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NATHALIE DJURBERG AND HANS BERG: THE SECRET GARDEN10 October / 22 November 2015

The Australian Centre for Contemporary ArtPresented in association with Melbourne Festival

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Artist BiographiesNathalie Djurberg and Hans Berg are Swedish artists who collaborate and currently live and work in Berlin. Born in Lysekil, Sweden in 1978, Nathalie Djurberg graduated with an MFA from the Malmo Art Academy, Sweden, in 2002. Hans Berg was born in Rattvik, Sweden in 1978. Berg is a musician, producer and composer, who works mainly with electronic music.

Djurberg and Berg have exhibited together extensively internationally. Recent exhibitions of their work have been held at Foundation Prada, Milan; The New Museum in New York; Camden Arts Centre, London; and The Garage Centre for Contemporary Art in Moscow. Nathalie Djurberg was awarded the prestigious Silver Lion for a promising young artist at the Venice Biennale in 2009.

Curatorial RationaleThe Secret Garden is curated by Louise Neri and Juliana Engberg and is presented in partnership with the Melbourne Festival.

This exhibition is the first showing of Nathalie Djurberg and Hans Berg’s work in the Southern Hemisphere. The exhibition has been curated especially for the Australian Centre for Contemporary Art and includes two new commissions.

The majority of artworks in this exhibition are examples of Djurberg and Berg’s recent work. More abstract in comparison with earlier work, they combine animation, music, sculpture and installation.

W Magazine, May 2012

*Note to teachers: Some of Nathalie Djurberg and Hans Berg’s earlier claymation short films are unsuitable for minors. During ACCA’s Education tours we will not be showing students these earlier animations, however it is interesting to be aware of these artworks as they were the starting point for Nathalie Djurberg and Hans Berg’s practice.

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Collaborative artists Nathalie Djurberg and Hans Berg are best known for their claymation short films with ambient digital soundtracks. Working together since 2003, Nathalie Djurberg painstakingly creates these claymation short films by hand. These animations include expressive yet intricate hand built sets in which her characters exist and interact. As a musician and composer Hans Berg creates the musical scores that these animations are set to. His music is atmospheric, techno-inspired and computer-generated.

Djurberg and Berg’s animations are psychologically charged and explore base natural instincts such as jealousy, revenge and greed. Borrowing from true fairytale narratives, such as those of the Grimm brothers and Hans Christian Anderson, these fables are often gruesome, disturbing and violent.

The narratives in Djurberg’s animations explore the darker side of human nature, and in these nightmarish visions happy endings are not necessarily reached. Djurberg’s and Berg’s short films are ‘rich in symbolic meaning and emotional reach’ (http://schoolofartgalleries.dsc.rmit.edu.au/iAIR/2015/djurburg-berg.html) and often examine and blur connections between humans and animals. Animals act as metaphors for human psychology and behavior, and characters strive for transformation and transcendence.

Inspiration and Ideas

ARTIST PRACTICE

In 2011 the work of Nathalie Djurberg and Hans Berg undertook a change. Their short animated films suddenly became abstract. From figurative claymations, Djurberg started making abstract drawing and line animations. These more recent animations are hand drawn and therefore similarly painstaking and labor intensive, and involve ‘fluid morphing…abstract forms, bubbles and ellipses, black holes and rising moons, moving fields of colour’ (Amy Barrett-Lennard).

Djurberg’s inspiration for these abstract animations was ‘the idea of creating something from nothing’. These constantly moving and pulsing landscapes of colour, light and line are almost like ‘the beginnings of an entirely new universe’. They are reminiscent of ‘the cosmos, feverish hallucinatory dreams and Rorschach inkblots’ and have a trance-like quality. With the combination of animation and music, Djurberg and Berg create immersive and sensory environments that transport viewers to an alternate world.

‘Art is a space where everything is possible…you can make your own rules.’

– Nathalie Djurberg, Nathalie Djurberg and Hans Berg: Maybe this is a dream, Kolnischer Kunstverein)

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CollaborationHaving collaborated since 2003, Djurberg and Berg’s working relationship and their methods of collaborating have changed in different ways over this period.

A key difference between the artists’ earlier figurative work and their more recent abstract pieces is the way in which they work together. When Djurberg and Berg first started making artwork, Djurberg would approach Berg with a completed animation and ask him to score music to accompany it. She would be quite specific as to the kind of music/score that she wanted - for example, mainly percussive sounds or electric.

