Feature

Soft Infrastructure

Connie Anthes and

Julia Bavyka

By Eleanor Zurowski — 26 March, 2019

This is a sonic response to Connie Anthes and Julia Bavyka’s exhibition Soft Infrastructure at Firstdraft and is best listened to with headphones. The exhibition considered how to ‘actively dismantle’ or ‘think away’ from the institution. Felt, as a material, is formed by ‘matting, condensing and pressing’ through ‘applying heat, moisture and friction to entangle…

Do you know this feeling?

Curated by

Sebastian Henry-Jones

By June Miskell — 8 March, 2019

This text is in dialogue with the exhibition Do You Know This Feeling? at Firstdraft. Curated by Sebastian Henry-Jones, the exhibition featured the work of Arben Dzika, Athena Thebus, Cee Powell, Chi Tran, Cristine Brache, Frontyard, IchikawaEdward, JD Reforma and Trinh T. Minh-Ha. This text riffs off JD Reforma’s work Why should I be sad?…

Autumn Almanac

Simon Yates

By Vanessa Berry — 22 February, 2019

This text is in dialogue with the exhibition Autumn Almanac at KNULP, and is the next instalment in RD’s feature series of paratextual responses. Imagine a library as wide as it is tall, as deep as it is wide, with narrow corridors in between the shelves, all of which are packed tightly with books. This was…

The Ropes

Amrita Hepi x Adrian Piper &

the YIRRAN MIIGAYDHU WEAVERS

By Dr. Jessica Olivieri — 20 February, 2019

Megan Monte and Josephine Skinner mark one year at the helm of Cement Fondu with The Ropes, an exhibition that brings together the work of First Nations artist/choreographer/performer Amrita Hepi and American conceptual artist/philosopher Adrian Piper. Alongside The Ropes is an exhibition of contemporary woven sculpture by the Yirran Miigaydhu Weavers. Placing these three practices…

it’s hard to move away from turning water

Tom Blake

By Naomi Riddle — 23 November, 2018

‘Drawing on the writing of Lyn Hejinian, [this exhibition] takes a boxed archive of 35mm slides stored within a pebblecrete shower cubicle as an allegorical site from which to contemplate the fluidity of forms as they are presented, viewed and recalled across time. Via sculpture, cyanotype, mobiles and de-silvered mirrors, imagery drawn from within the…

All Ears: A Listening Party

Frances Barrett

& Jessica Olivieri

By Stella Maynard & Em Size — 4 October, 2018

This text is the next instalment in RD’s feature series of paratextual responses, and is in dialogue with All Ears: A Listening Party—a Campbelltown Arts Centre project conceived by Frances Barrett and co–curated by Frances Barrett & Jessica Olivieri. All Ears invited audiences to attune themselves to the practice of queer listening and featured the…

John Mawurndjul:

I am the old and the new

By Susie Anderson — 20 September, 2018

two ways at Maningrida they never stopped climbing trees found a way to keep mardayin ceremony but some were taken too unscroll bark canvas work with fire smell thick in air on walls Ngalyod rainbow serpent bodies coiled together power in its bones these words are better poetry all I know is only written but…

Session Vessels

Organised by Rafaela

Pandolfini & Ainslie Templeton

By Lily Golightly — 23 August, 2018

This text is in dialogue with the exhibition Session Vessels at Airspace Gallery, and is the next instalment in RD’s feature series of paratextual responses. Organised by Rafaela Pandolfini and Ainslie Templeton, Session Vessels featured the work of twenty artists and collectives from Australia and the US.  I planted a wattle tree in our front yard in November…

Sheer Fantasy

Curated by

David Capra

By Em Size — 1 June, 2018

‘Sheer Fantasy, [curated by David Capra], suspends time to confront the role of the fantastical and how it plays within our collective conscious. In this exhibition, the world as we know it bends and shifts, making room to indulge in our greatest fantasies.’ UP STAGE I sent you a sext that left you ‘so shook’….

Terror Nullius

Soda_Jerk

By Lauren Carroll Harris — 25 May, 2018

Soda_Jerk are bomb-throwers. For more than fifteen years, the Australian, New-York-based collaborative unit have made an art practice out of cutting, collaging and appropriating—watching for the blind spots in the official narratives of culture, politics and history, fascinated less by what’s present than what’s omitted. Now, in their 55-minute video work, Terror Nullius (2018), they…