab Lord, owner and expert guide at Lords Arnhem Land and Kakadu Safaris, based in Darwin, provides some of the best tours of this culturally rich destination thanks in part to his strong working relationship with local Indigenous groups. At Injalak Hill, for instance, Lord employs Aboriginal guides who originally hail from the area. The small outfitter offers three-, four-, and five-day private safaris to Arnhem Land and Kakadu National Park. Guests will encounter wildlife—even crocs—up close, discover a pristine waterfall, swim in crystalline water surrounded by towering rock walls, visit an Aboriginal sacred site, and gaze at rock art estimated to be between 6,000 and 9,400 years old, engraved on overhangs and inside caves.

Depending on the length of the safari, accommodations range from glamping tents at an exclusive, permanent bush camp to comfortable private tent-cabins at a luxury safari lodge. All itineraries are bespoke, with prices available on request.

Uluru Rock at Uluru-Kata Tjuta National Park

Uluru, one of the country’s most recognizable landmarks, is a sacred site to many Indigenous Australian communities.

Courtesy of Antoine Fabre/Unsplash

3. Try high-end bush tucker at Ayers Rock Resort

“Bush tucker” is an Aussie term that refers to native foods and medicinal plants that Indigenous peoples in Australia have been eating and using for 60,000 years. Long disparaged by European settlers, dishes made of bush tomatoes, lemon myrtle, kakadu plums, desert lime, quandong, green ants, crocodile, emu, and kangaroo now take center stage in fine-dining establishments across the country. In particular, Uluru, formerly known as Ayers Rock, has been earning a reputation in foodie circles as the bush tucker gastronomy capital of Australia.
Ayers Rock Resort, adjacent to Uluru-Kata Tjuta National Park, offers gourmet bush tucker dinner experiences paired with modern retellings of the Dreaming stories.

The Wintjiri Wiru Sunset Dinner takes place in an open-air theater atop a dune overlooking Uluru and the many domes of Kata Tjuta, a group of rock formations formerly known at the Olgas. It’s an apt name since Wintjiri Wiru means “beautiful view out to the horizon” in the local Pitjantjatjara language. Voyages Indigenous Tourism Australia created this experience in consultation with Indigenous chefs. The makers acknowledge that “as custodians of the land, the Anangu hold the Mala story from Kaltukatjara to Uluru. To share their story from Kaltukatjara to Uluru, RAMUS designed and produced an artistic platform using drones, light, and sound to create an immersive storytelling experience.”

During the dinner, guests arrive to cocktails with bush-tucker infusions of lemon myrtle, desert lime, or mulga berries and sit down to a gourmet dinner hamper filled with foods like smoked emu with saltbush chili crust. Once the sun drops over the rocks, it’s time for the show: Wintjiri Wiru is a new state-of-the-art sound-and-light show that tells the ancient story of the Mala (rufous hare-wallaby) people who came to Uluru, with choreographed drones, lasers, and projections creating an immersive and contemporary rendition of the spiritual story.

Western Australia

Australia's King Canyon at sunset

“Karrke” is the word in the Aranda language for “bower bird,” a striking species with blue-black plumage that lives in Kings Canyon and throughout Central Australia.

Courtesy of Philippe Wuyts/Unsplash

4. Go on a guided walk-and-talk with Karrke Cultural Experience and Tours

A three-hour drive from Uluru takes you to the magnificent red rock formations of Kings Canyon and Watarrka National Park, parts of which are sacred for the local Indigenous peoples. Established in 2014, Indigenous-owned and -operated Karrkke Cultural Experience and Tours, on the southeastern fringes of the park, offers one-hour guided walk-and-talks about bush tucker foods, dot painting, and Indigenous artifacts. Owners Peter Abbott, his partner Christine Breaden, and his sister Natasha Abbott sit with participants in a shaded area to talk about native foods—edible tree seeds and grass seeds, witchetty grub (moth larva) and honey ants—in addition to medicinal plants and how they’re used by the local Luritja and Pertame peoples of Central Australia. They also explain the cultural significance of the patterns in dot art and show off local crafts made of wood or seeds, such as music sticks, clap sticks, seed necklaces, bracelets, and weapons.

