'The 11th Asia Pacific Triennial of Contemporary Art' opened on the first weekend of summer with visitors enjoying the Queensland capital’s subtropical climate. A dynamic program of events kicked off the opening weekend celebrations with a cultural warming event with responses from contributing artists before the work of 70 artists, collectives and projects from 30 countries across the Asia Pacific went on view.

Here’s what visitors had to say about the Asia Pacific Triennial.

'The 11th Asia Pacific Triennial of Contemporary Art' opening weekend / Photograph: K Bennett © QAGOMA

'The 11th Asia Pacific Triennial of Contemporary Art' opening weekend / Photograph: K Bennett © QAGOMA / View full image

'The 11th Asia Pacific Triennial of Contemporary Art' opening weekend / Photograph: C Callistemon © QAGOMA

'The 11th Asia Pacific Triennial of Contemporary Art' opening weekend / Photograph: C Callistemon © QAGOMA / View full image

More than 12 000 visitors swarmed our neighbouring buildings — Queensland Art Gallery and Gallery of Modern Art — to take in free onsite performances, artist talks, panel discussions, cinema screenings, and drop-in art and music-making workshops.

Highlights included performances by Sydney-based artist Angela Goh, Timor-Leste musician Etson Caminha and Solomon Island collective KAWAKI, a sold-out conversation with Taiwan filmmaker Tsai Ming-liang, and a choral rendition of Okui Lala’s Children’s Art Centre project, ‘Have you ever tried to listen to the sound of Brisbane’?

We look forward to welcoming you at the Triennial over summer and up until 27 April 2025 for art that connects us all.

Sydney-based artist Angela Goh

Sydney-based artist Angela Goh performing at 'The 11th Asia Pacific Triennial of Contemporary Art' opening weekend / Photograph: N Umek © QAGOMA

Sydney-based artist Angela Goh performing at 'The 11th Asia Pacific Triennial of Contemporary Art' opening weekend / Photograph: N Umek © QAGOMA / View full image

Timor-Leste musician Etson Caminha

Timor-Leste musician Etson Caminha performing at 'The 11th Asia Pacific Triennial of Contemporary Art' opening weekend / Photograph: C Baxter © QAGOMA

Timor-Leste musician Etson Caminha performing at 'The 11th Asia Pacific Triennial of Contemporary Art' opening weekend / Photograph: C Baxter © QAGOMA / View full image

Solomon Island collective KAWAKI

Solomon Island collective KAWAKI performing at 'The 11th Asia Pacific Triennial of Contemporary Art' opening weekend / Photograph: K Bennett © QAGOMA

Solomon Island collective KAWAKI performing at 'The 11th Asia Pacific Triennial of Contemporary Art' opening weekend / Photograph: K Bennett © QAGOMA / View full image

Taiwan filmmaker Tsai Ming-liang

Taiwan filmmaker Tsai Ming-liang at 'The 11th Asia Pacific Triennial of Contemporary Art' opening weekend / Photograph: N Umek © QAGOMA

Taiwan filmmaker Tsai Ming-liang at 'The 11th Asia Pacific Triennial of Contemporary Art' opening weekend / Photograph: N Umek © QAGOMA / View full image

Malaysian artist Okui Lala's 'Sounds of Brisbane’ project

West End State School students performing Okui Lala's 'Sounds of Brisbane’ project at 'The 11th Asia Pacific Triennial of Contemporary Art' opening weekend / Photograph: K Bennett © QAGOMA

West End State School students performing Okui Lala's 'Sounds of Brisbane’ project at 'The 11th Asia Pacific Triennial of Contemporary Art' opening weekend / Photograph: K Bennett © QAGOMA / View full image

Art that shifts your view
Asia Pacific Triennial
Queensland Art Gallery and Gallery of Modern Art
30 November 2024 – 27 April 2025

Related Stories

  • Read

    Painting draws on Fijian textile & pottery practices

    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 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
  • Read

    Significant events & rituals dedicated to the Goddess of Rice

    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
Loading...