Editorial: Movement

We come to know movement by examining relationships between things. In these zones, there is time to consider, to contemplate and to feel into space. This issue of Runway, #28 MOVEMENT, has approached the perfomative, examining both the prevailing quality of contemporary practice to ‘move’, and the motivations and fascinations by which it is itself moved. As in Angela Garrick’s article, ‘Lee Lozano and the Unknown Line, movement is perceived as the process of ‘knowing the unknowing’.

Tim Woodward’s contribution, ‘Stuffed Artist’, plays with this concept. A series of gifs in comic-strip style depict a louche Pink Panther puppet, dressed in a beret and artist’s smock, manipulated by a puppeteer. Readjusting his limbs, she explains her method, ‘… [an] interesting triangle where I have to understand what he’s trying to communicate in order for me to make him alive appropriately’. Pip Wallis’ reflection on a workshop with Simone Forti also compels the reader to consider the unknown

Inside Issue #26

Hunting Ground: Dancing with Drones

Ann Finegan

The idea of a hunting ground can send a chill down the spine, a primitive touchstone to animalistic rites and dark nature. Popular franchises like The Hunger Games seem to tap into deep longing for rituals reactivating psyches dormant for centuries. Within the artificial construct of an adrenaline arena, humans fight or take flight. Something

The Body, Again

Henry Andersen

I. In the video, it is February, 2015. We see the chambers of the Turkish parliament in Istanbul. The parliament is in session to debate newly proposed legislation that would give increased powers to the Turkish police. The room is relatively full—members of the public are in attendance, some holding banners and chanting in opposition

While walking

Stella Rosa McDonald

I seem as in a trance sublime and strange To muse on my own separate phantasy, My own, my human mind, which passively Now renders and receives fast influencings, Holding an unremitting interchange With the clear universe of things around[1] Many of the things Ian Fairweather made never lasted. He painted on

Lee Lozano and The Unknown Line

Angela Garrick

The documentation of an art object, or an attempt at understanding and further representing a ‘real life’ event, is often imbued with senses of loss, confusion and ephemerality. The act of retracing can render such movements and legacies simply unknown. The encounter between object, event and spectator can be metaphorical and purely representational, the

Gaze-Daze: an Open Letter of Concern

Chloe Watson Victoria Maxwell

What is Gaze-daze? Gaze-daze can be understood as an environmentally specific iteration of vertigo, best described as the illusion of movement at a moment of stasis. Sufferers will often feel their head spinning and/or body swaying as if on a boat or attached to a pendulum. Less commonly, individuals note a sensation akin to

An Inside Look into an Inside Job

Brendan McCleary

If you visited NEW15, ACCA’s annual exhibition of emerging artists from Australia and New Zealand, chances are you were met with a shrug from one of the invigilators in the gallery.[1] Whether it was during a small interaction, a greeting, or mid-conversation, the invigilator would have shrugged at you at least once. I was one

Wish You Were Here

Friends with Deficits

Wish You Were Here is a new work by Friends with Deficits (Amelia Wallin, Lisa Mumford and Maria White), which exists as an virtual score and a live performance. Wish You Were Here blends the experience of the island as paradise with the island as prison. Found text from the letters of detained refugees creates a monologue

Zoo with Simone Forti

Pip Wallis

*This text was developed under the instruction of American artist and dancer Simone Forti on site at the Los Angeles Zoo, the location of much of Forti’s own research into movement.     Don’t look at snakes when we’re fighting Tree green serpent curled as water bowl The zebra stands still with its head raised

Manifesto of Decelerationism*

Laura Couttie

We stay awake at night, my contemporaries and I, we cannot sleep, for the streetlights shine like beacons through our windows, and Oh! the clamour of cars, buses, trucks—hissing, beeping, honking, whirring. The wailing of a siren sounds in the distance and quickly, moving ever closer, the noise louder and louder, reverberating as though

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Conversations 2

  The day began with Marina discussing the topics of lovers and performance documentation. The day ended with watching a scene from Love Hard, a hard-core feminist porn. Over the residency, conversations consistently orbited the topic of ‘performance documentation’. Marina was direct and well rehearsed with this topic: you must capture the dynamics at play

Conversations 1

  Between June 22nd and July 5th I lived in Pier 2/3 as part of the Australian Artist’s Residency Program that accompanied Marina Abramovic in Residence, a major project organised by Kaldor Public Art Projects. This project was split across two levels of the historical warehouse on Sydney Harbour. On the top level of the Pier, I was one


** PROPOSAL DEADLINE: 5pm AEST, TUESDAY 15 SEPTEMBER 2015 **   Video Still from Lover’s Look by TorrieTorrie, 2015.   Art has a fraught relationship with pornography. Art has typically been distinguished from pornography by its appeal to a contemplative state of mind that has been termed ‘disinterestedness’ in classical philosophy. However, over the centuries artists

This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

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