Looking for art in all the wrong places; Repositioning art in a regional context

In 2016 the arts in Australia inhabit a dystopian world. It could be described as a place of absurdist contradictions, where only those who have mastered the arcane rules of the Hunger Games have any chance of surviving. Possibly the greatest change is that arts funding is now a partisan political issue in a way that it has not been for some generations. In the past there were concerns about the internal politics of art bureaucracies, but now the allocation of funds to support the arts (or not) has become a party‑political issue. The Commonwealth Government recently presided over the greatest reduction in arts funding in Australian history, but when questioned on this in a public forum, the art‑loving/art-collecting Prime Minister was unaware of the impact of his party’s budgets on the arts. It is probably unfair to blame the current Prime Minister for the devastation that was wrought in the time of his predecessor.

Solastalgia has come to signify distress caused by environmental damage. The term, originally coined by philosopher Glenn Albrecht, specifically addressed the condition of existential distress caused by the physical destruction of one’s immediate environment. As the global extraction industries and the financial institutions that bankroll their reach increasingly dominate, with direct impacts on land, solastalgia is fast becoming a common contemporary condition associated with the loss of ground in our occupation of the planet and a general sense of helplessness.