5 Questions on Accessibility in the Arts with 4A
By Monique Moate
4A Centre for Contemporary Asian Art is one of the arts and cultural institutes participating in Ripple: Disability and Culturally Diverse Internship Program in 2023. The program, offered by Accessible Arts in partnership with Diversity Arts Australia, aims to enhance access to the arts for disabled audiences and creatives.
The following questions address not only accessibility but also the power of art in championing the voices of marginalised individuals and groups, with a particular emphasis on those with disabled and Asian backgrounds.
As part of her Ripple internship, Monique Moate speaks with 4A staff on how they view accessibility in the arts—Connor Xia (multidisciplinary artist), Faye Chen (curator, arts marketer), Grey Yeoh (arts and culture manager, producer), Nolan Ho Wung Murphy (artist, arts worker), Reina Takeuchi (curator, dance maker) and Thea-Mai Baumann (creative executive, technologist, artist).
Connor Xia, Faye Chen, Grey Yeoh, Nolan Ho Wung Murphy, Reina Takeuchi, and Thea-Mai Baumann (Supplied)
No.1
What role can art or storytelling play in advocacy and activism, especially for disabled artists of colour?
Reina Takeuchi : 4A Centre for Contemporary Asian Art is a very interesting space, as it was essentially birthed from a point of filling a need within the sector—the desire to have Asian Australian artists represented within the contemporary art vernacular in so-called Australia. In reaction to Pauline Hanson’s triggering and antagonistic speeches, the fact that there was this kind of reaction—to collectivise and offer support within an artist-run initiative model—indicated that there was a significant barrier that needed to be overcome, through artist collectivity and assembly.
Now, it seems we are facing (supposedly) new societal barriers that have always been present but under-recognised and actively chosen to not be discussed—that of accessibility and ableism within the arts industry. By mobilising as artist collectives and offering peer-to-peer mentorship, as well as continual and sustained conversation about these societal barriers from the perspectives of disabled artists, we have the capacity to evoke change, distil, disorganise and reassemble our arts industry for the better.
Faye Chen: Art and storytelling stand as formidable instruments, uniquely capable of amplifying the voices of artists of colour with disability in advocacy and activism, thereby steering societal change. They emerge as personal and compelling mediums through which individuals can express their experiences and viewpoints, shedding light on the narratives of disabled artists and advocating for their rights. This dynamic blend of creativity becomes a catalyst for altering societal perceptions and dismantling stereotypes, fostering a culture of understanding and respect for disabilities.
I think in this intricate dance between art and activism, these creative expressions transcend barriers, creating resonance that unites individuals from diverse backgrounds. This connectivity goes beyond mere understanding, fostering a sense of community that is both supportive and collaborative. For artists of colour with disability, this communal bond carries profound significance within the realm of activism, providing a platform for shared experiences and collective strength.
Speaking of 4A, its genesis was sparked by a distinct need within the local art scene—to showcase the vibrant works of Asian Australian artists in the contemporary art landscape of Australia. This imperative arose in response to the divisive rhetoric of Pauline Hanson, revealing a significant barrier that demanded collective organisation and support from artists. The journey of 4A thus began as a response to a societal challenge, evolving into a dynamic force in the Australian art scene.
Grey Yeoh: I think it’s about visibility. Storytelling is a tool and medium in which art traverses seamlessly, to make Indigenous and cultural knowledge visible to the individual, community, society and nation. By having more art, stories and visibility from people with disabilities and people of colour, other minority ethnic communities, there is a breaking down of barriers, dismantling the notion of the unknown, the notion of the other. When minority groups use art and storytelling as means of communication and engagement, I think it is already inherently a form of activism and advocacy—by telling the world around us that we are here and we exist and we have the right to be heard.
Nolan Ho Wung Murphy: Reflecting on the role art plays in advocacy and activism, I’m reminded of Palestinian artist Khaled Hourani and his work ‘Watermelon Flag’, holding all the colours of the Palestinian flag. The act of painting a watermelon is in itself an act of great resistance against Israel's occupation of Palestine. It is a simple and beautiful demonstration of art and activism, intrinsically linked and intertwined, these elements uplift and empower each other, and as such empower us all. We can see this clearly with students in Naarm striking in support of Palestine, calling for a ceasefire and a free Palestine. One of the largest symbols they marched with was a giant watermelon, portraying a united display of resistance and solidarity.
We see this further in the works of Gaza-based artist Taimaa Salama, who combines braille and relief art to produce story books for children living with visual impairment. As well as Khaled Hussein, whose sculptures reflect harrowingly on the growing population of people who have lost limbs as a result of Israel’s violent military assaults on Gaza.