A guide leading a tour group uphill in Shark Bay, Australia

Woormulla Ecocultural Journeys share stories and histories with guests that have been passed down for hundreds of generations.

Courtesy of Wula Gura Nyinda Eco Cultural Adventures

5. Learn about the Dreaming with Wula Gura Nyinda Eco Cultural Adventures

Owned and operated by Darren “Capes” Capewell, a descendant of the Nhanda and Malgana people, Wula Gura Nyinda Eco Cultural Adventures is based in idyllic Shark Bay, 500 miles north of Perth. Translation: It’s a two-hour flight, or an eight-hour drive up National Route 1, or a slightly longer scenic ride along State Route 60, which hugs the Indian Ocean coastline up to the Coral Coast. The “Coral Coast Highway” is said to be one of the most beautiful drives on earth.

Capewell, who also works as a guide, runs a range of outdoor tours: kayaking and wildlife, standup paddle boarding, camping, and an evening experience. The “Didgeridoo Dreaming Night Tour” combines Dreaming stories of how Earth and life on the planet came to be, and the ancient tribal tones of the didgeridoo under a blanket of stars, accompanied by tastings of seafood and bush tucker. (Note that in some Indigenous cultures, only men play the didgeridoo; women and children are offered a traditional conch shell to play.)

6. See the night sky with Wooramulla Eco Cultural Journeys

Wooramulla Eco Cultural Journeys, owned by Yinggarda guide Rennee, is located in Carnarvon, 550 miles from Perth, or a little beyond Shark Bay. Rennee provides a variety of fun, educational tours aimed at sharing Yinggarda culture and customs. One shows visitors how hidden claypans erupt in the spring with the crazed mating of burrowing bees. Another tells the Ant Dreaming story at the spiritually significant Honeycomb Gorge (Mingah Munda), where she also points out hidden petroglyphs and other traces of her ancestors. During her Murroo Nungnah (Go See the Night) experience, she shares Yinggarda Dreaming stories of the night sky accompanied by Billy tea—a traditional Aussie campfire tea blended with Kooloo red leaf tea—and damper, a simple but classic bread.

The blue, shallow waters of the Ningaloo Coast, with a porous, overhanging rock at right

Baiyungu Dreaming founder Hazel Walgar is one of the Traditional owners of the Ningaloo Coast.

Courtesy of Andrew Tom/Unsplash

7. Visit the Ningaloo Coast World Heritage Area with Baiyungu Dreaming

The Ningaloo Coast, 800 miles north of Perth, is the site of the UNESCO-listed Ningaloo Reef, the world’s largest fringing coral reef, as well as the Ningaloo Coast World Heritage Area. It’s a place of impossible beauty and stark contrasts between the parched, rugged landscape of Cape Range National Park’s gorges and escarpments, the white-sand beaches of the coastline, and the clear, highlighter-blue waters of Ningaloo Reef. Home to whales, dolphins, manta rays, orcas, sharks, turtles, tuna, and more, it is also a place of immense biodiversity.

With Hazel Walgar’s tour company Baiyungu Dreaming, visitors to Ningaloo can see the coast through an Aboriginal lens. Launched in 2020, Baiyungu is the first Indigenous tourism operator on the Ningaloo Coast. Having worked on the Ningaloo archaeological project, excavating Indigenous artifacts found in the Western Australian desert, Hazel takes visitors to Coral Bay and into Cape Range National Park to see a shell midden littered with signs of early Aboriginal occupation. She also teaches her clients how to dig for fresh drinking water in the sand dunes, takes them to a sheltered turtle nursery, and tells the Dreaming story of the octopus and how Five Finger Reef was formed. During her Coral Bay sunset tour, guests sit around the campfire sipping Billy tea and munching freshly baked damper (bread) as Hazel recounts Dreaming stories and talks about her work on the Ningaloo archaeological project.

Rocky shore and cliffs of Dampier Peninsula

The Borrgoron’s Coast to Creek Tour explores the Cygnet Bay Pearl Farm family’s four-generation-long history in the area.

