Extraterritorial Landscaping

Lynette Smith’s five-channel video A bewilderment on display at Centre for Contemporary Photography balances between presence and absence. In spite of its representational qualities ‘it is not really a picture of a particular place but rather the sign of a condition, or a state’.(1) Hovering above the floor the three-minute video installation appears to be stripped not only of spatial but also of temporal location. Smith’s work conjures the (un)familiar feeling of being somewhere yet belonging nowhere.

Caitlin Patane is a practicing artist living and working in Melbourne and Editorial Assistant at Art+Australia. Her work focuses on writing, drawing, and an engagement with text and texts. She is interested in publication and editing as artistic practice, and the space between literature and conceptual art are investigated. Her practice is concerned with ideas around translation, history and social potentials of language in its many forms. 

Natalie Abbott– re(PURPOSE): the MVMNT – DANCEHOUSE 5-9th July 2017

Don’t know where the bodies start and end

I am walking, standing still, climbing stairs, I sit–our presence completes the backdrop

Smoking icy dungeon

Bladerunner underworld

I have walked through a threshold, a dream and have been baptized Rachael

Pink, green, white, red, blue

Light a ritual commune

Chatter rolling, tongues kissing


She smiles at me like we’ve met before


Silver foil floats dry ice

The flavorless smog coats the air

Licking vapor from cigarettes, a bell rings

Use the Museum

In an act of extreme self-sacrifice, renowned Cuban artist Tania Bruguera once loaded a bullet into a revolver and played Russian roulette in front of a live audience. She has been arrested, bruised, dragged by the hair and charged for publicly defending free speech. Just recently she announced her candidacy to become Cuba’s next president and urged others to do the same as an antidote to the fear-based apathy that grips Havana. Her actions are not forms of dissidence nor opposition. They do not advocate for a single group nor ideology, but for everyone.


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)