Walawaani Njindiwaan.
Ngayaga bundj nguumbun muladha gumara muruul yuwinj wanggan njin dhugandha.


We recognise Aboriginal peoples as the first people and custodians of Country.

South East Centre for Contemporary 
Art acknowledges and pays respect to the traditional custodians of the lands, waterways and airspace of the Bega Valley Shire.

Global Conversations

SECCA's Global Conversations: Inspiring art, unity, and dialogue worldwide. Expand your horizons with enlightening lectures by influential thinkers, explore the intersections of art with politics, society, and culture, as experts from diverse backgrounds share their insights. Engage in captivating discussions on social activism and emerging art movements, challenging conventional notions and immerse yourself in a truly international discourse.

Museum & Gallery of the Northern Territory : Darwin, Australia

Kieren has worked in several mediums; painting, printmaking, fabric and ceramics. His work is in several major collections including the National Gallery of Australia, Myer Collection and Artbank.

Kieren won the inaugural Youth Award at the The Telstra National Aboriginal & Torres Strait Islander Art Awards in 2014

Kieren is a finalist in the 2022 Telstra National Aboriginal and Torres Strait Islander Art Awards.

Short film courtesy of Merrepen Arts

Museum of Modern Art : New York, United States of America

Salon 41 is focused on performance, an act which implies a distinction between those who are performing and those who are watching, and exists in a constant state of evaluation—whether literally in a workplace review, in political proceedings, or even in the form of likes and views. As we go about our daily lives, we are constantly enacting performances of self, adapting them to fit the nuances of each audience we encounter.

If theaters have not been the only sites for performance for centuries, the advent of digital technology has further displaced the performer and their audience across time and space. This salon’s ambition is to examine performance’s contemporary manifestations and provide the critical distance we need to understand its now permanent omnipresence.

National Gallery of Australia : Canberra, Australia

The National Gallery has commissioned a new projection and sound-based work by The Mulka Project to illuminate the building’s 60m façade for the 2023 Enlighten Festival.

Titled Djarraṯawun, the commission will be projected onto the complex architecture features of the National Gallery’s western façade. Djarraṯawun is a composite video/animation work portraying the elemental forces and life cycles of our world. The three major elements of Djarraṯawun are walu (sunlight), makarran (lightning) and gurtha (fire). These elements intertwine with songlines and atmospheric soundscapes immersing audiences in the Yolŋu world of Northeast Arnhem Land.

Working across video, animation and new media, The Mulka Project sustains and protects Yolŋu cultural knowledge in Northeast Arnhem Land under the leadership of community elders. The Mulka production house, recording studio, digital learning centre and cultural archive are managed by Yolŋu law and governance.

Curators: Bruce Johnson-McLean, Wierdi | Birri Gubba people, Barbara Jean Humphreys Assistant Director, First Nations Engagement and Head Curator, Aboriginal and Torres Strait Islander Art; Kelli Cole, Warumungu/Luritja peoples, Curator, Special Projects, Aboriginal and Torres Strait Islander Art; and Peter Johnson, former Curator, Projects.

Museum MACAN : Jakarta, Indonesia

Take a trip on the emotional journey — ‘Chiharu Shiota: The Soul Trembles’ exhibition at Museum MACAN is open for public from 26 November 2022 to 30 April 2023.

This will be the largest-ever solo exhibition by Chiharu Shiota, and also her first exhibition in Indonesia. The subtitle The Soul Trembles references the artist’s earnest hope to deliver to others soul-trembling experiences derived from nameless emotions.

Visitors will have the opportunity to experience almost thirty years of Shiota’s oeuvre in detail; primarily in large installations, sculptural works, video footage of performances, photographs, drawings, and performing arts-related material.

Queensland Art Gallery & Gallery of Modern Art : Brisbane, Australia

GOMA Talks returned during ‘Air’ to ask the question – is cancel culture giving us a voice or suffocating us? Public shaming and calling out transgressions are social justice practices that have been around as long as society itself. In our increasingly digital world social media has become the contemporary town square, a place where conflicting views are aired on the daily – but what happens when you are deemed to have gone too far? Is cancel culture making our society better, or is it a punishment without a chance for redemption?

M+ : Hong Kong, China

In this video, Hong Kong artist Tozer Pak Sheung Chuen takes us to the locations documented in his artwork ‘Waiting for a Friend (without Appointment)’. The piece consists of three performances and a resulting installation.

For each performance, Pak waited in a public space in Hong Kong for a friend to pass by or for something special to happen without planning or prior arrangements. He waited nearly four hours in the Kowloon Tong MTR station for as long as it would take to see someone he knew until a friend happened to walk by. Pak greeted his friend, saying, ‘I’ve been expecting you here for a long time!’

The subject of time is at the centre of Pak’s artistic practice. Early in his career, responding to his mother’s view that he was spending too much time at home, he created projects involving hours on end spent in public spaces. ‘My works are like markings along the timeline of my life. But when a work is finished, it becomes something else. Ten years on, this work ‘[Waiting for a Friend…]’ has become an important foundation upon which my friend and I developed our friendship,’ reflects Pak.

Yeo Workshop : Singapore

This talk between Balinese artist Citra Sasmita and researcher Krystina Lyon aims to shed light on the neglected and rarely acknowledged issue of marginalised women’s art practice in a male-dominated contemporary art environment in Southeast Asia. The two will identify and discuss different strategies used by gendered art collectives such as Kasibulan in the Philippines, Womanifesto in Thailand and Futuwonder in Bali developed by contemporary women artists, past and present, to nurture female empowerment, to gain an audience for feminist art practice in Southeast Asia where there had been none and to gain inclusion to national discourses by establishing a counter-discourse to the authorised national art histories.