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_rinks
i r e n e s u n w o o
Chair and Curator, Arch + Design
Art Institute of Chicago
😶🌫️
Venice, so abbreviated ✂️
▫️Lawrence Abu Hamdan @lawrenceabuhamdan / 450XL: The Story of a Fugitive Sound at @fondazioneinbetweenartfilm (the very last work I saw and the one I can’t/won’t stop thinking about)
▫️Brilliant Milazimi @brilant.milazimi Hard Teeth at Kosovo Pavilion / curated by Jose Esparza @josesparza with poignant precision
▫️Tuan Andrew Nguyen @tuan.andrew.nguyen / Those Who Left Are Those Who Return (cried cried cried)
▫️Himali Singh Soin @himalisinghsoin and David Soin Tappesser @davidsointappeser / Mountain and Subcontinentment (sonic South Asian futurism for the soul)
▫️Torkwase Dyson @torkwasedyson / Tougaloo (closing out the Arsenale with Black Compositional Thought)
▫️Jenna Sutela @jennasutela / Aeolian Suite, curated by wind whisperer Steffi Hessler @steffihessler
▫️Gabrielle Goliath @gabriellegoliath / Elegy (resilient mourning ✨ Ibraaz @ibraazlondon )
Venice, so abbreviated ✂️
▫️Lawrence Abu Hamdan @lawrenceabuhamdan / 450XL: The Story of a Fugitive Sound at @fondazioneinbetweenartfilm (the very last work I saw and the one I can’t/won’t stop thinking about)
▫️Brilliant Milazimi @brilant.milazimi Hard Teeth at Kosovo Pavilion / curated by Jose Esparza @josesparza with poignant precision
▫️Tuan Andrew Nguyen @tuan.andrew.nguyen / Those Who Left Are Those Who Return (cried cried cried)
▫️Himali Singh Soin @himalisinghsoin and David Soin Tappesser @davidsointappeser / Mountain and Subcontinentment (sonic South Asian futurism for the soul)
▫️Torkwase Dyson @torkwasedyson / Tougaloo (closing out the Arsenale with Black Compositional Thought)
▫️Jenna Sutela @jennasutela / Aeolian Suite, curated by wind whisperer Steffi Hessler @steffihessler
▫️Gabrielle Goliath @gabriellegoliath / Elegy (resilient mourning ✨ Ibraaz @ibraazlondon )
Venice, so abbreviated ✂️
▫️Lawrence Abu Hamdan @lawrenceabuhamdan / 450XL: The Story of a Fugitive Sound at @fondazioneinbetweenartfilm (the very last work I saw and the one I can’t/won’t stop thinking about)
▫️Brilliant Milazimi @brilant.milazimi Hard Teeth at Kosovo Pavilion / curated by Jose Esparza @josesparza with poignant precision
▫️Tuan Andrew Nguyen @tuan.andrew.nguyen / Those Who Left Are Those Who Return (cried cried cried)
▫️Himali Singh Soin @himalisinghsoin and David Soin Tappesser @davidsointappeser / Mountain and Subcontinentment (sonic South Asian futurism for the soul)
▫️Torkwase Dyson @torkwasedyson / Tougaloo (closing out the Arsenale with Black Compositional Thought)
▫️Jenna Sutela @jennasutela / Aeolian Suite, curated by wind whisperer Steffi Hessler @steffihessler
▫️Gabrielle Goliath @gabriellegoliath / Elegy (resilient mourning ✨ Ibraaz @ibraazlondon )
Venice, so abbreviated ✂️
▫️Lawrence Abu Hamdan @lawrenceabuhamdan / 450XL: The Story of a Fugitive Sound at @fondazioneinbetweenartfilm (the very last work I saw and the one I can’t/won’t stop thinking about)
▫️Brilliant Milazimi @brilant.milazimi Hard Teeth at Kosovo Pavilion / curated by Jose Esparza @josesparza with poignant precision
▫️Tuan Andrew Nguyen @tuan.andrew.nguyen / Those Who Left Are Those Who Return (cried cried cried)
