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Contributors
Artlink
Aaron Seeto
Alan Lee
Alison Carroll
Amy Griffiths
Ana Marie Saaverdra
Andrew Best
Anne Kirker
Annemarie Kohn
Anusha Kenny
Bec Dean
Bec Tudor
Ben Eltham
Brian Fuata
Bridget Riley
Carolyn Wilson
Cath Kenneally
Catherine Wilson
Chee-Sean Tan
Chika Okeke Agulu
Christen Cornell
Christina Barton
Christine Nicholls
Christopher Heathcote
Cliff Burtt
Clint Woodger
Cobi Labuscagne
Daena Mossman
Dan Taulapapa McMullin
David McNeill
Diana Klaosen
Djon Mundine
Edward Scheer
Elizabeth Harney
Emily Sexton
Farid Farid
Felicity Fenner
Fernando Balcells
Flaudette May V. Datuin
Heather Igloliorte
Ian Hamilton
Ian McLean
Isabel Garcia
James Bennett
Jane Goodall
Jane Messenger
Jane Stewart
Jazmina Cininas
Jeff Khan
Jessyca Hutchens
Jilda Andrews
Joanna Mendelssohn
Joshua Skinner
Juliette Peers
Justine Khamara
Jyotindra Jain
Kevin Murray
Khwezi Gule
Kieran Finnane
Kon Gouriotis
Leonardo Ortega
Lisa Harms
Lisa Havilah
Louisa Marks
Luis Alarcon
Maddee Clark
Mamduh Waheed
Margo Neale
Maria Kunda
Melinda Rackham
Michele Helmrich
Natalie King
Ngahiraka Mason
Nicholas Thomas
Nicholas Thompson
Nici Cumpston
Nikki Miller
Noel Frankham
Pat Hoffie
Paul Allatson
Penelope Aitken
Peter Hill
Philip Batty
Rachel Fensham
Ric Spencer
Romaine Moreton
Russell Storer
Ruth B. Phillips
Sally Butler
Sean Kelly
Sera Waters
Sharlene Khan
Simon Blond
Stella Brennan
Stephanie Britton
Stephanie Radok
Stina Edblom
Susan Cochrane
Susan Gibb
Tania Doropoulos
Issues
Indigenous_Trans Cultural
Issue 37:2 | June 2017
Diaspora
Issue 31:1 | March 2011
The South Issue: New Horizons
Issue 27:2 | June 2007
Hybrid World
Issue 24:4 | December 2004
Articles
Collisions: The Martu respond to Maralinga
On the cross‑cultural collaborations of filmmaker Lynette Wallworth working with Nyarri Nyarri Morgan and Curtis Taylor
Old Categories, New Frameworks: Asia-Australia
Writer, researcher and arts manager Christen Cornell studies the way China is now much more of a player on the international art curcuit than Australia and what it means to young Chinise-Australian artists.
Transcultural Radical
Director of 4A Centre for Contemporary Asian Art in Sydney Aaron Seeto attends to the artwork of Sumugan Sivanesan, Sangeeta Sandrasegar, Guan Wei and Kaleb Sabsabi to raise questions of experiences of cultural difference and the way they are inadequately critically interrogated in contemporary art practice.
Unrequited Language: Khaled Sabsabi
Freelance writer and doctoral candidate Farid Farid analyses the installations and videos of deep thinker Khaled Sabsabi which use sound and collaboration as a significant part of their presence.
Flight, Philippines: Nothing to Declare
Associate Professor at the University of the Phillipines and visiting research fellow at the University of New South Wales Flaudette May V. Datuin looks at the complex ideas of home, absence and presence in the work of artists examining the lives of Overseas Filipino and Filipina workers (OFWs).
Traditional Skills: Refugees
South Australia's Craftsouth ran an outstanding workshop series in May 2010 where refugees with traditional craft skills from six countries taught their secrets to Australian craftspeople.
Weeds without Frontiers: Stephanie Radok
Poet, novelist and broadcaster Cath Kenneally examines the recent work of Stephanie Radok which involves weeds painted on beer coasters and finds tenacity, diversity and survival-skills in it.
Iran: Scripts of Despair and Love: Nasim Nasr & Siamak Fallah
Curator, artist and doctoral candidate Lisa Harms writes about two artists, Nasim Nasir and Siamak Fallah, both originally from Iran who now live and work in Adelaide and make work that references their homeland.
