Published 01 September 2020
Published September 2020
Cinema is both dead and deathless. Cinema like this can take us to the great chasm in our lives and hold us over the edge.
On 17 March 1993, the body of photographer Angelo Campana was discovered in the burnt out remains of the newly opened IEG Waste Recycling Plant in Corrimal. According to the coroner's report, his death had not been caused by this fire, but from fatal head injuries incurred by the deceased's head being repeatedly bashed with a theodolite. This is the immediate crime which is appears to be investigated in Dennis Del Favero's sleuthian compilation of words and images, objects and installations called 'Prima Facie'.
Published December 1994
Exploration of images and statements by artists on the theme of death. Artists include William Kelly, Ross Moore, Bette Mifsud and Dennis Del Favero.
Images of death explored in the context of the exhibition 600,000 hours (mortality) held at the Experimental Art Foundation, Adelaide South Australia October 1994.
Although one would expect the field of war art to be generously littered with dead bodies, this is not the case. Instead death has been presented circumspectly, through the rituals surrounding it or through metaphor.
The cinema's ability to represent death - the act of dying, bodily transformations, decay, the corpse - in astonishing realistic terms helps to explain why film, the moving rather than the static image, has become the central depository of death narratives (ancient and modern) in contemporary culture.
The major Australian Memorials to war and the memory of death in war, are widely perceived to be the province of male citizens, sculptors and architects. Women sculptors in the main were not awarded the major memorial commissions, and women citizens have been largely absent from the major rituals and ceremonies of commemoration.
Exhibition review Perpetual Motion: Aboriginal Strategies for rejigging art and technology
Curated by David Kerr and Doreen Mellor
Tandanya National Aboriginal Cultural Institute, Adelaide South Australia 8 July - 14 August 1994
Exhibition review Fania
Curated by Erica Green
University of South Australia Art Museum
28 July - 27 August 1994
Postmodern culture has proclaimed the death of meaning, of the real, of metanarrative. Identity, memory, the body, nature, culture, power and the sacred - those fundamental ingredients of death's imagination - have undergone profound transformations over the last three decades. The contributions in this issue of Artlink address various parts of this new vision of death.
The artist looks at the paintings which were developed for the Health Commission on education, prevention and caring in the AIDS environment. Using an Aboriginal perspective these paintings were produced as a powerful series of posters.
Examination of the installation Tursiops by Brian Blanchflower which refers to the brutal heritage of Western Australia's first settlement at Albany which had a large whaling station until the late 1970s.
Book reviews Indecent Exposures: Twenty years of Australian Feminist Photography
By Catriona Moore
Allen & Unwin in association with the Power Institute of Fine Arts
206 pp $21.95
Dissonance: Feminism and the Arts 1970 -90
Edited by Catriona Moore
Allen & Unwin in association with Artspace
308 pp $21.95