Academic literature on the topic 'Islam Australia History Exhibitions'
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Journal articles on the topic "Islam Australia History Exhibitions"
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Hansen, Guy. "There is no ‘I’ in Team: Reflections on Team-Based Content Development at the National Museum of Australia." Public History Review 17 (December 22, 2010): 16–33. http://dx.doi.org/10.5130/phrj.v17i0.1835.
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In recent years one of the most important trends in the development of history exhibitions in major museums has been the use of interdisciplinary project teams for content development. This approach, often referred to as the team based model of content development, has, in many institutions, replaced older models of exhibition production built around the expertise of the curator. The implementation of team based models has had a profound impact on the way exhibitions are produced. When done well it has helped deliver exhibitions combining a strong focus on audience needs with in-depth scholarship and collections research. In some contexts, however, the tyranny of the team has given rise to a form of museological trench warfare in which different stakeholders struggle for creative control of an exhibition. In this article I will explore some aspects of the team based approach with reference to the development of the opening suite of exhibitions for the National Museum of Australia (NMA) in 2001. My observations are drawn from my experience as the lead curator of the Nation Gallery, one of the NMA’s opening exhibitions.
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Hansen, Guy. "Dispatches from the front line: A curator’s view of history exhibitions in Australia." Australasian Journal of Popular Culture 7, no. 1 (March 1, 2018): 141–52. http://dx.doi.org/10.1386/ajpc.7.1.141_1.
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Sepahvand, Ashkan, Meg Slater, Annette F. Timm, Jeanne Vaccaro, Heike Bauer, and Katie Sutton. "Curating Visual Archives of Sex." Radical History Review 2022, no. 142 (January 1, 2022): 19–36. http://dx.doi.org/10.1215/01636545-9397016.
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Abstract In this roundtable, four curators of exhibitions showcasing sexual archives and histories—with a particular focus on queer and trans experiences—were asked to reflect on their experiences working as scholars and artists across a range of museum and gallery formats. The exhibitions referred to below were Bring Your Own Body: Transgender between Archives and Aesthetics, curated by Jeanne Vaccaro (discussant) with Stamatina Gregory at The Cooper Union, New York, in 2015 and Haverford College, Pennsylvania, in 2016; Odarodle: An imaginary their_story of naturepeoples, 1535–2017, curated by Ashkan Sepahvand (discussant) at the Schwules Museum (Gay Museum) in Berlin, Germany, in 2017; Queer, curated by Ted Gott, Angela Hesson, Myles Russell-Cook, Meg Slater (discussant), and Pip Wallis at the National Gallery of Victoria, Melbourne, Australia, in 2022; and TransTrans: Transatlantic Transgender Histories, curated by Alex Bakker, Rainer Herrn, Michael Thomas Taylor, and Annette F. Timm (discussant) at the Schwules Museum in Berlin, Germany, in 2019–20, adapting an earlier exhibition shown at the University of Calgary, Canada, in 2016.
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Perry, Barbara. "The Pictorial Collection of the National Library of Australia." Art Libraries Journal 13, no. 1 (1988): 23–25. http://dx.doi.org/10.1017/s0307472200005526.
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The National Library of Australia at Canberra includes a Pictorial Collection comprising paintings, drawings, prints and photographs which illustrate the history of Australia. The Collection is being actively developed, the ultimate goal being a comprehensive visual record of all aspects of Australian life. The Collection is open to the public, and is served by a photographic unit; a selection of pictures are always on display, and items are lent to exhibitions elsewhere. A publications programme is to culminate in the production of an illustrated catalogue. Data on selected items in the Collection is being entered into the Australian Bibliographic Network database.
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Edwards, Rob. "Colonialism and the Role of the Local Show: A Case Study of the Gympie District Show, 1877–1940." Queensland Review 16, no. 2 (July 2009): 29–41. http://dx.doi.org/10.1017/s1321816600005092.
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Agricultural shows are important events in rural and regional Australia. For over a century, they have often been the main annual festival on any given town's calendar. This importance makes the lack of scholarly attention to rural and regional shows puzzling. Recently, Australian exhibitions and agricultural shows have come in for some very welcome scholarly attention, although very little has been written about rural and regional events. Scholars such as Kate Darian-Smith and Sara Wills, Joanne Scott and Ross Laurie, Judith McKay, and Kay Anderson have all written on exhibitions and shows – although, of this group, only Darian-Smith and Wills have written on rural shows, the rest focusing more on inter-colonial and metropolitan Australian shows. Even Richard Waterhouse's groundbreaking study of rural Australian cultural history, The Vision Splendid, provides little detail on agricultural shows and their role in rural cultural life, although the show's importance is recognised.