Creative Adaption and Continuing Conversations
A flying journey through some of the Australia Council's most recent innovative projects which are also conversations with community partners and where outcomes are broad and diverse leading potentially to new forms of contemporary art practice...
Open House Singapore Biennale 2011
One of the curators of the Singapore Biennale Australian Russell Storer explains how the Biennale is a sited conversation, about place as well as process.
Curious and Collaborative: Encounters in Tokyo, Singapore & Yogyakarta
Next Wave Artistic Director Emily Sexton and Next Wave Artistic Program manager Ulanda Blair discuss the waves of Invisible Structures a project curated by Next Wave and supported by Asialink in which Australian artist collectives do exchanges with collectives in Tokyo, Singapore and Yogyakarta.
Gwangju Summer: Open 2010
London-based curator and postgraduate researcher Tania Doropolous discusses 10,000 Lives: the Eighth Gwangju Biennale as well as the curatorial summer school that accompanied it.
Reconnecting the Dots: Next Sydney Biennale Directors
Indigenous Canadian Gerald McMaster and Belgian Catherine de Zegher are joint directors of the next Biennale of Sydney. Joanna Mendelssohn interviewed Catherine de Zegher about the global and the local, difference and similarity...
Manifesta 8: Seeking a Dialogue with Africa
Curator and arts manager Alison Carroll visited Manifesta 8 the European Biennial of Contemporary Art held 9 October 2010 - 9 January 2011 in both Murcia and Cartegena in Spain and featuring over 100 artists.
After the Deluge
Novelist, freelance writer and contributor to Inside Story website www.inside.org.au Jane Goodall writes about the recent floods in Queensland in relation to climate change and art and how "we need the merging energies of many artists to shift the consciousness of an era mesmerised by determination to perpetuate a way of life that may well be no longer viable."
Life, death and magic: 2,000 years of Southeast Asian ancestral art
National Gallery of Australia 13 August – 31 October 2010
The Quod Project: Tania Ferrier
Heathcote Museum and Art Gallery, Perth 21 January - 27 February 2011
Pmere Arntarntareme / Watching This Place
20 November 2010 – 13 February 2011 Araluen Arts Centre, Alice Springs, NT
Freehand: Recent Australian Drawing
Curator: Linda Michael Heide Museum of Modern Art 25 November 2010 – 6 March 2011
John Barbour: Work for Now
Curator: Kerry Crowley Australian Experimental Art Foundation 12 November 2010 - 29 January 2011
Home Open: Fremantle Artists and Their Collections
Fremantle Arts Centre 27 November 2010 - 23 January 2011
Hermannsburg: echoes in the landscape
Curator: Alison French Flinders University City Gallery 11 December 2010 – 30 January 2011
AlphaStation/Alphaville : Luke Roberts
27 November 2010 - 26 February 2011 IMA, Brisbane 17 June–23 July 2011 Australian Centre for Photography, Sydney
The whole and the sum of its parts: Kate Scardifield
MOP Projects, Sydney 3 December - 19 December 2010
Editorial: Diaspora
Last week, I was standing in front of a man called Daryl who has lived in the Campbelltown suburb of Minto for 20 years. I saw him dance some of the story of his life.
Andrew Drummond: Observation/ Action/ Reflection
Andrew Drummond: Observation/ Action/ Reflection by Jennifer Hay et al Christchurch Art Gallery / Te Puna o Waiwhetu, New Zealand, 2010. ISBN 978-1-877375-19-4, rrp NZ $89.99.
The South South Way
How does the south appear to itself and how might south appear on the southern stage? The sweep of the south is broad and there are many ways to cross it. Kevin Murray considers the role of nature as a host of shared references for people and cultures of the southern hemisphere as well as ideas concerning indigenous and diasporic solidarity. Murray makes the point that it is on the political stage where the south seems particularly vocal, especially in relation to economic relations between north and south. The flow of traffic between north and south is also discussed, taking into consideration the infiltrating of modernism into Australia via its northern source and the shifting patterns in positioning the exotic gaze that is normally directed south. Murray concludes that, at this stage, the south remains a rare platform that welcomes both indigenous and non-indigenous, both tribes and individuals.
