Open Arts Journal here
Creativity and Innovation in a world of Movement (CIM) research project here
Creativity and Innovation in a World of Movement’
(CIM) explored the dynamics of cultural production
and creativity in an era of intensifying globalisation
and transnational connectivity, conducted by a team
of scholars in the United Kingdom, Norway, the
Netherlands and Austria. Instead of assessing the
relative novelty of end products, the project took
a processual approach by analysing practices of
appropriation, consumption and (re)contextualisation
in the spheres of (popular) art, religion and museums.
Acknowledging the significance of individual or groupspecific
understandings of ‘creativity’, CIM explored
critically how different notions of cultural value
and processes of authentication, authorisation and
commoditisation have affected people’s engagements
with objects and images. A broad perspective was
obtained by investigating concrete, partially interlinked
processes across five continents, following successful
ethnographic fieldwork in India, Sri Lanka, Ghana,
Argentina, Brazil, Barbados, Trinidad, Suriname, Guyana,
Canada, Australia, Norway, France, Austria and the UK. (Leon Wainwright page 4)
Creativity and Innovation in a world of Movement blog here
Cultural Dynamics and emotions here
Monday, 10 August 2015
Jukuja Dolly Snell 2015 Telstra Winner
Jukuja Dolly Snell wins the 2015 Telstra National Aboriginal and Torres Strait Islander art award.
Article here
Vincent Namatjira painting
Interview with Vincent Namatjira here
This screen grab of interview is of a painting about Captain Cook being shocked at seeing Aboriginal people for the first time
This screen grab of interview is of a painting about Captain Cook being shocked at seeing Aboriginal people for the first time
Vincent Namatjira: This one here
is when he first come into contact with Indigenous in the inland. This is James
Cook also. He had a shocked face when he seen Aboriginal for the first time.
And he had that, "Oh, what's that? What's that? Is that - must be
mammal."
Thursday, 6 August 2015
Ink Remix
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| Yao Jui-Chung, Yao’s Journey to Australia, 2015, biro, blue ink with gold leaf on India handmade paper, 195 x 539 cm. |
Ink Remix contemporary Art from mainland China, Taiwan and Hong Kong
Extending the long tradition of using the medium of ink, these emerging artists on show in Canberra 3 July to 18 October 2015.
Yao Jui-Chung, Taiwan
Tuesday, 19 May 2015
Hans Ulrich Gumbrecht and social construction of temporality
Gumbrecht: “We have to rethink political organization”
Michał Sutowski speaks with Hans Ulrich Gumbrecht - philosopher and literary theorist, Professor at Stanford University published here in Political Critique 23 January 2015
uses term history for old mode of perception:
'I try to historicize History, admitting that it is still around, but no
longer as the dominant way under which we think about time and make our
experience with regards to time.'
'I have a different understanding of the end of history than my Stanford colleague, Fukuyama. Certainly, there is no such thing as a literal end of history: there will always be transformations, there will always be new events, unexpected events – in that sense, history continues. What differs is the regime d’histoire, the chronotope. History – in the Hegelian sense – was the chronotope of the 19th c. and most of the 20th c. It can be characterized by three features. First, you progressively leave the past behind, and the further behind you leave it, the less its orientational power matters. Second, the future is an open horizon of possibilities from which you can choose. Third, between the past and the future the present has shrunk to an imperceptibly short moment. Such a construction of time comes from the 18th c. and was so heavily institutionalized throughout the 19th and 20th century that people thought: “this is time in and by itself”'.
Production of Presence
'I have a different understanding of the end of history than my Stanford colleague, Fukuyama. Certainly, there is no such thing as a literal end of history: there will always be transformations, there will always be new events, unexpected events – in that sense, history continues. What differs is the regime d’histoire, the chronotope. History – in the Hegelian sense – was the chronotope of the 19th c. and most of the 20th c. It can be characterized by three features. First, you progressively leave the past behind, and the further behind you leave it, the less its orientational power matters. Second, the future is an open horizon of possibilities from which you can choose. Third, between the past and the future the present has shrunk to an imperceptibly short moment. Such a construction of time comes from the 18th c. and was so heavily institutionalized throughout the 19th and 20th century that people thought: “this is time in and by itself”'.
