Dale Harding
  • Dale Harding and Jordan Upkett, 'Know them in correct judgment', 2017/2019, book, cyprus pine, ochre, rosewood. Installation view: 'Current Iterations', Institute of Modern Art, Brisbane. Photography: Carl Warner.

  • Dale Harding and Jordan Upkett, 'Know them in correct judgment', 2017/2019, book, cyprus pine, ochre, rosewood. Installation view: 'Current Iterations', Institute of Modern Art, Brisbane. Photography: Carl Warner.

  • Dale Harding and Jordan Upkett, 'Know them in correct judgment', 2017/2019, book, cyprus pine, ochre, rosewood. Installation view: 'Current Iterations', Institute of Modern Art, Brisbane. Photography: Carl Warner.

  • Dale Harding and Jordan Upkett, 'Know them in correct judgment', 2017/2019, book, cyprus pine, ochre, rosewood. Installation view: 'Current Iterations', Institute of Modern Art, Brisbane. Photography: Carl Warner.

  • Dale Harding and Jordan Upkett, 'Know them in correct judgment', 2017/2019, book, cyprus pine, ochre, rosewood. Installation view: 'Current Iterations', Institute of Modern Art, Brisbane. Photography: Carl Warner.

  • Dale Harding, 'Body of objects' (artist's proof), 2017, silicone, steel nails, timber. Installation view: 'Current Iterations', Institute of Modern Art, Brisbane. Photography: Carl Warner.

  • Dale Harding, 'Body of objects' (artist's proof), 2017, silicone, steel nails, timber. Installation view: 'Current Iterations', Institute of Modern Art, Brisbane. Photography: Carl Warner.

  • Dale Harding, 'Body of objects' (artist's proof), 2017, silicone, steel nails, timber. Installation view: 'Current Iterations', Institute of Modern Art, Brisbane. Photography: Carl Warner.

  • Dale Harding, 'Body of objects' (artist's proof), 2017, silicone, steel nails, timber. Installation view: 'Current Iterations', Institute of Modern Art, Brisbane. Photography: Carl Warner.

  • Installation view: Dale Harding, 'Current Iterations', 2019. Institute of Modern Art, Brisbane. In view: 'Plinth compositions after Liverpool', 2019, pigment, plinths; 'Untitled (maquette 1)', 2019, plaster; 'Studio wall', 2019, charcoal, nails, pigment, wood; 'Untitled (maquette 2)', 2019, plaster. Photography: Carl Warner.

  • Dale Harding, 'Studio wall', 2019, charcoal, nails, pigment, wood. Installation view: 'Current Iterations', Institute of Modern Art, Brisbane. Photography: Carl Warner.

  • Dale Harding, 'Digging stick', 2019, shovel, blue pigment. Installation view: 'Current Iterations', Institute of Modern Art, Brisbane. Photography: Carl Warner.

  • Dale Harding, 'Untitled (seven red oxides on glass)', 2019. Installation view: 'Current Iterations', Institute of Modern Art, Brisbane. Photography: Carl Warner.

  • Dale Harding, 'Untitled (seven red oxides on glass)', 2019. Installation view: 'Current Iterations', Institute of Modern Art, Brisbane. Photography: Carl Warner.

  • Dale Harding, 'Perished in isolation', 2019, cement, charred wood, glass, ochre, plaster, xanthorea resin. Installation view: 'Current Iterations', Institute of Modern Art, Brisbane. Photography: Carl Warner.

  • Dale Harding, 'Perished in isolation', 2019, cement, charred wood, glass, ochre, plaster, xanthorea resin. Installation view: 'Current Iterations', Institute of Modern Art, Brisbane. Photography: Carl Warner.

  • Dale Harding, 'Untitled (maquette 1)', 2019, plaster. Installation view: 'Current Iterations', Institute of Modern Art, Brisbane. Photography: Carl Warner.

  • Dale Harding, 'Untitled (maquette 1)', 2019, plaster. Installation view: 'Current Iterations', Institute of Modern Art, Brisbane. Photography: Carl Warner.

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Dale Harding

Current Iterations

09 February–30 March 201909 Feb–30 Mar 2019

#CurrentIterations

After having exhibited extensively nationally and internationally, Current Iterations is Dale Harding’s (Bidjara, Garingbal, and Ghungalu peoples) largest exhibition to date. This show brings together new and recent works focusing on objects dislocated by museum practices, as well as living culture activated in and outside the confines of art. The show carefully addresses the relocation of objects, the creation of architecture and landscape in sculptural form, and the learning and activation of culture through carving and stencilling with mouth-blown ochre by Harding and other members of his community. Harding’s practice of cultural continuity is both urgent and constantly evolving; it creates opportunities for shared expression.

For the past five years, Harding has realised many complex and large-scale projects in Australia and around the world. His practice is grounded in stories that continue the cultural lineages of Harding’s Bidjara, Ghungalu, and Garingbal ancestry. He also references and destabilises European and American art historical traditions, including Colour Field painting, Minimalism, and performance. Some works involve stories from the artist’s maternal family line, and others draw on the techniques, tools, and iconography that are present in Carnarvon Gorge—a significant cultural site for the Indigenous peoples of Central Queensland. Carnarvon Gorge is globally recognised for its rock art, where stencils in mouth-blown ochre on sandstone index bodies, weapons and tools, domestic life, and ceremonial objects. As Harding’s practice continues to evolve, so too does the presentation and meaning of many of his previously shown works. This exhibition includes a a newly commissioned work and every other piece on view has been re-created, re-enacted, and imbued with new layers of meaning that reflect the changing landscape of the artist’s practice and the urgencies arising from the world around him.

   

Curated By
  • Aileen Burns and Johan Lundh
Artist Bio
Dale Harding
Bidjara, Garingbal and Ghungalu peoples

Harding has exhibited in Beautiful world, where are you?, the Liverpool Biennial (2018), Soon Enough: Art in Action and Art and shops, Tensta Konsthall (2018); From will to form, the TarraWarra Biennial (2018); Continental Drift, Cairns Art Gallery (2018); Documenta 14, Athens/Kassel (2017); The National: New Australian Art, Art Gallery of New South Wales, Sydney (2017); I refuse you my death, Milani Gallery, Brisbane (2016); The Eight Climate (What Does Art Do?), 11th Gwangju Biennale, Gwangju, Korea (2016); With Secrecy and Despatch, Campbelltown Arts Centre, Sydney (2016); GOMA Q: Contemporary Australian Art, Queensland Art Gallery | Gallery of Modern Art, Brisbane (2015); string theory: Focus on contemporary Australian art, Museum of Contemporary Art Australia, Sydney.

Related Publication

2017

Publisher: Griffith University Art Museum

Contributors: Angela Goddard, Dale Harding, Hendrik Folkerts

Related Events

Dale Harding & Steve Kemp

In Conversation

14 February 2019
6–8pm

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Dale Harding

In Conversation

23 February 2019
1–3pm

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We acknowledge the Traditional Owners of the lands where the IMA now stands, and pay respect to Elders, past, present, and emerging.