Latest news with #Ngarrindjeri
Sydney Morning Herald
03-07-2025
- Business
- Sydney Morning Herald
Chemist Warehouse billionaires buy up big in Mosman
The campaign to sell The Ronan generated 149 enquiries from developers, investors, and automotive occupiers, said Lachlan Worthington and Tim Fox from PropertyFox. The complex was ultimately snapped up by a local private investor. Hot spot Bustling Newcastle has become the hot spot for property rich listers and philanthropists alike, who are joining an investment conga line heading north. They include billionaires Dr Jerry Schwartz and former banker-turned-art collector Simon Mordant. Having been dormant for many years, the northern NSW capital is undergoing a resurgence with billions of dollars of capital pouring in as the population swells. In the past week, the NSW government announced a $1 million heritage grant to help revive Newcastle's grand old dame, the Newcastle Post Office. After a protracted ownership history, Schwartz purchased the building in 2019 for $3.5 million through Colliers. Under the Schwartz Family Company, it will match the government funding dollar for dollar to transform the Newcastle Post Office into a community hub with retail, hospitality and event spaces. The 1903 Federation-style building designed by Walter Liberty Vernon will include an adaptive reuse to create a miniature 1960s display of Newcastle, and Australia's first Aboriginal medical museum. Loading Schwartz said he bought the Newcastle Post Office 'because of my deep connections to the city and the desire to revitalise an iconic heritage building that means so much to local residents'. Meanwhile, Mordant, who made his mark as an investment banker on high-profile mergers and acquisitions and now lives in Italy with his wife Catriona, will pass on 25 works from the couple's private collection to the Newcastle Art Gallery when it reopens in September after an extensive expansion. The donation includes works on paper by Ngarrindjeri artist Ian Abdulla, a collage of digital print and oil by John Young and sculptures by Novocastrian artist Jamie North. The Duke changes hands Pub baron John Azar has extended his footprint in the booming sector, paying $25 million for the popular Duke of Dural pub in Sydney's west. The pub was sold by Momento Hospitality, which is owned and operated by the Colosimo family, who built the Duke from the ground up during the global pandemic and opened it in November 2020. Momento will use the cash to focus on its other assets including the newly opened Oran Park Hotel. Sitting on 2700 square metres within the Dural Town Centre in The Hills district, the Duke pub generates more than $150,000 in weekly sales across food, beverage, and pokie machines. Azar's stable includes the Hotel Coronation, Keg & Brew Hotel in Surry Hills, and the Edinburgh Castle Hotel. He recently sold the Union Hotel in North Sydney to fellow pub investor Ashton Waugh. JLL Hotels' Ben McDonald and John Musca managed the Dural deal. Sheds sell Stockland has struck a deal to sell four institutional-grade logistics sheds in two of Australia's most tightly held industrial markets to Cadence Property Group for $170.5 million. The portfolio in Melbourne and Sydney has a total site area of about 159,000 sq m and lease space of about 78,000 sq m.
The Age
03-07-2025
- Business
- The Age
Chemist Warehouse billionaires buy up big in Mosman
The campaign to sell The Ronan generated 149 enquiries from developers, investors, and automotive occupiers, said Lachlan Worthington and Tim Fox from PropertyFox. The complex was ultimately snapped up by a local private investor. Hot spot Bustling Newcastle has become the hot spot for property rich listers and philanthropists alike, who are joining an investment conga line heading north. They include billionaires Dr Jerry Schwartz and former banker-turned-art collector Simon Mordant. Having been dormant for many years, the northern NSW capital is undergoing a resurgence with billions of dollars of capital pouring in as the population swells. In the past week, the NSW government announced a $1 million heritage grant to help revive Newcastle's grand old dame, the Newcastle Post Office. After a protracted ownership history, Schwartz purchased the building in 2019 for $3.5 million through Colliers. Under the Schwartz Family Company, it will match the government funding dollar for dollar to transform the Newcastle Post Office into a community hub with retail, hospitality and event spaces. The 1903 Federation-style building designed by Walter Liberty Vernon will include an adaptive reuse to create a miniature 1960s display of Newcastle, and Australia's first Aboriginal medical museum. Loading Schwartz said he bought the Newcastle Post Office 'because of my deep connections to the city and the desire to revitalise an iconic heritage building that means so much to local residents'. Meanwhile, Mordant, who made his mark as an investment banker on high-profile mergers and acquisitions and now lives in Italy with his wife Catriona, will pass on 25 works from the couple's private collection to the Newcastle Art Gallery when it reopens in September after an extensive expansion. The donation includes works on paper by Ngarrindjeri artist Ian Abdulla, a collage of digital print and oil by John Young and sculptures by Novocastrian artist Jamie North. The Duke changes hands Pub baron John Azar has extended his footprint in the booming sector, paying $25 million for the popular Duke of Dural pub in Sydney's west. The pub was sold by Momento Hospitality, which is owned and operated by the Colosimo family, who built the Duke from the ground up during the global pandemic and opened it in November 2020. Momento will use the cash to focus on its other assets including the newly opened Oran Park Hotel. Sitting on 2700 square metres within the Dural Town Centre in The Hills district, the Duke pub generates more than $150,000 in weekly sales across food, beverage, and pokie machines. Azar's stable includes the Hotel Coronation, Keg & Brew Hotel in Surry Hills, and the Edinburgh Castle Hotel. He recently sold the Union Hotel in North Sydney to fellow pub investor Ashton Waugh. JLL Hotels' Ben McDonald and John Musca managed the Dural deal. Sheds sell Stockland has struck a deal to sell four institutional-grade logistics sheds in two of Australia's most tightly held industrial markets to Cadence Property Group for $170.5 million. The portfolio in Melbourne and Sydney has a total site area of about 159,000 sq m and lease space of about 78,000 sq m.
