Biennale of Sydney

LEARNING | NIRIN AT HOME: Barbara McGrady & Musa N Nxumalo

Barabara McGrady. Installation view (2020) for the 22nd Biennale of Sydney, Campbelltown Arts Centre. Courtesy the artist. Photograph: Zan Wimberley
Barbara McGrady (with John Janson-Moore), Ngiyaningy Maran Yaliwaunga Ngaara-li (Our Ancestors Are Always Watching), 2020. NIRIN opening launch at Campbelltown Arts Centre, 12 March 2020. Commissioned by the Biennale of Sydney with generous support from the Australia Council for the Arts. Courtesy the artist. Photograph: Zan Wimberley.
Barbara McGrady (with John Janson-Moore), Ngiyaningy Maran Yaliwaunga Ngaara-li (Our Ancestors Are Always Watching), 2020. NIRIN opening launch at Campbelltown Arts Centre, 12 March 2020. Commissioned by the Biennale of Sydney with generous support from the Australia Council for the Arts. Courtesy the artist. Photograph: Zan Wimberley.
Barbara McGrady (with John Janson-Moore), Ngiyaningy Maran Yaliwaunga Ngaara-li (Our Ancestors Are Always Watching), 2020. NIRIN opening launch at Campbelltown Arts Centre, 12 March 2020. Commissioned by the Biennale of Sydney with generous support from the Australia Council for the Arts. Courtesy the artist. Photograph: Zan Wimberley.
Barbara McGrady (with John Janson-Moore), Ngiyaningy Maran Yaliwaunga Ngaara-li (Our Ancestors Are Always Watching), 2020. NIRIN opening launch at Campbelltown Arts Centre, 12 March 2020. Commissioned by the Biennale of Sydney with generous support from the Australia Council for the Arts. Courtesy the artist. Photograph: Zan Wimberley.
Barbara McGrady (with John Janson-Moore), Ngiyaningy Maran Yaliwaunga Ngaara-li (Our Ancestors Are Always Watching), 2020. NIRIN opening launch at Campbelltown Arts Centre, 12 March 2020. Commissioned by the Biennale of Sydney with generous support from the Australia Council for the Arts. Courtesy the artist. Photograph: Zan Wimberley.
Barbara McGrady (with John Janson-Moore), Ngiyaningy Maran Yaliwaunga Ngaara-li (Our Ancestors Are Always Watching), 2020. NIRIN opening launch at Campbelltown Arts Centre, 12 March 2020. Commissioned by the Biennale of Sydney with generous support from the Australia Council for the Arts. Courtesy the artist. Photograph: Zan Wimberley.
John Miller and Elisapeta Heta, 'Pouwātū: Active Presence', 1969 – 2020. Installation view for the 22nd Biennale of Sydney (2020), Campbelltown Arts Centre. Commissioned by the Biennale of Sydney with generous support from Creative New Zealand. Courtesy the artists. Photograph: Zan Wimberley.

JOHN MILLER AND ELISAPETA HETA

John Miller (Ngāpuhi) a tohunga kaiwhakaahua (photographer) has been creating work since the late 1960s. Miller’s best-known work, has been the documentation of radical protest in New Zealand. Rather than merely being the subject of his work, protest has been his muse.

JOHN MILLER AND ELISAPETA HETA

John Miller and Elisapeta Heta, 'Pouwātū: Active Presence', 1969 – 2020. Installation view for the 22nd Biennale of Sydney (2020), Campbelltown Arts Centre. Commissioned by the Biennale of Sydney with generous support from Creative New Zealand. Courtesy the artists. Photograph: Zan Wimberley.
John Miller and Elisapeta Heta, Pouwātū: Active Presence, 1969 – 2020. Installation view for the 22nd Biennale of Sydney (2020), Campbelltown Arts Centre. Commissioned by the Biennale of Sydney with generous support from Creative New Zealand. Courtesy the artists. Photograph: Zan Wimberley.
John Miller and Elisapeta Heta, 'Pouwātū: Active Presence', 1969 – 2020. Installation view for the 22nd Biennale of Sydney (2020), Campbelltown Arts Centre. Commissioned by the Biennale of Sydney with generous support from Creative New Zealand. Courtesy the artists. Photograph: Zan Wimberley.
John Miller and Elisapeta Heta, 'Pouwātū: Active Presence', 1969 – 2020. Installation view for the 22nd Biennale of Sydney (2020), Campbelltown Arts Centre. Commissioned by the Biennale of Sydney with generous support from Creative New Zealand. Courtesy the artists. Photograph: Zan Wimberley.
John Miller and Elisapeta Heta, Pouwātū: Active Presence, 1969 – 2020. Installation view for the 22nd Biennale of Sydney (2020), Campbelltown Arts Centre. Commissioned by the Biennale of Sydney with generous support from Creative New Zealand. Courtesy the artists. Photograph: Zan Wimberley.
Shaheed / Witness / Kashmir, 1986-2016. Installation view for the 22nd Biennale of Sydney (2020), Campbelltown Arts Centre. Presented at the 22nd Biennale of Sydney with assistance from NIRIN 500 patrons. Courtesy the artists: Javed Dar, Sumit Dayal, Meraj ud Din, Showkat Nanda, Altaf Qadri, Azaan Shah, Javeed Shah, Syed Shahriyar, Dar Yasin; Installation design: Itu Chaudhuri Design; Print and digital imaging: Kaushik Ramaswamy. Photograph: Zan Wimberley.

SHAHEED / WITNESS / KASHMIR

Shaheed/Witness/Kashmir presents the work of nine photographers from Kashmir, first brought together in the photobook Witness (2017). The images were created in Indian-held Kashmir between 1986 and 2016, as its people found themselves pulled between the exhilaration of a struggle for freedom and the violence of its consequences.