Juan Davila: Queering the South
Juan Davila's recent retrospectives, held in Sydney and Melbourne, affirmed the astonishing array of historical, political, artistic, and cultural references populating his oeuvre since his move from Chile to Australia in 1974. As Davila explains: The circumstance of living in two extremes of the world, in two peripheral cultures, slowly forced me to look at the materiality of the circumstances where artworks operate . This text examines the work of Davila as being, in libidinal and critical measure, queer, and the extent to which this provides a signifying key to the artists TransPacific vision. The term queer is not merely called upon as one bound by its sexual connotations but as one used to describe a generalised sense of deviation from normalcy, within which Davilas work is here positioned. Specific works examined are: The Arse End of the World, Fable of Australian Painting, Retablo and Our Own Death amongst other key pieces.
Defining Features: Africa
Cobi Labuscagne attempts to define some of the current definitions of self in Africas effort to introduce its answers to the world. Labuscagne sets up two important benchmarks for examination in this text. The first being a framework within which Jonathan Jones of the recent international exhibition Africa Remix sets up some definitions of Africa, art and contemporary, which Labuscagne sees as largely problematic and in need of renegotiation. The second benchmark is based on a volume of essays by Johannesburg-based cultural critic and academic Sarah Nuttal, which look at conduits of beauty and ugliness and the continual interaction with art and aesthetics.
Jim Allen: Now
Being ourselves part of Oceania and enjoying a close and somewhat unique physical relationship with the natural environment I think we are especially receptive to an artform which makes use of simple tactile media; paper, stones, gravel, sand, cloth and water, employed with such finite sensibility and sophistication Jim Allen. To date, Jim Allen's contribution to the history of art in New Zealand has been discussed in terms of his achievements as a teacher, organiser and advocate for new dematerialised modes of practice. Recently Allen is being recognised for his role as the prime artistic mover behind the emergence of new multi-media, time-based, site-specific, performative, and installation modes of sculpture during the 1970s. Allens practice as an artist and his efforts as an arts organiser also helped prepare the ground for New Zealands growing involvement in the international arts arena. This article acts as a homage to one of the great figures in contemporary art, discussing key works such as Poetry for Chainsaws (1976) and O-AR Part 1 which are currently being re-staged/re-installed as part of a mini-survey show in Auckland.
The Video Archive, Chile
The Video Archive project at the new Centro de Documentacion de las Artes is located on the once bombarded Chilean presidential palace grounds. The aim of the archive is to recover the history of the 'video arts' in Chile via the establishment of a dynamic and flexible platform intended to provoke new interpretations of the video medium. The task of collecting three decades of video footage from a time of social and economic critique and upheaval has been a laborious process. In addition to research, the Centre also receives material from artists who seek to add to the historical perspective of video as an accessible and common technology in current artistic practice. Key figures in the forging of Chile's video art scene included Juan Downey (1940-1992), the collective known as Colectivo de Acciones de Arte (CADA), the Escena de Avanzada (The Vanguard Scene) artists, Eugenio Dittborn, Carlos Leppe, Magali Meneses, Sybil Bintrup, Gonzalo Mezza, Carlos Altamirano, Alfredo Jaar, Victor Hugo Codocedo, Carlos Flores and Juan Enrique Forch.
CADA: art and life: Chile
In the wasteland of Chile, post- Military Coup of 1973, the Coectivo Acciones de Arte (CADA) arose in 1979, formed by the sociologist Fernando Balcells, the writer Diamela Eltit, the poet Raul Zurita and the visual artists Lotty Rosenfeld and Juan Castillo. The role of CADA was forged via a necessity for theoretical and practical renovation of the national artistic undertaking and the urgency to reset this task towards the fusion of art and life. This article follows the various movements of CADA, often formed on the basis of public protest and artistic dissemination and considered to be social sculpture which referred to art as a proposal for the social construction of reality. CADAs work attracted and affected many people and became a great challenge of collective creation.
From an Island South: Tasmania to Pakistan
Sean Kelly reflects on the experience and the complexity of taking an exhibition initiated by Asialink called From an Island South of landscape work by Tasmanian artists, Bea Maddock, Richard Wastell, Julie Gough, David Stephenson, David Keeling, Philip Wolfhagen and Jonathan Kimberley with Jim Everett curated by Jane Stewart of the Devonport Gallery to Lahore in Pakistan. He found that the political side of the Tasmanian art and its use of traditional approaches to art combined with critical content had similarities with some art produced in Pakistan. He refers to the 2003-4 landmark show of contemporary Pakistan art seen in Playing with a loaded gun curated by Atteqa Ali.
