Ivan Muñiz Reed is an independent curator, writer and researcher with a keen interest in Latin American practices. He is a founding member and Associate Curator at The Curators’ Department, and was previously Assistant Curator at the MCA Australia. Forthcoming projects include the exhibition Repertoires of Contention: Tony Garifalakis & Joaquin Segura, opening at Gertrude Contemporary, Melbourne, in September 2017. He is currently based in San Francisco completing a PhD on decolonial aesthetics.

The Australian Pavilion

 

 

 

Dirty Happy Hippie: Kaftans, mud and colour in Venice

Somehow, I’ve managed to avoid the Venice Biennale, despite over twenty years of thinking and writing about art. Every year it comes around, I’ve been either too busy, too poor, or too dogmatically localist to burn carbon for art. I’ve railed against the disconnect between art tourism and sustainability, and the ongoing hegemony of north over south, of centre versus margins. But this year, the stars aligned and I finally made it to the city that sags with the weight of our collected dreams.

Metafisica Australe

* This article features in Issue One (53.2): Extraterritoriality and is reproduced here with images, as the author intended.

 

When Giorgio de Chirico died in 1978, Japanese-American artist Shusaku Arakawa wrote a brief, somewhat enigmatic tribute to him. This note was passed on to me and I took notice because while I knew little about de Chirico at the time, I knew quite a lot about Arakawa.

Lyndal Jones is an artist who focuses on context, place and empowerment through long-term feminist projects involving performance and video installation. Her works have been shown in major exhibitions throughout Australia, Europe, Asia and the U.S. since 1977 including the Venice Biennale where she represented Australia in 2001.

The Avoca Project, her current artwork, began in 2005 from a derelict old house in central Victoria as an address to the politics of a more interdependent ecology in the face of climate change. Since then, Watford House itself has been both site and subject of exhibitions, residencies and workshops that involve national/international artists and academics often working with local residents.

Jones was Professor of Contemporary Art in the School of Media and Communication at RMIT University from 2005 – 2016. She has recently resumed full-time work as an artist.

Maria Miranda is a DECRA Research fellow based at Victorian College of the Arts, University of Melbourne. Her research project The Cultural Economy of Artist-Run Initiatives in Australia  http://the-ari-experience.com engages with the experience of artists involved with artist-run and artist-led spaces and initiatives. She has maintained a collaborative art practice with Norie Neumark as Out-of-Sync since 1993 – making work that engages with questions of culture, place and memory. (www.out-of-sync.com) She is author of Unsitely Aesthetics: uncertain practices in contemporary art (Errant Bodies Press, 2013)

Amy is an artist living and working in Naarm/Melbourne. Recent exhibitions include Blank Verse at TCB art inc., Bodies that break and flow, Bus Projects, Collingwood and You’ve been here before at Visual Bulk, Hobart—both projects with Ellen Fairbairn and Amber Wright. In May she held residence at Frontyard Projects in Marrickville, Sydney with Tilly—where she met Wendy and Chris. In 201 This year she is interning as an editorial assistant at Art + Australia. 

Tilly is an artist and librarian from Naarm/Melbourne. She works with Undercurrent Victoria and is a cofounder of IRL library. She recently completed a residency at Frontyard in Marrickville, Sydney.

 Jenna Green is an artist, writer and producer. With a background in art and architecture, her focus is on how art in the public realm can reflect, challenge and celebrate society. Jenna is the Co-Director of people+artist+place, a new arts initiative that seeks to stimulate and support the production of socially engaged and participatory art practice in Brisbane. www.jennagreen.com.au

Geophagy by Ruth Watson

A recent solo exhibition by Ruth Watson in Auckland disrupts notions of surface and place in works that express a desire to understand the world anew. The title of her show Geophagy describes the practice of eating dirt(1), an unsettling idea from a Western point of view, raising questions such as: What impurities and contaminants does our earth already contain? As a bodily gesture, ‘geophagy’ is unnerving for the way it transgresses an ordinary boundary between self and the outside; ‘nature’, or our material separation from ‘the world’.

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