Daniel Boyd draws on his heritage as a Kudjla/Gangalu man from North Queensland and North Pentecost Island in Vanuatu to interrogate legacies of colonisation. Traversing an archaeology of lost and suppressed histories, Boyd reinterprets artistic and archival material across art, science, history and geography in order to challenge Eurocentric perspectives and romanticised notions that dominate the historical canon. His work acknowledges the multitude of collective, cultural and personal memories at the core of historical imagery, and seeks to create a context for a diaspo- ra of meaning to exist.
Considered one of Australia’s leading artists, Boyd has been exhibiting nationally and internation- ally since 2005. Recent solo exhibitions include Dreamland at Marian Goodman, New York (2024), RAINBOW SERPENT (VERSION), Martin Gropius Bau, Berlin and IMA, Institute of Modern Art, Brisbane, Australia (2023) and Boyd’s major retrospective exhibition Treasure Island, Art Gallery of NSW, Australia (2022). Recent biennales and group exhibitions include Bonna, Dhaka Art Sum- mit, Dhaka, Bangladesh, curated by Cosmin Costinas (2023); Kathmandu Triennale 2077, Kath- mandu, Nepal (2022); UN/LEARNING AUSTRALIA, Seoul Museum of Art, Seoul (2021-22); Ade- laide Biennial of Australian Art: Divided Worlds, Art Gallery of South Australia, Adelaide (2018); Mondialité, curated by Hans Ulrich Obrist & Asad Raza at the Boghossian Foundation, Villa Em- pain, Brussels (2017); The future is already here – it’s just not evenly distributed, 20th Biennale of Sydney, curated by Stephanie Rosenthal (2016) and All the World’s Futures, the 56th Venice Bien- nale (2015), curated by Okwui Enwezor. Boyd was the recipient of the Bulgari Art Award (2014).
Courtesy STATION

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