Cape 07
Cape 07 was a large-scale contemporary African art event which took place in various locations across Cape Town, South Africa this year. Cape 07's main exhibition the Lions of Contemporary African Art featured the works of 45 African artists. The entire event was conceived as an attempt to establish creative dialogue between different artists and regions involved. This article briefly discusses some of the many venues and artists showcased as part of an event which was ultimately an edited version of the cancelled Trans Cape biennale. Cape 07 was curated by Gabi Ngcobo with Jonathan Garnham as project manager.
Galeria Metropolitana
Galeria Metropolitana is an independent and self-sustaining art space, allocated at a working class and semi-peripheral commune in the Southwest side of Santiago of Chile. Working primarily from a domestic space, the curatorial, production and management tasks carried out entail a radical challenge between art space managers, artists and neighbours or organisations. Galeria Metropolitana has become a kind of local 'institution of the alternative' and as a gallery project is considered unfinished, a permanent work in progress. The gallery is described as a self-reflexive space, not to be separated from its context, and works with art history (local-international), neighbourhood history and city history as its key concepts.
Walks and Transmissions: Santiago
Tom Nicholson is led by Galeria Metropolitana's co-director Luis Alarcon through an area of Santiago, which exists for the most part as a wasteland brought down during Pinoche's dictatorship. In one of the neighbouring suburbs, La Victoria, Nicholson learns of some of the area's history - being inhabited by landless people in 1957 - and of the commemorative action that takes place annually to mark this occupation. In accordance with these activities, Galeria Metropolitana held an event which featured the work of Aotearoan/New Zealand artist Daniel Malone and which brought attention to the different - and often conflicting - claims to truth with which words and images articulate experiences and aspirations.
Pat Hoffie: Cultural Servitude
This article looks at the work of Brisbane-based artist Pat Hoffie and the way she flirts with acceptability in her quasi-ironic method of cultural exploitation. In her art the inevitability of cultural servitude to capital flowers into something more complex and generative, and demonstrates how the local can make its mark on global frameworks. Hoffie's technique shows a layering of activity within the field of contemporary art, broadening into a complex visual concept of cross-cultural dynamics. Her artworks include material that signifies its history of cultural exploitation and commercialisation. Artworks directly referenced here include: 'No such thing as a level playing field', 'Blackbirding Series', 'Avatars (The Committee)' and 'Madame Illuminate Crack's Pictorial Guide to the Universe'.
James Geurts: 90 degrees equatorial
James Guert's recent show at the Experimental Art Foundation in Adelaide is described through this article to have induced an almost trance-like state from the arrangement of the four square light boxes, depicting scenes from four sites of interception to the four large digital projections humming with visual and auditory stimuli. The focus of this text is on Guerts remarkable journey to the four corners of the globe. The corners are literally represented by smallish triangle objects of inner lit plastic photographed and composed to construct a full form of the globe. The way they are presented, as foreign objects in the landscape, raise questions about the way the west relates to the wider world. In the particular settings Guerts has used, all being sites on or near the sea, the corners are impositions, objects at odds with the surrounding environments. This is enforced as a reminder about the extent that the West continues to impose its will on even the most remote communities.
Matthew Ngui: public artist
Matthew Ngui is a Singaporean born, Australian artist who makes intriguing and engaging public artworks that embrace the history of a given site. Ngui is fascinated by the ways in which we interact with artworks and the individual nuances and understandings each person brings to the encounter. Ngui describes his work as often loose, and multifarious, sometimes tenuous and always fragile. Scale and ambition are other easily identifiable elements in Nguis practice, whether it be transforming a cityscape with lights or covering a Swiss Village in an avalanche of 350,000 bouncing balls, each emitting a light and a whispered message.
Tributaries: South Africa
This article acts as a rough guide to recent art from South Africa. With galleries having multiplied during the early 2000s, the current state of contemporary art in South Africa is so that there are various major galleries, artist-run spaces, community arts centres, municipal galleries and museums and corporate collections helping to sow the seeds of what might in the near future become a more dynamic art circuit.
Trama 2000-2005
TRAMA was initiated in Argentina in 2000 by a group of artists. Rather than look for certainties, TRAMA created a context to share and confront questions, experiences and ideas. This article quotes various key figures involved in the collaborative practice of TRAMA, which, in 2006 became a network of artist led initiatives, formed by: La Agencia (Buenos Aires), El Levante (Rosario), La Baulera (Tucumán), Tallerh (Córdoba) and VOX (Bahía Blanca).
