Conversations
So I went to the Hobiennale is a democratic documentation of the Hobiennale, a 10 day festival running from 3-12 November 2017 bringing together over 100 artists from 18 Artist-Run Initiatives presented at 12 venues across Clarence, Glenorchy and Hobart.
So I went to the Hobiennale seeks to democratise both the works of all artist’s participating in the festival program and addresses more broadly the moral issues that artist’s face on social media with their work being misrepresented and/or appropriated without credit in the ‘selfie in front of someone’s else’s art’ age.
Groom’s instagram account @soiwenttothehobiennale will exist as a permanent archive of the artwork shown across the festival with high quality images, documentation acknowledging the artist/s, artwork information, curator/s, exhibition name/s and venues utilising accurate instagram handles, check-ins and hashtags.
In the interest of promoting the Hobiennale, artists, ARI’s and curators, sponsors of the festival, local media and tourism instagram accounts will also be tagged in each post allowing maximum exposure for the documentation of the artist’s posts to be reposted across social media expanding both the existing reach and audience of the artist’s whilst advocating for the fundamental moral rights associated with artists representation across social media.
Amala Groom
So I went to the Hobiennale, 2017
Instagram @soiwenttothebiennale #SIWTTH
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Amala Groom is a Wiradjuri conceptual artist whose practice, as the performance of her cultural sovereignty, is informed and driven by First Nations epistemologies, ontologies and methodologies. Her work, a form of passionate activism, presents acute and incisive commentary on contemporary socio-political issues. Groom seeks to create works which proactively and creatively unpack and undermine the Colonial Project, the on-going philosophy of colonialism that has imperialistically subjugated Aboriginal and Torres Strait Islander Peoples since 1770.
Amala Groom is a Wiradjuri conceptual artist whose practice, as the performance of her cultural sovereignty, is informed and driven by First Nations epistemologies, ontologies and methodologies. Her work, a form of passionate activism, presents acute and incisive commentary on contemporary socio-political issues. Groom seeks to create works which proactively and creatively unpack and undermine the Colonial Project, the on-going philosophy of colonialism that has imperialistically subjugated Aboriginal and Torres Strait Islander Peoples since 1770.
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.