Yokohama Triennale 2014 Pre-event

A Case Study on
Educational Programs ofAsia Pacific Triennial of Contemporary Art
in Australia

Kids’ APT:
Connecting Contemporary Art
and Kids
Document
ヨコハマトリエンナーレ2014 プレイベント

オーストラリア発、国際展における次世代教育普及プログラムの事例紹介「現代アートと子どもをつなぐキッズ APT」
記録集

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開催概要／タイムテーブル

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第 1 部：プレゼンテーション「キッズ APT：アジア・パシフィック・トリエンナーレにおける子どものためのプログラムの事例紹介」

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第 2 部：横浜の取り組み紹介「横浜トリエンナーレと横浜美術館による教育プログラムへの取り組み」

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第 3 部：意見交換

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来場者アンケート

18Pre-event Outline / Timetable

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Part 1 Presentation “Kidsʼ APT: A Case Study on Educational Programs of Asia Pacific
Triennial of Contemporary Art in Australia”

25Part 2 Introducing Education Programs in Yokohama “Yokohama Triennale and YokohamaMuseum of Art”

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Part 3 Discussion

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Audience Feedback

Yokohama Triennale 2014 Pre-event
A Case Study on Educational Programs of Asia Pacific Triennial of Contemporary Art in Australia

Kids’ APT: Connecting Contemporary Art and Kids
The Asia Pacific Triennial of Contemporary Art (APT) is a contemporary art exhibition that takes place every
three years at the Queensland Art Gallery / Gallery of Modern Art (QAGOMA). It was inaugurated in 1993 to
exhibit and collect contemporary artworks of Asia and the Pacific region; Kids’ APT is a program that started in
1999 with a focus on young audience.
Simon Wright of QAGOMA was invited on March 8, 2013 to introduce the program at the pre-event of
Yokohama Triennale 2014, “Kids’ APT: A Case Study on Educational Programs of Asia Pacific Triennial ofContemporary Art in Australia.” The programs for young audience at the Yokohama Museum of Art andYokohama Triennale 2011 were briefly introduced together with the case study of APT. The questions fromthe school teachers and education officers in the audience led to highlighting and sharing specific efforts andissues. This document is a record of the proceedings.

［Date/Time］
March 8, 2013 / 19:00-21:00
Children’s workshop, Yokohama Museum of Art
Organizers: Organizing Committee for Yokohama Triennale, Yokohama Museum of Art[Timetable]

19:00

Opening Remarks by the Organizer
Osaka Eriko (Director, Yokohama Museum of Art / Chairperson, Organizing Committee for Yokohama Triennale)

19:05

19:40

Part 1 Presentation “Kidsʼ APT: A Case Study on Educational Programs of Asia Pacific Triennial ofContemporary Art in Australia”
Simon Wright (Assistant Director of Programming, Queensland Art Gallery / Gallery of Modern Art [QAGOMA])
Part 2 Introducing Education Programs in Yokohama “Yokohama Triennale and Yokohama Museum of Art”
Seki Junichi (Educational Department Manager, Yokohama Museum of Art)

20:00

Part 3 Discussion
Moderator: Hoashi Aki (Managing Director, Organizing Committee for Yokohama Triennale)

20:45

Closing1) Affiliation and positions of the speakers are current as of September 14, 2014.
2) Japanese, Chinese, and Korean names are spelled in the order of family name, given name with some exceptions.

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Pre-event Outline / Timetable

Simon WrightAssistant Director of Programming, Queensland Art Gallery / Gallery of Modern Art (QAGOMA)

Seki Junichi
Educational Department Manager, Yokohama Museum of Art

Osaka Eriko
Director, Yokohama Museum of Art
Chairperson, Organizing Committee for Yokohama Triennale

Moderator: Hoashi Aki
Managing Director, Organizing Committee for

Yokohama Triennale

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Part 1
Presentation“Kids’ APT: A Case Study on Educational Programs ofAsia Pacific Triennial of Contemporary Art in Australia”

Osaka Eriko [Osaka] | Hello and welcome. Thank you all for coming

on a Friday night.

Today, we have invited Simon Wright from Queensland Art

Gallery / Gallery of Modern Art (QAGOMA) to speak about the
special program called Kids’ APT, a program inaugurated in 1999

dances. Exhibitions drive attendance.

The image that you are looking at is the front of GOMA, theGallery of Modern Art [FIG. 1]. The Queensland Art Gallery is about
100 meters away.

The impact of recurring exhibitions, such as the Asia Pacificto coincide with the Asia Pacific Triennial of Contemporary Art

Triennial of Contemporary Art, or APT, which is the gallery’s flag-

discuss the artists and trends in contemporary art. But today, we will

we service different audiences. Without question, some of the most(APT). When we talk about international exhibitions, we usually
hear how the art on exhibit is communicated to the children.

