WS Floorplan
  1. Patrina Munuŋgurr, Warwuyun Gurra Wäŋawu (Sorrow for Home), 2021. Three channel video, 6:50 minutes
  2. WEST SPACE WINDOW: Kyra Mancktelow, Jundal I, 2021
Warwuyun Gurra Wäŋawu (Sorrow for Home)

“Now I am speaking
Recording my words through the telephone
Because I have been gone a long time
From my home
My work
My people”
– Patrina Munuŋggurr

West Space is proud to host the premiere of Patrina Munuŋggurr’s newly commissioned video work Warwuyun Gurra Wäŋawu (Sorrow for Home), produced in partnership with The Mulka Project. Warwuyun Gurra Wäŋawu (Sorrow for Home) marks Munuŋggurr’s first solo exhibition in Melbourne.

In early 2021, for reasons beyond her control, Yolŋu artist Patrina Munuŋggurr was forced into exile from her ancestral homelands. She still has no knowledge of when it will be safe enough for her to return, and she is now based in Darwin.

Warwuyun Gurra Wäŋawu (Sorrow for Home) brings together footage filmed by Munuŋggurr in Yirrkala and on Wandawuy country, tied together through a recording she made of her last phone call home, translated from her native Dhuwaya language into English. It is a sorrowful love letter sent home from a foreign place.

Warwuyun Gurra Wäŋawu (Sorrow for Home) will be accompanied by online publishing activity, writing workshops, and interviews developed by Maya Hodge and Jenna Rain Warwick.

 

Warwuyun Gurra Wäŋawu (Sorrow for Home) is supported by:

  • Producing Partner: The Mulka Project
  • Presenting Partners: Centre for Projection Art, Agency Projects
  • Funding Bodies: The Besen Family Foundation, The City of Yarra through their Annual Grants Program, and the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

 

Read the transcript of the film here.

WEST SPACE WINDOW: "Jundal I"

“These prints investigate long-lasting legacies of colonialism, asking questions such as how we remember and how we acknowledge traumatic histories.”

Jundal (Quandamooka for ‘young’) recreates the 1896 uniform worn by First Nations girls who were forcibly removed from their families and placed in Moongalba Mission on Stradbroke Island. “During this time there was a significant story to be told. Before going ahead and creating these uniforms I made sure I sat down with one of my elders and asked for permission to create these uniforms, how I wanted to create them and of course for what reason.”

“The material I used to create these uniforms is called Tarleton, a printmaking fabric that we use to take away colour from an etching plate. I chose this material because it represents that attempt of Assimilation and taking away identity, culture, traditions. Instead of using this material to take away colour, I rub colour back into the uniforms/material and bring back that sense of strong cultural ways traditions knowledges of my people.”

In this way, Kyra’s work pays tribute to all Aboriginal and Torres Strait Islander young people and their families who were forcibly relocated to missions during the 19th and 20th centuries.

This exhibition is presented in partnership with Agency.

Patrina Munuŋggurr is one of the leading cinematographers and post-production technicians at The Mulka Project. Munuŋggurr has produced many popular films including a 7-part series documenting the 7 colours of master weaver and colour dyer Laŋani Marika. In 2017, Munuŋggurr delivered her first television commission for NITV, a documentary titled Wandawuy Dhapi. She also exhibited her first screen-based artwork Gurrkurr Dhalkuma at The Good Shed Gallery. In 2018, Munuŋggurr produced a 6K film work titled, Dhunupa’kum Nhuna Wanda, which was awarded the 2018 NATSIAA Media Award. She currently has a collaborative film piece with Ishmael Marika displayed on a 3×16:9 screen at the University of Technology Sydney based around the season of Rarranhdharr.
The Mulka Project is a collective of practicing multimedia artists, cinematographers, sound engineers and post-production technicians based in Yirrkala, North East Arnhem Land. The name Mulka means a sacred but public ceremony, and, to hold or protect. It is Mulka’s mission to sustain and protect Yolŋu cultural knowledge whilst being managed by Yolŋu law and governance. At the core of The Mulka Project resides a growing, living archive of Yolŋu knowledge, ceremony, and cultural history which gives voice to generations past and also allows contemporary Yolŋu knowledge and law to speak to coming generations and a worldwide audience. With state of the art facilities and equipment The Mulka Project collaborates on each artist’s concepts to produce highly developed works for exhibitions nationally and internationally utilising our exceptional expertise in 6k film, animation, VR, 3D modeling, photogrammetry, projection mapping, and sound production.
Kyra Mancktelow’s multidisciplinary practice investigates legacies of colonialism, posing important questions such as how we remember and acknowledge Indigenous histories. An emerging Quandamooka artist with links to the Mardigan people of Cunnamulla, Kyra’s practice includes printmaking, ceramics, and sculpture – each applying a unique and distinct aesthetic. Kyra works with various materials to share her rich heritage, stories, and traditions to educate audiences and strengthen her connection to Country. Her printmaking explores intergenerational trauma as a result of forced integration on colonial missions, and her use of local materials in her sculpture, including clay, emu features, and Talwalpin (cotton tree), strengthens her connection to Country. A recent graduate from Queensland College of Art’s Contemporary Australian Indigenous Art program, Kyra won the 2021 Telstra Emerging Artist Award at The National Aboriginal & Torres Straight Islander Art Awards, and a Special Commendation at the 2021 Churchie National Emerging Art Prize.