Furthermore, queer, disabled artist of colour Textaqueen confronts and ‘complicates assumptions around identities at the intersections of gender, race, sexuality and ability.’ Their recent exhibition with 4A titled Bollywouldn’t serves as a ‘balm to the displacement of diaspora’ through empowering and connecting queer and South Asian communities with the use of texta, as well as resisting colonial structures with digitally mapped murals.
Thea-Mai Baumann: The role of art and storytelling in advocacy and activism, particularly for disabled artists of colour, is exemplified by the genesis and ongoing work of the 4A Centre for Contemporary Asian Art. 4A was born out of an activist act in response to the racist rhetoric of Pauline Hanson in the Australian parliament during the mid-1990s. This historical context underscores the power of art as a response to societal challenges and as a means of resistance against discriminatory narratives.
The foundation of 4A as an activist response reflects the belief that art can be a potent force in countering prejudiced rhetoric and creating a space where marginalised voices, including those of disabled artists of colour, can be prominently featured. 4A provides a platform for visibility and is a vehicle for breaking down boundaries and dismantling notions of 'otherness'. As an artist-led organisation, 4A challenges the prevailing norms, advocating for inclusivity and diversity within the contemporary art landscape.
The commitment of 4A to amplify marginalised voices extends beyond its historical origins. It becomes a continuous effort to create an environment where the stories and artistic expressions of individuals with diverse abilities and cultural backgrounds are not only acknowledged but celebrated. Art and storytelling, within this framework, become tools that empower disabled artists of colour to articulate their experiences, challenge stereotypes, and contribute to a broader narrative of inclusivity and social change.
No.2
Do you believe there are cultural or societal barriers that disabled and otherwise marginalised Asian artists face when engaging in activism through art, and how can these barriers be overcome?
Faye Chen: In the realm of art activism, disabled and other marginalised Asian artists may encounter cultural or societal barriers. These challenges include a lack of fair representation and opportunities, as well as societal stereotypes associated with disability and marginalised identities. To overcome these barriers, it is important to advocate for a more inclusive artistic environment that provides equal opportunities and resources. Additionally, conveying positive messages through artistic works can contribute to changing societal perceptions. Establishing collaborative platforms for Asian artists—encouraging exchange and mutual support—is another avenue to break down these obstacles. In essence, by strengthening values of inclusivity, equality and diversity, we can collectively work towards overcoming these cultural and societal challenges.
Grey Yeoh: For sure! I think that in certain Asian cultures, there is still shame and stigma attached to people with disabilities and it often is much easier for family members to hide them away from the public. Even being an artist is not supported by certain segments of Asian society, as it is seen not as a ‘real’ job. Just on that fundamental level itself, these barriers exist—not even talking about being a vocal and visible disabled Asian artist. Hence, it takes more than double the effort to break through these barriers. As more and more parents, families and friends come to realise that people with disability are around them and live with them every day, I think the acceptance level is slowly increasing. More needs to be done for sure. I am a firm believer in the power of small and the power of everyday persistence. Advocacy and activism do not need to take the shape of loud marches and provocative images or art. They can be small, kind gestures, filled with empathy and sympathy—but also with fierce consistency and persistence.
Connor Xia: Under a settler-colony structure, no space is inherently free of racism and ableism, which are inextricably entwined, and the arts are not an exception. Queer, disabled femme of colour, the writer, performer and activist Leah Lakshmi Piepzna-Samarasinha wrote:
‘Disability justice, when it’s really happening, is too messy and wild to really fit into traditional movement and nonprofit industrial complex structures, because our bodies and minds are too wild to fit into those structures. Which is no surprise, because nonprofits, while created in the ’60s to manage dissent, in many ways overlap with “charities”—the network of well-meaning institutions designed on purpose to lock up, institutionalise, and “help the handicapped”. Foundations have rarely ever given disabled people money to run our own shit. Nonprofits need us as clients and get nervous about us running the show. Disability justice means the show has to change—or get out of the way.’
Overcoming these barriers cannot be achieved through the tokenism of showcasing one or two disabled artists of colour, sympathies from able-bodied folks who mean well in workplaces, or charity. Accessible toilets, ramps or unscented hand wash in the bathroom, to name a few, are necessary initial steps towards acts of change in centralising accessibility, but truly dismantling barriers needs to be focused on liberatory access, where autonomy, self determination and redistribution of resources for different models of collective care are in the hands of queer, disabled, BIPOC artists. As educator and writer Mia Mingus stated: ‘Access done in the service of love, justice, connection and community is liberatory and has the power to transform.’