Courtesy of Marty Southwell/Unsplash

8. Forage for fresh oysters with Cygnet Bay Pearl Farm

The traditional custodians of the Dampier Peninsula, the Bardi (land) and Jawi (island) peoples, have been working with their natural environment for tens of thousands of years, using sustainable hunting techniques, fishing practices, and bush tucker for both food and medicinal purposes. Here, about two hours north of Broome, you can combine a cultural experience with world-class seafood.

Cygnet Bay Pearl Farm’s Borrgoron’s Coast to Creek Tour will open your eyes to the local culture that revolves around the land and sea. A two-hour walking tour (some level of fitness required) takes you through mangroves and over the rocks of King Sound at low tide, where you’ll be able to put your learnings to practice as you forage for fresh oysters. Pair this with a pearl discovery tour, “sea safari,” or sunset dinner cruise.

Tasmania

A simple hut, with interior lit at night

Guests stay in Aboriginal-inspired lodgings during a trip on the wukalina walk, one of the Discover Aboriginal Experiences in Australia.

Photo by Adam Gibson

9. Hike Tasmania’s rugged coast on the wukalina Walk

“Completely owned and operated by Tasmania’s Indigenous palawa community, the four-day, three-night wukalina Walk is a unique way to explore the island’s rugged northeast coast and gain insight into Australia’s Aboriginal heritage,” writes AFAR contributor Eric Rosen. (Note: The Tasmanian Aboriginal Centre has reconstructed an Indigenous language, now called palawa kani, using only lowercase.) “My journey began with a hike to the peak of wukalina (aka Mount William). Six fellow travelers and I enjoyed a picnic lunch with views stretching from the Furneaux Islands in the north to the Bay of Fires in the south. A few hours later, we tramped into Krakani Lumi, a secluded camp a few hundred feet from the shore. Eco-chalets were inspired by traditional palawa huts, with pitch-black walls and domed interiors. The next morning, we walked along the white-sand beach to shell middens where ancient clans came to feast.

“Before a final goodbye back in Launceston, I spoke to Clyde Mansell, the community elder who spent over 15 years setting up the wukalina walk. ‘The experience and scenery are just beautiful packaging,’ he said. ‘The real purpose of the walk is to keep the community’s young people engaged with our culture and provide them with jobs in hospitality.’”

Queensland

Aerial view of a section of the Great Barrier Reef, with yellow and purple coral

Dreamtime Dive and snorkel was given an Advanced Eco accreditation by Ecotourism Australia, which means that the company operates with little impact on the local environment.

Courtesy of GeoNadir/Unsplash

10. Snorkel the Great Barrier Reef with Dreamtime Dive and Snorkel

  • Location: Dreamtime Dive & Snorkel Wharf, Reef Fleet Terminal, 1 Spence St., Cairns City, Queensland | Find on Google Maps
  • Book now: $140 adult, $90 children, age three and under free. dreamtimedive.com

“Some 70 Aboriginal and Torres Strait Islander groups have a continuing connection to the world’s largest coral reef system, and in 2018, Dreamtime Dive and Snorkel launched trips led by Indigenous Sea Rangers who share cultural knowledge passed down from their ancestors,” writes AFAR contributor Sarah Reid. During the day trips from Cairns to the Outer Barrier Reef, “guests listen to evocative creation stories about how the reef came to be, and learn about hunting practices, such as seasonal harvesting, that have safeguarded the reef’s biodiversity for millennia.” This adventure acknowledges the Gimuy Walubara Yidinji, Mandingalbay Yidinji, Yirrganydji, and Gunggandji cultures.

Victoria

Aerial view of a river surrounded by trees in Tower Hill Wildlife Reserve

Worn Gundidj at Tower Hill has been in operation for over 20 years.

Courtesy of Enguerrand Blanchy/Unsplash

11. Go inside Tower Hill volcano with an Indigenous guide

Tower Hill Wildlife Reserve sits inside a 30,000-year-old dormant volcano about 170 miles southwest of Melbourne, just north of the Great Ocean Road and the iconic Twelve Apostles, a collection of limestone stacks jutting out of the water. The verdant reserve, once a denuded wasteland thanks to the devastation caused by early settlers, is a haven for Australia’s most iconic species: emus, koalas, kangaroos, wallabies, echidnas. Many of the 200-plus kangaroos and koalas live around the visitor parking lot, so they’re not hard to spot. The parks’ boardwalks, nesting boxes, and bird hides make it easy for bird-watchers to get a glimpse of birds like chestnut teals, musk ducks, and spoonbills.