These newer abstract animations, by contrast, are truly collaborative from the beginning of the working process, and this shift in their practice actually occurred because the artists were interested in making animations in response to the music for the first time.

Sculpture and InstallationAround the same time that Djurberg’s animations became more abstract, she also ‘began to make sculptural works, immersive installations and special viewing structures for her films’ (Amy Barrett-Lennard). By adding these elements to their practice, Djurberg and Berg’s installations have become more immersive, and they are able to invite audiences into the alternate worlds that they create. The artists achieve these immersive experiences by projecting the animations so that they take over whole walls, by darkening galleries and by fabricating structures and sculptures around and through which the audience views the animations.

The sculptural elements in Djurberg and Berg’s work include objects and platforms that are used as surfaces for projections, as well as stand alone sculptures. These sculptures portray a range of different objects, including animals, doughnuts, ice creams, eggs and acorns.

In an interview with the artists, Greg Hilty, Lisson’s Curatorial Director, says there is no difference between these sculptures and Djurberg’s animations, ‘they are different versions of the same thing’. Both are hand-made and it is almost as though the animations have been brought into physical space, and spread throughout the galleries.

Lisson Gallery, December 2014

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One of the most interesting things about Djurberg and Berg’s work is the relationship between the animation and sculptural elements, and the soundtracks. In an interview with Djurberg and Berg at Lisson Gallery, Berg describes the music as ‘the glue that holds the film and table together’ (Nathalie Djurberg and Hans Berg: The Gates of the Festival, Lisson Gallery).

As the animations have become increasingly abstract, the ‘music has become more important’, and ‘a bigger part of the installations’ (Hans Berg, The Gates of the Festival, Lisson Gallery). Berg’s soundtracks are hypnotic and haptic, and whilst making these immersive works, Djurberg and Berg were thinking a lot about what music really is. Music ‘exists in space, but as soon as we hear it it’s gone already.’ In this sense, the soundscapes make Djurberg and Berg’s installations more ephemeral.

Music also has a very emotive quality, it makes people feel and we respond to music and sound intuitively and instantly. In comparison, when viewing visual art, we think about it more, analyse it, and do not simply accept it for what it is.

MusicMateriality and the process of making are very important in the work of Djurberg and Berg. All of Djurberg’s animations, whether they are sculpted in plasticine or drawn, are hand-made and painstakingly rendered. The process of stop-motion animation is time consuming and laborious, whereas Berg’s music is relatively quick to compose.

This process of making is where the magic happens and through which the work reveals itself. When beginning or working on an animation or a sculpture, Djurberg puts a heavy emphasis on ‘not knowing what something is’ and throughout the making process ‘staying in that not knowing.’ (Nathalie Djurberg and Hans Berg: The Gates of the Festival, Lisson Gallery)

Djurberg’s drawing and line animations are made by drawing with oil pastels onto a black rubber-like surface. She begins with an initial drawing, takes a photograph of it, and then does another drawing over the top of the initial drawing. Once the second drawing is done she scrapes off the first drawing with a palette knife and oil, and takes a photograph of the second drawing. This process is repeated over and over again until the animation is complete. Djurberg’s use of oil pastels means that she can melt down the pastels in order to make new colours. Pastels also easily glide onto rubber, and come off again just as easily.

Djurberg has said ‘animation contains painting, sculpture, telling of a story. It can contain everything.’ (Nathalie Djurberg and Hans Berg: Maybe this is a dream, Kolnischer Kunstverein) Djurberg sees herself as a sculptor, but believes that artists do not need to categorise themselves.

Making, Materials and Techniques

‘The making is the most important (part)…what happens during the making process. That is the free space.’

- Nathalie Djurberg, Nathalie Djurberg and Hans Berg: The Gates of the Festival, Lisson Gallery

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FLOORPLAN Nathalie Djurberg and Hans Berg: The Secret Garden

Gallery 1

Gallery 4

Gallery 3

Gallery 2

Gallery 1The Secret Garden, 2015

Gallery 2Gas Solid Liquid series, 2014

Gallery 3Fever Dreams, 2014

Gallery 4The Black Pot, 2013

Explore Nathalie Djurberg and Hans Berg: The Secret Garden with one of ACCA’s FREE Education Programs visit: https://www.accaonline.org.au/learn/school-programs

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Nathalie Djurberg and Hans Berg’s Gas Solid Liquid series consists of 6 large ceramic pots in a darkened space. The pots are torso-height and are clustered toward the centre of the gallery. The lighting is low, and as the viewer enters the gallery their curiosity is sparked and there is a feeling of mystery in the room.