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Ozolins, Uldis. "Diaspora, Islam, Australia: reflections on Australian Arab case studies1." Journal of Australian Studies 32, no. 2 (June 2008): 207–21. http://dx.doi.org/10.1080/14443050802056730.
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Haveric, Dzavid. "Muslim Memories in Victoria." Australian Journal of Islamic Studies 2, no. 3 (October 18, 2017): 20–39. http://dx.doi.org/10.55831/ajis.v2i3.55.
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There is no history of Islam in Australia without a history of Muslim communities; there is no history of these Muslim communities without the memories of Australian Muslims. Within Australia’s religiously pluralistic mosaic there is no history of the Muslim faith without sharing universal values with other faiths.
This paper is primarily based on empirical research undertaken in Victoria. It is a pioneering exploration of the building of multiethnic Muslim communities and interfaith relations from the 1950s to the 1980s. It is part of much broader research on the history of Islam in Australia. It is kaleidoscopic in its gathering of individual and family migrant memories from Muslims in all walks of life. It includes an older Muslim generation as well as those who came later, in subsequent waves. Muslim interviewees in the research were migrants of various ethnicities from Albania, Bosnia, Cyprus, Egypt, India, Indonesia, Jordan, Kosovo, Lebanon, Pakistan, Palestine, Sri Lanka, Syria, Turkey, Tanzania and Kenya. Muslim men and women are represented, and also those born in Australia. This research was enhanced by consulting Islamic and Christian archival sources.
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Rane, Halim. "Introduction to the Special Issue “Islamic and Muslim Studies in Australia”." Religions 12, no. 5 (April 29, 2021): 314. http://dx.doi.org/10.3390/rel12050314.
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The field we call Islamic studies has a long history that could be said to date from the 8th and 9th centuries in the Middle East when Muslim scholars, including Quran exegetes, hadith compilers, jurists and historians, began to systematically write about the teachings of Islam [...]
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Cook, Abu Bakr Sirajuddin. "Tasawwuf ‘Usturaliya." Australian Journal of Islamic Studies 3, no. 3 (February 14, 2019): 60–74. http://dx.doi.org/10.55831/ajis.v3i3.119.
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Tracing the history of Sufism in Australia is a challenging task. The reasons for this are varied and include, but not limited to, the wide dispersal of source materials, the primarily oral transmission of Sufism, and diversity of the manifestation of Sufism. Detailing a history of Sufism in Australia is not possible in a short article. Rather than attempting to do so, this paper will emphasise that it is a neglected area that deserves significant scholarly attention. This paper will show that Australia has a rich and diverse heritage of Sufism. This is not without some challenges and raising these will support any study that attempts to engage Australia’s Sufi heritage, especially those that attempt to detail the earlier emergences of Sufism within Australia. Some solutions to the challenges of studying the history of Sufism in Australia will be proposed. In this light, Sufism in Australia can be seen to make an important contribution to the development of Australia generally and Australian Islam specifically.
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McKernan, Amy. "Affective practices and the prison visit: learning at Port Arthur and the Cascades Female Factory." History of Education Review 47, no. 2 (October 1, 2018): 131–42. http://dx.doi.org/10.1108/her-11-2017-0023.
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Purpose The purpose of this paper is to consider the ways Port Arthur Historic Site and the Cascades Female Factory educate visitors using the often contentious and confronting histories of convictism in Australia. Design/methodology/approach The research was conducted between 2012 and 2015, and included analysis of exhibitions and education programs at the two sites, as well as interviews with core staff, and archival research. Analysis employed a methodological framework drawing on Margaret Wetherell’s (2012) notion of “affective practice”, as well as understandings of historical thinking in education developed by theorists and educators. Findings The two sites take differing approaches to educating visitors about the “uncomfortable” histories related to their heritage. Ultimately, this paper argues that the Cascades presents a greater ease with communicating the confronting aspects of the site’s history, while Port Arthur’s interpretive strategies are often focussed on countering widespread assumptions about the “darkness” and cruelty characteristic of the penal system in Australia. Overall, the analysis finds considerable potential in the “use” of confronting and contested history in teaching aimed at developing historical thought and empathy. Originality/value The research addresses an issue that is of central concern in heritage education at present – interpretations of confronting and contentious histories – and employs an innovative set of conceptual strategies and tools to gather insights of use to practitioners in heritage and education.
