Amy is an artist living and working in Naarm. 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. 

Amyjaneparker.info

 

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’.

Rebecca Boswell is a writer and curator currently based in Auckland. Her writing has been published by The Physics Room, Matters, CIRCUIT and ST PAUL St Gallery. She is a founding editor of A Year of Conscious Practice, a journal which supports criticality in emergent curatorial practice in New Zealand. She has a BA/BFA Honours from Elam School of Fine Arts, The University of Auckland.

Facts and figures

I attended the opening of looking at me through you at Campbelltown Arts Centre with my 15-year-old niece, Raz. Raz lives in the Campbelltown area; she is the ‘me’ of the title, seeing herself ‘through you’, the artists. She found it strange, but not unpleasant to see her local area the subject of scrutiny from a range of local and external perspectives. 

Rebecca Gallo is a writer, editor and artist, based in Western Sydney since 2017. She has written for publications including Sturgeon, Vault, Runway, Look, The Art Life and Art Guide Australia. Gallo was a director of Archive Space (2014-15) and collaborates with Connie Anthes as Make or Break.

 

Playing in the master bedroom: Claire Lambe at ACCA

The title of Claire Lambe’s recent exhibition at ACCA, Mother Holding Something Horrific, appears to be an invitation into a psychoanalytic space: a place of bad and monstrous mothers. The work is made up of screens, burials, desires, and abjection. The first room is a mise en scéne that leads to an open-mirrored corridor. As you enter this space a spectre approaches you—one that turns out to be nothing more than your own reflection, seen askew. At the centre of the mirrors is a reconstruction of Sigmund Freud’s chair.

Sebastian Henry-Jones is finishing his Masters of Art Curating at the University of Sydney. He is one founding half of Desire Lines, an art walking tour occurring sporadically in different areas around Sydney. Sebastian is a gallery host at the Museum of Contemporary Art.

Lessons to Learn from Dancing

In the program for PACT Salon’s The Big Bounce, Curator Matt Cornell writes of the event as a moment in which one can ‘learn dancing, watch dancing, talk about dancing, and just do some dancing.’ He is very careful to include the suffix ‘ing’ to any mention of ‘dance’ so that with each lodging, the noun is transformed into a verb. Precisely, with much of dance the point of transformation occurs somewhere in the doing. And indeed in the shift from noun to verb, from stillness to motion, so that the learning, the watching and the talking co-exist in the moment that dance happens.

Pages