To think about fraught things

We have to accept the unknown and, more importantly, the fact that we cannot understand and comprehend everything immediately. It is actually very Western to believe that knowledge is instant and can be consumed right away… It almost seems like we have to cultivate a practice of just being with art for a while before jumping into nervous and at times neurotic discussions about it. Language does not have to be available promptly. I think we should treat art as a space and experience that allows us the privilege to contemplate and endure the process of making new answers.

Queer Economies

Queer Economies is a multi-site exhibition and public program series that builds on the 2014 Perimeter Editions publication Gifts from David McDiarmid. Through this catalogue of gifts that artist and activist David McDiarmid (1952-1995) gave to his friends and family across his lifetime the possibility of a queered economy is explored. McDiarmid’s own works, displayed at the Abbotsford Convent, do more than just frame the curatorial premise.

Microcosms and ecosystems: the Taipei Biennial

As I walked amongst the works of the Taipei Biennial I kept asking myself two questions, ‘how is the museum an ecosystem?’ and ‘where is reciprocity?’ These lines of enquiry were prompted by the Biennial’s title, Post-nature: A museum as an ecosystem, developed by co-curators Mali Wu and Francesco Manacorda.

The 9th Asia Pacific Triennial of Contemporary Art

In the opening sequences of the 9th Asia-Pacific Triennial of Contemporary Art (APT9) at QAGOMA, Vincent Namatjira’s portraits give a sardonic answer to the question of who we live with and alongside. Each of the three series of paintings depict influential people of Australia: the seven richest in the country; seven recent Prime Ministers; and seven leaders of the Aṉangu Pitjantjatjara Yankunytjatjara (APY) communities. There is a disconnect between the rich and powerful non-Indigenous of Australia and the tjilpi, senior artists and law-men of APY.

These Wonderful Spring Days, Jeremy Stock

Jeremy David Stock’s These Wonderful Spring Days traverses the well known lines of an aesthetic double-bind: the sublime. The double-bind, in its Mobius-strip like duality, consists of a knotting of two oppositions: the cosmic and the conscious. The text, divided into brief subtitled sections that are often aphoristic in style, has no unified narrative or fully developed characters, cleaving to the status of artwork.

Craftivism: Dissident Objects and Subversive Forms


Haptic networking in Why Listen to Plants?


Naomi Blacklock, Conjuring Alterity


Geography of Space, Archaeology of Time, Izabela Pluta & Utako Shindo