When I visited APT in 1999, I remember seeing a group ofchildren enjoying themselves in the corner of the gallery. I remember thinking about the potential of a program like this taking place

during an international exhibition, but I also then thought how wewould not be able to do the same in Japan.

I am sure there are advantages as well as disadvantages in run-ning a program for children in a museum. I hope that Wright-san
can share with us his various experiences in his talk. Today’s program
will be 2 hours long, but I hope you will enjoy it until the very end.

Hoashi Aki [Hoashi] | So, I would like to now invite Simon Wrightto give his presentation.

Wright-san is currently Assistant Director of Programming,

QAGOMA. He has worked for university galleries as well as private

ship contemporary international art exhibition, is testament to how
inspiring contemporary artworks presented in exhibitions like the
APT have really challenged visitors’ expectations and provided newexperiences, we want to enable direct contact and participation withartworks.

Children as New Audience of Contemporary Art

We see children as amongst our most significant audiences forcontemporary art, and we tailor specific programming for theirattention.

As a consequence of this, we have become central to many

debates surrounding the contested space of art and children and its

relationship to core museum practices. And it reveals a lot of about
our assumptions about art, who values it and for whom it is made.

When the Queensland Art Gallery decided to focus especiallycollections in the past. Therefore, I hope to hear about the educa-on children and families in its programming in the late 1990s, there

related to his experiences in the different fields. His presentation will

1998 over two million children have visited the gallery.

tion program during APT, but also maybe other things that may be

be on Kids’ APT, a program for children that is organized during
the APT.

were very few national or international models to draw on. Since

Museum education in the late 1990s was seen as playing an

Simon Wright [Wright] | Thank you. It’s a very great pleasure for me

to be here.

It seems a very natural experience these days to walk into a

museum and encounter generations of visitors participating andexperiencing art in their own way – perhaps they make something,perhaps they watch something like a performance or talk, perhaps
they’re thinking about an artwork, perhaps they’re viewing online
interviews, interactive labels or uploading images of their visit onsocial media. This opening up of the museum space has created avery different visiting experience. We privilege interpretive potential
over the authorial voice. We are taking the museum experience froma more passive to a more active experience.

At QAGOMA, contemporary art has become a major focus forchildren and for collection building and our approaches to programming, and it has contributed to some of the gallery’s highest atten20

FIG. 1 Visitors to 21st Century: Art in the First Decade, GOMA, 2010-11

Part 1 Presentation “Kids’ APT: A Case Study on Educational Programs of Asia Pacific Triennial of Contemporary Art in Australia”

important, but only a secondary to developing collections and curating exhibitions. Now, after 15 years of programming for young audiences, the gallery is recognised as an international leader.

contemporary ideas and different cultures. We always try for a balance between direction, instruction and free association.

Very simple and very practical measures like providing more

In particular, for the development of children’s programming

insight for audiences into an artist’s process of making art, andchange first. This was an immense collective effort and challenge

personal connections through hands-on interaction are all central

at the Queensland Art Gallery, the culture of our museum had tofor generations of directors, executive managers, educators, curatorsand designers. The organizational culture of the gallery has evolved
so that, now, children and families as an audience is not considered aseparate group, but a part of our strategic plan [FIG. 2].
Children’s Art Centre and Its Vision

Since the Gallery of Modern Art opened in 2006, the Children’s

Art Centre has occupied two physical spaces, but its presentation

extends into all gallery exhibition spaces [FIG. 3]. So projects integratechildren’s programing in ways that very purposely blur the boundaries between artworks for adults and artworks for children.

In the process of working with artists and audiences, the Chil-dren’s Art Centre has come to define several principles, and there arethree main ones:

1. Active participation enables children to engage their intellectin direct experience with a diverse range of contemporary
ideas and cultures.

2. Contemporary artists’ ideas are an authentic and appealingmeans through which children can learn about art and its
importance in the lives of people around the world.

3. In the 21st century, the profession of art continues to expand

and diversify, providing children with a broader understanding of the field and their role in it in the future.

So while design innovation and staff expertise has changed anddemystifying the practice of being an artist, and getting closer, more
to our aims.

The approach that we have taken has exceeded expectations,so much so that in the evolution of the Children’s Art Centre, themodel for audience engagement has not only changed children’s
expectations, but every visitor’s expectations. In exhibition spaces
around all of the galleries we have special cards for children. We

often receive feedback from adults that says that informationenriches their experience as well as kids.

Children as Ambassadors for the Museum

Children are some of our most regular visitors now and they are

our best ambassadors. They bring their families to the gallery, rather
than parents bringing their kids.

We trial all of our projects with school teachers in the commu-

nity first, so that we know they are going to work. Last year, 20
percent of our visitors to the whole complex were children. When

you compare this internationally, that is an extraordinary response,much higher than the normal range of art museums; for instance, in
the United Kingdom, it is around 9 percent.

In developing projects for children, we conduct research trials

in schools and communities which enable our gallery staff to test
concepts and materials, and we observe and gauge the children’s
response to the different projects.

While we are collaborating with artists, we are also collaborating

evolved greatly over time, many principles of the current Children’swith children. The child’s feedback is part of a crucial feedback loop.

deliver and support direct engagement with artworks. So the focus

same rigorous scrutiny as any contemporary exhibition or commis-

foster enjoyment while learning. So the focus there is on visualthat we know our exhibition product will work. Kids are very honest.

Art Centre programming have remain unchanged. We aspire to

there is on making, doing and interpreting. Secondly, we want toliteracy, comprehension and problem solving. The third aim is toallow children to maximize their own experience with a range ofFIG. 2 Visitors to The 7th Asia Pacific Triennial of Contemporary

In this way, the Children’s Art Centre projects are subject to thesioning process we undertake. It’s an insurance policy we take out, so
They tell you straight up if it’s not going to work. When they likesomething, they don’t just like it, they love it.

FIG. 3 Children’s Art Centre, Level 1, Gallery of Modern Art

Art, QAGOMA, 2012-13

Part 1 Presentation “Kids’ APT: A Case Study on Educational Programs of Asia Pacific Triennial of Contemporary Art in Australia”

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Guo-Qiang’s 30-meter long bamboo suspension bridge called Blue

Kids’ APT
Let’s talk about APT3, which was the first APT where we took

APT Kids to the public.

Consider here the numbers of visitors that attend and see thenumber grow overall as well as the number of children [FIG. 4].

dragon & bridge crossing spectacularly spanned the gallery’s Water-mall. In collaboration with Cai Guo-Qiang, we encouraged young

visitors to make their own structures. Thousands of kids, in fact, visitors of all ages took up that challenge and they made quite beautiful
things out of bamboo and masking tape [FIGS. 5, 6]. Very simple. Some

Kids’ APT in 1999 represented a number of groundbreaking

people said, “Wow, that bridge must be dangerous for kids.” In caseedged children as a key audience for an international contemporary

Three years later, the numbers were growing in both audience

firsts in terms of our children’s programming. Firstly, it acknowl-

you are worried, no children fell off this bridge; only an adult.

art event. It was also the beginning of a shift in the gallery that saw

and children for APT4.

tions, not just a quick add-on. And it was the first time the gallery

project that really builds nothing from something and something

for children, and we now acquire those works as well.

about screen technology and pixilation. This was ultimately showna need for children’s programs to be an integral part of major exhibicommissioned contemporary artists to develop artworks specificallySince 1999, Kids’ APT has contributed almost one quarter of thegallery’s total children’s attendance. Many of our adult visitors today,
as well as some of our young gallery staff members, made their very
first encounter with the gallery through Kids’ APT, whether theyWith Kusama Yayoi’s (b. Japan, 1929) work, The obliteration room, afrom nothing, we used over 250,000 dots [FIG. 7]. We were able to talkin the Tate Museum’s survey of Kusama last year.* Some of the kids
covered themselves in dots which was actually a great extension of
Kusama’s focus on the body.

We had an extraordinary number of visitors for APT5, but thevisited with their family or with schools. A very significant part ofnumber is a little bit artificial because it coincided with the opening

as their place, a place that they can show off to others.

drawing project.” Afghani children sent drawings through Khadim

our audience started with us as children and they now see the gallery
One of the highlights of APT3, for example, was the work of

New York based Chinese artist Cai Guo-Qiang (b. China, 1957). Cai

of GOMA as the second site. We involved children in the “Bamiyan

Ali (b. pakistan, 1978) so that kids in Brisbane could see what it’s like to bea child in Afghanistan [FIG. 8].

* The retrospective exhibition “Yayoi Kusama” held at Tate Modern from February 9 to June 5 in
2012.

FIG. 4

Changes in visitor numbers of APT3-7
Dates

Duration

Number of visitors

Number of visitors (children)

APT3

September 9, 1999 – January 26, 2000

5 months

More than 150,000

More than 16,700

1

APT4

September 9, 2002 – January 26, 2003

5 months

More than 220,000

More than 44,400

1

APT5

December 2, 2006 – May 27, 2007

6 months

More than 750,000

192,4452

APT6

December 5, 2009 – April 5, 2010

5 months

More than 530,000

More than 130,000

2

APT7

December 8, 2012 – April 14, 2013

4 months

More than 350,000

More than 83,500

2FIGS. 5, 6 Cai Guo-Qiang, Blue dragon bridge crossing / Kids’ APT3, 1999

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Part 1 Presentation “Kids’ APT: A Case Study on Educational Programs of Asia Pacific Triennial of Contemporary Art in Australia”

Number of venues

You can see from the moment an idea starts, we involve thedesigner and the architect as well as curator and artist.

