{"id":141302,"date":"2025-07-23T15:50:33","date_gmt":"2025-07-23T07:50:33","guid":{"rendered":"https:\/\/www.curtin.edu.au\/research\/?page_id=141302"},"modified":"2025-09-10T12:38:48","modified_gmt":"2025-09-10T04:38:48","slug":"aug-2025","status":"publish","type":"page","link":"https:\/\/www.curtin.edu.au\/research\/feed-your-mind\/aug-2025\/","title":{"rendered":"Art Bites: Art of Peace"},"content":{"rendered":"\n<div style=\"height:15px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-group\"><div class=\"wp-block-group__inner-container is-layout-constrained wp-block-group-is-layout-constrained\">\n<p><strong><strong><em>This event has now concluded.<\/em><\/strong><\/strong><\/p>\n\n\n<mimas-block \n        block-name=\"button\"\n        \n        data-align=\"left\"\n        role=\"complementary\"\n        aria-label=\"Button block\"\n        data-segment=\"all\">\n\n    \n    \n<div class=\"block-heading hidden\"\n     data-segment=\"dom\"\n     data-style=\"\"\n     data-align=\"default\"\n>\n\n                                <h2 class=\"block-heading__title \" id=\"button-block\">Button block<\/h2>\n            \n                        \n                        \n            \n                <\/div>\n\n                    <a\n    href=\"https:\/\/echo360.net.au\/media\/fbfc107b-2315-4c59-81a6-9323e48ec5f5\/public\"\n    class=\"button  button--deep-blue filled\"\n    target=\"_blank\" aria-label=\"Watch the event recording\">Watch the event recording<\/a>\n    <\/mimas-block><\/div><\/div>\n\n\n\n<p>The following questions were unable to be answered during the session, but have been answered by Prof Messham-Muir in text format:<\/p>\n\n\n<mimas-block \n        block-name=\"accordion\"\n        role=\"complementary\"\n        aria-label=\"Accordion content\"\n        data-segment=\"all\">\n\n                \n\n                    <div class=\"accordion\" aria-labelledby=\"accordion-title-Do-you-have-your-own-art-practice-which-informs-your-research?\">\n            <button type=\"button\" class=\"accordion__heading\" aria-controls=\"Do-you-have-your-own-art-practice-which-informs-your-research?\" aria-expanded=\"false\">\n            <div class=\"title\" id=\"accordion-title-Do-you-have-your-own-art-practice-which-informs-your-research?\">Do you have your own art practice which informs your research?<\/div>\n            <div class=\"icon\"><\/div>\n        <\/button>\n        <div class=\"accordion__content\" id=\"Do-you-have-your-own-art-practice-which-informs-your-research?\" aria-hidden=\"true\">\n                    <p>I did an undergraduate Honours degree majoring in painting at Sydney College of the Arts from 1991-1994, and tried to maintain an ongoing artistic practice after I left, but I found it difficult and ultimately, I wasn\u2019t that good an artist.<\/p>\n<p>Great artists are very good at working within grey zones and with creating and playing with indeterminate meaning; that\u2019s what makes art so interesting and different from other areas of knowledge. Yet it wasn\u2019t something I was good at. I started my PhD in art theory at UNSW in 1996 and realised that my talents lie more in interpreting and theorising those grey zones.<\/p>\n<p>However, I think that having done an undergraduate degree in art practice, I always take that with me. I\u2019m always trying to understand artists\u2019 intentions, which is why so much of my research involves interviewing artists or working with them collaboratively in some capacity. Probably another way that my art practice past informs my research is the importance I put on fieldwork, on the hands-on engagement with the world and art, and for the research to have not only quality scholarly outputs, like books, chapters and articles, but to also reach a wider audience with outputs like the Art of Peace exhibition at AGWA this year.<\/p>\n\n        \n                            \n                    <\/div>\n<\/div>\n                    <div class=\"accordion\" aria-labelledby=\"accordion-title-What-criteria-did-you-use-in-selecting-the-nine-artists-and-these-areas-related-to-post-war-issues?\">\n            <button type=\"button\" class=\"accordion__heading\" aria-controls=\"What-criteria-did-you-use-in-selecting-the-nine-artists-and-these-areas-related-to-post-war-issues?\" aria-expanded=\"false\">\n            <div class=\"title\" id=\"accordion-title-What-criteria-did-you-use-in-selecting-the-nine-artists-and-these-areas-related-to-post-war-issues?