The Advertiser
30-06-2025
- Entertainment
- The Advertiser
Investment banker Simon Mordant's biggest art donation sets 'tongues wagging' across town
IT'S the largest gift of artwork investment banker Simon Mordant and his theatre costume designer and art director wife Catriona have ever given to one institution, and it's set "tongues wagging" across Newcastle. The Mordants, who are among the country's leading arts philanthropists, have passed on 25 works from their private collection to Newcastle Art Gallery mere months before the new expansion opens to the public. The donation includes works on paper by Ngarrindjeri artist Ian Abdulla, a collage of digital print and oil by John Young and sculptures by Novocastrian artist Jamie North. Mr Mordant said Newcastle was an obvious choice. "Catriona and I believe that art should be seen and enjoyed by the widest possible audience," he said. "In considering Australian and international organisations to be recipients of part of our collection, built over almost 40 years, we looked for organisations where we believed in their leadership and their ambition. "We very much look forward to seeing these works enjoying a new life in Newcastle Art Gallery." The works from the Mordants' collection will feature in a special exhibition next year and be housed among one of the most valuable public art collections in the country outside a capital city. A recent valuation put Newcastle's collection at a staggering $145 million, an increase of $19 million, or about 15 per cent, since key works were last reviewed in 2022. Newcastle Art Gallery Foundation chair Suzie Galwey said the valuation confirms what those in the local scene have long known, that the city has an "outstanding" collection that deserves to be on show. "For the community to be able to go in, access and engage with these incredible icons, they're Australian icons, some of these pieces, is just really going to be something for the community to be so proud of," she said. "I think it will boost visitation, the community will have the opportunity to embrace the gallery and just realise what a significant milestone this is for the arts in Newcastle. "It's a once-in-a-lifetime project." The donation, combined with the long-awaited expansion of the gallery, marks a turning point for the institution, which has only been able to display about one per cent of its collection each year due to space constraints. Once complete, iconic works by artists like Brett Whiteley, John Olsen, William Dobell and Joseph Lycett will be permanently on show, alongside a First Nations collection which has skyrocketed in value, up nearly 80 per cent, and works by female artists which have increased in value across the board. City of Newcastle chief executive Jeremy Bath said the upgraded gallery will be a fitting home for one of the council's most valuable assets. "This is one of the most significant and highly valuable public collections of art outside of a state or national institution," he said. "The expansion will enable the gallery to be fit for purpose to host our $145 million collection alongside touring exhibitions from across Australia and around the world, creating a significant cultural tourism opportunity for Newcastle and the Hunter," he said. The more than $50 million rebuild will deliver an extra 1,600 square metres of space, more than doubling what was previously on offer. A new cafe and retail shop, multi-purpose and educational spaces and a secure international standard loading dock are included in the project. Construction of the building's shell is set to be completed in the second quarter of 2025, with the aim of reopening the doors this year in time for the New Annual festival at the end of September. Gallery director Lauretta Morton said she was honoured to accept the Mordants' donation and looked forward to showing it in a special exhibition next year. "Having known Simon for several years, I have always admired his and Catriona's incredible support for artists and the broader arts sector globally, so I was quite overwhelmed to be invited to review their collection and select works of art that represented the vision for our reimagined gallery, to be locally grounded, nationally engaged and globally minded," she said. "We're also proud of what this updated valuation tells us about the growing global celebration of so many significant First Nations artists, and the value and recognition for women artists, which have steadily increased during the past five years." The city's collection includes works of local, national and international importance. Newcastle independent lord mayor Ross Kerridge said the new valuation not only gives the city "bragging rights" but also demonstrates what an important and prestigious collection the gallery has. Cr Kerridge hopes the expansion will bring more visitors to Newcastle, but more importantly, that locals benefit, given their efforts to make the project happen with the help of generous benefactors over the years. "The recent donation from Simon and Catriona Mordant, that's really set tongues wagging," he said. "They recognise that this is an important gallery, they want their works to be seen, so it builds on success. "This builds on a whole sensibility about the city, it changes the profile of the city, changes the feel of the city and gets us noticed." The expansion project has been made possible with $10 million in state and federal government funding and more than $12 million from the Newcastle Art Gallery foundation through the Valerie and John Ryan bequest and community fundraising efforts. Ms Galwey said the foundation is about $500,000 away from its $13 million goal. "The foundation has been advocating and fundraising for the expansion of the gallery for more than 20 years. We're still looking to get to our target of $13 million, and we're almost there," she said. "It would be wonderful for us to get to our target, so we're calling on the community to dig deep. "Every donation makes a huge difference, and it's just wonderful to be part of this incredible story for the arts in Newcastle." To make a donation, visit the foundation's website. IT'S the largest gift of artwork investment banker Simon Mordant and his theatre costume designer and art director wife Catriona have ever given to one institution, and it's set "tongues wagging" across Newcastle. The Mordants, who are among the country's leading arts philanthropists, have passed on 25 works from their private collection to Newcastle Art Gallery mere months before the new expansion opens to the public. The donation includes works on paper by Ngarrindjeri artist Ian Abdulla, a collage of digital print and oil by John Young and sculptures by Novocastrian artist Jamie North. Mr Mordant said Newcastle was an obvious choice. "Catriona and I believe that art should be seen and enjoyed by the widest possible audience," he said. "In considering Australian and international organisations to be recipients of part of our collection, built over almost 40 years, we looked for organisations where we believed in their leadership and their ambition. "We very much look forward to seeing these works enjoying a new life in Newcastle Art Gallery." The works from the Mordants' collection will feature in a special exhibition next year and be housed among one of the most valuable public art collections in the country outside a capital city. A recent valuation put Newcastle's collection at a staggering $145 million, an increase of $19 million, or about 15 per cent, since key works were last reviewed in 2022. Newcastle Art Gallery Foundation chair Suzie Galwey said the valuation confirms what those in the local scene have long known, that the city has an "outstanding" collection that deserves to be on show. "For the community to be able to go in, access and engage with these incredible icons, they're Australian icons, some of these pieces, is just really going to be something for the community to be so proud of," she said. "I think it will boost visitation, the community will have the