No.3
Could you share an example of a successful art-based advocacy project in Asia, or by an Asian Australian artist, that has promoted positive change? (And why do you think it was successful?)
Reina Takeuchi: One particular art-based advocacy project in Australia which warmed my heart of late is hearing of the iterations of Lumbung, organised by Tian Zhang, hosted within Western Sydney-based collectives, specifically, PARI most recently. Emerging post-documenta fifteen, in 2022, members from Western Sydney collectives travelled to Kassel, Germany, to participate in documenta through GUDSKUL's collective-studies program ‘Sekolah Temujalar’. Here, they undertook a nongkrong (‘hanging out’) curriculum, exploring how cooking, cleaning, living, studying and karaoke-ing together is instructive for collective practices. To continue into 2023 what was learned and shared elsewhere, and inject this back into the Western Sydney locale, encourages shared community conversations.
As I doomscroll through my social media feed, it warms my heart to see enriching invitations to lumbung, to contribute to tangible and intangible resources to Gudkitchen, a continual accessible resource to be accessed by community. Accessibility and holding space for what community needs can look like this—to help, to prepare, to enjoy and cook together, as a collective organising practice.
Grey Yeoh: I like what ART:DIS (formerly known as Very Special Arts) are doing in Singapore. It was first set up about thirty years ago, putting a focus on people with disability and arts. They have successfully organised many different programmes throughout the year, and have championed and advocated for the social model of disability to the Singapore government and wider society. ART:DIS also has an annual festival of arts, and they have worked with other international disability organisations too. I also particularly like what Maya Dance Theatre (also from Singapore) is doing, advocating for dancers with and without disabilities with their DADC (Diverse Abilities Dance Collective) programme.
No.4
Which art spaces, galleries, museums and other cultural institutions (local or international) do you think are making great strides in their accessibility and inclusivity efforts?
Reina Takeuchi: I have had the pleasure of attending Mare Amoris | Sea of Love twice now, and I have been recommending the exhibition to everyone I know, especially to those who are fascinated by the ocean and dissolving colonial boundaries through oceanic thinking and connected waters. Brought together by a powerhouse of a curatorial team, including Peta Rake, Leuli Eshraghi, Isabella Baker and Jocelyn Flynn, the exhibition not only encompasses ancestral rights and considers long-held stewardship of the sea, it is also part of a long-term research initiative Blue Assembly, which calls attention to the ways in which oceanic spaces are inextricable from human and interspecies survival. Endorsed as part of the UN Ocean Decade program, it is part of a global framework dedicated to education and research on health and sustainability.
For each artwork, there is a QR code audio description included, and the University of Queensland has also developed a separate website for UQ Art Museum Accessibility Resources, collating all the exhibition’s resources and curatorial texts. As part of the exhibition, there is also a restful, care space, where exhibition visitors can feel free to sit on beanbags and enjoy publications curated about the exhibition’s thematics. It is exciting to see inclusive considerations continuing into UQ’s 2024 programming and to see what lies ahead for the curatorial team to continue embedding inclusivity and access rights into museum engagement.
Grey Yeoh: I may be biased with this response, but when I was working at the National Gallery Singapore, they were in the process of setting up a diversity and inclusion workgroup. I’m happy to report that since then, they have launched many accessibility initiatives to cater to a wider segmentation of audience and society, including performing access audits throughout the entire museum, building a specific quiet space/room, hiring SGSL (Singapore Sign Language interpreters), having teams who organise visits from community groups of different races, societal background, minority groups—even domestic migrant workers! I think the staff at the National Gallery Singapore actively seek to engage visitors who don’t usually come into their space.
Faye Chen: I fully agree with Grey's response, drawing on my experience working at the National Gallery Singapore as well. From a marketing standpoint, the institution has implemented an exceptionally comprehensive gallery access guide on its website, providing a clear overview of every section and features. This resource proves invaluable for individuals seeking to familiarise themselves with the gallery's layout and offerings before visiting, especially given the institution's complexity and size. The gallery has also taken a commendable step by creating an access advisory guide for each exhibition. These accessible documents, readily available on the website, have served as an inspiration for me in considering similar initiatives for 4A. Developing such comprehensive and user-friendly guides aligns with the best practices observed in enhancing accessibility and visitor experience within cultural institutions.