Dissertations / Theses on the topic "Islam Australia History Exhibitions"
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O'Carroll, Anthony Terrrence Art College of Fine Arts UNSW. "'The history of matter painting in Australia'." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/40467.
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The Master of Fine Art document examines the inception of Matter Painting as it occurred in Europe and it's following in Australia. This document recalls the history and process of this late assimilation through examining the development of abstraction in Australia and the local receptiveness of influence from abroad. Within a climate of increased immigration and international awareness, Matter Painting was encountered by an initiated few. This history firstly begins with practitioners that were not in locale but rather overseas who were in close proximity to the centre of such avant-garde. It is not until the artist and critic Elwyn Lynn returns from his seminal overseas travels in 1959 and his first showing of "Matter" painting's in 1960 that Matter Painting in Australia gathered momentum. Discussed within this document is the history of this movement, the impact that it had on local practitioners and the relevance that it has played within my practice.
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Farmer, Margaret Art College of Fine Arts UNSW. "Terra Alterius: land of another." Awarded by:University of New South Wales. School of Art, 2007. http://handle.unsw.edu.au/1959.4/29574.
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What would Australia be like if it had been recognised as terra alterius, ???land of another???, by the British, rather than claimed and treated as terra nullius, ???land of no-one???? This question was posed by the exhibition Terra Alterius: Land of Another, which comprised works by Gordon Bennett, Barbara Campbell-Allen, Julie Dowling, Shaun Gladwell + Michael Schiavello, Jonathan Jones, Joanne Searle, Esme Timbery, Freddie Timms, Lynette Wallworth, Guan Wei and Lena Yarinkura, created or nominated in response to the theme. This thesis describes the concept of terra alterius and the exhibition Terra Alterius: Land of Another. It considers the utility of the concept terra alterius, whether the exhibition achieved its ambition to explore the political and social terrain of a reconciled Australia, and, briefly, whether the concept of terra alterius might be useful to other ???terra nullius??? countries. It argues that the curatorial strategies ??? the ???What if???? re-imagination of Australia???s past, multiplicity of vision and active creation, grounding of the exhibition in affect (in response to Aboriginal painting), and working within Indigenous protocols ??? were effective, and that the exhibition was a useful means of exploring the relationships between Indigenous and non-Indigenous Australians. Comparisons with the exhibition Turn the Soil curated by Kevin Murray and the ???retrospective utopia??? W.H. Oliver argues has been created for New Zealand by the Waitangi Tribunal provide insight into the nature of the reconciled Australia presented in the exhibition and what might be achieved by a counterfactual exhibition. From these comparisons, it is argued, first, that the exhibition points to a disjuncture between Australia???s ongoing official, psychological and legal terra nullius and the approaches and relationships present in Australian society (characterised as a performance of Bloch???s utopian function); and secondly, that a counterfactual exhibition, because it is not bound to the factual, causal or narrative qualities traditionally attributed to history, is able to explore the future in a way that contains rather than denies the past. Although the concept of terra alterius is seen as having played a crucial role in the realisation of the exhibition, it is questioned whether the concept???s utility extends beyond Australia.
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Watson, David Rowan Scott. "Precious Little: Traces of Australian Place and Belonging." University of Sydney, 2005. http://hdl.handle.net/2123/1098.
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Master of Visual ArtsThe Dissertation is a meditation on our relationship with this continent and its layered physical and psychological ‘landscapes’. It explores ways in which artists and writers have depicted our ‘thin’ but evolving presence here in the South, and references my own photographic work. The paper weaves together personal tales with fiction writing and cultural, settler and indigenous history. It identifies a uniquely Australian sense of 21st-century disquiet and argues for some modest aesthetic and social antidotes. It discusses in some detail the suppression of focus in photography, and suggests that the technique evokes not only memory, but a recognition of absence, which invites active participation (as the viewer attempts to ‘place’ and complete the picture). In seeking out special essences of place the paper considers the suburban poetics of painter Clarice Beckett, the rigorous focus-free oeuvre of photographer Uta Barth, and the hybrid vistas of artist/gardener Peter Hutchinson and painter Dale Frank. Interwoven are the insights of contemporary authors Gerald Murnane, W G Sebald and Paul Carter. A speculative chapter about the fluidity of landscape, the interconnectedness of land and sea, and Australia’s ‘deep’ geology fuses indigenous spirituality, oceanic imaginings of Australia, the sinuous bush-scapes of Patrick White, and the poetics of surfing. Full immersion is recommended.