As the viewer peers into each pot, ‘as if…into a wishing well’ (Juliana Engberg), they are met by a small screen embedded inside the pot. These screens display what Djurberg describes as ‘semi-abstract animations’ (Nathalie Djurberg). These films are drawing and line animations, and are made by drawing with oil pastel onto a black rubber-like surface. These animations depict liquid and flowing forms and shapes continuously moving and transforming across the screens. As Juliana Engberg says in her catalogue essay, they are ‘self-perpetuating permeations of loops and swirls – a kind of ecstatic drawing.’

The titles of these works reflect the substances that are depicted in the animations. For example, blood, boiling water, rain, soap and tea, and in these films these substances are often contained in vessels such as bowls and kettles. Liquids move in and out of these vessels, bubbles stretch and pop as they dance in, out and around wide-rimmed bowls and Nathalie Djurberg has said of these semi-abstract animations, that she is ‘interested in making universes in contained spaces.’ (Nathalie Djurberg, Nathalie Djurberg and Hans Berg: Maybe this is a dream, Kolnischer Kunstverein)

The way that the screens are nestled within these large ceramic pots is vital to the sound component of these artworks. As the viewer bends down to

these works, Hans Berg’s soundscapes and music are magnified. The sound echoes inside the pots, making the music deeper and richer.

This series of animations are all visually similar. Each film depicts animated drawings of liquid matter, and in each there are swirls and patterns of light and line. However individually they also have their very own materiality. In an interview with Lisson Gallery Berg says, ‘I noticed when I made the music, even though (the films) look very similar, it would be impossible to make two similar pieces of music.’

Djurberg and Berg’s Gas Solid Liquid series are like ‘small different experiments’ (Hans Berg, Nathalie Djurberg and Hans Berg: The Gates of the Festival, Lisson Gallery), and are almost like secrets just waiting to be discovered.

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Gas Solid Liquid series, 2014

KEY ARTWORKS

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Fever Dreams, 2014Djurberg and Berg’s series of works Fever Dreams also combines sculpture and animation. This series consists of six tables, four of which have animations projected onto them from above. These four tables are made from polyurethane plastic and are white with marbled coloured legs. Scattered on two of these tables are a series of small sculptures made from silicone. The sculptures are melting white ice creams that have been planted upside down on the table each forming a small puddle at its base. As the animations dance and swirl across the four tables, there are two standing lamps that turn on and off on a timer. As the lamps switch on and off the room is illuminated and then plunged into darkness.

The final two tables are stainless steel, one is gold coated and one is silver coated. The surfaces of these tables are reflective, and perched on each of these tables are two birds that Nathalie Djurberg has sculpted. These birds have a metal armature with wood, clay, canvas and acrylic paint applied to them.

Textures and surfaces glisten and seduce in this space, and as viewers enter the gallery they experience a feeling of awe as the lights turn on to reveal Djurberg’s gestural, emotive birds and melting ice creams, and off to illuminate her animations.

Similar to many of Djurberg’s semi-abstract animations, Fever Dreams presents drawing and line animations of fluid abstract forms and line moving across the tables. These animations can be read in various ways depending on the viewer’s perspective, bubbles float and pop while waves and pools of water seep across the tables.

Interacting with each from across the room, these animations create a plane of movement and colour in the space. Music from each film collides and combines in the space, creating an overwhelming and enveloping atmosphere. The fact that these animations are being projected onto tables and sculptural objects means that the viewer is completely immersed in the installation. This is quite a different experience to sitting down and watching a film on a conventional screen.

When discussing where the idea for Fever Dreams came from, Djurberg talks about being sick in bed as a child, and having hallucinatory feverish dreams. She remembers drifting in and out of consciousness and loosing a hold on what was real and what wasn’t. ‘Something can fall apart at any minute, nothing is stable.’ (Nathalie Djurberg and Hans Berg: The Gates of the Festival, Lisson Gallery). The Fever Dreams animations illustrate this state of mind.

