Runway Magazine is created on Gadigal Country. Issue #33 POWER begins with a Welcome to Country by D’harawal woman and local elder Aunty Deborah Lennis. In beginning this issue with a Welcome conducted by Aunty Deborah Lennis, we acknowledge that sovereignty was never ceded. We acknowledge and respect the First Nations, Indigenous peoples and sovereign bodies past and present who carry the brunt of imperialism, resist, survive and continue to fight colonial power structures.
This Welcome to Country positions the rest of the issue to be conscious of politicised socio-historical spaces that have informed the way we move, position and align ourselves within a power matrix.
A collaborative process between Tania Canias, Rebekah Raymond, Siân McIntyre, each editor brought their own understandings of power to the issue. These individual ideologies, along with a universal drive to question and disrupt read more…
As women of colour (WOC) we are actively and inevitably engaged in violent struggle against ongoing attacks on our epistemic, ontological, political, historical and holistic existence. Our trenches are not the mountains, they are universities, schools, theatres, media, and the streets. They are sites such as theory, discourse and practice. We are constantly engaged in a struggle that is designed to oppressively wear us out and weed us out.
The relationship between power and aesthetic judgement is deeply woven in the fabric of landscape images. This essay is not about whether or not a windmill is visually attractive; it is about who is making this ‘visually awful’ judgement and how it relates to a historical tradition of landscape aesthetics and power.
The museum itself is increasingly a site of critique, dissent, activism and other artistic responses to social injustice. Beyond the visible hierarchies of state, corporate and institutional structures, artists and exhibition-makers must also engage with the entrenched cultures of the exhibitionary complex[v], seemingly-benign, but historically inscribed by an alliance of government, academia and commercial art world players.
This text attempts to answer a series of questions on how to negotiate operating within power structures in the creative spheres as indigenous working class artists. This essay shares experiences of racism, poverty and eating disorders which may be triggering.
How might we imagine anthems without Western cadences and musical tropes; without analogies to the corporeal; that return to the land for their form? Anthems that do not serve to eulogise the history, tradition and struggles of a unified empire, but of its divergent peoples networked across the globe; a diasporic anthem.
Indigenous female bodies have long been fetishised. Colonisers constructed the sexualised, savage indigenous woman—specifically referred to as ‘Black velvet’ in Australia. In the 1930s, Anthropologist Phyllis Kaberry described Aboriginal women as, ‘no more than domesticated cows’. The combination of these types of representations and false assertions of women as being sexually promiscuous devalued Indigenous women, justifying a sense of domination and protection over indigenous communities.
The progression from splitting the atom to inventing a nuclear bomb was a fateful tumbling of dominoes that occurred right alongside the carnage of World War I, the Great Depression and the rise of fascism.
3 silo snippets of conversations of conflicting ideas and theories on child refugees, the National Disability Insurance Scheme and international development. I want to raise questions of how our silos in community development, social work and activism reinforce power, privilege and social inequality.
Over the past 10 years there has been a rise in artists working within social practice in Australia. This is in line with global movements by artists who are often working outside the museum/gallery confines, instead activating these projects in ‘public’ space.
Recreating the Aboriginal Tent Embassy is an ongoing project for Aboriginal Australian artist and activist Richard Bell. Since 2013, Embassy has appeared in galleries, biennales and other public spaces around the world. It consists of a beach umbrella or a large green tent, surrounded by placards such as ‘white invaders you are living on stolen land’ and ‘if you can’t let me live Aboriginal why! Preach democracy’.
Go places with Runway! Send in a CV and paragraph on why you are keen to work with us by 29 September 2017! 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 …
**PROPOSALS DUE MONDAY 5 JUNE** Runway is looking for a NSW based arts professional to attend Dark Mofo 2017 (8-21 June – coverage dates negotiable). We want you to be our eyes and ears in Hobart, and so we are offering offering a travel bursary in return for your response and review of exhibitions and events at this key Tasmanian …
**Proposals for content due 8 June 2017** In 1975 conceptual artist Bas Jan Ader set out to cross the North Atlantic ocean in a boat far too small for the crossing. In Search of the Miraculous was to be the first part of a triptych of works but somewhere on the ocean, he disappeared. …
This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.