Issue
#32

Editorial: RE/PRODUCTION

They say it is love. We say it is unwaged work.
They call it frigidity. We call it absenteeism.
Every miscarriage is a work accident.
Homosexuality and heterosexuality are both working conditions . . . but homosexuality is workers’ control of production, not the end of work.
More smiles? More money. Nothing will be so powerful in destroying the healing virtues of a smile.
Neuroses, suicides, desexualization: occupational diseases of the housewife.

 
Silvia Federici introduced her seminal text Wages Against Housework with the statement above in 1975, during her involvement with the international Wages for Housework Campaign. Today an esteemed elder of the autonomist feminist tradition, Federici’s work is informed by the understanding that ‘the reproduction of human beings is the foundation of every economic and political system’ …

Inside Issue #32

Labours of love: women’s labour as the culture sector’s invisible dark matter


Macushla Robinson

Contemporary artist and essayist Hito Steyerl says ‘apart from domestic and care work—art is the industry with the most unpaid labour around. It sustains itself on the time and energy of unpaid interns and self-exploiting actors on pretty much every level and in almost every function. Free labour and rampant exploitation are the invisible dark matter that keeps the culture sector going’. This labour, as Steyerl points out, is largely performed by women …

Maintaining the Manifesto


Amelia Wallin

Invited to present work at the Whitney Museum in 1976, the artist Mierle Laderman Ukeles turned her attention to the Whitney offices, at that time located within a 53 story skyscraper in downtown Manhattan. ‘Given the site, the abundance of maintenance workers, instead of making a work in the museum, I proposed a work with all the workers in the building’; Ukeles collaborated with the three hundred maintenance staff who were tasked with keeping the building running and secure …

Eat. Sleep. Strip. Repeat.


Helen Hester Zahra Stardust

    Helen Hester: Despite the absence of human bodies in these photos, it is clear that (in one sense, at least) they depict the obscene, in the sense of that which is literally ‘off the scene’ within a lot of adult entertainment. You choose to displace the pornographic performance itself in order to foreground

Fire wether snake: what happens now


Teri Hoskin

Undertaken between September 15 and October 15 2016, ‘Fire weather snake: what happens now’ is a record of moving house from the dreary plains of capital accumulation to a wild place in the hills, a time inside the weather, with wethers…

Outsourced


Aurora Scott

Outsourced traces the experiences of local artists who have laboured to actualise the work of another artist, from artist assistants to delegated performers…

Between a Rock


Melinda Rackham

Melinda Rackham speaks about the collision of public sculpture with practices (past and present) of forced separation of babies from their family, identity and heritage…

Tender Bodies


Quinn Eades

In a re/production of Gertrude Stein’s ‘Tender Buttons: Objects • Food • Rooms’ (1914) Quinn Eades writes experimentally and productively into and from a body that has reproduced but now fails to reproduce (biologically, that is)…

Frontyard: Art and the Practice of Everyday Life


Clare Cooper Kirsten Seale

Kirsten Seale and Clare Cooper discuss the politics and practice of re/production and arts futures at Frontyard, a Not-only-artist Run Initiative in Marrickville…

The Double Producers: Makers and Motherhood


Susannah Smith

Susannah Smith explores the complexities of the ‘Double Producers:’ what does it mean to be an artist and a mother in contemporary Australia? …

Sweat on the Dance Floor


Luke Letourneau

‘Sweat on the dance floor’ interrogates how the audience body is implicated through sweat as a method for depicting and re-producing the queer party scene in the exhibitions of two Sydney-based artist collectives…

Creative Lab Monsters: Looking at BioArt Through the Lens of Ecofeminism


Cynthia Verspaget

Lab Monsters are the fringe, multiple zone dwellers of the lab. They include the entities that are called to use under the sterile hood, entities that are created within (and of) the lab and those who enact within the lab (bioartists). These monsters are marginal bodies—not as the othered victims of marginalisation—but as powerful entities able to inhabit and infiltrate zones where knowledge is constructed and contested. Lab monsters are powerfully positioned and are able to disrupt power structures because of their abilities to cross through and inhabit these multiple zones (lab-non-scientist/humanities-science/woman-science-art etc.) …

Artist Features


Fruit and Nut


Karolina Novak

Fruit and Nut is an interactive still life minigame. If you like, you can imagine the fruits and nuts as analogues for your medical anomalies.



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  Natasha Matila-Smith Super Pure (2018)    **Proposals for content extended until 29 August 2018** ****To apply please use this form****   We are now open for applications from artists and writers for Runway #38 SPECTACLE. Aotearoa based artist and writer Natasha Matila-Smith will be guest editing the issue Spectacle, namably the spectacle of consumption

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  DEADLINE 12AM SUN 13TH MAY   WHAT: Runway Australian Experimental Art is an online journal produced by The Invisible Inc., an artist run initiative that aims to promote the activities of Australian artists, writers, and curators both nationally and abroad. Runway is positioned as an Australian experimental art journal, and increasingly our content explores

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We are now open for applications from artists and writers to be part of Runway #37 CINEMA. This is an experimental issue and will take the form of a list of essential films you might, or might not, have seen. Each contributor will be assigned a film by the issue’s guest editor Alifa Bandali and will


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