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Fever Dreams (Evaporation), 2014polyurethane plastic and animation, silicone, wood, metal wire, polyester81.9 x 158.8 x 88.9 cm

Fever Dreams (Gravitational shift), 2014polyurethane plastic and animation, silicone, wood, metal wire, polyester81.9 x 158.8 x 88.9 cm

Fever Dreams (Hard edges soft bubbles), 2014polyurethane plastic and animation, silicone, wood, metal wire, polyester81.9 x 158.8 x 88.9 cm

Fever Dreams (Dispersal), 2014polyurethane plastic and animation, silicone, wood, metal wire, polyester81.9 x 158.8 x 88.9 cm

Sunset, 2015gold stainless steel coated MDF table, metal, canvas, acrylic paint, wood, clay160 x 90 x 82 cm

Sunrise, 2015 silver stainless steel coated MDF table, metal, canvas, acrylic paint, wood, clay160 x 90 x 82 cm

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The Black Pot, 2013stop motion animation, 4 channel surround sound11:57 min

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The Black Pot, 2013Gallery three presents a video work titled The Black Pot, which consists of a projection that spans two walls from floor to ceiling in a completely darkened room. This video is another semi-abstract drawing and line animation in which line, colour and form interact on screen.

Some sections of The Black Pot are very similar to Djurberg and Berg’s Gas Solid Liquid and Fever Dreams series and are graphic lines and forms that glide and transform across the screen. Certain images can be made out in these fluid mutations, such as egg whites and yolks that merge and separate in time with the music. Other sections are quite different to the other artworks, and feature thick rings or halos that stretch and bounce to the beat of the music, like rubber bands across the dark expanse of screen behind.

Hans Berg’s music in this gallery is deeper and darker, with low notes that are held and reverberate through the gallery. As a result the music in this space feels louder and more immersive. It surrounds and cushions the viewer.

This space feels like a void, the vast blackness of the gallery and screen seems to expand before the viewer’s eyes and it’s difficult to tell where the space begins and ends. Djurberg’s idea to create something from nothing is really evident in this gallery; The Black Pot is reminiscent of the cosmos or space. Glowing orbs that look like stars or planets appear and disappear, and sprinklings of light and colour that appear like fireworks explode across the projection.

Nathalie Djurberg and Hans Berg’s animations and installations embody states of mind, emotions and feelings, and this is particularly evident in the relationship between sound and visuals in their work. Hans Berg’s music is key to their installations. The music grounds us in the space, and creates a mood for each work. As humans we have a natural affinity with music. We respond intuitively and instinctively to music and sounds, and it is not something that we over think.

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The Secret Garden, 2015glass fiber enhanced epoxy, styrofoam, wood, silicone, acrylic paint, leaf gold, modelling clay, aluminium foil, computer controlled neon lights, stop motion animation (2.30 min), surround sound musicdimensions variable

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The Secret Garden, 2015The Secret Garden is the title of the Nathalie Djurberg and Hans Berg’s exhibition at ACCA as well as the title of a newly commissioned work that is being presented in ACCA’s main gallery. This new work consists of a series of sculptures that are scattered on the floor in the centre of the gallery, and then two projected animations at either end of the space. This scattering resembles a bird or some other animal’s nest; Juliana Engberg describes it as a ‘habitat’. The sculptures are made from a combination of materials, including modeling clay, silicone, styrofoam and wood, and are all hand made. The surfaces of these sculptures are textured and gestural, and include objects such as bells, acorns, melting ice creams, leaves and flowers.

Scattered in and amongst these sculptures are a series of different coloured neon lights in the shape of spirals. Djurberg originally made these forms by bending copper wire into spiral shapes and then getting a neon fabricator to make these forms into neons. Berg has composed a new piece of music for The Secret Garden, and like his other pieces, this track is mostly digital but also includes some percussion instrumental elements. When he composed this track he sourced and made different shakers and maracas to combine with the digital sounds, and this is one of the first times he has used actual instruments in his music.

Djurberg’s neon sculptures are synchronized with Berg’s music and as sounds reverberate and crescendo around the large gallery, neons light up in time. The pace and movement of the flashing neons matches the tempo of the music, and it is quite magical to watch. There is a vertical projection at the far end of the gallery of a charcoal stop motion animated waterfall. The waterfall flows downwards but also upwards in time with the music.

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The Secret Garden, 2015glass fiber enhanced epoxy, styrofoam, wood, silicone, acrylic paint, leaf gold, modelling clay, aluminium foil, computer controlled neon lights, stop motion animation (2.30 min), surround sound musicdimensions variable

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The other projection in this gallery depicts a claymation rabbit who is bouncing up and down on a cushion. As he jumps he flips in the air, landing alternately on his back and stomach. Nathalie Djurberg has made this character from plasticine and fabric, and like all of her other works, has a distinctively hand-made quality. There is a weight to him that makes him clunky and awkward and imperfectly real. This rabbit is white and reminds us of the white rabbit from Lewis Carrol’s Alice in Wonderland, however he is ‘older now and less dapper. He sits in a cardigan, like some old fella who has gone the miles’ (Juliana Engberg). Djurberg has described this rabbit as the shaman of the exhibition, and the way that he bounces repetitively up and down is almost ritualistic.