\">What criteria did you use in selecting the nine artists and these areas related to post-war issues?<\/div>\n            <div class=\"icon\"><\/div>\n        <\/button>\n        <div class=\"accordion__content\" id=\"What-criteria-did-you-use-in-selecting-the-nine-artists-and-these-areas-related-to-post-war-issues?\" aria-hidden=\"true\">\n                    <p>In terms of criteria for selecting the nine artists, it varied from Bosnia, to Rwanda, to Timor-Leste. Bosnia and Herzegovina has quite an internationally connected contemporary art world. Two of the three Bosnian artists, for instance, have been exhibited at the Venice Biennale.<\/p>\n<p>And we connected to the three Bonsian artists mostly through my colleague, the late Paul Lowe, who was a brilliant connector of people from disparate places and backgrounds. He was originally from Liverpool, just over the border from where I came from too, in Wrexham, North Wales. But he\u2019d spent his life chasing conflicts in places like Somalia, Rwanda and Bosnia, and he eventually settled in Sarajevo after the war. So, he was extremely knowledgeable, and I was guided entirely by his suggestions of Mladen Miljanovi\u0107, Adela Ju\u0161i\u0107 and Aida \u0160ehovi\u0107, who\u2014it turned out\u2014were just amazing artists and great people.<\/p>\n<p>Timor-Leste and Rwanda were different. I was less well-connected in both places, but we relied on the expertise in the group. In Timor-Leste, the team includes Dr Vannessa Hearman (Curtin) and Dr Wulan Dirgantoro (Melbourne Uni), who both are deeply familiar with Timorese contemporary art.<\/p>\n<p>We also enlisted the help of Naldo Rei, a former Timor-Leste freedom fighter and author, who lives in Dili. Maria Madeira had just shown in the Venice Biennale when we went to Timor-Leste, so we were keen to have her involved. The two remaining Timorese artists were people who we\u2019d met during the fieldwork, particularly at the workshop in Dili. When Bernardino Soares showed us his series of photographic works, <em>Nightmare<\/em>, it was like a punch in the guts for us. It is such a powerful set of images and a tragic story behind them.<\/p>\n<p>And Inu Bere, the third Timorese artist, represented a younger generation of post-conflict Timorese artists, who don\u2019t have a living memory of the occupation or conflicts, but whose work very much deals with the position of Timor-Leste in the global politics of today. Both Timor-Leste and Rwanda are not places where you can easily Google artists to understand their art scenes.<\/p>\n<p>You really have to go there and immerse yourself within the artist-run galleries and small art centres in both countries. In Rwanda, my teammate Sarah Minslow discovered Talia Lieber, an America-based Rwandan art expert, who came with us to Rwanda for the fieldwork. Talia seems to know everyone in the Rwandan art world, and we ended up with about 30 Rwandan creators, artists, musicians, architects, etc, in the workshop at University of Rwanda.<\/p>\n<p>So, we left the workshop with a few names in mind. Like Timor-Leste, we wanted two invite artists whose works represented something of the generation shift since the Genocide in 1994. So, Innocent Nkurunziza is the older of the three artists, while Cedric Mizero was still a baby during in 1994, and Teta Chel was born several years after. I suppose, then, the criteria was not as simple as rubric of what we were looking for, but rather the consideration was which artists and art would allow an exhibition of nine artists to address different experiences of conflict and post-conflict in the three countries. Each country could have included ten brilliant artists, but that would have made the exhibition nearly impossible.<\/p>\n\n        \n                            \n                    <\/div>\n<\/div>\n                    <div class=\"accordion\" aria-labelledby=\"accordion-title-Given-that-the-world-is-still-experiencing-post-war-trauma,-do-you-plan-to-continue-exploring-this-theme-and-extend-your-work-to-more-countries-in-this-context?\">\n            <button type=\"button\" class=\"accordion__heading\" aria-controls=\"Given-that-the-world-is-still-experiencing-post-war-trauma,-do-you-plan-to-continue-exploring-this-theme-and-extend-your-work-to-more-countries-in-this-context?\" aria-expanded=\"false\">\n            <div class=\"title\" id=\"accordion-title-Given-that-the-world-is-still-experiencing-post-war-trauma,-do-you-plan-to-continue-exploring-this-theme-and-extend-your-work-to-more-countries-in-this-context?