The contemporary art of Australian Aborigines 

in 1971 painted Mick Tjapaltjarri Namarari first picture is acrylic on canvas. This was – apart from some predecessors – the beginning of a Malbewegung which spread dramatically within a few years. After 15 years already, so the mid-80s had all the great art museums of Australia collections created with this form of painting and show since then exhibits in the department of contemporary art of their permanent collections. The debate about whether it is contemporary art or folk art, whether they are in the categories of Art Brut or ethnographic presses – which in Germany is so popular – it was in Australia with the collections and exhibitions in the art museums of all major cities largely resolved in favor of contemporaneity. Since the beginning of Malbewegung working artists to the public . The generated works were thus never worked for any purpose other than the teaching of art and culture. They do not reflect past traditions, but today’s culture. There are no religious objects. The work is part of contemporary art in Australia and are one of the two pillars on which rests the Australian contemporary art. History A meeting of various social processes favored the Malbewegung which took its starting point in Papunya, a settlement about 250 kilometers west of Alice Springs, that is in the heart of Australia. This settlement was established as one of the last in 1960 under the dictates of the assimilation policy of the Australian Government. Aborigines should be – because they had already survived the terrible persecution to genocide until well into the century just past – adjust the white, European way of life. Other reasons for the forced settlement of various groups and peoples was operated since 1946 military missile test site (Woomera Rocket Range) and the emerging tourism industry. Despite their diverse cultures to the mid-60s about 1000 Aboriginal people of different nations in Papunya were crammed together, which necessarily lead to social tensions resulted. For what the Aboriginal people lived in small groups, met with other groups to celebrate religious ceremonies, but otherwise wahrten mutual distance in high respect. of coercion and pressure, which was created by including the ban to be allowed to leave the settlement without the approval of whites, and awareness among the elders of the Aboriginal fact that their culture is increasingly suffer the loss, allowed a way out seem urgent. the mid 60s incipient land rights movement had more influence on the growing desire of Aboriginal people not only to maintain but also to recognition of their culture . In 1967, Aborigines were recognized as citizens of Australia. And only a few years ago they were in a court of the right conceded to be paid in the same way as whites to work. In Papunya art teacher Geoffrey Bardon acted as the triggering spark for Malbewegung by asking where the Aborigines own visual language to paint and by organizing painting materials, acrylic paints and canvas. The Malbewegung spread jumped from settlement to settlement along the phylogenetic relationships that are based on a completely different system than the blood kinship rather widespread, and along the travel for religious ceremonies. painting found today we present a wide variety of painting. In just three decades Malbewegung has produced an immense diversity of styles. The art history but has not yet found a handy categories for this art. It differs only so far between the Desert and the Municipal Art. Inside the Desert art in turn, that the art of Central Australia, one can determine two directions. The point and line painting another subdivision is as simple, namely to connect the different directions with the places where the art is created. Thus says one example of the art from Papunya / Kintore, Yuendumu, Utopia, Wirrimanu? Balgo also called? or Warmun. This has most certainly not justified when you see the pictures from Warmun, a settlement in the Kimberleys in northwest Australia, for example, considered. They are all working with earth pigments on cotton in a color field painting.But within the uniform use of painting materials shows that the artist tracking / inside their own distinctive imagery. Even in the work of Wirrimanu is clear that the categorization is not the painting for places is very expressive. Too different are the ways of painting the individual artists. would lead to any better understanding of confusing the dot painting from Yuendumu, Papunya and Utopia to the pointillism or to prove the works with concepts such as Op Art, Abstract Expressionism and Fauvism. This painting of Australian Aborigines has nothing to do, even though the basic techniques of the Desert Art, points, lines, monochrome reasons, the effects of the overlays are also the foundations of modern Western painting, so work the works of such contemporary abstract painting. But one can speak of iconography and symbolism in the images and narrative content. The stories and the iconography as in the capital “Tjukurrpa” mentioned, the images tell stories. The stories – sometimes more and sometimes less explicitly told by the artist or the artist – are part of the images and are indicated by the symbols used. It should be noted however, that unlike in the European painting of the same symbols do not mean the same. Depending on the painted story described as concentric circles – a very old symbol – a meeting place, a watering place, a holy place or another. . U-forms are usually available for people when comparing picture and story to show typical features of the Australian Aboriginal painting: The story itself is often told only in a rudimentary way. It is translated picturesque, thus mapped directly. This translation is done either in a symbolic language, which applies to many artists of central Australia, working with dot painting, or the story is much reduced in a formal composition of dotted lines or structures shown. Often the pictures show a landscape, which is usually dealing with the land, which includes the artist or the artist. The stories tell of the events Tjukurrpa from Aboriginal law. They contain all the knowledge about animals, plants and food, of medicine and morality, which allows the coexistence and survival of the people. The stories are nothing mystical, sonderen both the knowledge and the history.

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