TRANS VERSA: Santiago
Co-curators Zara Stanhope and Danae Mossman discuss TRANS VERSAa project by thirteen artists at three venues in Santiago as part of The South Project gathering. Through this conversation Stanhope and Mossman discuss some of the challenges and aims of the project - to avoid being the importers of pre-existing art and to create an interest in engendering collaboration, with the fundamental idea based on flow and movement across geography. This discussion engages notions of globalisation, communication, knowledge and various cross-cultural agendas.
Indomite: a Chilean artist in Central Australia
I have always felt a deep fascination during the contemplation of what we call nature, its circular logic, its monumentality, its disorderly perfection - Ortega Through this text Leonardo Ortega documents his travels through the Australian desert where he lived out his curiosities about the Aboriginies who inhabit the lands, with their political and social situation becoming the central subject for his video-installation INDOMITE exhibited in Melbourne in 2006. This project continues on from Ortega's previous artwork The Ralco Model exhibited at Galeria Metropolitana, Santiago. As Oretega explains of the intention of these works and his practice at large I try to document diverse human subjectivities in a world that tends to homogenise those experiences. I try to rescue difference in a time when equality has stopped being a real humanistic value .
Selling Emily: confessions of a white advisor
In this article Philip Batty, a former art teacher at the Aboriginal community of Papunya offers some personal reflections on his involvements with the rise to fame of indigenous artist Emily Kngwarreye and other indigenous pieces and attempts to make sense of them. Batty discusses some of the problems associated with viewing these traditional works within the Western framework of modern art. He proceeds to offer some speculative answers as to how various political, economic, historical and aesthetic conventions transformed Aboriginal religious business into art. Batty uses the work of Emily Kngwarreye to exemplify how indigenous works can become merely a mirror image of European desires.
Subject Matters: South Africa
In recent years the growing intellectual input of young art practitioners, supported by Africans in the diaspora, is successfully managing to extend and complicate South African critical art discourse. It is here contested that artists across the non-white spectrum are reclaiming a notion of blackness as a political discourse to deconstruct and reject a normative white gaze that has not yet fully come to terms with its colonial and apartheid past. Since the birth of South African democracy in 1994, a whole range of art exhibitions and research projects have been mounted in public arenas, which reflect on these ideas. This article examines this with direct reference to the works of Frantz Fanon, Thembinkosi Goniwe, Gabi Ngcobo, Stuart Hall, Thando Mama, Liese van der Watt and others.
New Contemporaries: Issues of Identity in Maldivian Art
Mamduh Waheed discusses the current state of the arts in the Maldives, a country for which the word art has no formal existence. Despite this fact, there is plenty of art to speak of. The opening of the countries National Art Gallery in 2005 saw the exhibition Maldives Contemporary 2005 which included a display of local and international art. Subsequent to this was the establishment of a National Centre for the Arts, which focused primarily on the facilitating of academic and technical education in the arts and crafts. This article also looks at the role of tourism and trade as avenues for art and discusses the role of a group of younger local artists Waheed has here termed the New Contemporaries.
Turbulence: Third Auckland Triennial
Turbulence: Third Auckland Triennial Curator: Victoria Lynn 9 March - 4 June 2007
Visual Animals Symposium
Visual Animals: crossovers, evolution and new aesthetics Curator: Ian North Art Gallery of South Australia/CACSA 18 - 19 April 2007
Eyes Lies and Illusions
Eyes Lies and Illusions Australian Centre for the Moving Image Melbourne 2 November 2006 - 11 February 2007
The Weather Report: James Guppy
James Guppy: The Weather Reports Brenda May Gallery, Sydney 6 February 3 March 2007
Intimate Epics: Richard Woldendorp
Richard Woldendorp: Intimate Epics Goddard de Fiddes Gallery, Perth 3 - 24 February 2007
The One and the Many
Curators: Holly Arden and Chris Handran Griffith University, DELL Gallery Queensland College of Art 17 February 14 April 2007
saltwaterfreshwater
saltwaterfreshwater Curator: Thelma John Central TAFE Gallery, Perth 10 - 28 April 2007
Sneakers: Classic to Customs
Sneakers: Classics to Customs Curator: Roger Leong National Gallery of Victoria 16 December 2006 - 8 July 2007
Part & Particle: Denise Ava Robinson
Part and particle Denise Ava Robinson Burnie Regional Art Gallery 2 February 11 March 2007
Blood Sweat & Fears: Penny Byrne
Penny Byrne: Blood Sweat and Fears Sullivan +Strumpf Fine Art Sydney 6 25 March 2007
Port Adelaide: Rites of Passage
Port Adelaide : Rites of Passage Curator: Margot Osborne Adelaide Central Gallery 30 March 21 April 2007
Project Belonging: Alfredo & Isabel Aquilizan
Alfredo and Isabel Aquilizan Project Belonging: Another country Jan Manton Gallery, Brisbane 16 28 April 2007
Indigenous Initiatives: PNG and South Australia
These two short pieces look at two Indigenous artistic collectives in Papua New Guinea and South Australia. The Omie people of the Oro Province in PNG and artists from the Anangu Pitjantjatjara/Yankunytjatjara (APY) Lands in remote South Australia and the events which have taken place to showcase their unique creations to the wider communities are briefly didcussed. Please visit www.holmesacourtgallery.com.au and www.betterworldarts.com.au for more information.