Another institution that has left a lasting impression on me is the M+ Museum in Hong Kong. They have made significant advancements in their accessibility and inclusivity efforts by incorporating various cutting-edge technologies. Notably, their Ground Floor Information Desk is equipped with an induction loop, enabling direct transmission to hearing aids with telecoils. The museum also offers the convenience of arranging free audio descriptions for guided tours upon request. Additionally, they provide on-request or regular audio descriptions for various events, showcasing a commitment to enhancing the overall visitor experience.
No.5
Do you see technology playing a future role in increasing arts accessibility and cross-cultural exchange?
Reina Takeuchi: Most recently, 4A Centre for Contemporary Asian Art staff were able to undertake online modules through Accessible Arts, including Creating Inclusive Workplaces and another about building accessible exhibition models.
To have these resources available online and in perpetuity is an on-going touchstone for museums and institutions to know what they need to implement. Accessibility is not hard, but to access proper resources and understandings of inclusive work is not always very cost-effective for small- to medium-sized organisations, as well as independent artists. Having readily available means to learn about inclusive arts practices online, through organisations like Accessible Arts, encourages the capacity to slowly change the way in which institutions function.
Faye Chen: Technology is poised to play a pivotal role in enhancing arts accessibility and encouraging cross-cultural exchange in the future. At 4A, we facilitate this through virtual exhibition tours, providing online visitors with the opportunity to explore artworks from the comfort of their homes. Additionally, we offer a variety of online educational resources, including talks, podcasts and digital arts content. Similar initiatives can be observed in institutions such as NGV, Powerhouse Museum and AGNSW, all of which provide virtual access to their collections and exhibitions. These digital endeavours are geared toward making art accessible to a broader audience, transcending the limitations of physical locations.
Grey Yeoh: Yes, of course. I think technology has advanced by leaps and bounds in helping people to connect better and to understand each other better. Not only that technology has helped connect people via tools like Zoom and Google Meet, but it also has tools like closed captioning, auto-transcription and auto-translation that really promote mutual understanding between people who speak different languages, or use different forms of communication. The internet and its open access (with these translation tools) also enable more people to research and get into what others are doing. A range of subcultures from China or Japan or India or Pakistan, for example, are now more or less accessible to people who don’t necessarily speak those languages.
Nolan Ho Wung Murphy: Technology is no doubt invaluable in its capacity to create new possibilities and avenues for accessibility in the arts, however, I find myself increasingly anxious about the trajectory technology is heading in our rapidly digitised and online world. So long as we live under capitalism, most tech developed today will always steer itself towards profit and exploitation. We can see this with so-called AI technology, consuming and plagiarising artists' work, as well as cutting jobs off the market and artists losing out on work.
Since the birth of the 2020 pandemic, we are increasingly more online and arts institutions are leaning more on digitising spaces. This is good, we should continue to pursue online accessibility and build more digital spaces that are inclusive and welcoming. However, I worry that many of our accessibility solutions have a tendency to only be online, potentially leaving those without access to online spaces behind.
Thinking of offline solutions, a great example comes from an initiative by Tate, which is their 'Touch Tour' program that allows visitors with visual impairment to actually touch and feel works in the collection. I love this, as virtually all galleries prevent visitors from ever touching works and even have occupations plus infrastructure designed around this prevention. But being able to physically interact with works opens up an entire new dimension of understanding, experience and learning; it is both rewarding for visitors and the gallery. What's great about this program is that it provides an experience that online digital spaces cannot, which is a personal physical interaction with artworks and people.
So, technology will certainly play a vital role in creating a more accessible future in the arts, but I also see it as being potentially harmful as well. I like to believe we already have all the tools we need to build the accessible future we dream of. I think what is key is that we must continue to build our relationships, solutions and policy with each other, to dismantle ableist structures, and build infrastructure that is not only accessible, but loving, kind and sustainable. In the words of Mia Mingus: ‘I don’t just want technical and logistical access. I don’t just want inclusion, I want liberatory access and access intimacy… I want us to be able to be understood and to be able to take part in principled struggle together—to be able to be human together.’
Thea-Mai Baumann: Absolutely. In an increasingly digital world, technology serves as a powerful tool to break down barriers and provide pathways to inclusive art experiences. Through virtual platforms, adaptive technologies and augmented reality, people with varying abilities can engage with art in ways that were previously challenging or impossible. I also think technology facilitates borderless cross-cultural exchange by transcending and dissolving geographical boundaries. Virtual exhibitions, online galleries and digital collaborations enable artists from different parts of the world to share their work and perspectives, promoting an understanding and appreciation of diverse cultural expressions. I’m sure in the future, we can anticipate continued advancements in technologies like virtual reality, augmented reality and artificial intelligence, offering innovative ways to experience and interact with art, supporting immersive and personalised encounters, and making art more engaging and meaningful for individuals with various preferences and needs.
