I am a heart beating in the world
Diaspora Pavilion 2, Sydney
1. Zadie Xa, Child of Magohalmi and the Echoes of Creation (2019), video still, commissioned for Art Night London 2019. Image: Benito Mayor Vallejo. 2. Leyla Stevens, Safe Passage (2013), Colour Prints and Text.
I am a heart beating in the world: Diaspora Pavilion 2, Sydney is an exhibition and the first of a series of peripatetic international events that culminate in ICF’s Diaspora Pavilion 2 project. 4A Centre for Contemporary Asian Art is collaborating with ICF to present this unfolding series that will interrogate and complicate the term diaspora across various curatorial formats in Sydney, London, Venice and online. I am a heart beating in the world presents the navigations, imaginings and lived experiences of diasporic subjectivities through the works of six artists based in Australia, the UK and Caribbean: Abdul-Rahman Abdullah, Kashif Nadim Chaudry, Lindy Lee, Leyla Stevens, Zadie Xa and Daniela Yohannes.
Curated by Adelaide Bannerman, Mikala Tai and Jessica Taylor, the exhibition will take place on the land of the Dharawal people at Campbelltown Arts Centre in Western Sydney, Australia from 22 May to 25 July 2021.
Understanding diaspora as a distinct sometimes provisional experience nuanced economically, historically and regionally I am a heart beating in the world is as much an exhibition as it is a research project, underpinned by fieldwork and reviews of how artists, curators, theorists and institutions engage with diaspora as a topic.
4A’s biannual 4A Curators Intensive will be held alongside the exhibition, bringing together early-career Australian and UK-based curators in a week-long professional development program. The intensive will be facilitated in a hybrid format through workshops, lectures, site visits and discussions.
Daniela Yohannes, A Gathering in God’s Land (2018), digital collage.
Abdul-Rahman Abdullah (b. Port Kembla, Australia 1977 lives and works in Perth, Australia) is a sculpture whose practice explores the different ways that memory can inhabit and emerge from familial spaces. Drawing on the narrative capacity of animal archetypes, crafted objects and the human presence, Abdullah aims to articulate physical dialogues between the natural world, politics and the agency of culture. Recent exhibitions include The National, Museum of Contemporary Art, Sydney, Australia (2019), Dark Horizons, Pataka Art + Museum, Wellington, Aotearoa New Zealand (2017) and Magic Object; Adelaide Biennale of Australian Art, Adelaide, Australia (2016).
Kashif Nadim Chaudry (b. Nottingham, United Kingdom 1976 lives and works in Nottingham, United Kingdom) is informed by his family heritage in tailoring which has influenced and focused his practice around the importance of materiality and craftsmanship. His work is characterised by the working, shaping and moulding of physical objects through the use of elaborate textile-based techniques to create monumental installations from fabric and found objects. Negotiating his identity as a British born gay man of Pakistani Muslim heritage much of Chaudry’s work questions how people choose to position themselves in the world. In relation, it is increasingly the sculptural and three-dimensional possibilities within his work that address the idea of positioning power, the sacred and the ceremonial. Recent exhibitions include Swags & Tails as part of the Asia Triennial, Manchester, UK (2014), The Three Graces, Turner Contemporary, Margate, UK (2016) and What is Home at National Trust Croome Court, Worcester (2019).
Lindy Lee (b. Brisbane, Australia 1954 lives and works in Byron Bay, Australia) has an expansive practice that explores her Chinese ancestry through Taoism and Ch’an (Zen) Buddhism – philosophies that see humanity and nature as inextricably linked. Symbolic gestures and processes that call on the element of chance are often used to produce a galaxy of images that embody the intimate connections between human existence and the cosmos. Rather than singular visual statements, they are thoughtful objects where meaning emerges from sustained meditation. Notable exhibitions include the major survey exhibition Lindy Lee: Moon in a Dew Drop, Museum of Contemporary Art (2020-2021); Lindy Lee: The Dark of Absolute Freedom, The University of Queensland Art Museum, Brisbane, Australia (2014), and the group exhibition Divided Worlds: Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide, Australia (2018).
Leyla Stevens (b. Cooroy, Australia 1982, lives and works between Bali, Indonesia and Sydney, Australia) is an Australian-Balinese artist and researcher who works predominantly within moving image and photography. Her practice is informed by ongoing concerns around gesture, ritual, spatial encounters, transculturation and counter histories. Working within modes of representation that shift between the documentary and speculative fictions, her work deals with a notion of counter archives and alternative genealogies. In 2021, Leyla Stevens was awarded the 66th Blake Prize for her work Kidung/Lament. Recent exhibitions include her solo presentations Dua Dunia, curated by Rachel Ciesla, at PS Art Space, Perth Festiva (2021), A Line in the Sea, West Space, Melbourne, PHOTO 21 Festival (2021), Their Sea is Always Hungry, UTS Gallery, Sydney, Australia (2019) and Of Love and Decomposition, Firstdraft, Sydney, Australia (2016) and group exhibitions The National 2021, Art Gallery of News South Wales, Breathing Room (collaboration with Woven Kolektif), Cement Fondue, Sydney, Australia (2019), BEAUT 19, Brisbane & Elsewhere Art UnTriennial, Brisbane, Australia (2018) and the John Fries Award, UNSW Galleries, Sydney, Australia (2018).
Zadie Xa (b. Vancouver on unceded Musqueam, Squamish and Tsleil-Waututh territory 1983, lives and works in London, UK.) produces work informed by her experiences within the Korean diaspora, as well as the environmental and cultural context of the Pacific Northwest. Forces of distance and relation—familial, cultural, spiritual—shape her constantly evolving notions of self. Her work often features garments, including cloaks and masks, used for performance, protection or ceremony. Xa’s practice is highly collaborative, and she has developed ongoing exchanges with dancers, musicians and actors. Since 2006, Xa has worked closely with artist Benito Mayor Vallejo. Recent solo projects include, “Moon Poetics 4 Courageous Earth Critters and Dangerous Day Dreamers”, Remai Modern, Treaty 6 Territory and the Homeland of Métis, Saskatoon Canada (2020-21), “Child of Magohalmi and the Echoes of Creation”, De La Warr Pavilion, Bexhill-on-Sea, UK (2020), Art Night London 2019 and “Meetings on Art” performance program for the 58th Venice Biennale 2019. Xa was one of the recipients of the Sobey Art Award in 2020, which for the first time was awarded to all 25 nominees.
Daniela Yohannes (b. 1982, lives and works in Guadeloupe in the French Caribbean) uses her own Ethiopian-Eritrean heritage as a lens in her work to reflect upon the racialised movement and conditional belonging of African diaspora. Through abstract portraiture and storytelling across multiple media, Yohannes explores the overlap of individual and collective subconscious and desire, and the destruction caused by displacement. Her work dwells on alternative Black realities, considering the bonds between herself, her family and other communities through magical symbolism. By embracing forms of hybridity and considering the artefacts of diaspora as a means of travel in themselves, she has built a dedicated interdimensional machine from emotionally charged objects.