Education Resources for Teachers and Students Stage 5 & 6

Download the full education kit Stage 5 & 6 here

FOR TEACHERS

Pasar Malam is a touring exhibition featuring large-format screenprints by 15 Indonesian and Australian artists, exploring the vibrant, chaotic, and often transgressive world of the Indonesian night market ‘Pasar Malam’. Through complex design techniques and evocative imagery, the exhibition delves into themes of mysticism, mythology, social justice, and hidden histories. Artists draw on personal, cultural, and political narratives—ranging from spiritual rituals and folklore to erased episodes of violence and resistance.

For Secondary School Visual Arts students, Pasar Malam offers rich educational opportunities to engage in themes of mythology, politics and identity through a playful, contemporary lens and practice. It encourages critical engagement with cultural identity, symbolism, and the role of art in society. Students can explore how materials, scale, symbolism and collaboration influence meaning, while exploring Indonesian approaches to artmaking that reinterpret traditional practices to create bold, contemporary works. Through guided discussion and activities, Pasar Malam becomes a powerful platform for understanding the intersection of art, culture, and community in a global context. The educational resources can be used in a classroom setting or used as a tool for rich exploration during a school visit to one of its touring sites. Additionally, the exhibition is a rich resource for Printmaking programs or individual students exploring printmaking through their artmaking.

The Education Kit can be used in full as a comprehensive case study completing all learning experiences over 3-4 weeks, or teachers can select from the individual pages and chose to complete the Case Study; the Focus Artist Activities or Behind the Print as individual learning experiences.

STAGE 6 CASE STUDY: Art as a Cultural Mirror

Revealing Hidden Histories and Social Realities through the Night Market

Designed for Years 11–12, this case study uses the exhibition Pasar Malam: Night Market as a lens to explore how contemporary art reflects cultural complexity, political trauma, and social contradiction. Drawing on the metaphor of the Indonesian night market—a space of mysticism, marginalisation, and transgression—the exhibition invites students to consider art as a cultural mirror that reveals hidden histories and challenges dominant narratives.

Key concepts for Senior Visual Arts Students

• Art as Social Commentary

• Cross-Cultural Collaboration

• Symbolism and Materiality

• Historical and Political Engagement

With 15 artists responding to the night market metaphor, four themes emerge:

1. Carnivalesque & Community – Restu Ratnaningtyas, Tobias Richardson, Amina McConvell, Ida Lawrence

2. Mysticism, Mythology & Ritual – Malcolm Smith, Enka Komariah, Rizqi Maulana, Ipeh Nur, Prihatmoko Moki

3. Collecting & Illicit Pleasures – Tamarra, Timoteus Anggawan Kusno, Rudi Hermawan

4. Shadows & Buried Histories – Jumaadi, Leyla Stevens, Alfin Agnuba

Resources: Artist pages, catalogue, and media kit on 16albermarle Project Space website.

To assist with this visual analysis, use the exhibition information available on the 16albermarle Project Space website on the artist pages, download the catalogue and media kit.

Begin the case study with a visual analysis learning experience to engage students in a deeper inquiry into the exhibition. In groups of four, select works from one theme and compare symbolism and materiality.

• Prepare a short presentation on similarities and contrasts in message, imagery, and approach.

• Share and discuss as a class.

Guiding question: What do these works reveal about the artists’ engagement with cultural identity and artmaking?

Next, engage in a critical reflection through debating the ethics of representing trauma and taboo in art.

Read excerpt from Sarah Adams’ What Makes Art Taboo? (ArtsHub, 2012).

‘Taboo art can have much the same emotional effect and the trigger of your response is just as subjective as the location of that one spot, making it difficult to determine where the line of what’s appropriate is drawn, or if there should even be a line at all.

Often overshadowed by the weight of its subject, taboo art can be difficult to understand. As we progress deeper into a more atheist and scientific society in Australia, a lot of what was once considered taboo – specifically sex and religion – are no longer received with such sensitivity. Instead, new taboos begin to emerge, such as racism, cruelty, slavery and even something as simple as smoking while pregnant. Events such as September 11th and the Holocaust are also taboo.

More than just simply offensive, taboo art can shatter typical conventions in cultures where certain groups are oppressed, open up a conversation about sensitive topics, and reveal the complexities and challenges of issues often deemed too provocative to talk about.’ What makes art taboo?

In a format that suits your students’ ability and interest, debate as a class or in groups the ethics of bringing trauma and taboo into the arts. Debate the ethics of representing trauma and taboo in art. Suggested artists for research: Brook Andrew, Bill Henson, Nick Cave, FX Harsono, Shirin Neshat, Sopheap Pich, Ana Mendieta, Artemisia Gentileschi.

Support article: Artists Who Challenged Taboos and Changed the World – M3V

Guiding questions for student research/debate script:

• Representation & Responsibility: Do artists have ethical obligations when depicting trauma?

• Audience & Impact: Should triggering content require warnings?

• Cultural Context: Is it ethical to engage with taboos from other cultures?

• Freedom vs. Censorship: Should limits exist on taboo art? Who decides?