This is contemporary Aboriginal artist Daniel Boyd (b. Australia, 1982)[FIG. 11]. Aboriginal art in Australia is often thought of as only being

This is Shirana Shahbazi’s (b. Iran, 1974) project at Kids’ APT6. We

about dots, but there is so much more information underneath thosethat were sent to the artist, which then was turned into the artwork

move their fingers over the screen to reveal their own image underasked children to use local fruit and vegetables to make a still life

for the Children’s Art Centre [FIG. 9]. We did still life drawing work-

shops.

dots. So Daniel Boyd’s interactive screen project allows children to
the dots.

With the artwork by Tiffany Chung (b. Vietnam, 1969) from Vietnam,

This is Isabel & Alfredo Aquilizan’s (b. the Philippines, 1965/1962) proj-

we asked children to group animals together in workshops and tellChildren were asked to bring in normal everyday things that had no

and asked children to draw them and make up their own stories,

ect, with an emphasis on recycling materials found at home [FIG. 10].

more use to repurpose.

APT7 continues as we speak, with over 350,000 people throughthe doors so far and we had almost 85,000 children. (as of March 8, 2013)

FIG. 7 Yayoi Kusama, The obliteration room / Kids’ APT4, 2002

us a story about what was going on, and then displayed those groups

creating a new narrative [FIG. 12]. This workshop was about multiculturalism and cross-cultural studies, but also about matching text
with image.

FIG. 8 Khadim Ali, The Bamiyan drawing project / Kids’ APT5,

2006

FIG. 9 Billboard painter Sirous Shabhaghi creating the mural in

Iran / Kids’ APT6, 2009

FIG. 10 Isabel & Alfredo Aquilizan, In-flight (Project: AnotherCountry) / Kids’ APT6, 2009

FIG. 11 Daniel Boyd, History is made at night / Kids’ APT7, 2012

FIG. 12 Tiffany Chung, One day the bird flies across the sea /Kids’ APT7, 2012

Part 1 Presentation “Kids’ APT: A Case Study on Educational Programs of Asia Pacific Triennial of Contemporary Art in Australia”

23This is a fantastic multimedia project by Parastou Forouhar (b. Iran,1962) [FIG. 13]. Farsi script in Iran, often in the shape of the text, embod-

ies a full word, and the children are able to draw on the screen, alter-ing the Farsi script until they have made an animal that the script
says, and then they can e-mail it to themselves or to their friends.

We will finish with Iwasaki Takahiro (b. Japan, 1975). Obviously you

are aware of Iwasaki’s practice; he uses very delicate materials likestrands of hair, or cotton threads, bits of dust particles and he makes
exquisite miniature replicas of landmarks and urban buildings. And

it teases out the idea of a viewer’s visual perception. So we have discreetly placed some of those around the gallery and put telescopes

up for children to see them through [FIG. 14]. The focus is on what you

look at as much as how you look at it. The focus is on out of sighteveryday materials that are transformed by creative process.

You can see that the museum does not tell the artist what to do.

The artist tells the museum what to do. We test that with children,
they tell us if that is going to work, and then we all work together

across a lot of departments to make it happen. Not all artists want
to work with children’s projects and that is fine. But there are plenty
who do, and we love them. Thank you.

Hoashi | Thank you. The presentation has provided us with a concise

introduction to the children’s program at APT.

FIG. 13 Parastou Forouhar, Persian for kids / Kids’ APT7, 2012

FIG. 14 Takahiro Iwasaki, Out of disorder (under construction) /Kids’ APT7, 201224

Part 1 Presentation “Kids’ APT: A Case Study on Educational Programs of Asia Pacific Triennial of Contemporary Art in Australia”

Part 2Introducing Education Programs in Yokohama“Yokohama Triennale and Yokohama Museum of Art”

Hoashi | Next, we would like to introduce the educational programs

This is a photo of a workshop when we had children watch athat take place in Yokohama.

professional printer demonstrate his skills during the special

which education program model is better, but to understand what

nese Modern Paintings,” which exhibited a collection of Japanese

By the way, we are here today, not to compare notes to decide on

kind of possibilities are available, if such programs are possible, andhow we can benefit from them.

Yokohama Triennale was inaugurated in 2001 and has so far

completed four editions, including the ones in 2005, 2008, and 2011.

exhibition, “The Spirit of KUNIYOSHI—From Ukiyoe to Japa-

woodblock paintings [FIG. 15]. The children took turns to experience

printing, and then went to see the print works. We prepared stools
so that children could see the works at the right height.

During the summer, we usually host the Kodomo Festa, which

In the last edition in 2011 (“Our Magic Hour”), included artist likeinvites children with homework to visit the museum during the sum-the first edition, 190,000 visitors in the second, 550,000 visitors involunteers to guide the children through the museum. We provide

Iwasaki Takahiro. We have been able to attract 350,000 visitors in
the third, and 330,000 visitors in the fourth edition.

For the last fourth edition, in which we put “See, Nurture, andConnect” as core values, we were conscious about what to do inorder to actually “nurture” our audience and program.