opportunity to embrace the gallery and just realise what a significant milestone this is for the arts in Newcastle. "It's a once-in-a-lifetime project." The donation, combined with the long-awaited expansion of the gallery, marks a turning point for the institution, which has only been able to display about one per cent of its collection each year due to space constraints. Once complete, iconic works by artists like Brett Whiteley, John Olsen, William Dobell and Joseph Lycett will be permanently on show, alongside a First Nations collection which has skyrocketed in value, up nearly 80 per cent, and works by female artists which have increased in value across the board. City of Newcastle chief executive Jeremy Bath said the upgraded gallery will be a fitting home for one of the council's most valuable assets. "This is one of the most significant and highly valuable public collections of art outside of a state or national institution," he said. "The expansion will enable the gallery to be fit for purpose to host our $145 million collection alongside touring exhibitions from across Australia and around the world, creating a significant cultural tourism opportunity for Newcastle and the Hunter," he said. The more than $50 million rebuild will deliver an extra 1,600 square metres of space, more than doubling what was previously on offer. A new cafe and retail shop, multi-purpose and educational spaces and a secure international standard loading dock are included in the project. Construction of the building's shell is set to be completed in the second quarter of 2025, with the aim of reopening the doors this year in time for the New Annual festival at the end of September. Gallery director Lauretta Morton said she was honoured to accept the Mordants' donation and looked forward to showing it in a special exhibition next year. "Having known Simon for several years, I have always admired his and Catriona's incredible support for artists and the broader arts sector globally, so I was quite overwhelmed to be invited to review their collection and select works of art that represented the vision for our reimagined gallery, to be locally grounded, nationally engaged and globally minded," she said. "We're also proud of what this updated valuation tells us about the growing global celebration of so many significant First Nations artists, and the value and recognition for women artists, which have steadily increased during the past five years." The city's collection includes works of local, national and international importance. Newcastle independent lord mayor Ross Kerridge said the new valuation not only gives the city "bragging rights" but also demonstrates what an important and prestigious collection the gallery has. Cr Kerridge hopes the expansion will bring more visitors to Newcastle, but more importantly, that locals benefit, given their efforts to make the project happen with the help of generous benefactors over the years. "The recent donation from Simon and Catriona Mordant, that's really set tongues wagging," he said. "They recognise that this is an important gallery, they want their works to be seen, so it builds on success. "This builds on a whole sensibility about the city, it changes the profile of the city, changes the feel of the city and gets us noticed." The expansion project has been made possible with $10 million in state and federal government funding and more than $12 million from the Newcastle Art Gallery foundation through the Valerie and John Ryan bequest and community fundraising efforts. Ms Galwey said the foundation is about $500,000 away from its $13 million goal. "The foundation has been advocating and fundraising for the expansion of the gallery for more than 20 years. We're still looking to get to our target of $13 million, and we're almost there," she said. "It would be wonderful for us to get to our target, so we're calling on the community to dig deep. "Every donation makes a huge difference, and it's just wonderful to be part of this incredible story for the arts in Newcastle." To make a donation, visit the foundation's website. IT'S the largest gift of artwork investment banker Simon Mordant and his theatre costume designer and art director wife Catriona have ever given to one institution, and it's set "tongues wagging" across Newcastle. The Mordants, who are among the country's leading arts philanthropists, have passed on 25 works from their private collection to Newcastle Art Gallery mere months before the new expansion opens to the public. The donation includes works on paper by Ngarrindjeri artist Ian Abdulla, a collage of digital print and oil by John Young and sculptures by Novocastrian artist Jamie North. Mr Mordant said Newcastle was an obvious choice. "Catriona and I believe that art should be seen and enjoyed by the widest possible audience," he said. "In considering Australian and international organisations to be recipients of part of our collection, built over almost 40 years, we looked for organisations where we believed in their leadership and their ambition. "We very much look forward to seeing these works enjoying a new life in Newcastle Art Gallery." The works from the Mordants' collection will feature in a special exhibition next year and be housed among one of the most valuable public art collections in the country outside a capital city. A recent valuation put Newcastle's collection at a staggering $145 million, an increase of $19 million, or about 15 per cent, since key works were last reviewed in 2022. Newcastle Art Gallery Foundation chair Suzie Galwey said the valuation confirms what those in the local scene have long known, that the city has an "outstanding" collection that deserves to be on show. "For the community to be able to go in, access and engage with these incredible icons, they're Australian icons, some of these pieces, is just really going to be something for the community to be so proud of," she said. "I think it will boost visitation, the community will have the opportunity to embrace the gallery and just realise what a significant milestone this is for the arts in Newcastle. "It's a once-in-a-lifetime project." The donation, combined with the long-awaited expansion of the gallery, marks a turning point for the institution, which has only been able to display about one per cent of its collection each year due to space constraints. Once complete, iconic works by artists like Brett Whiteley, John Olsen, William Dobell and Joseph Lycett will be permanently on show, alongside a First Nations collection which has skyrocketed in value, up nearly 80 per cent, and works by female artists which have increased in value across the board. City of Newcastle chief executive Jeremy Bath said the upgraded gallery will be a fitting home for one of the council's most valuable assets. "This is one of the most significant and highly valuable public collections of art outside of a state or national institution," he said. "The expansion will enable the gallery to be fit for purpose to host our $145 million collection alongside touring exhibitions from across Australia and around the world, creating a significant cultural tourism opportunity for Newcastle and the Hunter," he said. The more than $50 million rebuild will deliver an extra 1,600 square metres of space, more than doubling what was previously on offer. A new cafe and retail shop, multi-purpose and educational spaces and a secure international standard loading dock are included in the project. Construction of the building's shell is set to be completed in the second quarter of 2025, with the aim of reopening the doors this year in time for the New Annual festival at the end of September. Gallery director Lauretta Morton said she was honoured to accept the Mordants' donation and looked forward to showing it in a special exhibition next year. "Having known Simon for several years, I have always admired his and Catriona's incredible support for artists and the broader arts sector globally, so I was quite overwhelmed to be invited to review their collection