\">Given that the world is still experiencing post-war trauma, do you plan to continue exploring this theme and extend your work to more countries in this context?<\/div>\n            <div class=\"icon\"><\/div>\n        <\/button>\n        <div class=\"accordion__content\" id=\"Given-that-the-world-is-still-experiencing-post-war-trauma,-do-you-plan-to-continue-exploring-this-theme-and-extend-your-work-to-more-countries-in-this-context?\" aria-hidden=\"true\">\n                    <p>I do plan to continue exploring art from post-conflict and present-conflict trauma. I\u2019ve just started writing my next book, which I\u2019m hoping will address art and politics in present day Bosnia, Timor-Leste and Rwanda, as well as Ukraine and Gaza. There are some important overlaps between those past and present war zones, as well as accusations of genocide.<\/p>\n<p>Writing this book involves both reflecting on what we learned from Art of Peace, its fieldwork and exhibition, and how its key themes resonate with present-day conflicts. Further to that, I\u2019ve been working with the Ukrainian Museum of Contemporary Art for the last year or so on what I hope is my next ARC project, which will focus primarily on their Wartime Art Archive, an amazing and ongoing collection of art from Ukraine following the full-scale invasion by Russia in February 2022.<\/p>\n<p>The way Ukrainian artists\u2014and curators\u2014have responded to the war there is really transforming what we think with the term \u201cwar art\u201d. Art from Gaza has been much more difficult to map, since the extent of the devastation there appears to have made art impossible, although there are Palestinian diaspora involved in things such as the Gaza Biennial. There are other conflicts that are geopolitically important for various reasons, such as the war in eastern Democratic Republic of Congo, but it is what artists and curators are doing in Ukraine that has really captured my interest.<\/p>\n\n        \n                            \n                    <\/div>\n<\/div>\n                    <div class=\"accordion\" aria-labelledby=\"accordion-title-How-can-these-powerful-insights-gained-through-art-be-shared-and-bought-to-the-attention-of-political-leadership-both-in-the-affected-countries-and-international-organisations-including-NATO,-UN,-etc?\">\n            <button type=\"button\" class=\"accordion__heading\" aria-controls=\"How-can-these-powerful-insights-gained-through-art-be-shared-and-bought-to-the-attention-of-political-leadership-both-in-the-affected-countries-and-international-organisations-including-NATO,-UN,-etc?\" aria-expanded=\"false\">\n            <div class=\"title\" id=\"accordion-title-How-can-these-powerful-insights-gained-through-art-be-shared-and-bought-to-the-attention-of-political-leadership-both-in-the-affected-countries-and-international-organisations-including-NATO,-UN,-etc?\">How can these powerful insights gained through art be shared and bought to the attention of political leadership both in the affected countries and international organisations including NATO, UN, etc?<\/div>\n            <div class=\"icon\"><\/div>\n        <\/button>\n        <div class=\"accordion__content\" id=\"How-can-these-powerful-insights-gained-through-art-be-shared-and-bought-to-the-attention-of-political-leadership-both-in-the-affected-countries-and-international-organisations-including-NATO,-UN,-etc?\" aria-hidden=\"true\">\n                    <p>This is a really excellent question, and I\u2019m not yet sure of the answer.<\/p>\n<p>Part of the problem is that many people think that art is a \u2018soft\u2019 instrument in the world\u2014you know, it\u2019s the easy subject in school, it\u2019s about pretty pictures and arty themes\u2014but it\u2019s actually a very powerful tool, particularly if your culture is being subjected to the colonising impulses of an imperial aggressor, as in the case in Ukraine.<\/p>\n<p>Those \u2018soft\u2019 things\u2014language, music, art\u2014are actually vital to survival of culture. Look at the importance of Indigenous Australian art in terms of defining cultural identity. Art is an assertion of identity and presence, a powerful way of saying, \u2018we are still here, and we\u2019re not going anywhere; we are surviving, in spite of the real weapons of hard power\u2019. An exhibition like Art of Peace brought the experiences of those artists to the public in Perth, which I\u2019m sure would have made many of the 160,000 or so visitors consider more deeply the impacts of war.<\/p>\n<p>But the real challenge is making political leadership see the power of art in ongoing struggles against aggression. To the people caught in war, it\u2019s often very important; it\u2019s often about making their voices heard.<\/p>\n\n        \n                            \n                    <\/div>\n<\/div>\n                    <div class=\"accordion\" aria-labelledby=\"accordion-title-Is-there-a-big-difference-between-art-that-deal-with-\u2018transitory\u2019-art-forms-such-as-music-and-more-permanent-installations-for-the-ultimate-political\/-social-outcomes?\">\n            <button type=\"button\" class=\"accordion__heading\" aria-controls=\"Is-there-a-big-difference-between-art-that-deal-with-\u2018transitory\u2019-art-forms-such-as-music-and-more-permanent-installations-for-the-ultimate-political\/-social-outcomes?\" aria-expanded=\"false\">\n            <div class=\"title\" id=\"accordion-title-Is-there-a-big-difference-between-art-that-deal-with-\u2018transitory\u2019-art-forms-such-as-music-and-more-permanent-installations-for-the-ultimate-political\/-social-outcomes?\">Is there a big difference between art that deal with \u2018transitory\u2019 art forms such as music and more permanent installations for the ultimate political\/ social outcomes?<\/div>\n            <div class=\"icon\"><\/div>\n        <\/button>\n        <div class=\"accordion__content\" id=\"Is-there-a-big-difference-between-art-that-deal-with-\u2018transitory\u2019-art-forms-such-as-music-and-more-permanent-installations-for-the-ultimate-political\/-social-outcomes?\" aria-hidden=\"true\">\n                    <p>This is an interesting and quite practical question. As I said in the Feed Your Mind talk, I\u2019m used to writing books that have a sense of permanency, while an exhibition is ephemeral, and this is something I only really came to realise in the closing weeks of the exhibition, when I suddenly realised that I needed to capture as much of the experience of the exhibition as possible.<\/p>\n<p>I took a lot of 360-degree photography, and 3D photography, video of gallery tours and some photogrammetry, and I\u2019m hoping to have this converted into a permanent online exhibition from early 2026. But I suppose the answer to your question is, we need to get smart about how we can use the existing repositories that are out there, and be guided by the expertise of people like the staff at Curtin\u2019s HIVE on what to capture, and how.<\/p>\n<p>The second part of that is how to then make that captured digitisation accessible and discoverable on the internet. That\u2019s something I\u2019m still trying to work out myself. I do try to make conferences I\u2019ve organised available as videos on YouTube, or interviews with artists, but the real challenge is making those things discoverable in what has become a vast universe of noise and, often, garbage.<\/p>\n<p>If anyone has any suggestions, I\u2019m very keen to know.<\/p>\n\n        \n                            \n                    <\/div>\n<\/div>\n        \n<\/mimas-block>\n\n\n<h3 class=\"wp-block-heading\"><strong>Event details<\/strong><\/h3>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>How do artists transform pain and trauma into art, and how can research help bring these stories to light?&nbsp;&nbsp;<\/p>\n\n\n\n<p>Join Professor Kit Messham-Muir as he&nbsp;shares&nbsp;the&nbsp;impact of the&nbsp;\u2018<em>Art of Peace<\/em><em>\u2019<\/em>&nbsp;exhibition,&nbsp;an&nbsp;outcome of an&nbsp;Australian Research Council&nbsp;(ARC)&nbsp;Linkage project in partnership with the Art Gallery of Western Australia&nbsp;(AGWA)&nbsp;and the National Trust of NSW.&nbsp;&nbsp;<\/p>\n\n\n\n<p>Recently hosted at&nbsp;AGWA,&nbsp;the&nbsp;\u2018<em>Art of Peace<\/em><em>\u2019<\/em>&nbsp;exhibition featured nine artists from Bosnia and Herzegovina, Rwanda, and Timor-Leste whose countries have spent three decades recovering from brutal conflict and genocide.&nbsp;<\/p>\n\n\n\n<p>In this&nbsp;talk,&nbsp;Professor Messham-Muir&nbsp;will&nbsp;take us through&nbsp;the journey&nbsp;of&nbsp;research&nbsp;to exhibition,&nbsp;and&nbsp;explore&nbsp;how&nbsp;researchers from&nbsp;the&nbsp;humanities&nbsp;can drive&nbsp;impact&nbsp;through&nbsp;lived&nbsp;experiences and stories that resonate across borders.