There is another literary reference in this work, Frances Hodgson Burnett’s classic children’s story, The Secret Garden. This novel tells the story of a walled garden in the grounds of an English manor, which remains locked and overgrown due to a dark secret that happened inside its walls many years ago. Inside the garden lie many secrets both beautiful and mysterious. It is the story of three very different children who become friends and discover the garden and it’s delights together.

Djurberg and Berg’s work The Secret Garden draws on these references and plays on ideas of childhood, memory and imagination. As Amy Barrett-Lennard writes in her catalogue essay, ‘(it) is the stage set of the subconscious.’ Depending on who views the work and their subconscious, different things will be discovered.

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Waterfall Variation (Choir), 2015stop-motion animation4.32 mins

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Unit 2, Area of study 2Artmaking and cultural expression

Using the formal framework, analyse Nathalie Djurberg and Hans Berg’s work The Black Pot (2013), focusing on art elements and principles such as shape, line, sound and movement. Note down these responses and observations and then discuss as a class.

Explore Djurberg and Berg’s Gas Solid Liquid (2014) series. Using two of the Analytical Frameworks, think about and explore the relationship between the pots and the video animations. How would this series differ if the animations were shown without the pots? Why do you think the artists have chosen to present these animations projected inside these sculptures?

Unit 4, Area of Study 1Discussing and debating art

Select an artwork in the exhibition Nathalie Djurberg and Hans Berg: The Secret Garden, and respond to the artwork using the personal framework. Note your responses down and present them to the class informally.

Whilst viewing The Secret Garden, consider how the artist’s have displayed and presented their animated films. Where and in what context have you watched animations before? How would viewers read Djurberg and Berg’s films differently it if they were presented in a different context? For example, if they were screened in a cinema. Using the contemporary framework, analyse the presentation of these animated films.

CURRICULUM LINKS & ACTIVITIES

Unit 4, Area of Study 2Realisation and resolution

Choose a piece of music, perhaps it is a favorite song or something that you have heard recently and really loved. Create an artwork in response to or inspired by that piece of music, using the art elements of shape, line and colour.

Nathalie Djurberg and Hans Berg’s practice combines animation, installation, sculpture and music. Thinking about all of these different elements in their work, discuss in small groups the similarities, differences between these mediums and how they connect to each other.

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Unit 2, Area of Study 1Design Exploration

The art making process is very important in the work of Nathalie Djurberg and Hans Berg, research Nathalie Djurberg’s animation techniques, the materials she uses and how she makes her animations. Create your own artwork based on the research you have done into Djurberg’s art making processes. Your own artwork should have an emphasis on the process of creating. In your folio document this process with photography.

The relationship between visual art and music is strong in the work of Nathalie Djurberg and Hans Berg. Explore the works in The Secret Garden. Using your phone or a recording device, record sounds from the everyday or around you. Create an artwork in response to this recording. Whilst making the artwork think about how it will be presented or displayed. Will the recording accompany it? Describe how this may be included.

Nathalie Djurberg’s animations use elements of line, colour, light and shape. The art element repetition is also very important in her work. Explore and analyse Djurberg’s use of repetition and create your own artwork using her work as an influence. Repetition can be explored in many different mediums. Try using a medium that you don’t use regularly. Your artwork could be a drawing, sculpture, video or sound work.

VCE STUDIO ART

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Unit 4, Area of Study 3Art Industry Contexts

Select one artwork from The Secret Garden. Pay particular attention to the way the artwork has been displayed (eg. lighting, wall colour, flooring, how and where the artwork has been positioned in the gallery). Discuss in small groups why you think this artwork has been displayed like this.

With the same artwork, think about how it’s positioning in the gallery affects the viewer’s understanding of the artwork? For example, is the viewer forced to move around the artwork in a certain way? Do they have to move their body in certain ways? Eg. Looking up, bending down etc. and how does this affect the viewer’s reading of the artwork?

ACCA’s exhibition marketing and promotion appears in a variety of places including advertising posters at public transport stops (eg. Flinders Street train station), community radio advertisements (3RRR), social media (Facebook, Twitter and Instagram), online and print cultural journals (Art Guide, Broadsheet and Time Out) and exhibition previews and reviews (the Age, the Australian etc). Search for some examples of Nathalie Djurberg and Hans Berg: The Secret Garden exhibition advertising and promotion and collate all this material together into a ‘scrapbook’ of evidence.

