The initial thinking behind a collection of annotated bibliographies came about from the question: ‘What texts are colleagues interacting with during lockdowns and their time in isolation?’ From this came the question: ‘What texts are worth taking forward into a post-lockdown future?’ There was interest in looking around the different communities and roles in the […]

Exhibition: To companion a companion Artist: Fernando do Campo Gallery: Perth Institute of Contemporary Arts Somewhat negentropically, it takes a moment for the meticulous repetition of motifs and formal logic to register. A tight palette sourced from archive item number 12, ‘Colour Studies’ attributed to James Fredrick Archen, is elaborated throughout the exhibition: from the […]

Exhibition: methods for collapse (m4c)Artist: Gabriella ImrichovaPerformers: Roslyn Orlando, Sophie Gargan, Mara Galagher and Anika de RuyterExhibition details: BLINDSIDE, 29 June – 16 July Gabriella Imrichova’s methods for collapse (m4c) ends with no capital E. Closure is a myth after all. After three, maybe four loops of the live performance score 0, I exit BLINDSIDE […]

Artists: Quishile Charan and Zaiba Khan Gallery: West Space During my time indoors I’ve taken to using mycelium as metaphor. Mycelium, a root-like structure comprised of hyphae —fine white filaments — is the part of a fungus that gathers nutrients from which the fruit — the mushroom — can grow.[^1] A complex network, mycelia are […]

Anne-Marie Te Whiu (Te Rarawa) is a poet, weaver, cultural producer and editor. She previously co-directed the Queensland Poetry Festival and currently works at Red Room Poetry. She is a recipient of the Next Chapter Fellowship and is studying a Master of Māori Studies at Te Whare Wānanga o Awanuiārangi.

ED: Do you own a video camera?RENEE MADISON: No. Fred hates them. FRED MADISON: I like to remember things my own way.ED: What do you mean by that? FRED MADISON: How I remembered them. Not necessarily the way they happened. – David Lynch, Lost Highway (1997) As a child I had a photographic memory. If […]

MEREDITH Always be recording. LULU Yeah, every time. But yeah, they’re all super different. And some of them are guided by one person. It’s super significant that Torika would do Community Reading Room on her own. I feel this is a very community view, almost an aunty role. MEREDITH This is a sort of a […]

It was the night of Limbo Party’s queer ‘YEEHAW’ night and I was sick as a dog. My boyfriend had gone to a friend’s wedding that night. Originally, we’d both been attending – oh Covid restrictions! I tucked myself into bed, feeling sorry for myself after being uninvited. Maybe they think I’m too messy. I […]

As the severity of Covid-19 restrictions have been dialled up and down over the past two years, one rule with a significant impact on my work as an independent writer remained a constant: university libraries largely barred physical access to non-students. This has been the case for most Sydney campuses at least and it’s only […]

Burn, Ian. ‘Is Art History Any Use to Artists?’ In Dialogue: Writings in Art History, 1–14. Sydney: Allen & Unwin, 1991. This essay has entered my life on several occasions, and every time I read it I interpret it slightly differently. Burn’s essay hypothesises that, fundamentally, there’s a disconnect between art making and the making […]

TITLE [untitled] ceramic cup ARTIST/MAKER Pauline Hoerboer DATE OF MANUFACTURE c. 2017 DATE OF REPORT February 2022 DIMENSIONS H 90 W 100 D 86 mm CURRENT LOCATION Kitchen cupboard above the microwave, second shelf from the bottom, to the left. KNOWN PROVENANCE Purchased at Kali Tengah, The Hague, 2017. Description A small ceramic vessel designed […]

Uncle Charles Moran, Uncle Greg Harrington, and Norm Sheehan. ‘On Country Learning.’ Design and Culture 10, no. 1, (2018): 71–9. Graham, Mary. ‘Understanding Human Agency in Terms of Place.’ PAN: Philosophy Activism Nature, no. 3 (2009): 71–7. These two seminal writings step out the importance of Place (Country) and its reconfiguration into and around the […]

The Subversive Stitch: Embroidery and the making of the feminine (1984) by Roszika Parker is a seminal text in contemporary textile and fibre art discourse. Centring on the history of embroidery and the role it played in the construction of the ‘feminine,’ the work has weathered much criticism since its original publication in 1984. While […]

Précis – In December 2021 ad agency Clemenger BBDO announced a collaboration with art collective Glue Society and the University of Tasmania for Earth’s Black Box, a large steel vault recording ongoing climate data much like a plane’s flight recorder. Drawing on this project, I reconceptualise the ‘black box’ – as container of knowledge but […]

I am a descendent of the Butchulla people of K’gari. I’m a daughter of a Burmese man who left his birth country as a refugee at the age of five. My mother didn’t grow up on Country, she didn’t know she was Aboriginal until she was a teenager – my grandmother was worried she’d have […]

I am a descendant of south-eastern Europe, a prisoner of war refugee and a post-war migrant: a second-generation Australian. I am conscious that while I am Australian, I live on the landsof Aboriginal Australians. Over two decades, I have sustaineda curatorial practice that honours this awareness. Travelling Australia from the lands of the Gimuy-walubarra yidi […]

THE ARGUMENT The One Eyed Man has cultivated an obsessional quality in us.It has become the keystone for paradigms of creative practice that are otherwise outside the normalised strictures of two allegedly art-historically trained artists. Through its polyphony of rhythms and basslines and harmonies and dissonances and instruments and players it ruptures and intervenes and […]

The initial thinking behind a collection of annotated bibliographies came about from the question: ‘What texts are colleagues interacting with during lockdowns and their time in isolation?’ From this came the question: ‘What texts are worth taking forward into a post-lockdown future?’ There was interest in looking around the different communities and roles in the […]

Artists: Bridget Chappell and Debris Facility Pty Ltd Gallery: Cool Change Contemporary halalbutch · 2 Many DJs [B2B Hextape 4.eva.FM] If you were there spinning the dial like an Ouroboros on Tuesday and hesitated somewhere between Triple M and Nova maybe you heard it. A shaky broadcast, the Amen break, mistransitions and meandering, unconcerned art […]

Artists: Liv Moriarty and Emma BerryExhibition: Starting in the MiddleGallery: Woven Projects, Naarm/Melbourne16 – 25 May 2022 Four years ago, artists Emma Berry and Liv Moriarty began emailing poems, lists and observations to each other. In this pre-pandemic era, where for the two artists, communication in the digital sphere was more playful than necessary, an […]

Justin ShoulderAEON †: TITAN ARUM26 March – 5 September 2021The Art Gallery of New South Wales (AGNSW), Sydney I acknowledge the traditional custodians of the land where I’m writing from – the sovereign land of the Bunurong and Wurundjeri people of the Kulin nations. I pay my respects to their elders past and present and stand behind […]

Butler, Octavia E. Parable of the Sower. New York:Four Walls Eight Windows, 1993. I’m late to the work of Octavia Butler, having put the other Butler (Judith) ahead on my reading list. While I haven’t made it much beyond introductions and crib notes with Judith (whose teachings on gender have anyway passed into a realm […]