▫️Himali Singh Soin @himalisinghsoin and David Soin Tappesser @davidsointappeser / Mountain and Subcontinentment (sonic South Asian futurism for the soul)
▫️Torkwase Dyson @torkwasedyson / Tougaloo (closing out the Arsenale with Black Compositional Thought)
▫️Jenna Sutela @jennasutela / Aeolian Suite, curated by wind whisperer Steffi Hessler @steffihessler
▫️Gabrielle Goliath @gabriellegoliath / Elegy (resilient mourning ✨ Ibraaz @ibraazlondon )
Venice, so abbreviated ✂️
▫️Lawrence Abu Hamdan @lawrenceabuhamdan / 450XL: The Story of a Fugitive Sound at @fondazioneinbetweenartfilm (the very last work I saw and the one I can’t/won’t stop thinking about)
▫️Brilliant Milazimi @brilant.milazimi Hard Teeth at Kosovo Pavilion / curated by Jose Esparza @josesparza with poignant precision
▫️Tuan Andrew Nguyen @tuan.andrew.nguyen / Those Who Left Are Those Who Return (cried cried cried)
▫️Himali Singh Soin @himalisinghsoin and David Soin Tappesser @davidsointappeser / Mountain and Subcontinentment (sonic South Asian futurism for the soul)
▫️Torkwase Dyson @torkwasedyson / Tougaloo (closing out the Arsenale with Black Compositional Thought)
▫️Jenna Sutela @jennasutela / Aeolian Suite, curated by wind whisperer Steffi Hessler @steffihessler
▫️Gabrielle Goliath @gabriellegoliath / Elegy (resilient mourning ✨ Ibraaz @ibraazlondon )
Venice, so abbreviated ✂️
▫️Lawrence Abu Hamdan @lawrenceabuhamdan / 450XL: The Story of a Fugitive Sound at @fondazioneinbetweenartfilm (the very last work I saw and the one I can’t/won’t stop thinking about)
▫️Brilliant Milazimi @brilant.milazimi Hard Teeth at Kosovo Pavilion / curated by Jose Esparza @josesparza with poignant precision
▫️Tuan Andrew Nguyen @tuan.andrew.nguyen / Those Who Left Are Those Who Return (cried cried cried)
▫️Himali Singh Soin @himalisinghsoin and David Soin Tappesser @davidsointappeser / Mountain and Subcontinentment (sonic South Asian futurism for the soul)
▫️Torkwase Dyson @torkwasedyson / Tougaloo (closing out the Arsenale with Black Compositional Thought)
▫️Jenna Sutela @jennasutela / Aeolian Suite, curated by wind whisperer Steffi Hessler @steffihessler
▫️Gabrielle Goliath @gabriellegoliath / Elegy (resilient mourning ✨ Ibraaz @ibraazlondon )
Venice, so abbreviated ✂️
▫️Lawrence Abu Hamdan @lawrenceabuhamdan / 450XL: The Story of a Fugitive Sound at @fondazioneinbetweenartfilm (the very last work I saw and the one I can’t/won’t stop thinking about)
▫️Brilliant Milazimi @brilant.milazimi Hard Teeth at Kosovo Pavilion / curated by Jose Esparza @josesparza with poignant precision
▫️Tuan Andrew Nguyen @tuan.andrew.nguyen / Those Who Left Are Those Who Return (cried cried cried)
▫️Himali Singh Soin @himalisinghsoin and David Soin Tappesser @davidsointappeser / Mountain and Subcontinentment (sonic South Asian futurism for the soul)
▫️Torkwase Dyson @torkwasedyson / Tougaloo (closing out the Arsenale with Black Compositional Thought)
▫️Jenna Sutela @jennasutela / Aeolian Suite, curated by wind whisperer Steffi Hessler @steffihessler
▫️Gabrielle Goliath @gabriellegoliath / Elegy (resilient mourning ✨ Ibraaz @ibraazlondon )
Abigail Lucien: Blood of the Earth
🔥🖤🔥🖤🔥🖤🔥
June 18, 2026 - January 25, 2027
🔥🖤🔥🖤🔥🖤🔥
Art Institute of Chicago
🔥🖤🔥🖤🔥🖤🔥
@abigaillucien solo show coming soooon at @artinstitutechi !
