N’arweet Carolyn Briggs AM and Sarah Lynn Rees in conversation with Max Delany
Published 29 November 2021
Published 01 September 2019
Published 01 June 2019
Published 21 March 2019
Published 01 September 2018
Published 01 December 2017
Published 01 September 2017
Wayne Barrow provides a humorous dialogue between himself and two of his mates Boney and Dazza, the three of them on their way back to Sydney after a week of concreting. This article raises issues surrounding the problems with the construction of the Pacific Highway, the governments policies on mandatory detention and the shocking state of take away food along the way.
Published March 2003
Rhodes Hotel, Perth
1 November 2002
Australias official culture, the face that government puts on to show the country to the world has changed, and although those changes were set in motion well before the events of 11 September 2001, they are only now beginning to emerge as defining forces. Mendelssohn looks at the role of the 2000 Sydney Olympic Games as a celebration of Australias diversity and one of the main catalysts for such change. However, there is a darker side to all of this celebratory glory which Mendelssohn has addressed with reference to Australias political climate and the granting of permission to express its collective worst feelings of fear and loathing.
Borderpanic was a conference and tactical media lab hosted by the Museum of Contemporary Art in Sydney, a seminar hosted by Metroscreen and an exhibition at the Performance Space. It was a coming together of artists, activists, cultural theorists and people of social conscience examining a world of burning borders. Many of the artworks exhibited at the Performance Space reflected in positive mode the documentation, connectivity and networking between people around the planet. Some of the artists included in these shows were Julian Burnside, Ghassan Hage, Mickey Quick, Geert Lovink, Stephen Best and Peter Lyssiotis.
Contemporary performance often seems bent on escaping the theatrical frame, eroding the boundaries, and making problematic the relationship between theatre and reality. In Terrorist Training School, the Perth-based performance group PVI abandoned traditional theatrical space altogether, opting for tour buses and trams. Wilson here sets the scene for the 2002 performance and discusses the performative and prescriptive aspects of both the theatrical and real life terrorist attacks taking place in all parts of the contemporary world.
The Carpet Wars by Christopher Kremmer
by Harper Collins
Santiago Bose 1949-2002
Viet Name Voices was a unique exhibition, striving to give all major groups of participants the opportunity to be heard impartially, often in direct opposition to each other. The voice that is most passionate in this exhibition is that of the Viet Name veterans, who are speaking out after twenty-five years of silence. The issues raised by the unjust treatment of the veterans on their return to Australia are vividly addressed through their artworks, including the legacy of chemical defoliants such as Agent Orange, their betrayal by the Australian government, the mass medias complicity in wartime propaganda, and the enduring and unfulfilled need to honour and remember the dead.
Ian Potter Centre: NGV Australia
Federation Square Melbourne
26 November 2002 mid February 2003
16 October - 16November 2002
The A4 Refugee Project began in July as a response to Austcares call for participants in Refugee Week 2002. Letters, flyers and e-mails were sent to contemporary artists throughout Australia with the request to submit a work as a gesture of support for refugees. The works addressed all sorts of issues surrounding the topic of refugees: alienation, lip sewing, consumerism, wire fencing, loneliness, nationalism...and punctuating these were abstract works that allowed some breathing space. The works were donated to the James Hardie Art Archive at the State Library of Queensland and will provide a permanent document of the artistic response from the community to this issue.
Despite its troubled history, Tasmania has managed to offer quiet sanctuary for a remarkable range of peoples, natures and ideas. Much of Tasmanias political muscle has been exercised around environmental issues, backed by world heritage listing. Artists in the Haven exhibition which toured in 2003-4 each chose a biographical subject that dramatised the utopian appeal of Tasmania. Artists included Pip McManus, Geoff Parr, Patrick Collins, Anna Phillips, Jennifer Brook, Penny Carey Wells, John Vella, Helena Psotova and Judith-Rose Thomas. Each of these artists created works as tributes to various historical figures and all contain within them the thin glimmer of hope that beckons the darkened mainland above.