Worn Gundidj, an Aboriginal social enterprise working in partnership with Tower Hill, offers a two-hour interactive tour. Guides lead visitors around the animals’ natural habitat while providing insight into Indigenous traditions like how to identify edible and medicinal plants and how to properly throw a boomerang.

South Australia

A cliffside view of Wilpena Pound in Ikara-Flinders Ranges National Park

Wilpena Pound Resort is the only hotel within the boundaries of Ikara-Flinders Ranges National Park.

Courtesy of Rowena Shaw/Unsplash

12. Experience a “Welcome to our Country” at Wilpena Pound

To the local Adnyamathanha people, Ikara, known as Wilpena Pound in English, is a sacred site. A crater-like elevated basin in the remote desert wilderness of South Australia’s Ikara-Flinders Ranges, Ikara is not as well known or instantly recognizable as Uluru, even within Australia, but it’s arguably just as spiritually moving. And at 800 million years old, it’s 250 million years more ancient than Uluru .
Ikara is remote—not near any major city or airport, about 275 miles north or a five-hour drive from Adelaide. Once there, getting around is a challenge without a four-wheel drive. It’s also possible to travel by small plane from Adelaide, but it may be necessary to change planes in Port Augusta.

Wilpena Pound Resort, located in South Australia’s Ikara-Flinders Ranges National Park, is the only accommodation within the park. While not Indigenous-owned, the resort falls under the aegis of the Traditional Custodians, the Adnyamathanha, who offer guided walks and cultural experiences like a complimentary “Welcome to our Country” ceremony. It is normally performed by an Aboriginal Traditional Owner for people visiting their land; visitors may experience a welcome speech, traditional dance, and a smoking ceremony. Other activities include a rock art tour, a tour of Sacred Canyon, or a sunset storytelling experience.

Read Before You Go

Celebrated Australian Indigenous lawyer and author Larissa Behrendt is brilliant at creating engaging, accessible stories with social justice issues at their core. One of her latest novels, After Story (2021), doesn’t even take place in Australia; it follows an Indigenous lawyer and her mother on a rare vacation together, hitting England’s great literary sites. As their trip unfolds and painful memories come to light, we witness Australia’s worst prejudices—and a funny, hopeful outlook on the future of Indigenous culture.

New architecture and design competitions: eVolo Skyscraper Competition, Seoul International Garden Show, Edmund N. Bacon Urban Design Awards, and Sebastopol South Entry Sculpture

New architecture and design competitions: eVolo Skyscraper Competition, Seoul International Garden Show, Edmund N. Bacon Urban Design Awards, and Sebastopol South Entry Sculpture
This edition of Bustler’s curated picks of notable architecture and design challenges highlights four competitions seeking semi-permanent garden designs in Seoul’s Ttukseom Hangang Park, proposals for a permanent public art piece in Sebastopol, California, innovative community development ideas…

Mini Session Photography Booking and Scheduling with Pixieset

Mini Session Photography Booking and Scheduling with Pixieset

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Springdale native ‘humbled, honored’ by CMA win

Springdale native ‘humbled, honored’ by CMA win

Jenee Fleenor remembers driving around the roads of Northwest Arkansas as a teenager, dreaming that she might someday hear her fiddle on radio stations like the one playing in her car.

“It still takes my breath away when I hear my fiddle on the radio,” she says, just a couple of weeks after winning the Musician of the Year Award at the CMAs. “To see the dream come alive is sometimes overwhelming.”

On Nov. 8, Fleenor won Musician of the Year from the Country Music Association for the fifth time. She was the first woman ever nominated for the award in 2019, and that year, she became the first fiddle player to receive the award since 1996.

“I can hardly believe I have won one of these awards, much less five in a row,” the Springdale native says. “Honestly, every year is a surprise to me. Every musician in this category deserves this award; they’re all my heroes and friends and play on countless hit records.

