︎︎︎ TEMPO/REALITIES: Notes on anachronism in Australian art (2023)
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‘And then there is the matter of the highly improper manipulation of time. [..] Sometimes one feels like banging the table and exclaiming, “Enough of this! Keep off time, time is untouchable, one must not provoke it! Isn’t it enough for you to have space? Space is for human beings, you can swing about in space, turn somersaults, fall down, jump from start to start, but for goodness’ sake, don’t tamper with time!”’
The Street of Crocodiles and Other Stories, Bruno Schultz
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‘And then there is the matter of the highly improper manipulation of time. [..] Sometimes one feels like banging the table and exclaiming, “Enough of this! Keep off time, time is untouchable, one must not provoke it! Isn’t it enough for you to have space? Space is for human beings, you can swing about in space, turn somersaults, fall down, jump from start to start, but for goodness’ sake, don’t tamper with time!”’
The Street of Crocodiles and Other Stories, Bruno Schultz
︎︎︎ Programmatic Excess (2021)
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Despite its importance to the daily functioning of society, the work of waste management remains largely invisible to the public. Redesigning the programme and placement of waste management facilities can make waste work more visible, in turn instilling in the public a greater environmental awareness.
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Despite its importance to the daily functioning of society, the work of waste management remains largely invisible to the public. Redesigning the programme and placement of waste management facilities can make waste work more visible, in turn instilling in the public a greater environmental awareness.
︎︎︎ The Video-Gambler (2020)
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They each gamble with video. But video is the medium, not the currency. They can lose time, lose sleep, but what do they stand to win? A profound connection perhaps, an unencumbered one. The video-gambler believes that the most honest person is the stranger.
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They each gamble with video. But video is the medium, not the currency. They can lose time, lose sleep, but what do they stand to win? A profound connection perhaps, an unencumbered one. The video-gambler believes that the most honest person is the stranger.
︎ To Film, to Relate to Land (2020)
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In 1975, when Mervyn Bishop photographed Whitlam and Lingiari exchanging a handful of soil, he provided a symbol for the Indigenous struggle for equity, and thereby helped to establish land rights as a fundamental issue of Australia’s subsequent era. Through their extensive analytics, which can be couched in terms of filmmaking, Karrabing illustrate the damaging impact of a deeply lacking land rights policy - one that is all the more damaging in its latest guise: the Intervention. [...]
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In 1975, when Mervyn Bishop photographed Whitlam and Lingiari exchanging a handful of soil, he provided a symbol for the Indigenous struggle for equity, and thereby helped to establish land rights as a fundamental issue of Australia’s subsequent era. Through their extensive analytics, which can be couched in terms of filmmaking, Karrabing illustrate the damaging impact of a deeply lacking land rights policy - one that is all the more damaging in its latest guise: the Intervention. [...]
︎I have seen the ghost of a friend (2020)
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The highlighted text was generated using language modelling software XLNet. I gave the machine the following few sentences as its source.
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The highlighted text was generated using language modelling software XLNet. I gave the machine the following few sentences as its source.
︎ Grapevine Residency - ‘Gossip’ (2020)
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How do artworks produce new historical truths? How can an artwork revise history? The example that this question starts from for me is an engraving from 1865 that depicts a colonial scene from 1770, and features the Union Jack, a flag that didn't exist until 1801. Lots to think through with this example but I'm interested in how the artwork is used to establish counterfactuals as historical truths. [...]
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How do artworks produce new historical truths? How can an artwork revise history? The example that this question starts from for me is an engraving from 1865 that depicts a colonial scene from 1770, and features the Union Jack, a flag that didn't exist until 1801. Lots to think through with this example but I'm interested in how the artwork is used to establish counterfactuals as historical truths. [...]
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Nana (2019)
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Ever since I moved into my new flat a couple of months ago, I’ve been looking after a ghost. I do this by playing her music. Sometimes I play songs off my laptop, but she likes it best when I sing. She’s old you see; a tiny, shrivelled old lady. Despite being able to hum along, she prefers to sit there quietly in her rocking-chair and really listen. [...]
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Ever since I moved into my new flat a couple of months ago, I’ve been looking after a ghost. I do this by playing her music. Sometimes I play songs off my laptop, but she likes it best when I sing. She’s old you see; a tiny, shrivelled old lady. Despite being able to hum along, she prefers to sit there quietly in her rocking-chair and really listen. [...]
︎ From Impose to Expose (2018)
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The following writing concerns architecture in its use as a tool for both norm-making and norm-breaking. If architecture reflects the ideals of a society in which it is produced, this is often an ideal of order. In this sense a building can be a tool for keeping things tidy; for re-establishing norms and covering up unsightly behaviours. However if architecture can be used to repress, I aim to uncover counterexamples in which architecture plays a liberative role.[...]
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The following writing concerns architecture in its use as a tool for both norm-making and norm-breaking. If architecture reflects the ideals of a society in which it is produced, this is often an ideal of order. In this sense a building can be a tool for keeping things tidy; for re-establishing norms and covering up unsightly behaviours. However if architecture can be used to repress, I aim to uncover counterexamples in which architecture plays a liberative role.[...]