🔥🖤🔥🖤🔥🖤🔥
curated by @_rinks
🔥🖤🔥🖤🔥🖤🔥
📽️ iron pour organized by collaborators @saicsculpture foundry
🔥🖤🔥🖤🔥🖤🔥
special thanks to @desmond_lewis93 + @theastergates
Palazzo Rosso ❤️
Franco Albini, downstairs x 2
Renaissance details x 3
Franco Albini, upstairs x 3
Palazzo Rosso ❤️
Franco Albini, downstairs x 2
Renaissance details x 3
Franco Albini, upstairs x 3
Palazzo Rosso ❤️
Franco Albini, downstairs x 2
Renaissance details x 3
Franco Albini, upstairs x 3
Palazzo Rosso ❤️
Franco Albini, downstairs x 2
Renaissance details x 3
Franco Albini, upstairs x 3
Palazzo Rosso ❤️
Franco Albini, downstairs x 2
Renaissance details x 3
Franco Albini, upstairs x 3
Palazzo Rosso ❤️
Franco Albini, downstairs x 2
Renaissance details x 3
Franco Albini, upstairs x 3
Palazzo Rosso ❤️
Franco Albini, downstairs x 2
Renaissance details x 3
Franco Albini, upstairs x 3
Palazzo Rosso ❤️
Franco Albini, downstairs x 2
Renaissance details x 3
Franco Albini, upstairs x 3
Swan Lake (2025) by @saodatismailova, a haunting two-channel work splicing archival footage and fragments of Central Asian feature films of the post-Soviet era. On view in the artist's solo exhibition Amanat at @swissinstitute curated by @steffihessler ☄️
Swan Lake (2025) by @saodatismailova, a haunting two-channel work splicing archival footage and fragments of Central Asian feature films of the post-Soviet era. On view in the artist's solo exhibition Amanat at @swissinstitute curated by @steffihessler ☄️
Swan Lake (2025) by @saodatismailova, a haunting two-channel work splicing archival footage and fragments of Central Asian feature films of the post-Soviet era. On view in the artist's solo exhibition Amanat at @swissinstitute curated by @steffihessler ☄️
Swan Lake (2025) by @saodatismailova, a haunting two-channel work splicing archival footage and fragments of Central Asian feature films of the post-Soviet era. On view in the artist's solo exhibition Amanat at @swissinstitute curated by @steffihessler ☄️
Swan Lake (2025) by @saodatismailova, a haunting two-channel work splicing archival footage and fragments of Central Asian feature films of the post-Soviet era. On view in the artist's solo exhibition Amanat at @swissinstitute curated by @steffihessler ☄️
Swan Lake (2025) by @saodatismailova, a haunting two-channel work splicing archival footage and fragments of Central Asian feature films of the post-Soviet era. On view in the artist's solo exhibition Amanat at @swissinstitute curated by @steffihessler ☄️
Swan Lake (2025) by @saodatismailova, a haunting two-channel work splicing archival footage and fragments of Central Asian feature films of the post-Soviet era. On view in the artist's solo exhibition Amanat at @swissinstitute curated by @steffihessler ☄️
In and out of LA for this phenomenal show co-curated by Hamza Walker, Bennett Simpson, and Kara Walker.
MONUMENTS
@thebrick_la
1-4 Kara Walker, Unmanned Drone (2023)
@moca
5 Confederate monument to Stonewall Jackson and Robert E. Lee (1948)
6-7 Hugh Mangam, Untitled (ca. 1897-1922)
8 Jon Henry, Untitled #55, Little Rock, AR (2020)
9 fragments from the base of a decommissioned Confederate monument
10 Bethany Collins, Love is Dangerous (2025)
11 Cauleen Smith, The Warden (2025)
12 Confederate monument to Jefferson Davis (1907)
In and out of LA for this phenomenal show co-curated by Hamza Walker, Bennett Simpson, and Kara Walker.
MONUMENTS
@thebrick_la
1-4 Kara Walker, Unmanned Drone (2023)
@moca
5 Confederate monument to Stonewall Jackson and Robert E. Lee (1948)
6-7 Hugh Mangam, Untitled (ca. 1897-1922)
8 Jon Henry, Untitled #55, Little Rock, AR (2020)
9 fragments from the base of a decommissioned Confederate monument
10 Bethany Collins, Love is Dangerous (2025)
11 Cauleen Smith, The Warden (2025)
12 Confederate monument to Jefferson Davis (1907)
In and out of LA for this phenomenal show co-curated by Hamza Walker, Bennett Simpson, and Kara Walker.
MONUMENTS
@thebrick_la
1-4 Kara Walker, Unmanned Drone (2023)
@moca
5 Confederate monument to Stonewall Jackson and Robert E. Lee (1948)
6-7 Hugh Mangam, Untitled (ca. 1897-1922)
8 Jon Henry, Untitled #55, Little Rock, AR (2020)
9 fragments from the base of a decommissioned Confederate monument
10 Bethany Collins, Love is Dangerous (2025)
11 Cauleen Smith, The Warden (2025)
12 Confederate monument to Jefferson Davis (1907)
In and out of LA for this phenomenal show co-curated by Hamza Walker, Bennett Simpson, and Kara Walker.
MONUMENTS
@thebrick_la
1-4 Kara Walker, Unmanned Drone (2023)
@moca
5 Confederate monument to Stonewall Jackson and Robert E. Lee (1948)
6-7 Hugh Mangam, Untitled (ca. 1897-1922)
8 Jon Henry, Untitled #55, Little Rock, AR (2020)
9 fragments from the base of a decommissioned Confederate monument
10 Bethany Collins, Love is Dangerous (2025)
11 Cauleen Smith, The Warden (2025)
12 Confederate monument to Jefferson Davis (1907)
In and out of LA for this phenomenal show co-curated by Hamza Walker, Bennett Simpson, and Kara Walker.