As a result, we ran the Kids Art Guide program, in whichchildren did a guided tour to the visitors. We are now evaluating
this program while looking for ways of running such programs. In

particular, we would like to either consolidate or to complement ourprogram, and utilize the resources and knowledge available in themer holidays. We involve the educator, volunteers and also teachers

information on the material and other features of the artworks
when we interact with the children so that they are prompted to see
the artworks closely. We encourage the children to hold their own

opinion, and to think about the artworks in their own ways. During
this time, we also organize gallery tours for students of school art

clubs and individuals who are interested. We involve school teachersand students who are particularly interested in art, so that we can
network with school and expand our museum programs.

existing studio programs, Citizen’s Workshop and Children’s Work-shop, which has 24 years of history at the Yokohama Museum ofArt. This is why we were interested in the Kids’ APT model which
is a program ran during the APT, but which is based in a museum.

Our colleague will now introduce you the studio programs at the

Yokohama Museum of Art.

Seki Junichi [Seki] | My name is Seki Junichi and I am in chargeof the education department. Since Wright-san is here today to talkabout APT, I would like to share the kind of programs we run at
the Yokohama Museum of Art, so that we can together think about

how we could utilize the educational resources in the museum for
the Yokohama Triennale.

It is now 24 years since the inauguration of Yokohama Museumof Art, and from the beginning, we have held programs that introduce the process of the making of art, including meeting artists, producing and creating artworks, to those who are age 12 and over, andchildren under age 12. The former is called the Citizens’ Workshop
and the latter is called the Children’s Workshop.

In the Children’s Workshop, the focus is on nurturing the mindsof the children through creative activities while developing future
audience by becoming familiar with the museum environment.

We also have programs for schools and individuals. Starting thisyear, we have a new program for art appreciation, so we will be integrating that with the current programs.

FIG. 15 Special Exhibition Class for children and families“Children meet Ukiyoe Printer”
Ukiyoe Printer: Hayashi Yusuke

Part 2 Introducing Education Programs in Yokohama “Yokohama Triennale and Yokohama Museum of Art”

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Part 3
Discussion

Hoashi | We have received many questions.

Queensland, and as we are not the “Brisbane” Art Gallery, but theschools, including the teachers, as well as those students who are notregions. Tim Fairfax’s family is involved in agricultural business

The first question is on QAGOMA and its relationship withparticularly interested in art.

Wright | We work closely with the school’s community in a numberof ways. In Brisbane, there is the Queensland Art Teachers Association. So we network with them quite closely.

I should also explain that the Children’s Art Centre, organiza-

tionally, is separate to our education department. From the min-ute we decide to do a project, a committee will be formed and for“Queensland” Art Gallery, and we also deliver services into thosethroughout Queensland, so he also has a very big personal interestin servicing the regions. He supports us also to deliver projects andcontent from the regions to show in the city, but also to deliver themregionally. To give you an idea of the level of commitment that the
Tim Fairfax Family Foundation gave us just towards APT7, it wasover 300,000 AUD.

Hoashi | I would just like to add that Queensland is a state, likethe two hours that committee meets, we are all employees of thethe Kanagawa Prefecture, and Brisbane is a city, like the City ofdesign and architects will come, artists will come, and curators will

the museum is located.

Children’s Art Centre. Education will come, marketing will come,come. All of them will come to that meeting so that we are working
together with a united purpose.

The staff from the education department, there are two full-time

staffs, each having secondary and primary art teaching backgrounds.
The two staffs in the Children’s Art Centre have educational backgrounds as well. So we cross-fertilize.

Yokohama, so the outreach programs cover the wider state of which

Wright | The Children’s Art Centre is free to the public. It is open

seven days a week and is part of an overall integrated plan to deliverfor young children. We look at two groups: kids with adults andschool groups.

We conduct a lot of research with school teachers. We go into

What we are trying to do is allow a situation to unfold quite

the classrooms and we work very closely with teachers and theirfloor plan is such that it will take a child who may think they’re notour education department, that whatever we are doing is very closely

naturally in the museum space. For the upcoming exhibition, theinterested to enter a space and, after a while, own the process of dis-covery. Some children who may want to make things will have four
desks where they can work. Some children may want to performand have themselves videoed, and there would be a corner for that,
too. And then there is an arcade game section, which is an interac-

students so that we get direct feedback. We also make sure, throughaligned with the Queensland Government education curriculum.
Education and Staff Training

We also employ young contemporary artists who do combined

tive educational project for children to engage with.

degrees of visual arts and teaching at universities to be our atten-

the Children’s Art Centre, and the others are in the restaurant andanother way that we stay in touch with what is being taught at

For example, for APT7, we offer 13 projects, 9 of which are inthroughout the gallery spaces. It’s basically impossible for a childnot to find something that they really enjoy.

Education Program in Relation to its Sponsors

So I’m showing you a plan for something that hasn’t happened

dants in the Children’s Art Centre. They are not volunteers. It’s

universities about the curriculum development, and it also allows
emerging artists to see with great excitement how children react todifferent situations and communicate about art; it’s great for theirown personal practice.