Advertising at Flinders Street Station

Installing The Secret Garden at ACCA

Some supporter logos

VCE STUDIO ART

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Exploring and Responding, Levels 7 – 10

The gallery spaces in Nathalie Djurberg and Hans Berg: The Secret Garden could be described as magical, immersive and emotive. After viewing the exhibition discuss in small groups how the lighting and presentation of the artwork made you feel and impacted on your viewing of the exhibition.

Nathalie Djurberg and Hans Berg: The Secret Garden is an immersive exhibition, meaning that the installation completely absorbs and consumes the viewer in the space. Discuss and take notes on how Djurberg and Berg have made their exhibition immersive, for example, what techniques have they used? Consider aspects like lighting, wall colours, the size of projections.

Creating and Making, Levels 7 – 10

Inspired by Nathalie Djurberg and Hans Berg’s work, research different types of animation materials, techniques and processes. Select a type of stop-motion animation, for example Claymation or drawing animation, and experiment with making your own short stop-motion animation.

Nathalie Djurberg and Hans Berg collaborate, meaning they work together to make their artwork. Djurberg creates the animated films and sculptures and Berg creates the music/soundscapes. In pairs collaborate to make an artwork that combines art and music/sound in any way that you want. For example, using a phone or recording device, record sounds from the everyday or around you, then create an artwork in response to this recording. Perhaps one student records the sounds, and the other responds to the sounds.

SECONDARY

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Exploring and Responding, Levels P – 6

Look at Nathalie Djurberg and Hans Berg’s series of artworks Fever Dreams and describe the movement in the animations. Are they moving fast or slow, or a combination of both? How do you feel when you watch these videos?

Creating and Making, Levels P – 6

In Nathalie Djurberg’s animation, The Secret Garden, there is a rabbit that is bouncing up and down on a cushion. The rabbit is an imagined character that the artist has created. Using air-dry clay or plasticine, create your own imagined character. Your character could be an animal, human or an object that has come to life. Think about who your character might be and what kind of life would they have?

PRIMARY FURTHER READINGRepresenting gallery: http://www.lissongallery.com/artists/nathalie-djurberg-hans-berghttp://www.lissongallery.com/news/the-gates-of-the-festival

Art in America:http://www.artinamericamagazine.com/news-features/news/nathalie-djurberg-prada-foundation/

Art and Australia review:http://www.artandaustralia.com/news/reviews-commentary/the-secret-garden

Time Out:http://www.timeout.com/london/art/nathalie-djurberg-and-hans-berg-interview-all-the-figures-we-use-are-pretty-ugly

Institute of Contemporary Art, Boston:http://www.icaboston.org/exhibitions/exhibit/nathalie-djurberg/

The Australian Centre for Contemporary Art:https://www.accaonline.org.au/exhibition/secret-garden-nathalie-djurberg-hans-berg

Palais de Tokyo:http://www.palaisdetokyo.com/en/exhibition/nathalie-djurbert-hans-berg-inside

W magazine:http://www.wmagazine.com/culture/art-and-design/2012/05/nathalie-djurberg-animation-artist/

Sleek magazine:http://www.sleek-mag.com/showroom/2014/09/from-clay-to-neon-djurberg-bergs-new-work-at-lisson-gallery/

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Visiting ACCA ACCA’s FREE education programs are available for Primary, Secondary and Tertiary groups between 10am - 4pm from Monday to Friday.

Maximum 25 students per group for THINK and MAKE programs.

Bookings are required for both guided and self-guided School and Tertiary groups.

10am - 5pm Tuesday – Friday12pm – 5pm Weekends & Public Holidays (except Good Friday & Christmas Day)Monday by appointment

ACKNOWLEDGMENTSEducation Resource written and compiled by Georgina Glanville, Artist Educator, ACCA, October 2015.

TERMS OF USEThis Education Resource has been produced by the Australian Centre for Contemporary Art to provide information and classroom support material for school visits to the exhibition Nathalie Djurberg and Hans Berg: The Secret Garden. The reproduction and communication of this Resource is permitted for educational purposes only.

Australian Centre for Contemporary Art111 Sturt Street Southbank VIC 3006 AustraliaTel +61 3 9697 9999Fax +61 3 9686 8830www.accaonline.org.au #accamelbourne

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