Shaheed / Witness / Kashmir, 1986-2016. Installation view for the 22nd Biennale of Sydney (2020), Campbelltown Arts Centre. Presented at the 22nd Biennale of Sydney with assistance from NIRIN 500 patrons. Courtesy the artists: Javed Dar, Sumit Dayal, Meraj ud Din, Showkat Nanda, Altaf Qadri, Azaan Shah, Javeed Shah, Syed Shahriyar, Dar Yasin; Installation design: Itu Chaudhuri Design; Print and digital imaging: Kaushik Ramaswamy. Photograph: Zan Wimberley.
Shaheed / Witness / Kashmir, 1986-2016. Installation view for the 22nd Biennale of Sydney (2020), Campbelltown Arts Centre. Presented at the 22nd Biennale of Sydney with assistance from NIRIN 500 patrons. Courtesy the artists: Javed Dar, Sumit Dayal, Meraj ud Din, Showkat Nanda, Altaf Qadri, Azaan Shah, Javeed Shah, Syed Shahriyar, Dar Yasin; Installation design: Itu Chaudhuri Design; Print and digital imaging: Kaushik Ramaswamy. Photograph: Zan Wimberley.
Shaheed / Witness / Kashmir, 1986-2016. Installation view for the 22nd Biennale of Sydney (2020), Campbelltown Arts Centre. Presented at the 22nd Biennale of Sydney with assistance from NIRIN 500 patrons. Courtesy the artists: Javed Dar, Sumit Dayal, Meraj ud Din, Showkat Nanda, Altaf Qadri, Azaan Shah, Javeed Shah, Syed Shahriyar, Dar Yasin; Installation design: Itu Chaudhuri Design; Print and digital imaging: Kaushik Ramaswamy. Photograph: Zan Wimberley.
Shaheed / Witness / Kashmir, 1986-2016. Installation view for the 22nd Biennale of Sydney (2020), Campbelltown Arts Centre. Presented at the 22nd Biennale of Sydney with assistance from NIRIN 500 patrons. Courtesy the artists: Javed Dar, Sumit Dayal, Meraj ud Din, Showkat Nanda, Altaf Qadri, Azaan Shah, Javeed Shah, Syed Shahriyar, Dar Yasin; Installation design: Itu Chaudhuri Design; Print and digital imaging: Kaushik Ramaswamy. Photograph: Zan Wimberley.
Musa N Nxumalo, Moonchild Sanelly - Anthology of Youth, 2016. Installation view for the 22nd Biennale of Sydney (2020), Art Gallery of New South Wales. Presented at the 22nd Biennale of Sydney with generous assistance from the Sherman Foundation. Courtesy the artist and SMAC Gallery, Cape Town / Johannesburg / Stellenbosch. Photograph: Zan Wimberley.

MUSA N NXUMALO

Musa N. Nxumalo received his introduction to photography at the Market Photo Workshop in Johannesburg, along with Sabelo Mlangeni and the late Thabiso Sekgala who together are often associated with the new generation of contemporary South African photographers.

Musa N Nxumalo, Moonchild Sanelly - Anthology of Youth, 2016. Installation view for the 22nd Biennale of Sydney (2020), Art Gallery of New South Wales. Presented at the 22nd Biennale of Sydney with generous assistance from the Sherman Foundation. Courtesy the artist and SMAC Gallery, Cape Town / Johannesburg / Stellenbosch. Photograph: Zan Wimberley.
Musa N Nxumalo, Are the fees gonna fall or nah?, 2017. Installation view for the 22nd Biennale of Sydney (2020), Art Gallery of New South Wales. Presented at the 22nd Biennale of Sydney with generous assistance from the Sherman Foundation. Courtesy the artist and SMAC Gallery, Cape Town / Johannesburg / Stellenbosch. Photograph: Zan Wimberley.
Musa N. Nxumalo, Moonchild Sanelly - Anthology of Youth of Youth, 2016, giclée print . Photograph:Photograph: courtesy SMAC Gallery, Cape Town, Johannesburg and Stellenbosh. Copyright © Mostaff Muchawaya
Musa N. Nxumalo, Are the fees gonna fall or nah?, 2017, gicleé print. Photograph: courtesy SMAC Gallery, Cape Town, Johannesburg and Stellenbosh. Copyright © Mostaff Muchawaya
Musa N. Nxumalo, Sihle Khambule, Alternative Kidz Series, 2009, C-Print, 59.5x87cm, Ed. of 6+2AP HR. Image courtesy of SMAC Gallery, artwork copyright Musa N. Nxumalo
Musa N. Nxumalo, Sihle Khambule (5), Alternative Kidz Series, 2009. CPrint, 59.5x87cm, Ed. of 6 +2AP HR. Image courtesy of SMAC Gallery, artwork copyright Musa N. Nxumalo
Musa N. Nxumalo, Toi Toi, 2017. Gicleé print on Hahnemühle Photo Rag 56 x 84 cm, Ed of 6 + 2 AP HR. Image courtesy of SMAC Gallery, artwork copyright Musa N. Nxumalo
Movement Activity Example

Activity: Capturing Movement

Each of our learning resources includes an at home activity aimed at repurposing, reusing or recycling everyday items. This week, inspired by Musa N. Nxumalo's work, our activity considers movement with our bodies and objects around us.

Capturing Movement

What You'll Need

Method

Movement activity example 2
Movement Activity Example
Movement activity example 3

Share your work with us!

We’d love to see how you use these resources at home. Post your stories and photos on Instagram with the hashtag #NIRINathome.