and select works of art that represented the vision for our reimagined gallery, to be locally grounded, nationally engaged and globally minded," she said. "We're also proud of what this updated valuation tells us about the growing global celebration of so many significant First Nations artists, and the value and recognition for women artists, which have steadily increased during the past five years." The city's collection includes works of local, national and international importance. Newcastle independent lord mayor Ross Kerridge said the new valuation not only gives the city "bragging rights" but also demonstrates what an important and prestigious collection the gallery has. Cr Kerridge hopes the expansion will bring more visitors to Newcastle, but more importantly, that locals benefit, given their efforts to make the project happen with the help of generous benefactors over the years. "The recent donation from Simon and Catriona Mordant, that's really set tongues wagging," he said. "They recognise that this is an important gallery, they want their works to be seen, so it builds on success. "This builds on a whole sensibility about the city, it changes the profile of the city, changes the feel of the city and gets us noticed." The expansion project has been made possible with $10 million in state and federal government funding and more than $12 million from the Newcastle Art Gallery foundation through the Valerie and John Ryan bequest and community fundraising efforts. Ms Galwey said the foundation is about $500,000 away from its $13 million goal. "The foundation has been advocating and fundraising for the expansion of the gallery for more than 20 years. We're still looking to get to our target of $13 million, and we're almost there," she said. "It would be wonderful for us to get to our target, so we're calling on the community to dig deep. "Every donation makes a huge difference, and it's just wonderful to be part of this incredible story for the arts in Newcastle." To make a donation, visit the foundation's website. IT'S the largest gift of artwork investment banker Simon Mordant and his theatre costume designer and art director wife Catriona have ever given to one institution, and it's set "tongues wagging" across Newcastle. The Mordants, who are among the country's leading arts philanthropists, have passed on 25 works from their private collection to Newcastle Art Gallery mere months before the new expansion opens to the public. The donation includes works on paper by Ngarrindjeri artist Ian Abdulla, a collage of digital print and oil by John Young and sculptures by Novocastrian artist Jamie North. Mr Mordant said Newcastle was an obvious choice. "Catriona and I believe that art should be seen and enjoyed by the widest possible audience," he said. "In considering Australian and international organisations to be recipients of part of our collection, built over almost 40 years, we looked for organisations where we believed in their leadership and their ambition. "We very much look forward to seeing these works enjoying a new life in Newcastle Art Gallery." The works from the Mordants' collection will feature in a special exhibition next year and be housed among one of the most valuable public art collections in the country outside a capital city. A recent valuation put Newcastle's collection at a staggering $145 million, an increase of $19 million, or about 15 per cent, since key works were last reviewed in 2022. Newcastle Art Gallery Foundation chair Suzie Galwey said the valuation confirms what those in the local scene have long known, that the city has an "outstanding" collection that deserves to be on show. "For the community to be able to go in, access and engage with these incredible icons, they're Australian icons, some of these pieces, is just really going to be something for the community to be so proud of," she said. "I think it will boost visitation, the community will have the opportunity to embrace the gallery and just realise what a significant milestone this is for the arts in Newcastle. "It's a once-in-a-lifetime project." The donation, combined with the long-awaited expansion of the gallery, marks a turning point for the institution, which has only been able to display about one per cent of its collection each year due to space constraints. Once complete, iconic works by artists like Brett Whiteley, John Olsen, William Dobell and Joseph Lycett will be permanently on show, alongside a First Nations collection which has skyrocketed in value, up nearly 80 per cent, and works by female artists which have increased in value across the board. City of Newcastle chief executive Jeremy Bath said the upgraded gallery will be a fitting home for one of the council's most valuable assets. "This is one of the most significant and highly valuable public collections of art outside of a state or national institution," he said. "The expansion will enable the gallery to be fit for purpose to host our $145 million collection alongside touring exhibitions from across Australia and around the world, creating a significant cultural tourism opportunity for Newcastle and the Hunter," he said. The more than $50 million rebuild will deliver an extra 1,600 square metres of space, more than doubling what was previously on offer. A new cafe and retail shop, multi-purpose and educational spaces and a secure international standard loading dock are included in the project. Construction of the building's shell is set to be completed in the second quarter of 2025, with the aim of reopening the doors this year in time for the New Annual festival at the end of September. Gallery director Lauretta Morton said she was honoured to accept the Mordants' donation and looked forward to showing it in a special exhibition next year. "Having known Simon for several years, I have always admired his and Catriona's incredible support for artists and the broader arts sector globally, so I was quite overwhelmed to be invited to review their collection and select works of art that represented the vision for our reimagined gallery, to be locally grounded, nationally engaged and globally minded," she said. "We're also proud of what this updated valuation tells us about the growing global celebration of so many significant First Nations artists, and the value and recognition for women artists, which have steadily increased during the past five years." The city's collection includes works of local, national and international importance. Newcastle independent lord mayor Ross Kerridge said the new valuation not only gives the city "bragging rights" but also demonstrates what an important and prestigious collection the gallery has. Cr Kerridge hopes the expansion will bring more visitors to Newcastle, but more importantly, that locals benefit, given their efforts to make the project happen with the help of generous benefactors over the years. "The recent donation from Simon and Catriona Mordant, that's really set tongues wagging," he said. "They recognise that this is an important gallery, they want their works to be seen, so it builds on success. "This builds on a whole sensibility about the city, it changes the profile of the city, changes the feel of the city and gets us noticed." The expansion project has been made possible with $10 million in state and federal government funding and more than $12 million from the Newcastle Art Gallery foundation through the Valerie and John Ryan bequest and community fundraising efforts. Ms Galwey said the foundation is about $500,000 away from its $13 million goal. "The foundation has been advocating and fundraising for the expansion of the gallery for more than 20 years. We're still looking to get to our target of $13 million, and we're almost there," she said. "It would be wonderful for us to get to our target, so we're calling on the community to dig deep. "Every donation makes a huge difference, and it's just wonderful to be part of this incredible story for the arts in Newcastle." To make a donation, visit the foundation's website.
