ABSTRACT This article is about recent art of Tjanpi Desert Weavers, the not-for-profit, social enterprise of the Ngaanyatjarra, Pitjantjatjara and Yankunytjatjara (NPY) Women’s Council, as practices of eco-somatic feminist Indigenous ‘survivance’. Kuka Irititja (animals from another time) and Tjituru-tjituru (Tragedy, Grief and Sadness), produced in creative collaboration with non-Indigenous artist Fiona Hall, focus on death, extinction, annihilation. Whose lives, whose deaths mattered in the past; whose lives, whose deaths matter today. These works reference the British testing of nuclear bombs at Maralinga in the desert homelands of the artists in the 1950s and explore living-on in the aftermath of relentless settler colonial devastation, as Rene Wanuny Kulitja says of her work for Tjituru-tjituru: ‘these are for the ones who were born but never lived’. Developing a close analysis of the works, situated in a broader framework of remote avantgarde or Aboriginal art under occupation, this article explores how these works address a past that is not past for Anangu/Yarnangu women today and the vital importance of the work of Tjanpi Desert Weavers art production in the present.

中文翻译：

---

Tjanpi 沙漠织布工和土著生存艺术

摘要 本文是关于 Tjanpi Desert Weavers 的近期艺术，这是 Ngaanyatjarra、Pitjantjatjara 和 Yankunytjatjara (NPY) 妇女委员会的非营利社会企业，作为生态身体女权主义土著“生存”的实践。Kuka Irititja（来自另一个时代的动物）和 Tjituru-tjituru（悲剧、悲伤和悲伤）与非土著艺术家 Fiona Hall 合作创作，关注死亡、灭绝和毁灭。谁的生命，谁的死在过去很重要；谁的生命，谁的死亡今天很重要。这些作品参考了 1950 年代英国在艺术家的沙漠家园马拉林加进行的核弹试验，并探索了无情的定居者殖民破坏之后的生活，正如 Rene Wanuny Kulitja 在谈到她为 Tjituru-tjituru 所做的工作时所说：'这些是为那些出生但从未生活过的人准备的'。对这些作品进行仔细分析，在更广泛的偏远前卫或占领下的土著艺术框架中，本文探讨了这些作品如何处理对当今阿南古/雅南古妇女来说还不是过去的过去，以及 Tjanpi 作品的至关重要性沙漠织布工目前的艺术生产。