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Eroglu, Sager Zeyneb Hale. "Islam in Translation: Muslim Reform and Transnational Networks in Modern China, 1908-1957." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493376.
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This dissertation investigates Chinese Muslim (Hui) intellectual currents from the late Qing dynasty to the early years of the Communist Republic, 1908–1957. By analyzing a vast number of Muslim reformist journals, Chinese translations of Islamic sources, and diaries/memoirs of intellectuals who were connected to other zones of the Islamic world, I examine the process by which reformists sought to redefine Chinese Muslim identity and revive “true principles of Islam”—both in negotiation with the Chinese state and in conversation with local and transnational intellectual currents. In particular, this dissertation considers the ways in which intellectuals struggled to “awaken” Chinese Muslims so as to transform their past identity as Muslim subjects of the Qing Empire into “politically conscious and active” citizens of the Chinese Republic. Chinese Muslims were defined either as a religious community or an ethnic group (minzu), and this debate occupied the minds of reformist intellectuals in this period, the topic of the first two chapters. How it was settled would determine the political, social, and religious status of the Muslim community in China, where definitions of nation and ethnicity/race were constantly reassigned. Debates concerning Muslim integration into China hinged on their connection to the global Muslim community (umma). Newly introduced technologies of travel and communication, such as the steamship and print, facilitated Chinese Muslims’ participation within transnational and cross-confessional networks. I argue that it was through the selection, appropriation, and adaptation of ideas from the prominent centers of the Islamic world that these intellectuals navigated a path of integration in the Chinese context that did not put their distinct Muslim identity at risk. From these diverse sources, they were determined to find solutions to the challenges they faced in China—whether posed by the hegemonic discourse of the Nationalist Party or the iconoclastic New Culture Movement. In successive chapters, I focus on the intellectual connection of Chinese Muslims to the Kemalist secularism of Turkey, the Ahmadi movement of India, and Egyptian reformist currents. Thus, I demonstrate how a seemingly “peripheral” Muslim community in the Far East participated in complex transnational networks at a critical moment of transformation.Inner Asian and Altaic Studies
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Orr, Kirsten School of Architecture UNSW. "A force for Federation: international exhibitions and the formation of Australian ethos (1851-1901)." Awarded by:University of New South Wales. School of Architecture, 2006. http://handle.unsw.edu.au/1959.4/23987.
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In 1879 the British Colony of New South Wales hosted the first international exhibition in the Southern Hemisphere. This was immediately followed by the Melbourne International Exhibition of 1880 in the colony of Victoria and the success of these exhibitions inspired the Melbourne Centennial Exhibition, which was held in 1888 to celebrate the centenary of white settlement in Australia. My thesis is that these international exhibitions had a profound impact on the development of our cities, the evolution of an Australian ethos and the gaining of nationhood. The immense popularity and comprehensive nature of the exhibitions made them the only major events in late nineteenth-century Australia that brought the people together in an almost universally shared experience. The exhibitions conveyed official ideologies from the organising elites to ordinary people and encouraged the dissemination of new cultural sentiments, political aspirations, and moral and educational ideals. Many exhibition commissioners, official observers and ideologues were also predominantly involved in the Federation movement and the wider cultural sphere. The international exhibitions assisted the development of an Australian urban ethos, which to a large extent replaced the older pastoral / frontier image. Many of the more enduring ideas emanating from the exhibitions were physically expressed in the consequent development of our cities ??? particularly Sydney and Melbourne, both of which had achieved metropolitan status and global significance by the end of the nineteenth century. The new urban ethos, dramatically triggered by Sydney 1879, combined with and strengthened the national aspirations and sentiments of the Federation movement. Thus the exhibitions created an immediate connection between colonial pride in urban development and European and American ideals of nation building. They also created an increasing cultural sophistication and a growing involvement in social movements and political associations at the national level. The international exhibitions, more than any other single event, convinced the colonials that they were all Australians together and that their destiny was to be united as one nation. At that time, Australians began to think about national objectives. The exhibitions not only promulgated national sentiment and a new ethos, but also provided opportunities for independent colonial initiatives, inter-colonial cooperation and a more equal position in the imperial alliance. Thus they became a powerful impetus, hitherto unrecognised, for the complex of social, political and economic developments that made Federation possible.