<\/p>\n\n\n\n<p>If you can\u2019t make it in person, you can join us online. Please note a link to stream the event will be sent to you via email closer to the date.<\/p>\n\n\n\n<p>A light lunch will be provided.<\/p>\n\n\n\n<p>Attend in person to earn a stamp and go in the draw to win a $100 Guild gift card. <a href=\"https:\/\/www.curtin.edu.au\/research\/feed-your-mind\/#loyalty-program\">Refer to T&amp;C&#8217;s for more information<\/a>.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><mimas-block \n        block-name=\"styled-heading\"\n        data-variant=\"\"\n        role=\"complementary\"\n        aria-labelledby=\"\"\n        data-segment=\"all\">\n\n        \n<div class=\"block-heading\"\n     data-segment=\"dom\"\n     data-style=\"\"\n     data-align=\"default\"\n>\n\n                        \n                        \n                                <div class=\"block-heading__content\"><p><strong>Date<\/strong><br \/>\nThursday 21 August 2025<\/p>\n<p><strong>Time<\/strong><br \/>\n12.30pm \u2013 12.45pm: Networking and lunch<br \/>\n12.45pm \u2013 1.30pm: Formal proceedings<\/p>\n<p><strong>Location <\/strong><br \/>\n<a href=\"https:\/\/campusmap.curtin.edu.au\/bentley\/?poi=794148\" target=\"_blank\" rel=\"noopener\">Council Chamber<\/a><br \/>\nBuilding 100.103<br \/>\nCurtin University<br \/>\n&#8211;<br \/>\nOr online<\/p>\n<\/div>\n            \n            \n                <\/div>\n\n<\/mimas-block><\/div>\n<\/div>\n\n\n\n<h3 class=\"wp-block-heading\">Presenters<\/h3>\n\n\n<mimas-block \n        block-name=\"card-spotlights\"\n        role=\"complementary\"\n        aria-label=\"Card spotlights\"\n        data-segment=\"all\">\n\n    \n\n    <div class=\"card-grid\" data-card-size=\"\" data-card-count=\"2\" data-card-background=\"gray\">\n                    <div  id=\"professor-kit-messham-muir\" class=\"card card--image\" data-type=\"\" aria-label=\"professor-kit-messham-muir\"><div class=\"card__top image-offset\"><img decoding=\"async\" class=\"card__image\"\n                                 src=\"https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/KMM.png\"\n                                 alt=\"Professor Kit Messham-Muir\"\n                                 srcset=\"https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/KMM-150x150.png 150w, https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/KMM.png 250w, https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/KMM.png 250w, https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/KMM.png 250w, https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/KMM.png 250w, https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/KMM.png 250w, https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/KMM-250x240.png 250w, https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/KMM.png 250w, https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/KMM.png 250w\"\n                                 sizes=\"(min-width: 2560px) 2560px, (min-width: 1920px) 1920px, (min-width: 1440px) 1440px, (min-width: 1024px) 1024px, (min-width: 768px) 768px\" loading=\"lazy\"><\/div><div class=\"spotlight-label\">\n                        Presenter\n                    <\/div><div class=\"card__title\"><h2 class=\"h2\">Professor Kit Messham-Muir<\/h2><\/div><div class=\"inner\"><div class=\"card__subtitle\">\n                            Curtin University\n                        <\/div><div class=\"card__content\"><p>Professor Kit Messham-Muir is the Director of Research and Creative Practice in Curtin University\u2019s School of Media, Creative Arts and Social Inquiry.  <\/p><p>He is a specialist in contemporary art and visual culture, his research focuses on the art and visual culture of conflict, terror, and political violence. Since the 1990s, he has critically engaged with affect and trauma theory, exploring topics such as contemporary war art, Holocaust museums, and the aesthetics of \u2018culture war\u2019. His books include Double War (2015), and with Uro\u0161 \u010cvoro, Images of War in Contemporary Art (2021) and The Trump Effect (2023), and The Politics of Artists in War Zones (2024) co-edited with \u010cvoro and Monika Lukowska-Appel). <\/p><p>Prof Messham-Muir is lead chief investigator of Art of Peace, leading an international team of academics on a major ARC Linkage Project, and has previously led the Art in Conflict ARC Linkage Project in partnership with the Australian War Memorial.