MONUMENTS
@thebrick_la
1-4 Kara Walker, Unmanned Drone (2023)
@moca
5 Confederate monument to Stonewall Jackson and Robert E. Lee (1948)
6-7 Hugh Mangam, Untitled (ca. 1897-1922)
8 Jon Henry, Untitled #55, Little Rock, AR (2020)
9 fragments from the base of a decommissioned Confederate monument
10 Bethany Collins, Love is Dangerous (2025)
11 Cauleen Smith, The Warden (2025)
12 Confederate monument to Jefferson Davis (1907)
In and out of LA for this phenomenal show co-curated by Hamza Walker, Bennett Simpson, and Kara Walker.
MONUMENTS
@thebrick_la
1-4 Kara Walker, Unmanned Drone (2023)
@moca
5 Confederate monument to Stonewall Jackson and Robert E. Lee (1948)
6-7 Hugh Mangam, Untitled (ca. 1897-1922)
8 Jon Henry, Untitled #55, Little Rock, AR (2020)
9 fragments from the base of a decommissioned Confederate monument
10 Bethany Collins, Love is Dangerous (2025)
11 Cauleen Smith, The Warden (2025)
12 Confederate monument to Jefferson Davis (1907)
In and out of LA for this phenomenal show co-curated by Hamza Walker, Bennett Simpson, and Kara Walker.
MONUMENTS
@thebrick_la
1-4 Kara Walker, Unmanned Drone (2023)
@moca
5 Confederate monument to Stonewall Jackson and Robert E. Lee (1948)
6-7 Hugh Mangam, Untitled (ca. 1897-1922)
8 Jon Henry, Untitled #55, Little Rock, AR (2020)
9 fragments from the base of a decommissioned Confederate monument
10 Bethany Collins, Love is Dangerous (2025)
11 Cauleen Smith, The Warden (2025)
12 Confederate monument to Jefferson Davis (1907)
In and out of LA for this phenomenal show co-curated by Hamza Walker, Bennett Simpson, and Kara Walker.
MONUMENTS
@thebrick_la
1-4 Kara Walker, Unmanned Drone (2023)
@moca
5 Confederate monument to Stonewall Jackson and Robert E. Lee (1948)
6-7 Hugh Mangam, Untitled (ca. 1897-1922)
8 Jon Henry, Untitled #55, Little Rock, AR (2020)
9 fragments from the base of a decommissioned Confederate monument
10 Bethany Collins, Love is Dangerous (2025)
11 Cauleen Smith, The Warden (2025)
12 Confederate monument to Jefferson Davis (1907)
In and out of LA for this phenomenal show co-curated by Hamza Walker, Bennett Simpson, and Kara Walker.
MONUMENTS
@thebrick_la
1-4 Kara Walker, Unmanned Drone (2023)
@moca
5 Confederate monument to Stonewall Jackson and Robert E. Lee (1948)
6-7 Hugh Mangam, Untitled (ca. 1897-1922)
8 Jon Henry, Untitled #55, Little Rock, AR (2020)
9 fragments from the base of a decommissioned Confederate monument
10 Bethany Collins, Love is Dangerous (2025)
11 Cauleen Smith, The Warden (2025)
12 Confederate monument to Jefferson Davis (1907)
In and out of LA for this phenomenal show co-curated by Hamza Walker, Bennett Simpson, and Kara Walker.
MONUMENTS
@thebrick_la
1-4 Kara Walker, Unmanned Drone (2023)
@moca
5 Confederate monument to Stonewall Jackson and Robert E. Lee (1948)
6-7 Hugh Mangam, Untitled (ca. 1897-1922)
8 Jon Henry, Untitled #55, Little Rock, AR (2020)
9 fragments from the base of a decommissioned Confederate monument
10 Bethany Collins, Love is Dangerous (2025)
11 Cauleen Smith, The Warden (2025)
12 Confederate monument to Jefferson Davis (1907)
In and out of LA for this phenomenal show co-curated by Hamza Walker, Bennett Simpson, and Kara Walker.
MONUMENTS
@thebrick_la
1-4 Kara Walker, Unmanned Drone (2023)
@moca
5 Confederate monument to Stonewall Jackson and Robert E. Lee (1948)
6-7 Hugh Mangam, Untitled (ca. 1897-1922)
8 Jon Henry, Untitled #55, Little Rock, AR (2020)
9 fragments from the base of a decommissioned Confederate monument
10 Bethany Collins, Love is Dangerous (2025)
11 Cauleen Smith, The Warden (2025)
12 Confederate monument to Jefferson Davis (1907)
In and out of LA for this phenomenal show co-curated by Hamza Walker, Bennett Simpson, and Kara Walker.
