From the beginning, Runway has been a publication devoted to experimental art practices and new forms of critique, and this first digital issue, Runway #23 [PROTOTYPE], is no exception. This year, we said goodbye to the traditional print journal and took a chance building a prototype of our own. The lack of paper has meant we can traverse the unknown: exploring new possibilities of form as we offer artists and writers more experiential and non-linear ways of sharing their work with the world.
The artworks and ideas presented in Runway #23 are not about predictable Utopian imaginings or propositions for the future. Instead, the focus has shifted to generative models for thinking and making, responding to the world as it is now and, in some cases, ceding control of the art object to audiences, collectives and communities. There has been a noticeable move towards open source, process-based approaches without pre-determined outcomes. The works themselves are propositions for the here and now.
We clearly couldn’t let the theme of PROTOTYPE pass us by without an appraisal of something close to our hearts – ARI activity past, present and future. Amy-Clare McCarthy shows what an ARI is worth in today’s currency; Eleanor Zeichner examines the rise of the emerging art festival; Alison Lasek takes us back to where it all started; and Tamsin Green looks at some new sustainable models coming out of Victoria. What could be more sustainable than an artist reusing the same set of materials for his entire career? Scott Wark tells us how Masato Takasaka does it via his own take on material re-use. The socially-minded can watch Sumugan Sivanesan and Tessa Zettel try and trade tomatoes, Marilyn Schneider make trade shows beautiful, and Mathieu Gallois embark on a new project to reinvent the McMansion.
Science makes friends with the supernatural inside Jacquelene Drinkall’s UFO, and a spoken/word interview with Jack Stahel’s brain by Lauren Carroll Harris. Marvel at the useless inventions of Alex Cuffe, or hack into the collective consciousness of Tasmania’s Experiential Prototypers with Nancy Mauro-Flude. And if that all seems too much, you can sneak under one of Eloise Kirk’s Hiders for a while, or get shot into space with Willoh S. Weiland. But before you go, make sure you see what Jack Dunbar and Kailana Sommer have left in their electronic time capsule to remember this very moment.
In re-launching Runway, we acknowledge and gratefully thank the members of The Invisible Inc. management and editorial committees, past and present. The countless hours volunteered by these folk over the past decade and more, is testament to the thriving experimental and emerging Australian arts community, and the fighting spirit of artist-run enterprises. We hope Runway’s new online platform will continue the legacy of this journal and expand the conversation about Australian emerging and experimental art practice beyond our borders.
Please take the time to explore and enjoy the new online platform – there are some surprises in store.
Chloé Wolifson was a member of the Management & Editorial Boards of The Invisible Inc. from 2013-2016, and held the position of Deputy Chair of...
Connie Anthes is a multi-disciplinary artist currently based in Sydney. She makes paintings, objects and installations that investigate the mechanics of vision and spatial experience,...