ABC News
16-06-2025
- Politics
- ABC News
Connections and collections: The pope, the prime minister and the ethics of diplomatic gift exchange - ABC Religion & Ethics
Whether you are Catholic or not — and despite the competing demands of the never-ending attention economy — chances are that you, like us, were glued to your news feeds last month as Pope Leo XIV was inaugurated and led his first mass. For a couple of weeks our screens were saturated by striking images of the ancient rituals as well as drone-eye views of the 200,000 people drawn to experience the event in St Peter's Square. Of the hundreds of images that we saw throughout these papal proceedings, there was one that struck us as particularly noteworthy. It was that of newly re-elected Prime Minister Anthony Albanese's private audience with the new pontiff on 19 May. The photograph shows the pope holding a painting by Ngarrindjeri artist Amanda Westley that had been given to him by Albanese on behalf of the Australian people. The photograph captures a personal experience as well as formal transaction — an agreement to act in good faith — between nations and their leaders. Prime Minister Anthony Albanese presents Pope Leo XIV with a painting by Amanda Westley called 'Raukkan' — the Ngarrindjeri word for 'meeting place' — at the Apostolic Palace on 19 May 2025 in Vatican City, Vatican. (Photo by Vatican Media via Vatican Pool / Getty Images) The human experience of exchange that is captured in this photograph is also reflected in Westley's artwork. Called Raukkan — the Ngarrindjeri word for 'meeting place' — the painting emphasises the importance of working towards culturally respectful processes of understanding and communication. The photograph indicates the full range of human experience — from feelings of hopefulness to histories of loss — that accompany all forms of cultural exchange, including those carried out in the name of colonial progress. The photograph, and the painting it shows, offers a tantalising insight into ritual aspects of Leo's inauguration. It also signals the importance of exchange in cultural diplomacy more broadly. The giving and receiving of gifts The pope's extensive programs of meetings with dozens of world leaders and 150 formal delegations beyond the formal mass would have resulted in hundreds of gifts being exchanged. Images of the events provide a small window into the gifts that the new pope received — they included a Chicago Bears T-shirt with Leo's name on it from the US Vice President that honoured the pope's early years in the American city. Beyond the carefully curated official images distributed by Vatican Media, not much public information is available about gifting between the pope and heads of state. This is a shame because objects play a significant role in shaping human identity, culture and social relationships. Gifts also convey important information about how the giver wishes to be seen as well as who they are representing. A spokesperson for the Australian Department of the Prime Minister and Cabinet would only confirm that the prime minister received three gifts from the pope: a terracotta plaque/artwork called The Care of Creation ; a book called L'Appartamento delle Udienze Pontificie ( The Pontifical Apartments used for Audiences ); and a 'Vatican Museum Edition Pocket Emptier'. They would not answer questions about the collection that holds the items gifted from the pope to the prime minister, the history of this important collection, where it is held, or even how Australians might learn about or access items in this historical collection which is held in their name. They would not describe the gifts. There is, moreover, only sparse public information about the process that led to the selection of Westley's painting. We understand that the piece was purchased from the Gallery of Small Things in Canberra, but that neither the artist nor the gallerist were advised about the reason for the purchase. It was such a surprise to the artist to learn from social media that her painting had been gifted that she did not initially believe the work to be hers. 'The soul of the world' Research into the Vatican Museums, in contrast, tells us something about how popes have received and stored gifts over the centuries from heads of state, dignitaries and other delegations. Located inside Vatican City, parts of the Vatican Museums have been home to previous popes as their Apostolic Palaces. They were built around St Peter's Basilica, which was constructed on the burial site of Saint Peter, a place of pilgrimage for the Catholic world. The Basilica we saw in media coverage of the pope's inauguration was initially planned by Pope Nicholas V in the fifteenth century, then designed and decorated by famous Italian Renaissance masters, artists, sculptors and architects. The museum was founded in the early sixteenth century by Pope Julius II, who opened some of the private spaces including the Sistine Chapel to the public. For the first time, visitors were able to experience masterpieces like the Greek marble sculpture Laocoön and His Sons and a suite of rooms decorated by Renaissance master Raphael, including his fresco, School of Athens . The statue of 'Laocoön and His Sons' on display in the Museo Pio-Clementino, a part of the Vatican Museums, on 4 August 2012, in Rome, Italy. (Photo by Lucas Schifres / Getty Images) Rather than being just one museum, Vatican Museums is a complex of 26 museums and areas that hold tens of thousands of objects and artworks amassed by the Catholic Church and the papacy throughout the centuries. Of particular relevance to Australia is a lesser-known department called Anima Mundi — Peoples, Arts and Cultures , an ethnographic museum, established in 1926 but which dates back to gifts sent from the Americas to Pope Innocent XII in 1691. Today, Anima Mundi includes roughly 80,000 artefacts (a number that includes individual items such as small pre-Columbian pottery fragments, for example). It also houses gifts received by pontiffs throughout past centuries as well non-European art and a collection of Indigenous Australian artefacts. This collection was assessed in 1986 by the then Director of the Australian Institute of Aboriginal Studies, Professor Warwick Dix, who concluded that there were no human remains, or sacred objects of concern. Indigenous peoples, their rights and responsibilities are becoming increasingly important which is reflected in the growing engagement between communities with museums and collections. Reconnecting world collections with the communities they came from is now also seen as essential, to guide ongoing discussions of care, for exhibitions and future direction of curatorship or possible claims of repatriation for this collection and many others. Although not every object gifted to popes ends up in the official Vatican collections, official gifting has always been part of historical and contemporary diplomacy. An exchange of ideas and good will between state representatives, including with the Vatican, gifting has been associated with the projects of spreading religious as well as political ideas. A gift of state often aims to capture the essence of a nation. They may be chosen for showcasing local cultures and unique traditions or craftsmanship. Often, gifts accepted into the Vatican collections are valued for representing different or shared forms of spirituality, which may explain their designation in the ethnographic (non-European) museum of Anima Mundi . Gifts, attention and accountability Popes since Pope Pius XI have travelled extensively and shared and received gifts as part of their work. The most travelled pope was Pope John Paul II, who famously travelled to 129 countries during his 26-year papacy. During a visit to Australia in 1999, he received gifts including an oil painting on wood in the shape of a coolamon by Eastern Arrernte woman Kathleen Wallace from Ltyentye Apurte, Central Australia, called She Brings