“My dream of moving to Nashville was never fueled by having awards on my mantle — though I am obviously humbled and honored! I just had a dream of being a session musician in Nashville someday and maybe hearing my fiddle on the radio.”

Fleenor — then Jenee Keener — started her journey with Suzuki classical violin lessons. She left Springdale in 2001 and quickly became a sought-after session musician, playing on hits like Jon Pardi’s “Your Heart or Mine,” “Heartache Medication” and “Dirt On My Boots;” Cody Johnson’s “‘Til You Can’t” and “Human;” and Carly Pearce’s “29: Written in Stone.” And she’s toured with Blake Shelton, Steven Tyler (Aerosmith), Terri Clark, Martina McBride, Don Williams, Jimmy Fortune and Larry Cordle & Lonesome Standard Time.

On the day she answered questions for her hometown newspaper, Fleenor had “a writing appointment” and was playing fiddle on a couple of sessions.

“I never get tired of session work,” she enthuses. “It’s just so fun for me to be in a room with such amazing musicians, all pushing each other to be better players. And now most sessions I am on are people I’ve worked with for years, so it’s just so awesome to get to do what I love day in and day out with people I enjoy being around.

“My life is filled with so much of what I love!”

Fleenor admits her industry recognitions — she was also named Specialty Instrument Player of the Year at the American Country Music Awards in April — have had an impact on her career.

“For example, I recently signed a publishing deal with Warner Chappell,” she says. “I’ve been a songwriter for many years now, and it was a dream of mine years ago to have a [publication] deal — and it kind of just fell in my lap this past year. I don’t think it would have happened without this beautiful journey I’ve been on.

“I also have a lot of artists and musicians asking me for career advice these days, which I am always happy to give. I certainly don’t know it all, and there has never been a straight line for me to get from point A to point B of achieving my goals, but I think it’s important to share as much information as you can.

“I realize I am in a spot now to cheer other people on and encourage people along with their dreams,” she muses. “I look back to all the people that helped me along my way, and I am forever grateful! I recently heard Tanya Tucker say at her Country Music Hall Of Fame induction, ‘If you see a turtle on a stump, you know he didn’t get there by himself!’ And that is certainly the way I feel!”

Fleenor is also “over the moon excited” about her new all-star bluegrass band, the Wood Box Heroes. They’re “some dear, dear friends of mine and some of the best musicians in the business,” she says, including Barry Bales on bass, Seth Taylor on mandolin, Matt Menefee on banjo and Josh Martin, “one of the best singer-songwriters I’ve ever had the privilege of working with.”

“This is something I didn’t see coming down the pike, but I am so glad it has,” she says. “We made our Opry debut back in August and are planning on hitting the road some this next year.

“Wow — it’s been such an incredible journey,” Fleenor concludes. “Psalms 37:4 has really been ringing in my mind lately: ‘Take delight in the Lord, and he will give you the desires of your heart.’ That is exactly how I feel. I feel what I do is a gift from the Lord — and I feel so much joy getting to do what I love day in and day out!”

  photo  “I hope when people see my journey — and maybe its a young girl sitting in school in Northwest Arkansas, dreaming big dreams of moving to Nashville someday — I hope it encourages them to lean into those dreams and make some leaps of faith,” says Jenee Fleenor. The Springdale native just won her fifth Musician of the Year Award at the CMAs. (Courtesy Photo/Jenee Fleenor)
 
 

Peres Projects Allegedly Bans Artist From the Premises, KGB Bar Goes to Miami, and More Juicy Art World Gossip

Peres Projects Allegedly Bans Artist From the Premises, KGB Bar Goes to Miami, and More Juicy Art World Gossip

PERES PROJECTS BANS ARTIST FROM THEIR PREMISES 

At this point in my Wet Paint tenure, I’ve been around the block when it comes to why artists leave their galleries and how, so I’m wise enough to know that it’s never quite as collegial as a press statement would have you believe. From Lucas Zwirner’s fumbled handling of Harold Ancart to Joe Bradley’s apparent case of restless leg syndrome, I feel like what I’ve seen has run the gamut of what can lead to a non-amicable divorce between artist and gallerist. 