Hoashi | I would also like to follow up with another question onyet; this is a proposal for our next CAC project, a one-artist project.

Children’s Art Centre and the education department. You men-on going into the community and generating our sponsors, those

What is your staff training scheme, including those for full-time

It will cost maybe 150,000 AUD to make, and we rely very heavily

people who would pay for these projects. The museum tends to pay
for the staff and the publications and resourcing around it and theeducation kits that go out to schools, but we need money to makethese things. So we have support from companies like Santos, thebig mining company in Australia, and the Tim Fairfax Family Foun-tioned about the paid work for artists within your organization.
educators as well as volunteers and other people who are not neces-sarily paid workers? And how do you build the skills of your fulltime educators?

Wright | There is a volunteer program at the QAGOMA, but it isdation, a very big private philanthropic organization.

separate to the Children’s Art Centre.

Santos, for instance, operates in remote communities aroundthe Children’s Art Centre but also to train them for special circum-

The relationship with our sponsors is extremely important.

26

Part 3 Discussion

We feel we should employ young artists to provide services instances whilst they are there. It’s too much responsibility to rely on

So using metaphor, we are going to tell the story of how Austra-

volunteers. Children are making things, sometimes in dangerous

lia was settled. It was first occupied by Aboriginal people but thenwith our education staffs and they brief our roster of 25 young artists

arrived and they have scared the four different kangaroos away fromsituations, with scissors or carving tools. So our curatorial staffs work
who work in the Centre about each project.

Working with Schools and Educational Institutions

But we’re only talking about the staff in the Centre itself. It’s

important that when we are working in the regions that the educa-

tional staff develop information sheets and contextual information

people came. There is an image in which the noisy myna birds havetheir sacred hill [FIG. 17].

So the little guy on the left, Treeza, or the tree-kangaroo lives

in the green area in the trees, and the second guy, Rocko, is therock-wallaby, so the seats around the making tables will be rocks.
Potsy and Bluey, different kinds of kangaroos that inhabit the rocks
and the flat areas, are also represented in the Children’s Art Centre.

In keeping with the Queensland education department’s curric-to go with our touring exhibition product. For APT7, for instance,

ulum, this story is ultimately about how the four kangaroos banded

It presents a lot of complex challenges if you look at the map

birds. It is a story about reconciliation. Children will also learn about

we are touring Kids’ APT7 to 79 regional venues.

of Queensland; at the very tip of the north there is the Torres
Strait Islands. Queensland is unique in Australia because it has an

aboriginal population but also the Torres Strait islanders in the far
north. So, the communities in the Torres Strait often identify morewith Melanesia and Indonesia. Aboriginal people in the mainland
are very focused on their oral traditions and personal histories, so

we need to be very culturally aware of what we are taking to thesetogether and reclaimed the sacred hill and then lived with the myna
the different characteristics of the various animals and be asked to

identify with them; strength, cleverness, eyesight, and the power tojump. They will be able to make activities and identify. This project

has been researched very closely in two Aboriginal schools withfeedback from indigenous teachers and students to make sure it isculturally appropriate.

regions and how we are communicating.

Hoashi | Thank you for your presentation.

Aboriginal art, curator of Asia Pacific art, staff from the Children’sis open seven days a week for free, I just wanted to mention that

This is why, in our working committees, we have the curator of

Art Centre department, the education department, and myself tocome together and unite around one project.

We train our staff. All of our staff receives a certain level of train-

ing, even volunteers, particularly around information for each specific project. But the volunteers also receive training in emergency

management response, first aid, you know, the usual things. Where

it gets trickier is the staff working in the Children’s Art Centre; theyneed an accreditation that is checked by the police to make sure

By the way, while you mentioned that the Children’s Arts Centre

QAGOMA is also free.

I have received many questions, but among them, there weremany which referred to the issue of evaluation and assessment, particularly on evaluating and assessing programs for children.

Evaluating the Program and Feeding Back the Results
Wright | QAGOMA is conscious about getting independent evalu-

they are okay to work with young people, which has its own training

ation. We do our own measurement of numbers, which is easy, but

education staff and our two Children’s Art Centre staff are regularly

London company, Morris Hargreaves McIntyre (http://www.lateralthinkers.

requirements. But training itself is ongoing and regular, and our two

meeting with the school teachers association and other professional

the hard part about the quality of the experience is contracted to acom/). Morris Hargreaves McIntyre has worked with the gallery for aorganizations and keeping up to date with changes in curriculum.

number of years to develop a very detailed set of questions for chil-entire staff whether they are volunteers or young artists employed on

sample is taken for every project.

The gallery invests heavily in professional development for its

a casual basis in the Children’s Art Centre.