God's Word . Popes also commonly receive gifts from visiting delegations, as was the case during the recent inauguration of Pope Leo XIV. For the 2010 canonisation of Australia's first saint, Sister Mary McKillop, Pope Benedict XVI received gifts that included an acrylic painting on canvas entitled Pilgrimage created by Murri artist Yvonne O'Neill. The painting has concentric circles with connecting pathways that represent the journey lines or pilgrimage made by the Australians from St Joseph's Nudgee College in Brisbane and the Australian Catholic University who travelled to the Vatican for this event. About her painting, O'Neill said that 'the process of creating this painting helped to deepen my understanding of the Catholic faith by providing a tangible opportunity for reflection.' As O'Neill's statement suggests, the gifts have significance that extends far beyond the ritual of exchange that is staged for official photographers. Many of the gifted artworks that have been created in recent years by First Nations artists — including Yvonne O'Neill, Kathleen Wallace and Amanda Westley — convey power and authority over land. Their work demands something in return from the person who is in receipt of their art. Even where the artist has not been present for the exchange, the ties to Country that are represented becomes part of the contract of symbolic reciprocity that is a key feature of diplomacy. They ask for attention and accountability — by the recipient of the gift as well as the world looking at the visual record of the event. One of the stones of the winds that adorn the square of St Peter's Basilica, one of the most visited places in the world and in Rome for its immense artistic and architectural treasures. (Beto Creative / iStock Unreleased / Getty Images) What this all means, in a sense, is that the gifts and the official images become witness to an agreement between contemporary heads of state, especially in the absence of further public information. They also — and more importantly — stand in for the artist and the communities represented in paintings. Father Nicola Mapelli, who was director and curator of Anima Mundi for 15 years (2009–2023), refers to the items in this museum as 'cultural ambassadors', which would seem to recognise this role. Diplomatic gift exchange was not invented last month with the inauguration of the new pope. Contemporary gifts made by Indigenous artists carry the legacy of colonisation, which was also a process of cultural transfer. The ethics of gift exchange need to be discussed more openly. This might include more open public discussion about how and why certain gifts are selected to represent a nation. It might include more transparency about what Australia does with official gifts and information about how the public can access them. Most of all, discussion about diplomatic gift exchange needs to move beyond the superficial idea that it represents a symbolic form of reciprocity to articulate the loss of real agency, sovereignty and power over the land that has been painted in the three artworks by Yvonne O'Neill, Kathleen Wallace and Amanda Westley. Katherine Aigner is a Research Fellow in Repatriation and Natural History at the School of Culture, History and Language at the Australian National University. For over 10 years she worked at Anima Mundi — Peoples, Arts and Cultures on re-connecting their Indigenous collections with source communities. Her books include Australia: The Vatican Museums Indigenous Collection and Oceania and Island Southeast Asia. Kylie Message is Professor of Public Humanities and Director of the Humanities Research Centre at the Australian National University. She is the author of books including Museums and Social Activism: Engaged Protest, Collecting Activism, Archiving Occupy Wall Street and Museums and Racism.
The Advertiser
01-06-2025
- Science
- The Advertiser
'Salty soup': climate threat to vital lagoon ecosystems
Healthy, well-balanced coastal lagoons at the intersection of salty seas and fresh waterways make ideal fish nurseries and attractive spots for migratory birds. Yet a warming climate paired with competition for water upstream is degrading these ecological hotspots, ramping up their salt content and putting marine life under stress. Emerging research suggests the potential for lagoon wetlands to act as carbon sinks - when an ecosystems draws down more carbon dioxide than it releases - is hindered when in a degraded state. University of Adelaide microbial ecologist Christopher Keneally said the habitats tend to emit more methane and nitrous oxide, both potent greenhouse gas emissions, when in poor shape. His post-doctoral research focused on the Ramsar-listed Coorong in South Australia, the traditional lands of the Ngarrindjeri people, underlines the importance of keeping these critical habitats in good health. It's not just an Australian problem, he explained, with brackish wetlands in arid and temperate climate zones worldwide under threat from rising temperatures. Characterised by somewhat choked ocean access, lagoons are already under pressure from human activity as freshwater use by towns, farms and industry leaves less for the environment at the end of river basins. Now higher rates of evaporation under rising temperatures, less rainfall, and sea level rise bringing in more saltwater from the ocean are contributing to higher salt and nutrient concentrations. "A single hot, dry summer, like the one we have recently experienced, can completely shift this important habitat into a salty, green soup," Dr Keneally said. Such conditions upset the invisible and delicate "microbiomes" of lagoon waters, with microbial diversity diminished while salt-tolerant species survive. Unbalanced microbial communities can potentially lead to harmful algae blooms and low-oxygen "dead zones" that kill fish. In addition, microbial species with anaerobic metabolisms favour high salinity environments. These species tend to produce methane, undermining the habitat's role as a productive carbon sink. While an emerging area of research, Dr Keneally said estimations of methane production were "probably underestimated" and should be better integrated into global climate models. Occasional heavy rainfall and floods serve to "freshen up" coastal wetlands, rebalancing salt and other nutrient levels, as occurred in the South Australia's Coorong region in 2022. Yet sporadic downpours cannot be relied upon. "Conditions might improve for a couple of years, but those high rainfall events are not dependable, and in the dry periods, we often see permanent losses of biodiversity, Dr Keneally said. Careful management of freshwater releases to keep salinity and nutrient levels at optimal levels was billed as part of the solution. Listed as an internationally-important wetland under the Ramsar convention for migratory birds in the 1980s, the Coorong has long been a research priority and its condition taken seriously. The Millennium Drought led to the creation of the Murray Darling Basin to better manage water flows in the region, though balancing the needs of irrigators, towns and the environment has long been a fraught issue. Long-time Coorong fisherman Glen Hill believes the limited water reserved for the environment - half the amount recommended by scientists - should be released more strategically. The owner of Coorong Wild Seafood said the north of the lagoon was in great shape as freshwater from the river mouth could be easily released into it, while the more isolated south area was in a "terrible" state. He said better-timed water releases to coincide with favourable winds and weather conditions could help more freshwater enter the troubled southern lagoon. Mr Hill has been fishing the area for the prized Yellow-eye mullet and other commercially-important species for decades. Situated at the end of the Murray Darling Basin, Mr Hill said the Coorong was a highly productive fishery thanks to the high levels of