editorial : FUTURES

When initially thinking about the theme of this issue, my thoughts were immediately drawn to my own work and its relationship with cinematic and tele-visual representations of futures and time-travel. As the submissions flooded in for our first issue in some time to be curated by the editorial board exclusively from an open call out, a pattern began to emerge. Whether considering Futures from a spiritual, practical, supernatural, optimistic or analytical position, an ongoing thread of self-reference and personal narrative runs throughout the contributions to this issue.

Perhaps there is something inherent to our cultural understanding of the future that draws us to consider it in close relationship to ourselves? In this issue, Rachel Fuller uses her own experience as an anchor point for discussing the work of Sydney artist Kate Mitchell; Naomi Gall investigates her and others’ motivations behind starting an Artist-Run Initiative in Birmingham; John Alexander Borley conducts a personal experiment in a thrift store in New Zealand and Darren Jorgensen considers the self-consciousness arising from institutionalised art practice…

Inside Issue #14

Stuart Bailey: An Excercise in Imminent Doom

Amita Kirpalani In bricolage—the simultaneous jarring and cross-infection of images—objects and text convey the clamor of ideas. All frantic correlation, the hunt and the scavenge reveal just enough to point to a cultural moment or locality. Here, subjectivity flips in and out of focus. Let’s begin with a sense of imminent doom. Flaubert, in describing


George Egerton-Warburton Simon Starling’s Metamorphapportioning marked the artist’s first venture to the Great Western abyss of Kojonup, South Western Australia. Having met briefly with Starling upon arrival, he made it clear that it was going to take him a few days to come to terms with the heat, flies, and West Australian accents. He was also unsure

Skeptics Vs. Mystics

Melissa Loughnan

MELISSA LOUGHNAN in conversation with SEAN PEOPLES, NATHAN GRAY & MICHAEL ATAVAR American artist Michael Atavar explores temporality and spirituality in his art, operating within and beyond gallery walls through literature, performance and the internet. Nathan Gray uses aggregation as a metaphor from which to build his installation work: both psychedelic and optimistic, his organic

Kate Mitchell: Self Help for the Super Hero

Rachel Fuller

    Last year I was in New York City. An Australian locked in an American summer. I spent my days on somewhat of a pool seeking tour: divining a swimmable body of water. I found myself in Central Park at Lasker Pool and, as tended to happen I was waiting. Waiting for the pool

You Are Your Own Screen, You Own Your Own Screen

Ella Barclay

DISPARATE LAMENTATIONS ON SODA_JERK’S ASTRO BLACK   Let us assume that every ‘thing’ is interconnected, interactive, interfaced and intercultural. Sampling is always experimental, in that the potential results are not a given. We are splintering consensual realities to test their substance, utilizing the tools of collision collage, composition, decomposition, progression systems, ‘random’ chance, juxtaposition, cut-ups,

The Future, Conveyed

Naomi Gall

NAOMI GALL interviews CHARLIE LEVINE Birmingham—once referred to as the Industrial Heartland of Britain—is undergoing a major cultural renovation. The abundance of disused factories throughout the city, a tribute to its history, are being transformed into Artist-Run Initiatives (ARIs), effectively attempting to shed the cloak of industrialisation and bring Birmingham into a more artistically aware

Chronox and the Contemporary

Darren Jorgensen

Installation view of Belle Brooks, Typing ‘Giraffe Sex’ into Google Yields Ungodly Results, 2008 and Jacob Leary, Study X: growth of the technological organism, 2008. Photo: Eva Fernandez. Contemporary art relies on art schools to recreate its contemporaneity. Enrolled in courses saturated with art history and theory, artists are trained to be self-conscious about their practice and

Things Fall Down: Sometimes We Look Up

Kelly Fliedner

Understanding or forecasting the future is an aim that unites many spiritual beliefs and scientific practices, and more broadly, this aspiration is an underlying trait of humanity. Sanné Mestrom’s recent exhibition at Chalk Horse titled Things Fall Down: Sometimes We Look Up, presented several installations that strove to understand how the presence of the desire


Caroline Hamilton

The bleak future offered by the economic crisis has many tightening their belts. The canned soup once beloved of Andy Warhol has a new set of admirers as people search for ways to save money. Until very recently those dented cans were new gold for the recycling industry but the economic crisis has taken the

There Goes The Neighbourhood

A. Groom

Susan Milne & Greg Stonehouse, Bower, 2007-2008, corner of Regent and Redfern streets,  Redfern. Commissioned by the City of Sydney through its development company, Landcom. Photo: A. Groom.  While the city was being force fed Vivid Sydney—a cluster of festivals designed by committees fat with funding and spin, and comprising so many different arms that nobody

A New Truth to Materials

Camille Serisier

Ross Manning, Sad Magick, 2009, installation. Photo: Camille Serisier. After climbing the four flights of stairs to reach Boxcopy I am hoping for something good. As with other ARIs where the very act of arriving can feel like a triumph, I am keen to have my hard work repaid. At the top of the stairs

Field Work as Sustainment: The Futur(ing) of Art Practice

Tessa Zettel

Seen at a glance, this rice straw may appear light and insignificant. Hardly anyone would think that it could start a revolution.1 I’m eyeing off another piece of crumbly, caramelised cake laced with public mulberries, still warm from being baked in the oven at the back of this former community hall-turned council-run gallery. Tennis balls

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