Gordon Hookey (b. Australia, 1961) is an Australian Aboriginal artist,

who is very political. His work often talks about colonization andAboriginal people having to move away from their homelands whensettlement happened [FIG. 16].

dren, parents and teachers. And we make sure that a representative
Between 50 and 100 evaluations are done every day. So it createsa big feedback loop; we can refine our processes and change ourcommunication strategies even in the middle of an exhibition if weneed to.

Part of the curriculum in Queensland schools recognizes

Aboriginal history, and they are seeking new ways to represent how

this gets taught. Visually and orally, a lot of Aboriginal culture havetransferred.

The teaching seeks to emphasize that there is not one Aboriginal

person or people. There are over 700 language groups in Australia.
Each identifies as a separate culture. Gordon Hookey’s personal totem

is kangaroo, while there are four different kangaroos in the project that
we are going to do with him in the Children’s Art Centre*.

* The “Kangaroo Crew” is an interactive project based on the children’s book, The Sacred Hill, byGordon Hookey

FIG. 16 Gordon Hookey, Blood on the wattle, blood on the palm, 2009Part 3 Discussion27

Hoashi | So, for quantitative assessment, you have a professional

company to help you. What is the reason you decided to hire a third
party company and what is your view on what they do?

Wright | I don’t want to do a paid advertisement for them, but we

recognize Morris Hargreaves McIntyre’s skills in methodologicalframework for constructing questions that are unbiased. They havean excellent reputation in the industry. They tailor the specific evalu-

At QAGOMA, artists are those who exhibit, but also who workat the Childrens’ Art Centre, and also get commissioned specificallyfor Kids APT. What are your criteria for selecting artists for thecommissions? And how do you approach them? If you have any

thoughts on working with artists in an education program context,
please share your thoughts with us.

Wright | The best word is collaboration. I think in the process neither

ation to the museum and do not resell the same product over andthe gallery nor the artist would feel like they are on their own. All isthe context in which the gallery operates. So they will understandwith artists across both galleries, but we do not always do a solo

over. Also, they are not just interested in what the gallery does but

the Queensland Government’s strategic objectives for cultural
tourism, education outcomes, community development, audiencedevelopment, and their evaluation will measure our success against
those objectives.

Obviously we do self-evaluation all the time as well. We arelooking at what our sponsors expect from us. Santos, the mining

company, does not tell us how to spend their money but obviously
they are working in a lot of regions around the state and they need tosee how we work across the state. We like to involve the staff of thevery tightly worked out and communicated. We are doing projects
project by that artist in the Children’s Art Centre. In other words, wewill do programing across both sites at the Queensland Art Gallery
and GOMA, but not necessarily a project with that artist in thisChildren’s Art Centre every time. We are looking for a lot of triggers
in the work to extend into the Children’s Art Centre. We do notwant to change an artist’s conceptual framework. We do not wantto tell them what to do. We just don’t do that. They tell us if they

are not comfortable, because there are plenty of other opportunities.
One thing we have found for sure is that children, even at a very

organizations that support us and offer our programs to their kids

early age, can understand extremely complex ideas. And we do notwith schools that are constantly telling us gaps in the market forin a certain way so that they understand the different layers in that

especially, but we also seek their feedback. And we are also dealing
exhibition product.

Just to finish, I would like to mention that for different projects

want to dumb down an artist’s practice. We just need to explain itpractice and can unpack it for themselves across different activities.

We find the best projects are just simply natural extensions overthere will be specific sponsors like Tourism and Events Queensland

an existing series, or idea.

from us. So we are constantly evaluating against their expectations

Hoashi | Thank you for that clarification. With this final question, I

or Brisbane Marketing. And they will need very specific informationand sometimes where, for instance, a target is not met for audiences,would like to close this event.

organizations want to know how many hotel nights people spend inhope that some of you will be interested in visiting them after having

we will not get the full sponsorship dollar. Because obviously these
Brisbane when they come to the gallery and how much they spend
while they’re there.

Hoashi | So, your evaluation is done with an understanding that you

have corporate sponsors as well as the tourism sector involved.

My last question is on the role of the artist. The exhibition drives

the increase of the audience, and the artists are the ones who makethe exhibitions possible.

FIG. 17 Gordon Hookey concept sketch

28

Part 3 Discussion

By the way, the APT7 in Brisbane is open until April 14, 2013. I

heard about their program.

The Gold Coast may be the famous tourist destination in

Queensland, but it may be good to know that, in Brisbane, there’s

another worthwhile destination; a museum which houses a col-lection of artworks from the Asia-Pacific region and organizes aninteresting international exhibition once every three years.
Please give applause to Mr. Simon Wright. Thank you.