Find out more
Connor Xia was born and raised in Urumqi, Xinjiang Uyghur Autonomous Region (otherwise known as Eastern Turkistan), far northwest of China, and is a trans and neurodivergent illustrator, animator, designer, artist and educator living and working on unceded Gadigal and Wangal land. With an interest in the intersection of visual storytelling and technology, he utilises multiple tools and techniques to explore themes of family, queerness, spirituality and migration. Connor teaches animation production at the UTS School of Communications. He has facilitated workshops at the Japan Foundation, participated in the MCA zine-fair panel in 2020, and exhibited at various galleries and sites such as Firstdraft, PARI, Cool Change, PACT and Goodspace. In his spare time, Connor produces and co-hosts the late-night dance music show 'MSG4000' on FBi radio, aiming to uplift and showcase all corners of Asian experimental music, highlighting less-represented ethnic sounds from Central and South Asia.
Faye Chen is a Chinese Australian independent curator and art marketer based on Gadigal land. Holding a Master's degree in Art Curating from the University of Sydney, she brings a dynamic approach to curatorial practice, fostering artistic dialogue and cross-cultural connections. In her role as Marketing Coordinator at 4A Centre for Contemporary Asian Art since 2022, Faye integrates her marketing acumen with artistic sensibilities for innovative and impactful outreach. Additionally, she has co-curated exhibitions like Borderless (2022) and Entwined Within (2023), showcasing her commitment to meaningful and thought-provoking exhibitions rooted in her diverse experiences across Australia and Asia.
Grey Yeoh is an international arts and culture manager and producer, specialising in performing and visual arts. His vast arts network extends to North, South and Southeast Asia, Australia and Europe. He has more than 20 years of experience managing the arts in some of the world’s most important international cultural organisations including the Asia-Europe Foundation, the Australia Council for the Arts, National Gallery Singapore, the British Council and more. He has an MA in Arts & Cultural Leadership from LASALLE College of the Arts, a programme with Goldsmiths University of London. He wrote his thesis on the Creative Industries Policy of Malaysia 2010–2015. He has been invited to give lectures and presentations at many universities and colleges in Australia, the Netherlands, Indonesia, Singapore and Malaysia.
Nolan Ho Wung Murphy is an Australian Hong Kong artist and arts worker based in unceded Gadigal land. They graduated with a Bachelor of Media Arts (Honours) at UNSW Art, Design and Architecture in 2021. With a practice in photography, their work takes an interest in cultural and migratory identities, family and in-between spaces. They have exhibited across various sites such as Firstdraft, Kudos Gallery, AD space and the Sydney Estonian House. They have been a nominated finalist twice, in 2018 and 2019, for the Kudos Art + Design Award, as well as receiving honourable mention in the 2018 Jenny Birt Award and in the ‘Student’ category in the 2018 Australian Photography Awards. As an arts worker, they have worked and continue to work across multiple institutions including UNSW Gallery, White Rabbit Gallery and 4A Centre for Contemporary Asian Art.
Reina Takeuchi is a Japanese Australian artist-researcher, curator and dance maker interested in cross-cultural exchange. Her performance projects have included installations at Ars Electronica Festival in Linz, and SomoS Arts, Berlin and performances for Liveworks Festival of Experimental Art, Performance Space, the Museum of Contemporary Art’s Late program and Australian Chamber Orchestra’s Pier 2/3. She is currently the Curatorial Program Producer at 4A Centre for Contemporary Asian Art and is a PhD candidate at QUT, focusing on Asian Australian performance for her research project Countermoves of the Transcultural.
Thea-Mai Baumann joined 4A as Artistic Director and Chief Executive Officer in February 2023. She is a creative executive, artist, creative technologist and producer of Vietnamese-Swiss heritage. Between 2019–2022, she was Manager and Senior Manager of International Engagement at the Australia Council for the Arts where she co-designed and led the launch of the International Engagement Strategy 2021–2025, and provided oversight of strategic investments in Europe, North America and the Asia Pacific. Between 2012 and 2019, Thea was CEO and Founder of world-first hologram brands Metaverse Makeovers® and 超宇美人® based between Melbourne, Shanghai and Hong Kong where she led the commercialisation of augmented-reality innovation Metaverse Nails.