The 2017 exhibition, Tjungunutja: from having come together, was developed by a curatorial team of distinguished senior Pintupi, Luritja and Warlpiri men alongside the Curator of Aboriginal Art at the Museum and Art Gallery of the Northern Territory (MAGNT). Beyond this team, a further 30 consultants across five different Western Desert communities were actively engaged in the project. Described as ‘ground-breaking’, ‘rigorous’, ‘startling’, Tjungunutja showcases the largest collection of early Papunya boards together with rare works on paper, archival documents and early footage, accompanied by a beautifully illustrated catalogue and a feature-length film. The title was provided by the exhibition’s Aboriginal curators, who wanted to acknowledge the ‘coming together’ of the museum and Indigenous people; the collaborative efforts of different desert cultures and language groups; and the return of images of paintings, their descriptions, rare historical photographs and film footage back to their source communities. If the theft from MAGNT in 2008 of six early Papunya boards triggered a decade-long process of consultation, conservation and preparation that resulted in Tjungunutja, then clearly we need more art heists. The irreplaceable works were soon recovered undamaged, but the public debate and political point-scoring that played out across the pages of the national newspaper had serious lasting effects. A planned exhibition was cancelled, and a museum director let go. Alison Anderson, then Labor minister for Indigenous policy, cleverly likened MAGNT’s collection of 226 early boards to sacred sites. She directed the Aboriginal Areas Protection Authority (hereafter, ‘the Authority’) to inquire into the artworks’ cultural significance and to suggest a management plan. Their report, released in 2012, recommended that 63 works be restricted, but the remaining works were given the all clear and wheels were set in motion. Appointing an independent statutory authority, established under the Northern Territory Aboriginal Sacred Sites Act, to undertake the review was a smart move on several levels. Firstly, it ensured that the process remained at arms-length from the Government (a difficult thing to do in the Northern Territory [NT]). Second, just as the operations of the Authority are overseen by senior male and female Aboriginal custodians from across the NT, the review also engaged senior custodians and traditional owners, including the core team, who

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Anzja 展览回顾

2017 年的展览“Tjungunutja：从走到一起”由杰出的 Pintupi、Luritja 和 Warlpiri 资深人士组成的策展团队与北领地博物馆和美术馆 (MAGNT) 的土著艺术策展人共同开发。除了这个团队之外，还有来自西部沙漠五个不同社区的另外 30 名顾问积极参与了该项目。Tjungunutja 被描述为“开创性的”、“严谨的”、“惊人的”，展示了最大的早期 Papunya 木板收藏以及稀有的纸上作品、档案文件和早期镜头，并附有精美插图的目录和一部长篇电影. 展览的原住民策展人提供了标题，他们想承认博物馆和原住民“走到一起”；不同沙漠文化和语言群体的协作努力；以及将绘画图像、它们的描述、罕见的历史照片和电影镜头送回其来源社区。如果 2008 年 MAGNT 盗窃六个早期的 Papunya 板引发了长达十年的咨询、保护和准备过程，导致了 Tjungunutja，那么显然我们需要更多的艺术品抢劫。无可替代的作品很快就完好无损地恢复了原状，但在全国性报纸上进行的公开辩论和政治评分产生了严重的持久影响。一个计划中的展览被取消，一位博物馆馆长松了手。时任原住民政策劳工部长艾莉森·安德森巧妙地将 MAGNT 收集的 226 个早期木板比作圣地。她指示土著地区保护局（以下简称“管理局”）调查艺术品的文化意义并提出管理计划。他们于 2012 年发布的报告建议限制 63 件作品，但其余作品已全部清除并启动。任命一个根据《北领地原住民圣地法》设立的独立法定机构进行审查，在几个层面上都是明智之举。首先，它确保该过程与政府保持一定距离（在北领地 [NT] 很难做到）。其次，正如管理局的运作由来自北领地各地的高级男女土著监护人监督一样，审查也涉及高级监护人和传统所有者，包括核心团队，