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McCormack, Bernadette. "Blockbustering Australian style: Evolution of the blockbuster exhibition in Australian museums." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/200164/1/Bernadette_McCormack_Thesis.pdf.
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This research critically evaluates the development of the blockbuster exhibition within an Australian museum context. Drawing on semi-structured interviews, reflective practice, and critical historiography, this research argues that current iterations of the blockbuster genre have given rise to a new ecology of 'attractor' exhibitions that are fundamental to visitor engagement strategies in the 21st century Australian museum. These findings are then operationalised in a practical field guide for the implementation of blockbuster exhibitions, providing new knowledge for the Australian museum practitioner to employ in contemporary industry practice.
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Sneddon, David. "A history of faith-based micro, meso and macro dialogue between Muslims and non-Muslims in Australia prior to 9/11." Phd thesis, Australian Catholic University, 2021. https://doi.org/10.26199/acu.8wq7v.
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Inter-religious dialogue is an essential means for different faiths and believers to develop friendship and understanding in an increasingly global and multifaith society. Additionally, it could provide for increased levels of social harmony in a seemingly divided yet ever-shrinking globalised world. Islam has a long history with Australia that pre-dates European colonisation; however, research into the nature and impact of interfaith dialogue between Muslims and non-Muslims is scarce.
To date, there is an extensive gap in the academic record as no comprehensive historical exploration on inter-religious dialogue prior to 9/11 between Muslims and non-Muslims has been undertaken in Australia. Accordingly, it is envisaged that this will be the most comprehensive research on the topic to date. Uniquely, through the application of the sociological population-level constructs of micro, meso and macro-level analysis this research has looked for evidence of cyclical patterns of inter-religious dialogue over Australia’s long history and contact with Islam. A key question for this research is how, if at all, have different sociological levels of dialogue, as represented in the public and private record, contributed to meaningful social harmony? It is hoped that this historical enquiry will place some light on past paradigm shifts in interfaith relations and assist in the future of interfaith dialogue in a uniquely Australian context.
Using the public record, along with other related academic works, this research has analysed the available evidence to establish the sociological levels of interfaith dialogue that existed in Australia up to 2001. A brief overview of the history of global and local inter-religious dialogue has been provided that includes the approaches taken by the various religions as outlined in the sacred texts, the Torah, Gospels and Qur’an. It also looks to outline the changes that have occurred surrounding religion in Australia over time.
Initial research has demonstrated levels of micro and meso-level dialogue in the pre-colonial period between the Muslim Baijini, Macassans and Australia's Indigenous peoples. Following colonisation, this dialogue largely disappeared and was replaced by a period of mutual monologue, enforced by the dominant Christian hegemony, notwithstanding the contribution by members of the Islamic community to the exploration and construction of modern Australia. Despite the effects of the Immigration Restriction Act (1901), Muslims continued to migrate to Australia and integrate into the community, including those from British India and Albania. Many kept their religious beliefs and thrived in several Australian towns through the 20th Century. As the century progressed, so did the growth of the Australian umma, with migrants arriving from Turkey, Lebanon, Bosnia, Indonesia, the Middle East and North Africa. Through a critical historical analysis of the public and private records, this research has looked to illustrate to true nature of the sociological levels and effectiveness of dialogue from the first contact with Islam, sometime before the 17th Century until the beginning of the 21st Century.
Importantly, the key contribution of this research has also found that the levels of dialogue have been measurable and over time, cyclical in nature, when measured using the sociological constructs of micro, meso and macro. Additionally, this research has uncovered the importance of ecumenical dialogue as a precursor to any meaningful inter-religious dialogue, largely driven by the Catholic Church’s Declaration Nostra Aetate in 1965. Other aspects of the findings include, the need for a critical mass, some form of organisation and favourable political conditions. Finally, shortcomings and suggestions for further avenues of research are discussed.
Books on the topic "Islam Australia History Exhibitions"
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Islam dreaming: Indigenous Muslims in Australia. Sydney: UNSW Press, 2010.
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Mosques and muslim settlement in Australia. Canberra: Australian Govt. Pub. Service, 1994.
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Murphy, Phyllis. Historic wallpapers in Australia, 1850-1920. Castlemaine, Vic: Castlemaine Art Gallery and Historical Museum, 1996.
