Issue 38:2 | June 2018 INDIGENOUS
Kanarn Wangkiny/Wanggandi Karlto (Speaking from inside)
Guest editors: Clothilde Bullen, Curator of Aboriginal and Torres Strait Islander Collections and Exhibitions at the Museum of Contemporary Art, Australia and South Australian based artist James Tylor. This edition, representing Koorie, Nunga, Nyoongar and Palawa perspectives, will focus on southern Australia and issues of Indigenous sovereignty supporting the decolonisation of our Western-based cultural institutions.
Call for submissions
Artlink welcomes proposals for writing and information on associated projects and exhibition programs that relate to our forthcoming themed editions listed below. Priority will be given to essays, artist and project profiles that support Indigenous and non-Indigenous creative practices from Australia, New Zealand and the Asia Pacific. Multi-disciplinary perspectives are encouraged. Contact for submissions
Human flow [working title]
Issue 38:3 | September 2018
Expressions of interest due: May 2018
Contributor deadline: July 2018
Living in a time of the greatest mass migration of displaced people the world has ever known, this issue responds to ideas of human flow, trade and transit in the information age, and the role of artists as social agents, antagonists and radicants.
Considering the contemporary world more broadly as a place of transition and movement in which artists seek out opportunities to work across new sites and contexts for the creation and production of art through participating in the workshops of the world, finding temporary havens in studio-based residencies, sourcing opportunities to work with communities as mobile subjects.
Virtual Reality: Ways of seeing [working title]
Issue 38:4 | December 2018
Expressions of interest: 01 June 2018
Contributor deadline: September 2018
Guest editor: Julianne Pierce
Recently the world of Virtual Reality (VR) has become accessible and affordable with artists taking interest in the potential of immersive and multi-layered spaces. Is it a medium that will truly transport viewers into the depths and nuances of a new way of seeing, as an enhanced or altered view of reality?
Can VR be a positively disruptive force for change? What challenges and new opportunities does it offer the cultural producer in the creation of speculative world-building? And how does the medium facilitate opening up collaborative and connective spaces for museum and gallery audiences?
Proposals are welcome that address critical new ways of “seeing” and viewing the world through VR.