Kalamana Papalum | Latest Work

F.M.I. Sisters of Vunapope

Australian War Memorial Commission (2018-2020)

At the risk of their own lives, the F.M.I. Sisters dedicated themselves to providing locally grown produce to Australian, European and Unserdeutsch children who were held captive at Ramale prisoner of war camp for almost three years. As an Australian War Memorial commissioned artist, I chose to highlight war histories that relate to women, in particular Papua New Guinean women. Photographed inside the liberated camp in 1945, twelve F.M.I. Sisters are veiled and adorned with flowers that reference some of the seventeen nationalities among the 300 civilians whom they helped keep alive at Ramale during the Second World War. Forty-five black cinctures honour the efforts and make visible the names of the F.M.I. Sisters.

F.M.I. Sisters of Vunapope (2020). Framed and mounted inkjet print on cotton rag 970 mm  x 1150 mm.
Detail of 45 black cotton cinctures. Australian wool yarn embroidery by Lisa Hilli and Eddy Carroll. Approximately 4 meters x 3.5cm – 4cm

Media & Reviews

Australian War Memorial Blog

Sisterhood Lifeline

Commissioned for The Commute exhibition at Institute of Modern Art. Sisterhood Lifeline explores the visibility and invisibility of black women’s bodies in cultural institutions in Australia. Drawing from my own personal and professional experiences of working in a museum support networks with women and non-binary people of colour literally was my sisterhood lifeline – a phrased borrowed from Areej Nur, a Melbourne based writer and media producer. Read more…

Sisterhood Lifeline 2018, latex ink on wallpaper, inkjet prints on cotton rag, office partitions, iMac, office telephone with vocal recordings, books, Post It Notes, pen, swivel chair.

Exhibited

The Commute, Institute of Modern Art, Brisbane 2018-19

Transits & Returns, Vancouver Art Gallery 2019-20

A Tinata Tuna exhibition text, Lisa Hilli with Léuli Eshraghi

Media & Reviews

UN PROJECTS

Runway 

Installation photography Markus Ravik and Carl Warner 2018

Trade & Transformation

Solo Exhibition Blak Dot Gallery 2018

Trade beads or slave beads, were used globally by European colonists as a mechanism for the exploitation of labour and goods, they were also used by missionaries and merchant traders for building rapport with indigenous people of the land. Artist Lisa Hilli explores the impacts and transformative effect that trade beads had upon her own people the Tolai / Gunantuna, during a precarious and hostile era of the late 1800’s and how materiality became a language, which was understood and valued by all.

Artworks

Two women facing the future, Duke of York Islands. (Where the First Missionary landed and first mission, Port Hunter, c.1882)

1000 mm x 733 mm, pigment print on cotton rag, glass beads, cotton thread. 2018. Photographer Reverend R. H. Rickard. Image courtesy of the Mitchell Library, State Library NSW and Uniting Church in Australia – Assembly. (Reference ON 305 / 547).

Value Systems

Red glass beads, nylon coated wire, Deutsche mark, British Papua schilling and Papua New Guinea kina coins, stone crosses, photo locket, archival photographs. Dimensions variable, 2018.

Material Histories #1

Single channel HD video, audio. 1 min 47 seconds. Dimensions variable. 2015

Material Histories #3

(4 channel HD video) presented as single channel, audio, 8 mins 47 seconds. Dimensions variable. 2015

A Niaring Kai Kada Luluai (The Lords Prayer)

Vinyl text transcribed from photograph by Reverend R. H. Rickard, Image courtesy of the Mitchell Library, State Library NSW and Uniting Church in Australia – Assembly. (Reference ON 305/552)

Tabu

Nassa shells, cane. Artists’ collection

Media & Reviews

Dress Code Review – Artlink, Ann Finegan

Exhibition & Artist interview – Blak Dot Gallery

Acknowledgment

Collective of labourer’s & beaders: Cathy Hilli, Léuli Eshraghi, Eddy Carroll, Pauline Vetuna, Kevin Murray, Kim Kruger, Savanna Kruger, Kalissa Alexeyeff, Travis Cox, Kirsten Lyttle, Aunty Lila Heimann, Tray Hudson, Gina Ropiha, Talava Tuhipa-Turner, Jacinta Crocker.

Thank you to Kimba Thompson, Blak Dot Gallery and Testing Grounds for supporting the development of this work during an artist residency called Trade Stories  in January 2018. A part of the research of this exhibition was supported by a Museums Victoria 1854 scholarship in 2016.

CV

Selected Exhibitions

2019

Transits & Returns, Vancouver Art Gallery

Capital Ballarat International Foto Biennale

2018

Dress Code Museum of Brisbane

The Commute Institute of Modern Art Brisbane

Mother Tongue Gertrude Contemporary Melbourne

Melbourne Art Fair presented by Blak Dot Gallery

Trade & Transformation solo exhibition, Blak Dot Gallery

2017

An Unorthodox Flow of Images Centre for Contemporary Photography

A Bit Na Ta: Story of the Gunantuna Melbourne Museum

2016

No 1 Neighbour:  Art in Papua New Guinea 1966-2016 Queensland Art Gallery | Gallery of Modern Art

Fifty Shades of Blak Blak Dot Gallery

Solomon Islands: Re-enchantment and the Colonial Shadow Anthropology Museum, University of Queensland

Weaving Worlds Australian Tapestry Workshop

2015

Vai Niu Wai Niu Coconut Water Caboolture Regional Art Gallery

Embodied Spaces Framer Framed, Tolhuistuin, Amsterdam

Where We’re At! Other voices on gender Bozar, Centre for Fine Arts, Brussels

2014

Meleponi Pasifika Indonesian Contemporary Arts Network, Yogyakarta

Meleponi Pasifika Contemporary Festival of Pacific Arts, Footscray

Awards

2016 Best Use of Natural Light, CCP Salon, Centre for Contemporary Photography

2016 Best Visual Arts – Melbourne Fringe Festival, Fifty Shades of Blak participating artist

2016 Museums Victoria 1854 Scholarship

Artist Residencies

2019 Helsinki International Artist Program – Australia Council Artist in Residence

2018 Testing Grounds, Melbourne

2015 Australian Tapestry Workshop

2008 University of Goroka, Papua New Guinea

Education

2016 Masters of Fine Art by Research RMIT University

2008 Bachelor of Fine Arts RMIT University