MONUMENTS
@thebrick_la
1-4 Kara Walker, Unmanned Drone (2023)
@moca
5 Confederate monument to Stonewall Jackson and Robert E. Lee (1948)
6-7 Hugh Mangam, Untitled (ca. 1897-1922)
8 Jon Henry, Untitled #55, Little Rock, AR (2020)
9 fragments from the base of a decommissioned Confederate monument
10 Bethany Collins, Love is Dangerous (2025)
11 Cauleen Smith, The Warden (2025)
12 Confederate monument to Jefferson Davis (1907)
What a privilege to present the film 𝘞𝘦 𝘞𝘦𝘳𝘦 𝘓𝘰𝘴𝘵 𝘪𝘯 𝘖𝘶𝘳 𝘊𝘰𝘶𝘯𝘵𝘳𝘺 (2019) by @tuan.andrew.nguyen — recent MacArthur Foundation “genius” ! — in the Architecture and Design galleries at @artinstitutechi. An important recent addition to our departmental collection, the film is on view in Modern Wing Gallery 283 until March 9, 2026.
I first encountered Tuan's film, as well as the painting at the center of its narrative, at the inaugural @sharjaharchitecturetriennial, which commissioned the film under the curatorial direction of Adrian Lahoud.
Huge thanks to @emescher24, @madamgodzilla, and AIC's ever-awesome AV team for our installation at the museum.
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For the Ngurrara people of Western Australia, Country is not just a place. The word also signifies kinship with the lands, waters, and skies of the Great Sandy Desert, which the Aboriginal communities of the Walmajarri, Wangkajunga, Mangala, and Juwaliny language groups have stewarded for millennia. Tuan Andrew Nguyen’s film 𝘞𝘦 𝘞𝘦𝘳𝘦 𝘓𝘰𝘴𝘵 𝘪𝘯 𝘖𝘶𝘳 𝘊𝘰𝘶𝘯𝘵𝘳𝘺 (2019) explores how these communities established legal rights to their ancestral land by creating the monumental painting 𝘕𝘨𝘶𝘳𝘳𝘢𝘳𝘢 𝘊𝘢𝘯𝘷𝘢𝘴 𝘐𝘐 in 1997.
Painted entirely from memory and intergenerational knowledge, 𝘕𝘨𝘶𝘳𝘳𝘢𝘳𝘢 𝘊𝘢𝘯𝘷𝘢𝘴 𝘐𝘐 maps the environmental features of 29,000 square miles of the Great Sandy Desert. Created by 44 Ngurrara artists, it is more than a cartographic representation of territory. It was conceived and produced as evidence of Indigenous connections to Country, securing the land—and the spiritual worldview it embodies—for future generations.
Nguyen’s film brings together archival and new footage, including interviews with surviving map artists and younger community members who were raised outside of the desert, disconnected from Country. It meditates on dispossession and inherited trauma, as well as on ways of knowing and belonging. In 𝘞𝘦 𝘞𝘦𝘳𝘦 𝘓𝘰𝘴𝘵 𝘪𝘯 𝘖𝘶𝘳 𝘊𝘰𝘶𝘯𝘵𝘳𝘺, Nguyen shows how collective memory heals and engenders solidarity and how storytelling and art making are forms of political resistance.
||||||||||
What a privilege to present the film 𝘞𝘦 𝘞𝘦𝘳𝘦 𝘓𝘰𝘴𝘵 𝘪𝘯 𝘖𝘶𝘳 𝘊𝘰𝘶𝘯𝘵𝘳𝘺 (2019) by @tuan.andrew.nguyen — recent MacArthur Foundation “genius” ! — in the Architecture and Design galleries at @artinstitutechi. An important recent addition to our departmental collection, the film is on view in Modern Wing Gallery 283 until March 9, 2026.
I first encountered Tuan's film, as well as the painting at the center of its narrative, at the inaugural @sharjaharchitecturetriennial, which commissioned the film under the curatorial direction of Adrian Lahoud.
Huge thanks to @emescher24, @madamgodzilla, and AIC's ever-awesome AV team for our installation at the museum.
|||||||||
For the Ngurrara people of Western Australia, Country is not just a place. The word also signifies kinship with the lands, waters, and skies of the Great Sandy Desert, which the Aboriginal communities of the Walmajarri, Wangkajunga, Mangala, and Juwaliny language groups have stewarded for millennia. Tuan Andrew Nguyen’s film 𝘞𝘦 𝘞𝘦𝘳𝘦 𝘓𝘰𝘴𝘵 𝘪𝘯 𝘖𝘶𝘳 𝘊𝘰𝘶𝘯𝘵𝘳𝘺 (2019) explores how these communities established legal rights to their ancestral land by creating the monumental painting 𝘕𝘨𝘶𝘳𝘳𝘢𝘳𝘢 𝘊𝘢𝘯𝘷𝘢𝘴 𝘐𝘐 in 1997.