Thus far, though, I have yet to see relations become so tense that a gallery will ban their artist from even stepping onto their premises. Last week, over a series of since-deleted Instagram posts, artist Richard Kennedy posted the email they received from their gallery Peres Projects, whose Berlin-based director Franzi Mueller wrote to inform them that they had been “banned from entering Peres Projects’ gallery premises at any of our gallery locations in Berlin, Milan, or Seoul,” and added that if they break the ban, “we will inform local police immediately.” 

Below Kennedy’s post, they wrote a dizzying sermon about the various ways the gallery had wronged them in Spanish. Translated, the caption begins: “When you find out your gallery has stolen 400k + from you, ruined so much of your art, sabotaged your life, stole your ideas…” before trailing off into an impassioned diatribe: “BURN IT ALL DOWN!!! And then sue them for everything they are worth,” they wrote. “Where is Terrence koh? Where is dash snow ?WHO KILLED RIVER PHOENIX?! #scamlikely.” 

I do not have the answers to those questions, but I think I have an answer to the question that’s likely on your mind. What the hell happened? According to the gallery’s founder, Javier Peres, Kennedy’s claims of stolen money and art are categorically false. “We will reiterate what we have told our employees, artists, and clients. Our decision not to continue representing this artist came after painful discussions with everyone involved,” he said in an emailed statement.  “Our gallery is built on the belief that artists deserve care and support, and unfortunately, we are just not the right partners for them anymore. We hope they find this support elsewhere and live a prosperous professional and personal life.”

Kennedy declined to comment. I’ll keep my eyes on the court dockets. 

MIAMI VICE: THE KGB GOES TO THE BEACH

It tends to hit me like a ton of bricks in early Fall when I get my first email invite for an event happening during Art Basel Miami Beach. Usually the first one is something like, “Dear Annie, join us on the blockchain for Soho Beach House’s first ever NFT meta-cocktail with special guest Diplo” (I made that up entirely). As soon as my brain calculates that the invites are about to start rolling in, “Flight of the Valkyries” starts playing in my head. Winter is coming. 

Just to whet our whistles before we take a breather for Thanksgiving next week, I thought I’d share with the class my personal favorite email I’ve gotten thus far. This year at the small satellite fair Aqua Art Miami, one of the downtown art world’s favorite bars, KGB, will be making an appearance in the form of a gallery. Confused? So was I! 

Apparently, the beloved Soviet-themed watering hole in the East Village that we all congregate at after openings and for readings actually began as a gallery in 1983 when Kraine Art Gallery was opened by Denis Woychuk, who eventually took over KGB. Forty years later (whoa), the gallery portion of the space is coming back, according to a release: “Marking its inaugural Basel showcase, the Kraine Gallery collective at Aqua Art Miami epitomizes the richness and diversity of contemporary art, bringing a fresh perspective to this internationally acclaimed event.” 

The artists they’re bringing to the fair are perfectly on-pitch for KGB: writer Anthony Haden-Guest is presenting work, as is Rose Hartman, who famously photographed Bianca Jagger riding a horse into Studio 54, and one of Spike Lee’s favorite artists, Josh Gosfield, will bring work, among others.

So there you have it. In case you’re getting the pre-Miami scaries, there’s a little spot of fun to look forward to. See you in December.

WE HEAR 

Downtown’s resident party photographer Matthew Weinberger has released a zine of photos of Jerry Saltz taking selfies with his fans, which looks pretty irresistible to me… Magenta Plains has picked up representation of the estate of experimental filmmaker Stan VanDerBeekFionna Flaherty has been promoted to partner at Lehmann Maupin… Word to the wise: the O’Flaherty’s opening of Christian Ludwig Attersee paintings I mentioned last week has been pushed to this Saturday… Failed assassin and noted Silver Jews fan John Hinckley claims that he will have his first ever show of his cat paintings in Baltimore early next year… Did anyone else clock that Peter Schjeldahl‘s daughter, Ada Calhoun, was listed as one of the contributing ghostwriters for Britney Spears‘s memoir?

SPOTTED

Don and Mera Rubell dining at Harkawik. Photo by Annie Armstrong.

