Karrabing Film Collective
  • Karrabing Film Collective, 'Graffiti Dreaming', 2018, Corrugated iron, spray paint. Photo: Carl Warner

  • Karrabing Film Collective, 'Graffiti Dreaming', 2018, Corrugated iron, spray paint. Photo: Carl Warner

  • Installation view: Karrabing Film Collective, 'The Mermaids: Mirror Worlds', Institute of Modern Art, 2018. In view: 'Graffiti Dreaming', 2018; 'Night-time Go', 2017. Photo: Carl Warner

  • Installation view: Karrabing Film Collective, 'The Mermaids: Mirror Worlds', Institute of Modern Art, 2018. In view (l-r): 'Wutharr, Saltwater Dreams', 2016; 'Campfire', 2018. Photo: Carl Warner

  • Karrabing Film Collective, Installation View: 'Seenandunseen', 2017. Three channel video, vitrine, maps, magnifying glasses. Photo: Carl Warner

  • Karrabing Film Collective, Installation View: 'Seenandunseen', 2017. Three channel video, vitrine, maps, magnifying glasses. Photo: Carl Warner

  • Installation view: Karrabing Film Collective, 'The Mermaids: Mirror Worlds', Institute of Modern Art, 2018. In view: 'Campfire', 2018; 'Night-time Go', 2017. Photo: Carl Warner

  • Karrabing Film Collective, 'The Mermaids: Mirror Worlds', 2018, two-channel video, 00:26:29. Installation view: Institute of Modern Art, 2018. Photo: Carl Warner

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Karrabing Film Collective

The Mermaids: Mirror Worlds

30 June–30 August 201830 Jun–30 Aug 2018

#KarrabingFilmCollective

In the Emmiyengal language karrabing means “tide out” but for Karrabing Film Collective members it also refers to how their families come together through a sacred coastline along the Anson Bay region of the northwest coast of the Northern Territory. For their first solo exhibition in Australia, these award-winning filmmakers present their latest work, The Mermaids: Mirror Worlds (2018), a two-channel video installation exploring the present and future of Western industrial toxicity, as well as new artwork and film installations.

Films in the exhibition carry visitors through time and across vast distances, providing a window into the contemporary life of Indigenous peoples in northern Australia. The films and installations interweave ancestral stories, an early 20th century historical displacement and journey, and ultimately reflect the very real challenges faced by Karrabing members and their communities in relation to government regulation, corporate and industrial interests, and the natural environment.

Members of the Karrabing Film Collective are: Patsy-Ann Jorrock, Trevor Bianamu, Gavin Bianamu, Sheree Bianamu, Telish Bianamu, Cameron Bianamu, Natasha Bigfoot, Katrina Bigfoot, Kelvin Bigfoot, Marcia Bigfoot, Rex Edmunds, Chloe Gordon, Claudette Gordon, Miles Gordon, Claude Holtze, Reggie Jorrock, Marcus Jorrock, Ethan Jorrock, Arthur Jorrock, Melissa Jorrock, Alethia Jorroth, Roblin Lane, Danielle Lane, Darryll Lane, Loraine Lane, Sharon Lane, Serena Lane, Paul Lane, Akaydia Lee, Angela LewisCecilia Lewis, Joclyn McDonald Yarrowin, Elizabeth Povinelli, Quinton Sheilds, Rex Sing, Shannon Sing, Aiden Sing, Kieran Sing, Cassic Sing, Alice Wainbirri, Daphne Yarrowin, Sandra Yarrowin, Claudia Yarrowin, Roy Yarrowin, Georgia Yarrowin, and Roger Yarrowin.

The work The Mermaids: Mirror Worlds was co-commissioned by the IMA, Frontier Imaginaries, Publics, and the Van Abbemuseum with generous support from the Australian Government through Indigenous Languages and Arts.

Curated By
  • Aileen Burns & Johan Lundh
Artist Bio
Karrabing Film Collective

The Karrabing Film Collective have presented their works in numerous exhibitions, screening contexts, and institutions including at the Van Abbemuseum, Eindhoven (2018); PUBLICS, Helsinki (2018); Institut fur Auslandsbeziehungen, Berlin (2018); Jakarta Biennale (2017); Centre Pompidou (2017); Tate Modern (2017); dOCUMENTA 14, Kassel (2017); Contour Biennale 8, Mechelen (2017), Melbourne International Film Festival (2015, 2018), and Biennale of Sydney (2016).

The work The Mermaids: Mirror Worlds was co-commissioned by the IMA, Frontier Imaginaries, Publics, and the Van Abbemuseum with generous support from the Australian Government through Indigenous Languages and Arts.

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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.

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