Painted entirely from memory and intergenerational knowledge, 𝘕𝘨𝘶𝘳𝘳𝘢𝘳𝘢 𝘊𝘢𝘯𝘷𝘢𝘴 𝘐𝘐 maps the environmental features of 29,000 square miles of the Great Sandy Desert. Created by 44 Ngurrara artists, it is more than a cartographic representation of territory. It was conceived and produced as evidence of Indigenous connections to Country, securing the land—and the spiritual worldview it embodies—for future generations.
Nguyen’s film brings together archival and new footage, including interviews with surviving map artists and younger community members who were raised outside of the desert, disconnected from Country. It meditates on dispossession and inherited trauma, as well as on ways of knowing and belonging. In 𝘞𝘦 𝘞𝘦𝘳𝘦 𝘓𝘰𝘴𝘵 𝘪𝘯 𝘖𝘶𝘳 𝘊𝘰𝘶𝘯𝘵𝘳𝘺, Nguyen shows how collective memory heals and engenders solidarity and how storytelling and art making are forms of political resistance.
||||||||||
What a privilege to present the film 𝘞𝘦 𝘞𝘦𝘳𝘦 𝘓𝘰𝘴𝘵 𝘪𝘯 𝘖𝘶𝘳 𝘊𝘰𝘶𝘯𝘵𝘳𝘺 (2019) by @tuan.andrew.nguyen — recent MacArthur Foundation “genius” ! — in the Architecture and Design galleries at @artinstitutechi. An important recent addition to our departmental collection, the film is on view in Modern Wing Gallery 283 until March 9, 2026.
I first encountered Tuan's film, as well as the painting at the center of its narrative, at the inaugural @sharjaharchitecturetriennial, which commissioned the film under the curatorial direction of Adrian Lahoud.
Huge thanks to @emescher24, @madamgodzilla, and AIC's ever-awesome AV team for our installation at the museum.
|||||||||
For the Ngurrara people of Western Australia, Country is not just a place. The word also signifies kinship with the lands, waters, and skies of the Great Sandy Desert, which the Aboriginal communities of the Walmajarri, Wangkajunga, Mangala, and Juwaliny language groups have stewarded for millennia. Tuan Andrew Nguyen’s film 𝘞𝘦 𝘞𝘦𝘳𝘦 𝘓𝘰𝘴𝘵 𝘪𝘯 𝘖𝘶𝘳 𝘊𝘰𝘶𝘯𝘵𝘳𝘺 (2019) explores how these communities established legal rights to their ancestral land by creating the monumental painting 𝘕𝘨𝘶𝘳𝘳𝘢𝘳𝘢 𝘊𝘢𝘯𝘷𝘢𝘴 𝘐𝘐 in 1997.
Painted entirely from memory and intergenerational knowledge, 𝘕𝘨𝘶𝘳𝘳𝘢𝘳𝘢 𝘊𝘢𝘯𝘷𝘢𝘴 𝘐𝘐 maps the environmental features of 29,000 square miles of the Great Sandy Desert. Created by 44 Ngurrara artists, it is more than a cartographic representation of territory. It was conceived and produced as evidence of Indigenous connections to Country, securing the land—and the spiritual worldview it embodies—for future generations.
Nguyen’s film brings together archival and new footage, including interviews with surviving map artists and younger community members who were raised outside of the desert, disconnected from Country. It meditates on dispossession and inherited trauma, as well as on ways of knowing and belonging. In 𝘞𝘦 𝘞𝘦𝘳𝘦 𝘓𝘰𝘴𝘵 𝘪𝘯 𝘖𝘶𝘳 𝘊𝘰𝘶𝘯𝘵𝘳𝘺, Nguyen shows how collective memory heals and engenders solidarity and how storytelling and art making are forms of political resistance.
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What a privilege to present the film 𝘞𝘦 𝘞𝘦𝘳𝘦 𝘓𝘰𝘴𝘵 𝘪𝘯 𝘖𝘶𝘳 𝘊𝘰𝘶𝘯𝘵𝘳𝘺 (2019) by @tuan.andrew.nguyen — recent MacArthur Foundation “genius” ! — in the Architecture and Design galleries at @artinstitutechi. An important recent addition to our departmental collection, the film is on view in Modern Wing Gallery 283 until March 9, 2026.
I first encountered Tuan's film, as well as the painting at the center of its narrative, at the inaugural @sharjaharchitecturetriennial, which commissioned the film under the curatorial direction of Adrian Lahoud.
Huge thanks to @emescher24, @madamgodzilla, and AIC's ever-awesome AV team for our installation at the museum.