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Thursday, 14 May 2015
All the World's Futures
Okwui Enwezor curating 56th Venice International Art Biennale 2015: tackling global politics and disorder, and the disconnect between how things are and how they appear.
copied from AN
The Nigerian-born international writer and curator promises to look back over the 120-year history of the Biennale as a parable from which to consider historical narratives and counter-narratives. Taking on an at once global and fragmented worldview, the exhibition aims to reflect on the disconnect between how things are and how they appear.
Asking ‘How can the current disquiet of our time be properly grasped, made comprehensible, examined, and articulated?’, Enwezor has initiated a multi-layered approach to the exhibition, using three intersecting sub-themes as a way of facilitating multiple perspectives. These are: Liveness: On epic duration; Garden of Disorder; and Capital: A Live Reading
Liveness: On epic duration will consider the whole exhibition as a stage-set for changing narratives. With this, Enwezor is positioning All the World’s Futures as “a program of events that can be experienced at the intersection of liveness and display.”
Garden of Disorder proposes a simultaneously irreverent and deeply serious reappraisal of the current geo-political climate. Inspired by its location within the Giardini – the enclosed exhibition garden famed for its imposing national pavilions that through the microcosm of artistic diplomacy play out a form of world politics – artists are invited to create new work taking inspiration from the historical concept of the ‘garden’ as a paradisiacal site for tranquility, pleasure, order and purity.
A live reading of the four volumes of Karl Marx’s Das Kapital will occur daily over the seven months of the Biennale, gradually evolving into a series of work songs, librettos, script readings, discussions and film screenings. Artists, theorists, students, performers and members of the public will be invited to present their concepts and ideas around Capital today.
“Capital is the great drama of our age,” says Enwesor. “Today nothing looms larger in every sphere of experience, from the predations of the political economy to the rapacity of the financial industry. In All the World’s Futures, the aura, effects, affects, and spectres of Capital will be felt in one of the most ambitious explorations of this concept and term.”
Venice Biennale president Paolo Baratta adds: “It is not the first time that an exhibition faces a world filled with uncertainty and turmoil whilst the ‘garden of the world’ appears to us as a “garden of disorder”, and it is also not the first time that faced with a complicated reality, an exhibition responds with the enthusiasm and dynamism evident in the one we are in the throes of organising.”
copied from AN
The Nigerian-born international writer and curator promises to look back over the 120-year history of the Biennale as a parable from which to consider historical narratives and counter-narratives. Taking on an at once global and fragmented worldview, the exhibition aims to reflect on the disconnect between how things are and how they appear.
Asking ‘How can the current disquiet of our time be properly grasped, made comprehensible, examined, and articulated?’, Enwezor has initiated a multi-layered approach to the exhibition, using three intersecting sub-themes as a way of facilitating multiple perspectives. These are: Liveness: On epic duration; Garden of Disorder; and Capital: A Live Reading
Liveness: On epic duration will consider the whole exhibition as a stage-set for changing narratives. With this, Enwezor is positioning All the World’s Futures as “a program of events that can be experienced at the intersection of liveness and display.”
Garden of Disorder proposes a simultaneously irreverent and deeply serious reappraisal of the current geo-political climate. Inspired by its location within the Giardini – the enclosed exhibition garden famed for its imposing national pavilions that through the microcosm of artistic diplomacy play out a form of world politics – artists are invited to create new work taking inspiration from the historical concept of the ‘garden’ as a paradisiacal site for tranquility, pleasure, order and purity.
