Aleksi Vellis

Cover of Aleksi Vellis
1.144
Lipstick and Land Rights: matriarchal sovereign history and the cyber frontier
Feature
Lorna Munro

Published 24 January 2022
0.744
We Don't Fabricate, We Weave: Kumarangk (Hindmarsh Island) and Ngarrindjeri women’s resistance
Feature
Dominic Guerrera

Published 15 December 2021
0.75
Reclaiming the Rock in Project Banaba: Creativity, survival and agricultural colonialism in the Pacific
Feature
Katerina Teaiwa

Published 15 December 2021
Guildhouse
1
Lipstick and Land Rights: A poetic response
Feature
Lorna Munro

Published 15 December 2021
0.8
Woven Selves, Entangled Countries: Weaving across borders
Feature
Dameeli Coates

Published 15 December 2021
0.75
Sovereign city, sovereign self and Warrior Woman Lane
Feature
Timmah Ball

Published 15 December 2021
Gallipoli Art Prize
0.8
Miyurr Mi:wi: Working from home in the spirit of Country
Feature
Tracey Rigney

Published 15 December 2021
0.8
My Sovereign Mind: A practice in two parts
Feature
Hayley Millar Baker

Published 15 December 2021

Aleksi Vellis announced his arrival in the turmoil of early 90s Australian cinema with his debut feature 'Nirvana Street Murder' a restlessly energetic film with cavalier camera moves that are almost as swish as the director himself.

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More from this Issue Full Issue Contents

Who Told You We Wanted To Make Our Own TV?
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The broadcasting in remote Aboriginal Communities Scheme and the failure of policy.

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Floral Tributes: The Flower
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Colonial Patterns Repeated: Robert Harrison
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Exhibition review Architecture without Walls Robert Harrison
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Come Again: Aldo Lacobelli
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Independent Distribution and Exhibition
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In the decades prior to the expansion of art-house cinemas and television programming, 'independent distribution and exhibition' denoted a more specific activity than it does in the 1990s.

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Cinema or Death
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What is the effect on film when the maker's background is utterly different from the culture in which he now works. Anna Epstein talked to a film-maker who brings fresh vision to the Australian film industry.

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Memory and Image: The Multiculturalism in Film Project
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It is diversity, and the celebration of the marginal which makes Australian film innovative. Diversity provides the opportunity for people in Australia to enjoy and reflect on the cultural heterogeneity rather than on the alienating myth with which we are so familiar.

Published March 1993
More Bangs for Bucks: Male Sexuality and Violence in Australian Film
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Wild: Beyond the Deconstruction
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The Pure and The Impure: Shaun Kirby
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Exhibition review Cultic Gloss: Shaun Kirby
Contemporary Art Centre
Adelaide, South Australia
October 23 - November 24 1992

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Against 'Neofuturism': Women Artists in Technological Media
Feature
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Published March 1993