Harkawik hosted a dinner for Constance Tenvik’s new show, where Don and Mera Rubell, Chloe Wise, Jonathan Travis, and Emma Stern ate dolloped clams and candied apples beneath Tenvik’s ebullient paintings *** Björk stopped by No Agency‘s book launch in Paris last week *** Can anyone riddle me what these “Yes” and “No” buttons do in White Cube’s elevator at their new space on the Upper East Side? *** 

Courtesy a tipster.

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Resignations Roil Documenta Show as War in Gaza Polarizes Art World

Resignations Roil Documenta Show as War in Gaza Polarizes Art World
image

The entire team in charge of selecting the leading avant-garde exhibition’s next curator has now resigned, putting the future of the 2027 edition in question.

Documenta, the German contemporary art exhibition considered one of the most prestigious in the world, fell into crisis this week after the entire team tasked with finding its next artistic director resigned after a series of disputes with administrators related to the Israel-Hamas War.

The break up of the committee meant the start date for Documenta’s next edition may have to be pushed back later than 2027, when it was scheduled to open in Kassel, Germany, a Documenta spokeswoman said in an email.

The last four members of the search committee stepped down Thursday, just days after its other two members had resigned, all for reasons related to the ongoing war in Israel and Gaza and the debate surrounding it in Germany.

The four who resigned on Thursday night — Simon Njami, Gong Yan, Kathrin Rhomberg and María Inés Rodríguez, who are museum directors and curators — said in an open letter that they were stepping aside in part because the political climate in Germany around the war in Israel and Gaza meant it now appeared impossible to stage an art show that allows “diverse perspectives, perceptions and discourses.”

In a news release Documenta, which is rivaled only by the Venice Biennale for art world prestige and public attendance, acknowledged the search committee’s work had become fraught “in view of the terrorist attacks by Hamas on Oct. 7, 2023, and the growing antisemitism in Germany as well as the polarized debates surrounding it.” Documenta’s board and staff would now try to work out how the selection process could proceed, the news release said.

The crisis started on Nov. 10, when Bracha Lichtenberg Ettinger, who is Israeli, resigned after administrators rejected her request for a pause in the committee’s search, in recognition of the recent deaths in Israel and Gaza.

On Nov. 12, Ranjit Hoskote, an Indian art critic and poet, resigned from the Documenta committee after the administrators repeatedly urged him to distance himself from a petition he had signed in 2019, about an event in India on the links between Hindu nationalism and Zionism, that described Israel as an apartheid state.

The upheaval at Documenta is just one example of how Europe’s art world is being torn by debates about Israel and Gaza, as some institutions have moved to postpone the shows of artists who have criticized Israel.

On Monday, the Folkwang Museum in Essen, Germany, ended a collaboration with Anaïs Duplan, a Haitian curator based in the United States, just days before an exhibition his studio was working on was scheduled to open. The museum said in an email to Duplan — which the artist posted to Instagram — that he had made unacceptable social media posts describing Israel’s actions in Gaza as genocide. (In an emailed statement, the museum said that it instead was posts on Duplan’s Instagram supporting the Boycott, Divestment and Sanctions movement against Israel, of B.D.S., that led to the decision.)

The following day, the Art Newspaper reported that the Lisson Gallery in London had canceled a show by Ai Weiwei, the popular Chinese artist, scheduled to open on Nov. 15, after he wrote on X about how the “Jewish community” had a significant influence in the United States. “The sense of guilt around the persecution of the Jewish people has been, at times, transferred to offset the Arab world,” Ai added in the post from Oct. 24.

In an email, Ai said that he had three other shows canceled, too, because of the post — one at Lisson in New York, in 2024, as well as shows at Galerie Max Hetzler in Paris and Berlin — and that he did not understand the decisions. “What baffles me is why a gallery would stifle my expression and moral judgment,” Ai said of Lisson’s move. (A Lisson spokeswoman said in an email that its shows had been postponed in agreement with the artist.)

For the artists and curators involved, the cancellations are a growing concern, but to some politicians in Germany, this is an overreaction. On Thursday, Claudia Roth, Germany’s culture minister, said in an interview with Die Zeit, a German newspaper, that the idea that institutions now had to Google whether artists supported a boycott of Israel was “complete nonsense.”