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For the Ngurrara people of Western Australia, Country is not just a place. The word also signifies kinship with the lands, waters, and skies of the Great Sandy Desert, which the Aboriginal communities of the Walmajarri, Wangkajunga, Mangala, and Juwaliny language groups have stewarded for millennia. Tuan Andrew Nguyen’s film 𝘞𝘦 𝘞𝘦𝘳𝘦 𝘓𝘰𝘴𝘵 𝘪𝘯 𝘖𝘶𝘳 𝘊𝘰𝘶𝘯𝘵𝘳𝘺 (2019) explores how these communities established legal rights to their ancestral land by creating the monumental painting 𝘕𝘨𝘶𝘳𝘳𝘢𝘳𝘢 𝘊𝘢𝘯𝘷𝘢𝘴 𝘐𝘐 in 1997.
Painted entirely from memory and intergenerational knowledge, 𝘕𝘨𝘶𝘳𝘳𝘢𝘳𝘢 𝘊𝘢𝘯𝘷𝘢𝘴 𝘐𝘐 maps the environmental features of 29,000 square miles of the Great Sandy Desert. Created by 44 Ngurrara artists, it is more than a cartographic representation of territory. It was conceived and produced as evidence of Indigenous connections to Country, securing the land—and the spiritual worldview it embodies—for future generations.
Nguyen’s film brings together archival and new footage, including interviews with surviving map artists and younger community members who were raised outside of the desert, disconnected from Country. It meditates on dispossession and inherited trauma, as well as on ways of knowing and belonging. In 𝘞𝘦 𝘞𝘦𝘳𝘦 𝘓𝘰𝘴𝘵 𝘪𝘯 𝘖𝘶𝘳 𝘊𝘰𝘶𝘯𝘵𝘳𝘺, Nguyen shows how collective memory heals and engenders solidarity and how storytelling and art making are forms of political resistance.
||||||||||
What a privilege to present the film 𝘞𝘦 𝘞𝘦𝘳𝘦 𝘓𝘰𝘴𝘵 𝘪𝘯 𝘖𝘶𝘳 𝘊𝘰𝘶𝘯𝘵𝘳𝘺 (2019) by @tuan.andrew.nguyen — recent MacArthur Foundation “genius” ! — in the Architecture and Design galleries at @artinstitutechi. An important recent addition to our departmental collection, the film is on view in Modern Wing Gallery 283 until March 9, 2026.
I first encountered Tuan's film, as well as the painting at the center of its narrative, at the inaugural @sharjaharchitecturetriennial, which commissioned the film under the curatorial direction of Adrian Lahoud.
Huge thanks to @emescher24, @madamgodzilla, and AIC's ever-awesome AV team for our installation at the museum.
|||||||||
For the Ngurrara people of Western Australia, Country is not just a place. The word also signifies kinship with the lands, waters, and skies of the Great Sandy Desert, which the Aboriginal communities of the Walmajarri, Wangkajunga, Mangala, and Juwaliny language groups have stewarded for millennia. Tuan Andrew Nguyen’s film 𝘞𝘦 𝘞𝘦𝘳𝘦 𝘓𝘰𝘴𝘵 𝘪𝘯 𝘖𝘶𝘳 𝘊𝘰𝘶𝘯𝘵𝘳𝘺 (2019) explores how these communities established legal rights to their ancestral land by creating the monumental painting 𝘕𝘨𝘶𝘳𝘳𝘢𝘳𝘢 𝘊𝘢𝘯𝘷𝘢𝘴 𝘐𝘐 in 1997.
Painted entirely from memory and intergenerational knowledge, 𝘕𝘨𝘶𝘳𝘳𝘢𝘳𝘢 𝘊𝘢𝘯𝘷𝘢𝘴 𝘐𝘐 maps the environmental features of 29,000 square miles of the Great Sandy Desert. Created by 44 Ngurrara artists, it is more than a cartographic representation of territory. It was conceived and produced as evidence of Indigenous connections to Country, securing the land—and the spiritual worldview it embodies—for future generations.
Nguyen’s film brings together archival and new footage, including interviews with surviving map artists and younger community members who were raised outside of the desert, disconnected from Country. It meditates on dispossession and inherited trauma, as well as on ways of knowing and belonging. In 𝘞𝘦 𝘞𝘦𝘳𝘦 𝘓𝘰𝘴𝘵 𝘪𝘯 𝘖𝘶𝘳 𝘊𝘰𝘶𝘯𝘵𝘳𝘺, Nguyen shows how collective memory heals and engenders solidarity and how storytelling and art making are forms of political resistance.
