All the infrastructure involved in circulating Wukun’s archival art – the warehouses of servers, the bulbs of electronic displays, the vaults of museums, the media of recording devices – become mechanisms for generating the trajectories of ceremony’s archival project. When discussing this publication with Wukun Wanambi, I asked him what was driving his archival art? He answered: ‘using the archive in my art is a way for people to understand Yolngu cultural practices’. Which cultural practices specifically, I enquired, he replied: ‘archiving…on the ceremonial ground’.
WUKUN WANAMBI’S NHINA, NHÄMA, GA NGÄMA
Indigenous Archives: The Making and Unmaking of Aboriginal Art
Robert Lazarus 