nutrient "building blocks" swept downstream. Yet he was acutely familiar with the "domino effect" of harmfully-high salinity levels, knocking out species low on the food chain and leaving fish with little to eat. "When you get to around two times sea water salinity, things start to really go wrong," he said. A spokesperson from the South Australian Department for Environment and Water said the government was committed to protecting the Coorong's ecological character. "This work is achieved by optimising delivery of water for the environment and investing in infrastructure and restoration strategies to improve and protect the health of the system," the spokesperson said. The health of the lagoon vastly improved during the 2022 River Murray floods but the spokesperson said more needed to be done to restore its long-term health. This included refining freshwater flows and working with other basin states to ensure climate science informs its broader management. Healthy, well-balanced coastal lagoons at the intersection of salty seas and fresh waterways make ideal fish nurseries and attractive spots for migratory birds. Yet a warming climate paired with competition for water upstream is degrading these ecological hotspots, ramping up their salt content and putting marine life under stress. Emerging research suggests the potential for lagoon wetlands to act as carbon sinks - when an ecosystems draws down more carbon dioxide than it releases - is hindered when in a degraded state. University of Adelaide microbial ecologist Christopher Keneally said the habitats tend to emit more methane and nitrous oxide, both potent greenhouse gas emissions, when in poor shape. His post-doctoral research focused on the Ramsar-listed Coorong in South Australia, the traditional lands of the Ngarrindjeri people, underlines the importance of keeping these critical habitats in good health. It's not just an Australian problem, he explained, with brackish wetlands in arid and temperate climate zones worldwide under threat from rising temperatures. Characterised by somewhat choked ocean access, lagoons are already under pressure from human activity as freshwater use by towns, farms and industry leaves less for the environment at the end of river basins. Now higher rates of evaporation under rising temperatures, less rainfall, and sea level rise bringing in more saltwater from the ocean are contributing to higher salt and nutrient concentrations. "A single hot, dry summer, like the one we have recently experienced, can completely shift this important habitat into a salty, green soup," Dr Keneally said. Such conditions upset the invisible and delicate "microbiomes" of lagoon waters, with microbial diversity diminished while salt-tolerant species survive. Unbalanced microbial communities can potentially lead to harmful algae blooms and low-oxygen "dead zones" that kill fish. In addition, microbial species with anaerobic metabolisms favour high salinity environments. These species tend to produce methane, undermining the habitat's role as a productive carbon sink. While an emerging area of research, Dr Keneally said estimations of methane production were "probably underestimated" and should be better integrated into global climate models. Occasional heavy rainfall and floods serve to "freshen up" coastal wetlands, rebalancing salt and other nutrient levels, as occurred in the South Australia's Coorong region in 2022. Yet sporadic downpours cannot be relied upon. "Conditions might improve for a couple of years, but those high rainfall events are not dependable, and in the dry periods, we often see permanent losses of biodiversity, Dr Keneally said. Careful management of freshwater releases to keep salinity and nutrient levels at optimal levels was billed as part of the solution. Listed as an internationally-important wetland under the Ramsar convention for migratory birds in the 1980s, the Coorong has long been a research priority and its condition taken seriously. The Millennium Drought led to the creation of the Murray Darling Basin to better manage water flows in the region, though balancing the needs of irrigators, towns and the environment has long been a fraught issue. Long-time Coorong fisherman Glen Hill believes the limited water reserved for the environment - half the amount recommended by scientists - should be released more strategically. The owner of Coorong Wild Seafood said the north of the lagoon was in great shape as freshwater from the river mouth could be easily released into it, while the more isolated south area was in a "terrible" state. He said better-timed water releases to coincide with favourable winds and weather conditions could help more freshwater enter the troubled southern lagoon. Mr Hill has been fishing the area for the prized Yellow-eye mullet and other commercially-important species for decades. Situated at the end of the Murray Darling Basin, Mr Hill said the Coorong was a highly productive fishery thanks to the high levels of nutrient "building blocks" swept downstream. Yet he was acutely familiar with the "domino effect" of harmfully-high salinity levels, knocking out species low on the food chain and leaving fish with little to eat. "When you get to around two times sea water salinity, things start to really go wrong," he said. A spokesperson from the South Australian Department for Environment and Water said the government was committed to protecting the Coorong's ecological character. "This work is achieved by optimising delivery of water for the environment and investing in infrastructure and restoration strategies to improve and protect the health of the system," the spokesperson said. The health of the lagoon vastly improved during the 2022 River Murray floods but the spokesperson said more needed to be done to restore its long-term health. This included refining freshwater flows and working with other basin states to ensure climate science informs its broader management. Healthy, well-balanced coastal lagoons at the intersection of salty seas and fresh waterways make ideal fish nurseries and attractive spots for migratory birds. Yet a warming climate paired with competition for water upstream is degrading these ecological hotspots, ramping up their salt content and putting marine life under stress. Emerging research suggests the potential for lagoon wetlands to act as carbon sinks - when an ecosystems draws down more carbon dioxide than it releases - is hindered when in a degraded state. University of Adelaide microbial ecologist Christopher Keneally said the habitats tend to emit more methane and nitrous oxide, both potent greenhouse gas emissions, when in poor shape. His post-doctoral research focused on the Ramsar-listed Coorong in South Australia, the traditional lands of the Ngarrindjeri people, underlines the importance of keeping these critical habitats in good health. It's not just an Australian problem, he explained, with brackish wetlands in arid and temperate climate zones worldwide under threat from rising temperatures. Characterised by somewhat choked ocean access, lagoons are already under pressure from human activity as freshwater use by towns, farms and industry leaves less for the environment at the end of river basins. Now higher rates of evaporation under rising temperatures, less rainfall, and sea level rise bringing in more saltwater from the ocean are contributing to higher salt and nutrient concentrations. "A single hot, dry summer, like the one we have recently experienced, can completely shift this important habitat into a salty, green soup," Dr Keneally said. Such conditions upset the invisible and delicate "microbiomes" of lagoon waters, with microbial diversity diminished while salt-tolerant species survive. Unbalanced microbial communities can potentially lead to harmful algae blooms and low-oxygen "dead zones" that kill fish. In addition, microbial species with anaerobic metabolisms favour high salinity environments. These species