William Bakalevu discovered his passion for painting at 37 years of age after relocating from Suva, the capital city of Fiji, to his ancestral village of Nakorolevu. Inspired by local history and daily life, Bakalevu began creating domestic murals to visually document village stories. This endeavour marked the beginning of his lifelong dedication to retelling local legends and proverbs through art. Bakalevu has continued to refine his innovative contextualisation of Fijian legends, blending narrative and emotion through new symbols and techniques. Viavia 2024 (translating to Wannabe), explores the Fijian proverb ‘Eda Ika kecega, is eda dui nubunubu’, which likens people to fish dwelling at different depths. In this painting, Bakalevu reflects on his unique artistic journey, acknowledging his desire to explore new directions while remaining deeply rooted in his cultural heritage. Viavia (Wannabe/Want to be) 2024 Through his layering of natural tones and textures, Bakalevu’s paintings draws on the visual aesthetic of customary Fijian textile and pottery practices. This can be seen in the composition of The legend of the birds of Nacilau 2010, in which appear three characters from a legend about the night Degei, the supreme god of Fiji (here in serpent form), asked his son to order the native birds of Nacilau village to sleep elsewhere because they were chirping too loudly near his cave. The legend provides an explanation for the birds leaving the area just after sunset and returning after sunrise the next day. The legend of the birds of Nacilau 2010 The Taralala 2010 shows three closely linked figures against a green background, connected through rhythmic patterns as they move together doing the Taralala — a Fijian dance that can be performed to any beat or melogy. Most social gatherings in Fiji have moments for people to engage in this form of dance as an important way of contributing to the spirit of joy ad fellowship. The Taralala 2010 In The legend of the Raki Raki reefs 2010, with the texture of a woven mat in the background, the serpent form of Degei appears with his subjects, who he commanded to silence the noise of the waves breaking over then reefs near his cave. To this day, the reef break in the Rakiraki district is considered the quietest on the island. The legend of the Raki Raki reefs 2010 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

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 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