The final learning experience, explore how immersive design—lighting, soundscapes, spatial layout—reinforces the metaphor of the night market as a chaotic, liminal space. Use images and media release to analyse curatorial strategies. I

In keeping with the slightly seedy, mysterious and precarious night markets of Java, the exhibition is designed as an immersive and engaging experience. Visitors will navigate a crowded and colourful space, in which our 15 artists bring to life the chaos and permissiveness of the Night Market. The entrance will be guarded by a “loket” (a ticket booth), and coloured lights and strings of flags will lure visitors into the darkness. Aspecially commissioned soundtrack will animate the clatter of carnival rides, shrieking crowds and spruikers, underscored by contemporary Indonesian experimental music. – Excerpt from Pasar Malam Media Release

FOCUS ACTIVITIES FOR STUDENTS

These activities are designed to help students in Stage 5 & 6 engage with the Pasar Malam: Night Market artists through observation, discussion, and creative response and can be completed in the gallery or classroom.

BEHIND THE PRINT

Exploring the Art of Screenprinting

The role of the master printmaker is not simply technical—it’s deeply collaborative. The exhibition’s large-format screenprints were brought to life through close partnerships between artists and printmakers, where ideas, techniques, and visual language were developed together.

Malcolm Le Smith, Alfin Agnuba, and Rudi Hermawan worked side-by-side with artists at Krack Print Studio, engaging in ongoing dialogue via WhatsApp, email, and in-person studio sessions. Rather than executing pre-defined designs, the printmakers contributed creatively to the development of each work—offering insights into materials, scale, and process that shaped the final outcomes.

This collaborative model allows artists to experiment and refine their concepts, while the printmakers ensured technical excellence and consistency across the exhibition. The result is a body of work that reflects shared authorship, mutual respect, and a fusion of artistic and technical expertise. For students, this process highlights the importance of teamwork in contemporary art practice. It shows how printmaking is not just a craft, but a dynamic space for dialogue, innovation, and cultural exchange.

Meet the Master Printmakers…

Rudi Hermawan

Rudi Hermawan is a master printmaker whose practice is grounded in collaboration and technical expertise. His approach begins with understanding the artist’s vision and negotiating the practicalities of screen printing, such as colour limitations and scale. For Rudi, the process is not merely technical but interpretive—he works to preserve the essence of the original artwork while embracing the unique visual language of printmaking. This involves creating master templates for each colour, producing proofs to ensure alignment with the artist’s intent, and using high-quality materials like acid-free paper and archival inks for durability. Rudi sees himself as both translator and co-creator, balancing fidelity to the artist’s concept with the inherent characteristics of the print medium. His role is deeply rewarding when he can transform non-graphic works into graphic editions that retain the original spirit yet reveal new possibilities through the layered, tactile qualities of screen print.

Malcolm Le Smith

Malcolm Le Smith approaches printmaking as a deeply collaborative and conceptual process. Rather than seeing himself solely as a printmaker, he describes his role as part of an “image-making ecology,” where the studio becomes a machine for generating images. His practice revolves around working with people, inventing projects that harness collective skills, and ensuring that the artist’s vision is preserved while adapting it to the strengths and limitations of screen printing. Malcolm balances technical considerations—such as colour separation, scale, and material choices—with the conceptual integrity of the original work. He often creates proofs to test interpretations and navigates decisions through dialogue with the artist, aiming for results that feel authentic yet embrace the unique qualities of print. For Malcolm, the most rewarding aspect of this process is seeing images embark on their own life beyond the studio, inspiring new ideas and conversations.

Alfin Agnuba

Alfin Agnuba approaches printmaking as a collaborative process that prioritizes the artist’s vision while embracing the technical possibilities of the medium. Trained in Graphic Fine Arts (Printmaking) at the Indonesian Institute of the Arts, Yogyakarta, Alfin sees his role as both translator and co-creator. He begins by explaining the unique characteristics of screen printing, such as its ability to produce editions, and works closely with artists to preserve their distinctive lines and colour choices. Alfin navigates challenges like scaling up digital previews and achieving accurate colour matches by presenting options and engaging in dialogue, ensuring decisions are mutually agreed upon. His process involves meticulous preparation—digitising files, separating colour layers, creating screens, mixing inks, and coordinating a team for large-scale prints. For Alfin, the most rewarding moment is witnessing the artist’s satisfaction when the final print reflects their intent while showcasing the layered, tactile qualities of screen printing

Highlight significant words in each artists’ paragraph to explore their intentions and beliefs around their role as Master Printmakers.

Process Mapping Activity

Print out the series of studio progress photos showing the different stages of the Pasar Malam artworks (e.g., preparing screens, colour separation, layering inks, drying prints). Arrange the photos in chronological order and annotate each step with what you think is happening and why it matters. As you create your process map, imagine the conversations that would take place at each step between the artists and Master Printmakers - make a script!

All images courtesy of Krack Studio

USEFUL LINKS

16ablermarle Project Space Website 16albermarle - Pasar Malam | Night Market

Krack Studio Website Krack!

Northern Centre for Contemporary Art Home | Northern Centre for Contemporary Art

Fremantle Arts Centre Walyalup Fremantle Arts Centre

Bunbury Regional Art Gallery BRAG | Exhibitions & Events in City Of Bunbury WA

Redland Art Gallery Redland Art Gallery | Redland Art Gallery

NorthSite Contemporary Arts www.northsite.org.au

Hazelhurst Arts Centre Hazelhurst

Symbolism in Contemporary Art

Cross-Cultural Collaboration in Art Exhibitions

Socio-Political Themes in Southeast Asian Art

Other Education Resources: