Holly Childs is a writer and artist from Australia working in and against contemporary literature. Her poetic, fictional and critical works have been performed and published in literary and contemporary art contexts around Australia and internationally. Her most recent work, an evolving performance series made collaboratively with J. G. Biberkopf, is Hydrangea, a myth about myths, in which every flower is a story in a forest that contains never-ending branching narratives. In Hydrangea, narrative fracture functions as an evolutionary mechanism; plot lines mutate, and realities fork; some stories bearing new blooms of further stories, while others wilt, producing ground for further stories.
Other recent works include writing for Angela Goh’s Uncanny Valley Girl (2017-ongoing), and the co-creation of Patternist, a sci-fi urban exploration AR game (2017-ongoing). She is the author of two novels: Danklands (Arcadia Missa, 2014-2017) depicting a heatwave in the emerging urban and domestic zone of Melbourne Docklands; and No Limit (Hologram, 2014) in which a rave occurs concurrent with the eruption of a volcano. She was a postgraduate research fellow in The New Normal 2017 programme at Strelka Institute, Moscow; and holds a Master of Fine Art and Design from Sandberg Instituut, Amsterdam. Her next novel Greenhouse Parking will be published in 2020.
J. G. Biberkopf is an artist working within the fields of sound, documentary, performance, and installation. J. G. Biberkopf's practice assembles a spectrum of influences deriving from sound studies and ecosophy, urbanism, art, and media theory. Their recent solo work and collaborations predominantly work to deconstruct the political imaginary active in Western society. In previous work, they have focused on aural memes, exploring the semiotics of sound, while their 'Ecologies' album series made a contribution in bringing the ecological discourse into the realm of electronic music. J. G. Biberkopf has presented works and collaborations at Barbican Centre (UK), Berghain (DE), Berlin Atonal (DE), Haus Der Kunst (DE), HEAD (CH), Liquid Architecture (AUS), Mutek (CA), Centre Pompidou (FR), Sonic Acts (NL), Transmediale (DE), The Kitchen (US), Unsound (PL), Venice Biennale (IT) and various others. J. G. Biberkopf has collaborated with numerous artists, including DeForrest Jr. Brown, Holly Childs, Mariechen Danz, Marija Bozinovska Jones, Ieva Misevičiūtė, Marcel Weber (MFO), and others. They were a key member of the curatorial teams of the Newman Festival (2015) and Unthinkable Nomos research platform (2016). They hold an MA in Film, Design, and Politics from Sandberg Institute.
'Blue Carbon, Intertidal'
an interstitial section of Hydrangea
Written by Holly Childs
Music by J. G. Biberkopf
Voiced by Elif Özbay
Film by Holly Childs
2019
Video, 3min 20sec
Blue Carbon, Intertidal is a hydrologic meditation on the zone adjacent to the sea that is above water at low tide and underwater at high tide. It is a cyclical text that repeats time and action, changes subtly in each cycle, breaking down specifics, conveying similar information in different ways, like the endless permutations of tides in innumerable bodies of water on a blue planet.
Holly Childs is a writer and artist from Australia working in and against contemporary literature. Her poetic, fictional and critical works have been performed and published in literary and contemporary art contexts around Australia and internationally. Her most recent work, an evolving performance series made collaboratively with J. G. Biberkopf, is Hydrangea, a myth about myths, in which every flower is a story in a forest that contains never-ending branching narratives. In Hydrangea, narrative fracture functions as an evolutionary mechanism; plot lines mutate, and realities fork; some stories bearing new blooms of further stories, while others wilt, producing ground for further stories.
Other recent works include writing for Angela Goh’s Uncanny Valley Girl (2017-ongoing), and the co-creation of Patternist, a sci-fi urban exploration AR game (2017-ongoing). She is the author of two novels: Danklands (Arcadia Missa, 2014-2017) depicting a heatwave in the emerging urban and domestic zone of Melbourne Docklands; and No Limit (Hologram, 2014) in which a rave occurs concurrent with the eruption of a volcano. She was a postgraduate research fellow in The New Normal 2017 programme at Strelka Institute, Moscow; and holds a Master of Fine Art and Design from Sandberg Instituut, Amsterdam. Her next novel Greenhouse Parking will be published in 2020.
J. G. Biberkopf is an artist working within the fields of sound, documentary, performance, and installation. J. G. Biberkopf's practice assembles a spectrum of influences deriving from sound studies and ecosophy, urbanism, art, and media theory. Their recent solo work and collaborations predominantly work to deconstruct the political imaginary active in Western society. In previous work, they have focused on aural memes, exploring the semiotics of sound, while their 'Ecologies' album series made a contribution in bringing the ecological discourse into the realm of electronic music. J. G. Biberkopf has presented works and collaborations at Barbican Centre (UK), Berghain (DE), Berlin Atonal (DE), Haus Der Kunst (DE), HEAD (CH), Liquid Architecture (AUS), Mutek (CA), Centre Pompidou (FR), Sonic Acts (NL), Transmediale (DE), The Kitchen (US), Unsound (PL), Venice Biennale (IT) and various others. J. G. Biberkopf has collaborated with numerous artists, including DeForrest Jr. Brown, Holly Childs, Mariechen Danz, Marija Bozinovska Jones, Ieva Misevičiūtė, Marcel Weber (MFO), and others. They were a key member of the curatorial teams of the Newman Festival (2015) and Unthinkable Nomos research platform (2016). They hold an MA in Film, Design, and Politics from Sandberg Institute.
'Blue Carbon, Intertidal'
an interstitial section of Hydrangea
Written by Holly Childs
Music by J. G. Biberkopf
Voiced by Elif Özbay
Film by Holly Childs
2019
Video, 3min 20sec
Blue Carbon, Intertidal is a hydrologic meditation on the zone adjacent to the sea that is above water at low tide and underwater at high tide. It is a cyclical text that repeats time and action, changes subtly in each cycle, breaking down specifics, conveying similar information in different ways, like the endless permutations of tides in innumerable bodies of water on a blue planet.
Runway Journal acknowledges the custodians of the nations our digital platform reaches. We extend this acknowledgement to all First Nations artists, writers and audiences.
Runway Journal is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
Runway Journal receives project support from the NSW Government through Create NSW.
Runway Journal acknowledges the custodians of the nations our digital platform reaches. We extend this acknowledgement to all First Nations artists, writers and audiences.
Runway Journal is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
Runway Journal receives project support from the NSW Government through Create NSW.