By Holly Isemonger — 9 August, 2019
We’re on a packed train on the London underground and Beatrice Gibson is having a panic attack. Her confessional voiceover is paired with images of destruction, global turmoil, family footage of kids playing, and domestic life. Through this kaleidoscopic collage of life in the 21st century, I Hope I’m Loud When I’m Dead (2018) asks:…
By Claire Cao — 5 July, 2019
The birth of Communist China heralded an explosion of life. Cocooned in the monumental shadows of the Gate of Heavenly Peace, Mao Zedong publicly avowed that a greater population meant greater power for his fledgling state. Like blood haemorrhaging from a cut, births increased—by the late ‘70s, China had a population of more than 900…
By Eloise Grills — 2 July, 2019
In the pre-Jackie period, when I was on Tinder, my friend and I engaged in a contest to see how many people we could sleep with. I only amassed four bedpost notches before I quit. I am a bad dater. I hate going out, sleeping in beds that aren’t mine. …
By Tyler Patterson — 11 June, 2019
On the first day of spring in 1914, a train tore through the Australian countryside en route to Toowoomba from Brisbane. Belching smoke and swallowing shovelful after shovelful of coal, it carried the anthropologist Bronislaw Malinowski, who was touring Australia with the British Association for the Advancement of Science Congress, and his childhood friend—the artist-playwright…
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…