<\/p><\/div><\/div><\/div>                    <div  id=\"rochelle-fleming\" class=\"card card--image\" data-type=\"\" aria-label=\"rochelle-fleming\"><div class=\"card__top image-offset\"><img decoding=\"async\" class=\"card__image\"\n                                 src=\"https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/Rochelle-F.png\"\n                                 alt=\"Rochelle Fleming\"\n                                 srcset=\"https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/Rochelle-F-150x150.png 150w, https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/Rochelle-F.png 250w, https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/Rochelle-F.png 250w, https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/Rochelle-F.png 250w, https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/Rochelle-F.png 250w, https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/Rochelle-F.png 250w, https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/Rochelle-F-250x240.png 250w, https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/Rochelle-F.png 250w, https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/Rochelle-F.png 250w\"\n                                 sizes=\"(min-width: 2560px) 2560px, (min-width: 1920px) 1920px, (min-width: 1440px) 1440px, (min-width: 1024px) 1024px, (min-width: 768px) 768px\" loading=\"lazy\"><\/div><div class=\"spotlight-label\">\n                        Master of Ceremonies (MC)\n                    <\/div><div class=\"card__title\"><h2 class=\"h2\">Rochelle Fleming<\/h2><\/div><div class=\"inner\"><div class=\"card__subtitle\">\n                            Curtin University\n                        <\/div><div class=\"card__content\"><p>Rochelle Fleming is an experienced leader with a 20+ year career spanning academia, government and private industry, that extends across executive, business development, research development, strategic planning, operations, project management and strategic partnerships roles. <\/p><p>Before joining Curtin in October 2023, Rochelle held executive roles within the cybersecurity industry, partnering with multi-national organisations on developing cyber security solutions for critical infrastructure.<\/p><p>Throughout her career she has built a strong track record in developing and managing cross-sector, multidisciplinary, and interdisciplinary collaborative programs. Cultivating strong stakeholder engagement to connect diverse groups and manage complex relationships.<\/p><p>Her focus is innovation with impact, and helping to build strong, sustainable partnerships between organisations that will facilitate lasting research impact, that supports our communities, and industry. <\/p><\/div><\/div><\/div>            <\/div>\n\n    \n<\/mimas-block>\n\n\n<mimas-block full-width=\"black\" \n             block-name=\"banner-cta\" role=\"complementary\" aria-label=\"Banner CTA\"\n             data-segment=\"all\">\n\n        \n<div class=\"block-heading\"\n     data-segment=\"dom\"\n     data-style=\"black\"\n     data-align=\"default\"\n>\n\n                                <h2 class=\"block-heading__title h3\" id=\"contact-us\">Contact us<\/h2>\n            \n                        \n                                <div class=\"block-heading__content\"><p>To find out more about Research Rumble, contact the Research Engagement and Impact (EI) team.<\/p>\n<\/div>\n            \n                \n                            <div class=\"block-heading__buttons\">\n                                                                                            <a href=\"mailto:roc-events@curtin.edu.au\"\n                           class=\"button button--gray-dark filled\"\n                           target=\"_top\" aria-label=\"Get in touch\">Get in touch\n                            <span class=\"ico ico-arrow\" style=\"--icon:url(https:\/\/www.curtin.edu.au\/research\/wp-content\/themes\/mimas\/src\/img\/icons\/ico-arrow.svg)\" aria-hidden='true'>\n                                <\/span> <\/a>\n                                    <\/div>\n                        <\/div>\n\n    \n<\/mimas-block>\n","protected":false},"excerpt":{"rendered":"<p>This event has now concluded. The following questions were unable to be answered during the [&hellip;]<\/p>\n","protected":false},"author":81,"featured_media":141238,"parent":141197,"menu_order":1,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_oasis_is_in_workflow":0,"_oasis_original":0,"_oasis_task_priority":"","footnotes":""},"tags":[],"class_list":["post-141302","page","type-page","status-publish","has-post-thumbnail","hentry"],"acf":{"page_components":[{"acf_fc_layout":"masthead","personalised":false,"dom":{"asset":{"img_position":"Center"},"image":{"ID":141238,"id":141238,"title":"FYM - logo w full image - 1920x1080","filename":"FYM-logo-w-full-image-1920x1080-2.png","filesize":129567,"url":"https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/FYM-logo-w-full-image-1920x1080-2.png","link":"https:\/\/www.curtin.edu.au\/research\/feed-your-mind\/fym-logo-w-full-image-1920x1080-2\/","alt":"","author":"81","description":"","caption":"","name":"fym-logo-w-full-image-1920x1080-2","status":"inherit","uploaded_to":141197,"date":"2025-07-18 04:09:47","modified":"2025-07-18 04:09:47","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/www.curtin.edu.au\/research\/wp-includes\/images\/media\/default.png","width":1920,"height":1080,"sizes":{"thumbnail":"https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/FYM-logo-w-full-image-1920x1080-2-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/FYM-logo-w-full-image-1920x1080-2-740x370.png","medium-width":740,"medium-height":370,"medium_large":"https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/FYM-logo-w-full-image-1920x1080-2-768x432.png","medium_large-width":768,"medium_large-height":432,"large":"https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/FYM-logo-w-full-image-1920x1080-2-1920x500.png","large-width":1000,"large-height":260,"1536x1536":"https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/FYM-logo-w-full-image-1920x1080-2-1536x864.png","1536x1536-width":1536,"1536x1536-height":864,"2048x2048":"https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/FYM-logo-w-full-image-1920x1080-2.png","2048x2048-width":1920,"2048x2048-height":1080,"small":"https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/FYM-logo-w-full-image-1920x1080-2-480x240.png","small-width":480,"small-height":240,"xlarge":"https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/FYM-logo-w-full-image-1920x1080-2-1260x630.png","xlarge-width":1260,"xlarge-height":630,"xxlarge":"https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/FYM-logo-w-full-image-1920x1080-2-1520x760.png","xxlarge-width":1520,"xxlarge-height":760,"hd":"https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/FYM-logo-w-full-image-1920x1080-2-1920x960.png","hd-width":1920,"hd-height":960,"uhd":"https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/FYM-logo-w-full-image-1920x1080-2.png","uhd-width":1920,"uhd-height":1080}},"copy":{"title":"Art Bites: Art of Peace","content":"<p>Join Professor Kit Messham-Muir as he shares the impact of the \u2018Art of Peace\u2019 exhibition, an outcome of an Australian Research Council (ARC) Linkage project in partnership with the Art Gallery of Western Australia (AGWA) and the National Trust of NSW.  <\/p>\n","subtitle":"","cta":false}},"int":{"asset":{"img_position":"Center"},"image":false,"copy":{"title":"","content":"","subtitle":"","cta":false}}}],"controls":{"page_switch_toggle":false,"support_toggle":false,"breadcrumb_toggle":true,"navi_toggle":true,"section_nav_toggle":true,"alternate_font_toggle":false}},"featured_image":"https:\/\/www.curtin.edu.au\/research\/wp-content\/uploads\/2025\/07\/FYM-logo-w-full-image-1920x1080-2-1920x500.png","_links":{"self":[{"href":"https:\/\/www.curtin.edu.au\/research\/wp-json\/wp\/v2\/pages\/141302","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.curtin.edu.au\/research\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.curtin.edu.au\/research\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.curtin.edu.au\/research\/wp-json\/wp\/v2\/users\/81"}],"replies":[{"embeddable":true,"href":"https:\/\/www.curtin.edu.au\/research\/wp-json\/wp\/v2\/comments?post=141302"}],"version-history":[{"count":0,"href":"https:\/\/www.curtin.edu.au\/research\/wp-json\/wp\/v2\/pages\/141302\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/www.curtin.edu.au\/research\/wp-json\/wp\/v2\/pages\/141197"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.curtin.edu.au\/research\/wp-json\/wp\/v2\/media\/141238"}],"wp:attachment":[{"href":"https:\/\/www.curtin.edu.au\/research\/wp-json\/wp\/v2\/media?parent=141302"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.curtin.edu.au\/research\/wp-json\/wp\/v2\/tags?post=141302"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}