By Jacqui Shelton — 7 August, 2020
This piece is the fourth in a five-part series of responses for BLEED—an online biennial festival from Arts House and Campbelltown Arts Centre. This article was written in response to Angela Goh and Su Yu Hsin’s ‘Paeonia Drive‘ (2020), which you can view here. Walking my dog in the city council-maintained garden, I notice the…
By Alexandra McCallum — 17 April, 2020
This piece is one of two articles commissioned in response to the 2020 Keir Choreographic Award, a national biennial award dedicated to innovative, experimental and cross-artform practices in contemporary dance. Both authors attended Claudia La Rocco’s writing workshop, where they were asked to consider how language lives in time and space—on the stage, the page,…
By Amelia Wallin — 26 October, 2018
Silicone breast-enhancing inserts, self-massage tools, flat screen televisions and their associated cables, cans of ‘Mother’ energy drink, and a boxy wind blower. These objects of artificial simulation constitute the set of Angela Goh’s Uncanny Valley Girl at Liveworks Festival, and generate many of Goh’s performative actions. Everything appears synthetic, down to her pleather footwear and…
By Paul Kelaita — 12 October, 2018
There’s a provocative question asked in one of the many video works in The Public Body .03 that lasts for only a second—‘but what if a species is nothing more than a set of relationships?’ The question appears in Korakrit Arunanondchai’s ‘with history in a room filled with people with funny names 4’ (2017), a…
By Naomi Riddle — 1 December, 2017
‘If SCUM ever strikes, it will be in the dark with a six-inch blade.’ Valerie Solanas, The SCUM Manifesto (1968) ‘She knew herself, how she had slowly, over years, become a cat, a wolf, a snake, anything but a girl. How she had wrung out her girlhood like death.’ Catherynne M. Valente, Deathless (2011) …