A Response by a Fringe Dweller
Debates about what is mainstream, whether in global or national terms, seem to perennial. Some have claimed Aboriginal art is now mainstream. Stephanie Radok takes this notion apart.
Bridget Riley on Bridget Riley
Bridget Riley is an artist who has pursued her own agenda for over thirty years with no concessions and has made a place for herself within the heart of the art world not only with her work but through her extraordinary desire and willingness to communicate. On the occasion of her major survey exhibition in Sydney in the summer of 2004 at the Museum of Contemporary Art she kindly assembled for Artlink some excerpts from some of these interviews.
The Importance of Being 'Un-Australian'
Melbournes Moomba festival held in 1956 replaced the annual celebration of the winning of the eight-hour day. Thus an occasion that had originally been devised to commemorate an important victory of the Australian labour movement was transformed into a bipartisan celebration of civic pride and family values.
The New Cosmopolitans
During his visit to Melbourne in April this year, Bombay-born, Oxford-educated, Harvard professor, Homi Bhabha spoke of Vernacular Cosmopolitanism, the global citizenry of refugees, economic migrants and minorities within cultures who must learn about translation because you survive that way.
Location Location Location
The position of long-term visitor or unfaithful citizen affords a view from both within a culture and outside it. The art of Pasifika is as diverse as its people, it is a 21st Century hybrid reality. Pasifika is urban.
Shifting Gears: Asian Traffic
Asian Traffic was, outside the Asia-Pacific Triennial (APT), one of the most ambitious efforts undertaken in Australia aimed at exploring the multifarious nature of new Asian art and its complex intersection with contemporary Australian culture. Visitors were forced to join the Asian Traffic coming and going from the Asia-Australia Centre in Chinatown, Sydney, and in its ever-changing guises and fluid shifts in direction, the project successfully circumvented any traffic jams.
Towards Ubuntu: The Way of the South
Melbourne is the host city of the South Project, a project designed to celebrate the creative energies of people living in the southern hemisphere and create south-south dialogue between artists of the countries of the south. South 1 encouraged all kinds of responses: philosophical and whimsical, creative and conceptual, contesting and renewing ideas, in the first gathering of its kind.
Exchange Value # 1. If It's Tuesday it Must be a Conference on Art and Globalism
As with Feminism in the 1970s certain ideas are in the air and finding widespread expression amongst artists and art institutions. Globalism impacts upon artists options and this phenomenon of artists and curators on the move is the result of the explosion of communication around art. Peers looks at the influx in globalism and its various influences in the Australian and international art scene.
Exchange Value # 2. Keeping up the Momentum
Britton follows up from Peers examination of Art and Globalism to discuss the trends of international art residencies and the evident exchange in cultural values and creative receptibility that comes as a result of working in a foreign country; the buying of time away from other strategies for staying solvent - part time or full time jobs, or feeling under pressure to make work with commercial appeal .
The In-Between: Hybrid Arts Laboratories as Places to Question
Hybrid art laboratories - both funded and semi-funded - are dotting themselves around the Australian arts landscape. Most of them involve time away from the everyday, where experience can be intensified and where a new set of meetings between artists can take place. It is an experimental environment encouraging a mode of artmaking that struggles to exist between art form and another, one identity and another, one technology and another, one world and another.