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@theastergates
Roof Portrait, 2024
Credenza from the Johnson Publishing Company
From "Unto Thee" solo exhibition at @smartmuseum
@robellawake @nmbello1 and @germane.barnes hanging out in a new rotation of the Architecture and Design collection galleries at @artinstitutechi. w/@annaburckhardt
Wolfgang Tillmans at the Pompidou was a summer highlight. And loved finding Bobby Gillespie's heartwarming smile next to Pete Wiggs and Bob Stanley. 🤍🤍🤍
Wolfgang Tillmans at the Pompidou was a summer highlight. And loved finding Bobby Gillespie's heartwarming smile next to Pete Wiggs and Bob Stanley. 🤍🤍🤍
Wolfgang Tillmans at the Pompidou was a summer highlight. And loved finding Bobby Gillespie's heartwarming smile next to Pete Wiggs and Bob Stanley. 🤍🤍🤍
Wolfgang Tillmans at the Pompidou was a summer highlight. And loved finding Bobby Gillespie's heartwarming smile next to Pete Wiggs and Bob Stanley. 🤍🤍🤍
Wolfgang Tillmans at the Pompidou was a summer highlight. And loved finding Bobby Gillespie's heartwarming smile next to Pete Wiggs and Bob Stanley. 🤍🤍🤍
Wolfgang Tillmans at the Pompidou was a summer highlight. And loved finding Bobby Gillespie's heartwarming smile next to Pete Wiggs and Bob Stanley. 🤍🤍🤍
Wolfgang Tillmans at the Pompidou was a summer highlight. And loved finding Bobby Gillespie's heartwarming smile next to Pete Wiggs and Bob Stanley. 🤍🤍🤍
Trésors sauvés de Gaza: 5000 ans d’histoire at @institutdumondearabe — an exhibition of archaeological artifacts from Gaza that traces 5,000 years of cultural and artistic expression. Poetic exhibition design by @aauanastas that presents architectural fragments and objects in a transitory state of longing, static and deracinated in the exhibitionary present. Complemented by the pensive elegance of @studio_folder 's graphic design and cartography.
Trésors sauvés de Gaza: 5000 ans d’histoire at @institutdumondearabe — an exhibition of archaeological artifacts from Gaza that traces 5,000 years of cultural and artistic expression. Poetic exhibition design by @aauanastas that presents architectural fragments and objects in a transitory state of longing, static and deracinated in the exhibitionary present. Complemented by the pensive elegance of @studio_folder 's graphic design and cartography.
Trésors sauvés de Gaza: 5000 ans d’histoire at @institutdumondearabe — an exhibition of archaeological artifacts from Gaza that traces 5,000 years of cultural and artistic expression. Poetic exhibition design by @aauanastas that presents architectural fragments and objects in a transitory state of longing, static and deracinated in the exhibitionary present. Complemented by the pensive elegance of @studio_folder 's graphic design and cartography.
Trésors sauvés de Gaza: 5000 ans d’histoire at @institutdumondearabe — an exhibition of archaeological artifacts from Gaza that traces 5,000 years of cultural and artistic expression. Poetic exhibition design by @aauanastas that presents architectural fragments and objects in a transitory state of longing, static and deracinated in the exhibitionary present. Complemented by the pensive elegance of @studio_folder 's graphic design and cartography.
Trésors sauvés de Gaza: 5000 ans d’histoire at @institutdumondearabe — an exhibition of archaeological artifacts from Gaza that traces 5,000 years of cultural and artistic expression. Poetic exhibition design by @aauanastas that presents architectural fragments and objects in a transitory state of longing, static and deracinated in the exhibitionary present. Complemented by the pensive elegance of @studio_folder 's graphic design and cartography.
Trésors sauvés de Gaza: 5000 ans d’histoire at @institutdumondearabe — an exhibition of archaeological artifacts from Gaza that traces 5,000 years of cultural and artistic expression. Poetic exhibition design by @aauanastas that presents architectural fragments and objects in a transitory state of longing, static and deracinated in the exhibitionary present. Complemented by the pensive elegance of @studio_folder 's graphic design and cartography.
Trésors sauvés de Gaza: 5000 ans d’histoire at @institutdumondearabe — an exhibition of archaeological artifacts from Gaza that traces 5,000 years of cultural and artistic expression. Poetic exhibition design by @aauanastas that presents architectural fragments and objects in a transitory state of longing, static and deracinated in the exhibitionary present. Complemented by the pensive elegance of @studio_folder 's graphic design and cartography.
Trésors sauvés de Gaza: 5000 ans d’histoire at @institutdumondearabe — an exhibition of archaeological artifacts from Gaza that traces 5,000 years of cultural and artistic expression. Poetic exhibition design by @aauanastas that presents architectural fragments and objects in a transitory state of longing, static and deracinated in the exhibitionary present. Complemented by the pensive elegance of @studio_folder 's graphic design and cartography.
Trésors sauvés de Gaza: 5000 ans d’histoire at @institutdumondearabe — an exhibition of archaeological artifacts from Gaza that traces 5,000 years of cultural and artistic expression. Poetic exhibition design by @aauanastas that presents architectural fragments and objects in a transitory state of longing, static and deracinated in the exhibitionary present. Complemented by the pensive elegance of @studio_folder 's graphic design and cartography.
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