Indonesian printmaker Muhlis Lugis’s large-scale woodcuts explore his cultural heritage by reflecting and recontextualising aspects of Bugis customs, philosophy and mythology. Grounded in the teachings and culture of the Bugis community of South Sulawesi, his meticulous compositions reaffirm the significance of cultural practice and identity amid the ever-changing landscape of Indonesian society. Throughout the artists 'Sangiang Serri (Goddess of Rice)' series of works, Lugis illustrates significant events and rituals dedicated to the rice goddess detailed in the influential epic Bugis narrative La Galigo. Sangiang Serri (Entertaining the Sangiang Serri) 2021 (illustrated) portrays the Buginese appadendang ritual, a joyful performance of gratitude for abundant harvests. An important expression of cultural identity, the ceremony consists of beating a lesung (mortar) and alu (pestle) in dendang (rhythm) to produce a beat pleasing to the goddess, which forms the musical accompaniment to the Padendang dancers. The observance of Mappadendang is a significant community gathering of unity and cultural celebration Sangiang Serri (Entertaining the Sangiang Serri) 2021 In Sangiang Serri Bersemayam di Lumbung (Sangiang Serri Resides in the Barn) 2021 (illustrated), Sangiang Serri’s loyal feline companion Meong Mpalo Karellae guards the goddess in the rakkeang (granary) in the attic of a traditional Buginese house. The tricoloured cat’s persistent loyalty to Sangiang Serri is emblematic of favourable social values within Bugis society. Sangiang Serri Bersemayam di Lumbung (Sangiang Serri Resides in the Barn) 2021 Persembahan Sang Dewi (The Goddess’s Offering) 2021 (illustrated) brings to life in intricate detail the moment of transformation of Sangiang Serri into rice by Dewata Seuwae, the supreme god in the upper world. Persembahan Sang Dewi (The Goddess’s Offering) 2021 Edited extract from the publication The 11th Asia Pacific Triennial of Contemporary Art, QAGOMA, 2024 Asia Pacific Triennial Extended View these works at QAG until 29 June Asia Pacific Triennial 30 November 2024 – 27 April 2025 Queensland Art Gallery and Gallery of Modern Art (QAGOMA) Brisbane, Australia Free entry

The multichannel installation 'The Earth is an hourglass' 2024 documents the time-adjusted melting of a pigment-infused block of ice across five channels of video, expanding the hypnotic effect of Dawn Ng’s video practice into an enveloping visual experience. Ng’s work across a wide range of contemporary media is unified by subtle gradations of colour, which function as a way of exploring the passage and experience of time. Since 2018, Ng has filmed and photographed stages in the disintegration of frozen blocks of coloured pigment. Her videos compress the entire 20-hour process of decomposition into a mesmerising 20 minutes. Seventy artists, collectives and projects from more than 30 countries feature in the eleventh chapter of the flagship QAGOMA exhibition series, the Asia Pacific Triennial of Contemporary Art. Bringing compelling new art to Brisbane, the Triennial is a gateway to the rapidly evolving artistic expression of Australia, Asia and the Pacific. The Asia Pacific Triennial of Contemporary Art is QAGOMA's (Queensland Art Gallery | Gallery of Modern Art) flagship exhibition series. 11th Asia Pacific Triennial of Contemporary Art 30 Nov 2024 – 27 Apr 2025 Queensland Art Gallery & Gallery of Modern Art Free entry https://www.qagoma.qld.gov.au/apt11 Dawn Ng, Singapore b.1982 ‘The Earth is an hourglass’, comprising: 'The Earth is an hourglass' 2024 installed for ‘The 11th Asia Pacific Triennial of Contemporary Art’ Single-channel 4K video: 16:9, colour, 38:33 minutes Purchased 2024 with funds from the Melbourne Art Foundation and the QAGOMA Foundation Collection: Queensland Art Gallery | Gallery of Modern Art © Dawn Ng 'Orbit I' 2024 and 'Orbit II' 2024 installed for ‘The 11th Asia Pacific Triennial of Contemporary Art’ Two-channel 4K video: 16:9, colour, 38:33 minutes Courtesy: The artist and Sullivan+Strumpf, Singapore Queensland Art Gallery | Gallery of Modern Art, Brisbane, Australia © Queensland Art Gallery Board of Trustees, 2025 https://www.qagoma.qld.gov.au #qagoma

For the eleventh Asia Pacific Triennial, Haus Yuriyal present a grand display of their cultural expression and unity, encompassing a functional garden, boldly decorated architectural structures, kuman (shield) paintings, carved tree-fern sculptures, textiles and videos. Seventy artists, collectives and projects from more than 30 countries feature in the eleventh chapter of the flagship QAGOMA exhibition series, the Asia Pacific Triennial of Contemporary Art. Bringing compelling new art to Brisbane, the Triennial is a gateway to the rapidly evolving artistic expression of Australia, Asia and the Pacific. The Asia Pacific Triennial of Contemporary Art is QAGOMA's (Queensland Art Gallery | Gallery of Modern Art) flagship exhibition series. 11th Asia Pacific Triennial of Contemporary Art 30 Nov 2024 – 27 Apr 2025 Queensland Art Gallery & Gallery of Modern Art Free entry https://www.qagoma.qld.gov.au/apt11 Queensland Art Gallery | Gallery of Modern Art, Brisbane, Australia © Queensland Art Gallery Board of Trustees, 2025 https://www.qagoma.qld.gov.au #qagoma

Haji Oh's textile installation Seabird Habitats 2022 installed in the eleventh Asia Pacific Triennial, is a single tableau of seven suspended woven panels that map the entanglement of Korean labour in the history of colonialism in the Asia Pacific region. During Japan’s imperial period, Korean subjects were despatched to work in British, German and Japanese colonial territories, from the Izu islands off Japan’s east coast to Queensland’s Torres Strait and Nauru in the Pacific Ocean. Oh layers cyanotypes of historical imagery of these landscapes with the weave of a eucalypt forest near her home in Wollongong, New South Wales. Haji Oh installing Seabird Habitats 2022 A third-generation member of Japan’s Zainichi Korean community and a recent migrant to Australia, Haji Oh uses the techniques and materials of weaving as a platform to explore dispossession, dispersion and migration, and the complexities of personal identity that ensue from these experiences. Seabird hunting and guano mining played significant roles in colonial expansion in the Pacific but destroyed the habitats the birds once flew freely between. With its guano deposits exhausted, Nauru continues to host one of Australia’s controversial offshore processing centres for asylum seekers. Oh proposes weaving as a space where these complexities can be mediated — where past and present can come together and new, less exploitative relationships can be imagined. This project is assisted by the Ishibashi Foundation and the National Center for Art Research, Japan Edited extract from the publication The 11th Asia Pacific Triennial of Contemporary Art, QAGOMA, 2024 Asia Pacific Triennial 30 November 2024 – 27 April 2025 Queensland Art Gallery and Gallery of Modern Art (QAGOMA) Brisbane, Australia Free entry Asia Pacific Triennial Extended View this work at GOMA until 13 July