Simon WrightAssistant Director of Programming,
Queensland Art Gallery / Gallery of Modern Art (QAGOMA)
Simon Wright has held curatorial and management positions in private, commercial and public gallery and museum
realms since 1993. Currently Assistant Director of Programming at Queensland Art Gallery / Gallery of Modern Art (QAGOMA), he is a former Director of Griffith Artworks + Griffith
University Art Gallery, and curatorial consultant to private
collections. He has developed over 200 exhibition and publication projects. He received a Museums Australia Gallery andMuseum Achievement Award (2004-2005), a National Australia Bank Partnering Award [QLD] at the Australia Business
Arts Foundation Awards (2006), and joined the Queensland
Art Gallery Foundation (2007), and was appointed current
position in November 2012. He was appointed a memberof The Commissioner’s Council for Australia for the 53rd
Venice Biennale (2009) and served as a member of the 54th
Venice Biennale Champion’s Program for Australia (2011). He
was a member of the selection committee for The Premierof Queensland’s International Sculpture Commission, andcontinues on QCA Industry Advisory Board (2012).

◎ Image credits
FIGS. 1-14 (PP. 20-24), FIGS. 16-17 (PP. 27-28): Courtesy of Queensland
Art Gallery / Gallery of Modern Art [QAGOMA]
FIG. 15 (P. 25): Courtesy of Yokohama Museum of Art

29

Audience Feedback[No. of Audience] 67[No. of Collected Surveys] 54[Sex] M: 6 | F: 44 | N/A: 4[Age] 19 & Under : 1 | 20s: 11 | 30s: 15 | 40s: 12 | 50s: 10 | 60s: 2 | Unanswered: 3[Location of Residency] Yokohama City: 20 | Kanagawa Prefecture: 9 | Tokyo: 18 | Other (in Japan): 3
About the Event· The discussion helped me understand how to connect contemporary art and children.
· I didn’t know that a program like APT existed until I came here today. The story about the children’s program broadening
the access to art was, indeed, very plausible. I would like to take this knowledge back, and connect and art through mywork as a school teacher.
· I learned a lot, especially how the museum, the schools and the artists are related to each other and how important therelationships are. I also learned which activities actually work and how children’s programs benefit not only children, butalso other visitors.
· It was interesting to learn how APT connects Australia’s history and its people (Aborigini, etc.) to art.
· I was impressed with the steady growth of the audience number and the careful organizational structure that enabled
its growth. I thought the QAGOMA’s policy for volunteers, which is different from Japan, holds water.
· It was good that the thinking process behind the development of the program was shared in an open forum like today.
· It was good to learn about this good model along with the process that brought about its success. I hope that this event
will help spread information on APT and art to a broader audience.

Comments on Yokohama Triennale in General· It would be good if there is a corner dedicated to children.
· I hope that there will be more programs that connect children and art.
· I would like to see a guidebook for elementary and junior high school students, with a narrative which does not use
complex words. It would be nice to see an interesting device (other than artworks) in the second venue that would draw
people’s attention to go.
· I hope you will reflect on today’s discussion when you plan your future editions. I always bring my children to the
Triennale, so I hope you can continue to build on this good foundation.
· I would be interested in a participatory program that provides tactile and interactive experiences.
· I am interested in artist’s workshops.
· The programs should target people of all ages. Also, workshops and interactive artworks would the audience to engage
more with art.
· The local community should be involved more.
· I want Yokohama Triennale to become a world-class event.
· If you could share the preliminary process of the event with the public, it may lead others to start a new art event or
promote similar events. I hope you can become the forerunner and not limit yourselves to being local to Yokohama.
· It would be good if the exhibition would be accessible to both first-time and regular museum visitors.
· Identifying and thinking about issues do not come across as easy, but I hope Yokohama Triennale can provide an entry
point. I am looking forward to the “entertainment” directed by Morimura Yasumasa, I hope you can make contemporary
art accessible to a wide range audience.

30

Audience Feedback

31

Yokohama Triennale 2014 Pre-event

A Case Study on
Educational Programs ofAsia Pacific Triennial of Contemporary Art
in Australia

Kids’ APT:
Connecting Contemporary Art
and Kids
Document
ヨコハマトリエンナーレ2014 プレイベント

オーストラリア発、国際展における次世代教育普及プログラムの事例紹介「現代アートと子どもをつなぐキッズ APT」
記録集

発行日： 2015 年 6 月 30 日
編集・発行： 横浜トリエンナーレ組織委員会〒 220-0012 横浜市西区みなとみらい 3-4-1 横浜美術館内
翻訳： 田中 彩（英文和訳）、帆足亜紀（和文英訳）： 加藤 健写真（ 3-4 頁、19 頁）
デザイン： 津山 勇
Date of publication: June 30, 2015
Edited and Published by: Organizing Committee for Yokohama Triennale
c/o Yokohama Museum of Art, 3-4-1, Minatomirai, Nishi-ku, Yokohama
220-0012 JAPANTranslation: TANAKA Aya (English to Japanese),
HOASHI Aki (Japanese to English)
Photo (PP.3-4, P.19): KATO Ken
Design: TSUYAMA Isamu©2015 Organizing Committee for Yokohama Triennale. All rights reserved.
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