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Kate, Darian-Smith, and Monash University ePress, eds. Seize the day: Exhibitions, Australia and the world. Clayton, Vic: Monash University ePress, 2008.
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Thompson, Judith. Crafts of South Australia: The first hundred years. Adelaide: Art Gallery of South Australia, 1986.
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Ebeltoft, Glasmuseum. Ausglass: An exhibition of glass art by 16 artists from Australia. Ebeltoft: Glasmuseum, 1995.
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Landon, Richard. Terra Australis incognita: An exhibition about Australia to 1900 : June 15 to September 16, 1988. [Toronto: University of Toronto Library, 1988.
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1948-, Rickard Suzanne, Steven Margaret, Historic Houses Trust of New South Wales, and Museum of Sydney on the Site of First Government House., eds. India, China, Australia: Trade and society, 1788-1850. [Glebe, NSW]: Historic Houses Trust of New South Wales, 2003.
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International Cultural Corporation of Australia Limited. Devils, drugs and doctors: A Wellcome history of medicine : Australia 1986-87. The Rocks, Sydney: International Cultural Corp. of Australia, 1986.
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(Pakistan), Islamic Research Institute, ed. The economic plight of the Afghans in Australia, 1860-2000. Islamabad: Islamic Research Institute, International Islamic University, 2006.
Find full textConference papers on the topic "Islam Australia History Exhibitions"
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Burns, Karen, and Harriet Edquist. "Women, Media, Design, and Material Culture in Australia, 1870-1920." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4017pbe75.
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Over the last forty years feminist historians have commented on the under-representation or marginalisation of women thinkers and makers in design, craft, and material culture. (Kirkham and Attfield, 1989; Attfield, 2000; Howard, 2000: Buckley, 1986; Buckley, 2020:). In response particular strategies have been developed to write women back into history. These methods expand the sites, objects and voices engaged in thinking about making and the space of the everyday world. The problem, however, is even more acute in Australia where we lack secondary histories of many design disciplines. With the notable exception of Julie Willis and Bronwyn Hanna (2001) or Burns and Edquist (1988) we have very few overview histories. This paper will examine women’s contribution to design thinking and making in Australia as a form of cultural history. It will explore the methods and challenges in developing a chronological and thematic history of women’s design making practice and design thinking in Australia from 1870 – 1920 where the subjects are not only designers but also journalists, novelists, exhibiters, and correspondents. We are interested in using media (exhibitions and print culture) as a prism: to examine how and where women spoke to design and making, what topics they addressed, and the ideas they formed to articulate the nexus between women, making and place.
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Yousefnia, Ali Rad. "Provocation, Ultra-Resistance and Representation: A Case Study-Based Research Course & the Student Exhibition ‘Re- Presented’." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a3993p1uq3.
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The core premise of the paper focuses on approaching a specific case study as the subject and the object of an architectural research heritage course, in this case, the UQ Union complex (UQU). During the summer semester 2020 – 2021, thirteen students in the M. Arch program at the University of Queensland (UQ) studied and interpreted the tangible and intangible heritages of the UQU. Once an award-winning project back in the 1960s, the entire complex faced the threat of demolition by the university’s proposed master plan in 2017. There is no doubt that the demolition proposal was an ‘Ultra’ decision. The process followed an ‘Ultra’ reaction in the form of a campaign for saving UQU, supported by hundreds of activists, UQ staff, students, and alumni. Therefore, an ‘Ultra’ synthesis emerged from this dialectic. Besides the pedagogical approaches of the course, the site’s rich history shaped an important section of the paper. Given the spirit of the recent period, the ‘ultra-temporal’ and uncertain times caused by the COVID-19 pandemic created an ambiguous situation, and there is a major pause for the demolition proposal. The new response from the UQ administration was also briefly discussed at the end of the paper. Within the course, the curiosity to have an in-depth understanding of a built environment transformed and evolved. Thus, the outcome was two exhibitions titled ‘re-Presented’ as a result of this collective work. The course created the opportunity for students to think critically about the role of the UQU Complex within the new master plan and re-image its position in the university’s future by their provocative proposals. These innovative and creative exhibition pieces went beyond conventional methods of documentation. The paper focuses on the students’ journey and how they unpacked the site’s history. It explains how their ideas re-presented a daily built environment that has dispatched from its past and alienated among its users. In summary, an ‘Ultra’ perspective, such as the one exemplified by the described course, comes back in a full circle.