A live reading of the four volumes of Karl Marx’s Das Kapital will occur daily over the seven months of the Biennale, gradually evolving into a series of work songs, librettos, script readings, discussions and film screenings. Artists, theorists, students, performers and members of the public will be invited to present their concepts and ideas around Capital today.
“Capital is the great drama of our age,” says Enwesor. “Today nothing looms larger in every sphere of experience, from the predations of the political economy to the rapacity of the financial industry. In All the World’s Futures, the aura, effects, affects, and spectres of Capital will be felt in one of the most ambitious explorations of this concept and term.”
Venice Biennale president Paolo Baratta adds: “It is not the first time that an exhibition faces a world filled with uncertainty and turmoil whilst the ‘garden of the world’ appears to us as a “garden of disorder”, and it is also not the first time that faced with a complicated reality, an exhibition responds with the enthusiasm and dynamism evident in the one we are in the throes of organising.”
Monday, 11 May 2015
Monday, 4 May 2015
'Most culturally sensitive exhibition'
Aboriginal art unfit for Western eyes Indigenous Australia show is one of the most culturally sensitive projects in the British Museum's history
Bringing great Australian indigenous works of art into the light at British Museum by Gaye Sculthorpe
10:29PM BST 02 May 2015
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Friday, 1 May 2015
Indigenous Australia enduring civilisation at the British Museum
Indigenous Australia enduring civilisation
Guardian summary of launch
Jonathan Jones review 21 April 2015
'What is civilisation? Westerners tend to think it has something to do with Greek statues and classical music. No wonder they failed to recognise it when they saw it in the great southern continent that James Cook claimed as a British possession in 1770. The expressions of civilisation that could be clearly seen all over Australia were so different and so unfamiliar that Aboriginal culture was denied to even exist.
No people has been quite so consistently disparaged by Europeans as Indigenous Australians and Torres Strait Islanders, whose tragic story is movingly told in this thought-provoking exhibition.'
Guardian summary of launch
Jonathan Jones review 21 April 2015
 | |||
| Kungkarangkalpa (detail) Kunmanara Hogan, Tjaruwa Woods, Yarangka Thomas, Estelle Hogan, Myrtle Pennington. Tjuntjuntjara Great Victoria Desert Western Australia 2013. |
'What is civilisation? Westerners tend to think it has something to do with Greek statues and classical music. No wonder they failed to recognise it when they saw it in the great southern continent that James Cook claimed as a British possession in 1770. The expressions of civilisation that could be clearly seen all over Australia were so different and so unfamiliar that Aboriginal culture was denied to even exist.
No people has been quite so consistently disparaged by Europeans as Indigenous Australians and Torres Strait Islanders, whose tragic story is movingly told in this thought-provoking exhibition.'
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Blog posts from British Museum here by Gaye Sculthorpe, Maria Nugent, Rachael Murphy etal
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Events
French researchers
Aboriginal communities should not be closed !
By Martin Préaud, Barbara Glowczewski and 16 French researchers working in Australia - 27 avril 2015
'invasion is not a linear process'
'So just imagine one day getting told that your suburb will « be closed ». That you won’t have access to electricity, water, health care and education for your children any longer, i.e. to the services that every other citizen of the country where you live is entitled to. The reason ? Not a war, as is the case in many places where populations are forced to flee and hide, but the simple fact that the government has decided that you cannot live more than 100 kms away from a town, sharing with others a « lifestyle » in a community deemed « unsustainable and unlikely to attract development opportunities for the future ».' Read full article here
Thursday, 26 March 2015
Stop Closures of Communities in Western Australia
Draft discussion paper revealed on ABC here.
'Government investment would be stopped in 75 remote Aboriginal communities and very limited in 53 more under a new funding strategy proposed by Western Australia's housing department.
'Government investment would be stopped in 75 remote Aboriginal communities and very limited in 53 more under a new funding strategy proposed by Western Australia's housing department.
The draft discussion paper, seen by the ABC, used 15 specific criteria to determined the risks to further investment and viability of communities, before placing them in five separate funding categories.'
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