tend to produce methane, undermining the habitat's role as a productive carbon sink. While an emerging area of research, Dr Keneally said estimations of methane production were "probably underestimated" and should be better integrated into global climate models. Occasional heavy rainfall and floods serve to "freshen up" coastal wetlands, rebalancing salt and other nutrient levels, as occurred in the South Australia's Coorong region in 2022. Yet sporadic downpours cannot be relied upon. "Conditions might improve for a couple of years, but those high rainfall events are not dependable, and in the dry periods, we often see permanent losses of biodiversity, Dr Keneally said. Careful management of freshwater releases to keep salinity and nutrient levels at optimal levels was billed as part of the solution. Listed as an internationally-important wetland under the Ramsar convention for migratory birds in the 1980s, the Coorong has long been a research priority and its condition taken seriously. The Millennium Drought led to the creation of the Murray Darling Basin to better manage water flows in the region, though balancing the needs of irrigators, towns and the environment has long been a fraught issue. Long-time Coorong fisherman Glen Hill believes the limited water reserved for the environment - half the amount recommended by scientists - should be released more strategically. The owner of Coorong Wild Seafood said the north of the lagoon was in great shape as freshwater from the river mouth could be easily released into it, while the more isolated south area was in a "terrible" state. He said better-timed water releases to coincide with favourable winds and weather conditions could help more freshwater enter the troubled southern lagoon. Mr Hill has been fishing the area for the prized Yellow-eye mullet and other commercially-important species for decades. Situated at the end of the Murray Darling Basin, Mr Hill said the Coorong was a highly productive fishery thanks to the high levels of nutrient "building blocks" swept downstream. Yet he was acutely familiar with the "domino effect" of harmfully-high salinity levels, knocking out species low on the food chain and leaving fish with little to eat. "When you get to around two times sea water salinity, things start to really go wrong," he said. A spokesperson from the South Australian Department for Environment and Water said the government was committed to protecting the Coorong's ecological character. "This work is achieved by optimising delivery of water for the environment and investing in infrastructure and restoration strategies to improve and protect the health of the system," the spokesperson said. The health of the lagoon vastly improved during the 2022 River Murray floods but the spokesperson said more needed to be done to restore its long-term health. This included refining freshwater flows and working with other basin states to ensure climate science informs its broader management. Healthy, well-balanced coastal lagoons at the intersection of salty seas and fresh waterways make ideal fish nurseries and attractive spots for migratory birds. Yet a warming climate paired with competition for water upstream is degrading these ecological hotspots, ramping up their salt content and putting marine life under stress. Emerging research suggests the potential for lagoon wetlands to act as carbon sinks - when an ecosystems draws down more carbon dioxide than it releases - is hindered when in a degraded state. University of Adelaide microbial ecologist Christopher Keneally said the habitats tend to emit more methane and nitrous oxide, both potent greenhouse gas emissions, when in poor shape. His post-doctoral research focused on the Ramsar-listed Coorong in South Australia, the traditional lands of the Ngarrindjeri people, underlines the importance of keeping these critical habitats in good health. It's not just an Australian problem, he explained, with brackish wetlands in arid and temperate climate zones worldwide under threat from rising temperatures. Characterised by somewhat choked ocean access, lagoons are already under pressure from human activity as freshwater use by towns, farms and industry leaves less for the environment at the end of river basins. Now higher rates of evaporation under rising temperatures, less rainfall, and sea level rise bringing in more saltwater from the ocean are contributing to higher salt and nutrient concentrations. "A single hot, dry summer, like the one we have recently experienced, can completely shift this important habitat into a salty, green soup," Dr Keneally said. Such conditions upset the invisible and delicate "microbiomes" of lagoon waters, with microbial diversity diminished while salt-tolerant species survive. Unbalanced microbial communities can potentially lead to harmful algae blooms and low-oxygen "dead zones" that kill fish. In addition, microbial species with anaerobic metabolisms favour high salinity environments. These species tend to produce methane, undermining the habitat's role as a productive carbon sink. While an emerging area of research, Dr Keneally said estimations of methane production were "probably underestimated" and should be better integrated into global climate models. Occasional heavy rainfall and floods serve to "freshen up" coastal wetlands, rebalancing salt and other nutrient levels, as occurred in the South Australia's Coorong region in 2022. Yet sporadic downpours cannot be relied upon. "Conditions might improve for a couple of years, but those high rainfall events are not dependable, and in the dry periods, we often see permanent losses of biodiversity, Dr Keneally said. Careful management of freshwater releases to keep salinity and nutrient levels at optimal levels was billed as part of the solution. Listed as an internationally-important wetland under the Ramsar convention for migratory birds in the 1980s, the Coorong has long been a research priority and its condition taken seriously. The Millennium Drought led to the creation of the Murray Darling Basin to better manage water flows in the region, though balancing the needs of irrigators, towns and the environment has long been a fraught issue. Long-time Coorong fisherman Glen Hill believes the limited water reserved for the environment - half the amount recommended by scientists - should be released more strategically. The owner of Coorong Wild Seafood said the north of the lagoon was in great shape as freshwater from the river mouth could be easily released into it, while the more isolated south area was in a "terrible" state. He said better-timed water releases to coincide with favourable winds and weather conditions could help more freshwater enter the troubled southern lagoon. Mr Hill has been fishing the area for the prized Yellow-eye mullet and other commercially-important species for decades. Situated at the end of the Murray Darling Basin, Mr Hill said the Coorong was a highly productive fishery thanks to the high levels of nutrient "building blocks" swept downstream. Yet he was acutely familiar with the "domino effect" of harmfully-high salinity levels, knocking out species low on the food chain and leaving fish with little to eat. "When you get to around two times sea water salinity, things start to really go wrong," he said. A spokesperson from the South Australian Department for Environment and Water said the government was committed to protecting the Coorong's ecological character. "This work is achieved by optimising delivery of water for the environment and investing in infrastructure and restoration strategies to improve and protect the health of the system," the spokesperson said. The health of the lagoon vastly improved during the 2022 River Murray floods but the spokesperson said more needed to be done to restore its long-term health. This included refining freshwater flows and working with other basin states to ensure climate science informs its broader management.