Protecting artistic freedom was one of her most important jobs, she said, although that freedom had its limits if it crossed into hate speech, especially at a time of rising antisemitism in Germany.

Documenta was initially staged in 1955 as the first large-scale exhibition in West Germany of the art of the European avant-garde. It was a direct response to the Degenerate Art Show, the denunciatory exhibition of modern art staged by the Nazis in Munich in 1937. Each edition since then — it now takes place twice a decade, from June to September, and is known as a “Museum of 100 Days” — has attempted to bring the art of the whole world to Germany.

But it has struggled to move forward following its highly polarizing 2022 edition, which brought Documenta’s global ambitions into direct conflict with Germany’s “memory culture” or institutional efforts to face its Nazi past. It opened with the prominent display of an agitprop mural from Indonesia that included antisemitic caricatures. Although the mural was taken down, it set off a monthslong debate in Germany’s art world about antisemitism, Palestinian activism and Germany’s relationship to formerly colonized countries. The show’s director-general resigned that summer. Its artistic leadership was called to testify before parliament, and officials threatened to revoke funding.

Hoskote said Documenta was one of the art world’s greatest events, partly because it had always been a forum for new ideas. He worried that core idea was now at risk. In Germany, at least, he said, art institutions seemed to be losing their focus on the “imagination and creative,” and are instead just focusing on one issue.

Native American Heritage Month

Native American Heritage Month
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November is Native American Heritage Month, dedicated to celebrating the enrichment of the culture, history, and traditions of Native Americans, Alaska Natives, Native Hawaiians, and other affiliated Island groups in the United States. 

In America, this month is typically filled with Thanksgiving celebrations, often overshadowing the observance of Native American Heritage Month. What many people may not realize is that the day after Thanksgiving, commonly referred to as Black Friday, is Native American Heritage Day: the day of recognition that the Native Americans were the first people in this nation. The story of Thanksgiving commonly taught to Americans at home and in school is often presented with a positive and harmonious perspective. Many educators are encouraged to teach curriculums that emphasize a false narrative of amicable assistance between Native Americans and White settlers, which enabled them to establish a new life for themselves. Even though children are increasingly taught a more positive view of Native American culture, it is crucial to recognize and educate them about the actual historical occurrences as they mature, to guarantee their ongoing support of the culture and knowledge about proper history. 

Regardless of how this history is conveyed to the American public, it cannot erase the oppression and genocides that Native Americans endured upon the settlers’ arrival in the New World. Native American numbers began to decline after settlers arrived, with more than 80% dying within the first 100 years. Therefore, many Native Americans decide to not celebrate Thanksgiving and instead view it as a day of remembrance and mourning. Despite the violent events that occurred over 200 years ago, it wasn’t until 1990 that Native American Heritage Month was officially recognized. Yet, even through all of this violence and cruelty, some Native Americans do choose to embody the Native Heritage, and cultural contributions and make Thanksgiving into a positive commemoration. No matter how one chooses to celebrate, it should be acknowledged how the Native Americans were discriminated against when the settlers arrived. 

In November, Indigenous communities are honored not only through Native American Heritage Month but also through events, festivals, dances, art, and businesses that promote Native American-owned products are just some of the ways Native Americans are being represented during this month. That being said, if there are no such events in the vicinity, or events are not accessible, there are numerous other ways to show support for Native American communities; these methods can include supporting Native American art, artists, authors, literature, podcasts, and music. All of these activities can be completed in the comfort of your home and still make a significant impact on the Indigenous community. 

As stated in a previous article, Indigenous Peoples’ Day and the Native history of Geneseo, So, we here at The Lamron would just like to attribute a land acknowledgement for the land in which the college benefitted from. It exists due to the efforts against the rights inherent to all peoples that were stripped away from the Native people in favor of possession. We are receiving an education on top of land that was originally attributed to what is now known as the Seneca Nation of Indians and the Tonawanda Seneca Nation, who are now confined to living on eleven different reservations that are spread all throughout the Western New York region.

Thumbnail Photo of Haudenosaunee flag courtesy of WikiMedia Commons