The Eighth Asia-Pacific Triennial of Contemporary Art


The Asia-Pacfic Triennials (APT) are Australia’s largest reoccuring contemporary art exhibition. Its eighth iteration featured two large scale installation pieces by Korean artist Haegue Yang and Indian based architect/artist Asim Waqif. Hosted by the Queensland Art Gallery | Gallery of Modern Art in Queensland’s capital of Brisbane since 1993, the Triennials focus on cross-cultural perspectives to stimulate expertise and partnerships within the Asia-Pacific region.


Queensland Art Gallery | Gallery of Modern Art (QAGOMA) South Brisbane, Brisbane AUS

21 November 2015 - 10 April 2016

Installation views of (top) Asim Waqif’s All we leave behind are the memories 2015 (bottom) Haegye Yang’s Sol Lewitt Upside Down 2015 installed in APT 2015, ‘APT7: The Asia Pacific Triennial of Contemporary Art’ Queensland Art Gallery, Brisbane, 2015. Images by Mark Sherwood and courtesy of Queensland Art Gallery Ι Gallery of Modern Art © Queensland Art Gallery | Gallery of Modern Art 2015.


Exhibitions Design Intern (Adminstration and Documentation): Alex Boyes/AB Curatorial Design

Curator: Tarun Nagesh

Design Manager: Michael O’Sullivan

Exhibitions Manager: Katrina Bell

Senior Exhibition Designer: Rebekah Coffey

Exhibition Designer: Pamela Jeffs

Exhibition Designer: Grace Lui

Exhibition Design: Rebecca Hall

Content type: Visual Art, Architecture
Working as a professional intern represented by the University of Sydney, these two projects were an opportunity to harness practical documentation software whilst performing research on the evolution of contemporary Australian exhibition design.

APT8 emphasized a strong representation of emerging exhibition design trends through  performance, video, kinetic art and sculpture for expressing socio-cultural and political ideas. Like previous APTs, selected artists articulated these expressions with design/experiences specific to their country of origin. Both South Korea’s Haegue Yang and India’s Asim Waqif choosing to focus on domestic materials, invading Queensland Art Gallery’s watermall and the Gallery of Modern Art’s main atrium hallway.



Materials being prepared for Haegue Yang’s Sol Lewitt Upside Down 2015. Images by Mark Sherwood and courtesy of Queensland Art Gallery Ι Gallery of Modern Art © Queensland Art Gallery | Gallery of Modern Art 2015.

Haegue Yang’s Sol LeWitt Upside Down – (2015) comprised of consisted of 1012 white Venetian blinds arranged into grids and suspended from QAGOMA’s ceiling. It expanded on American artist’s Sol LeWitt’s tradition of open modular structures, whilst moving it into an everyday experience by using made-to-order materials typical of city living and interiors found within Seoul. Simulating this approach within QAGOMA’s iconic watermall space became important for communicating across Exhibitions, Curatorial and Registrations teams.
Waqif’s method of building sculptural installations from debris and found objects was applied to materials typically found within structures of Queensland. For All we leave behind are the memories (2015) Waqif visited sites including Brisband local suppliers Kennedy’s Timber to find the perfect elements. Like many of his previous works, materials were arranged in a technique that looks intentionally unplanned and labour intensive. This is to emphasize themes of waste, sustainability and heritage which is in sharp contrast to the rapidly developing city of Delhi where he is based, and create an interventionist experience for visitors.



Materials being installed at QAGOMA and Asim Waqif exploring the possibilities at Kennedy’s Timber, Narangba, July 2015. 
Images by Mark Sherwood and courtesy of Queensland Art Gallery Ι Gallery of Modern Art © Queensland Art Gallery | Gallery of Modern Art 2015.
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Both artworks also continued QAGOMA’s established proficiency for creating spectacular, immersive and interventionist style displays. QAGOMA boasts malleable and large exhibition spaces, as well as a multidisciplinary Exhibition Design team which combines architecture, interior design and interactive strategies to realise the vision of the artists QAGOMA showcases.
This includes using techniques and methods more commonly encountered within industrial engineering and commercial construction, and adopting architectural standards of workflow processes. Unlike many of Australia’s other state galleries, QAGOMA’s also has an onsite construction workshop with specialised technical teams who work closely with curators, designers and registration staff.


Installation views of (first) All we leave behind are the memories 2015 and (second) Sol Lewitt Upside Down 2015 installed in APT 2015, ‘APT7: The Asia Pacific Triennial of Contemporary Art’ Queensland Art Gallery, Brisbane, 2015. Images by Mark Sherwood and courtesy of Queensland Art Gallery Ι Gallery of Modern Art © Queensland Art Gallery | Gallery of Modern Art 2015.


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