Victorian College of the Arts - Research Publications

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The Master of the Scrovegni Chapel Choir presents Kylie White’s Manifesto of a Digital Relationship

George, S ; Radford, L (CAVES, 2020-01-27)

Using the manuscript of an affair conducted over email between 11 April and December 25, 2011 Sam George & Lisa Radford attempted to find a materiality in the space between Melbourne and San Diego mediated by technology in plaster, pigment, voice and time. The performances on January 25, an atomised opera, utilised the time the emails were sent to explore the space of desire and doubt in choral form. An opera singer chanted the verbal descriptions of the attachments (literal and figural) mostly images, that Kylie and David send to each other over the 9 month period.
The image is not nothing (Concrete Archives)

Radford, L ; Scarce, Y (https://finearts-music.unimelb.edu.au/events/fsmg/the-image-is-not-nothing, 2021)

The image is not nothing (Concrete Archives) is an evolving project documenting the shared experiences of 2 women: one Aboriginal, the other non-Aboriginal. Involving fieldwork to local and international sites of nuclear colonisation, genocide and memorialisation, an editorial project with Art + Australia online and a major curatorial project debuting at ACE Open (ADL) and travelling to MLG (MEL). The project addresses the cultural amnesia which renders invisible the Genocide of Aboriginal people in Australia since colonisation. Our digital, oral and exhibition "archive" includes historical and contemporary works making materially present the loss. A collaboration between Kokatha and Nukunu artist Yhonnie Scarce and Melbourne based artist and writer Lisa Radford, The image is not nothing (Concrete Archive) examines the on-going effects of colonisation on Aboriginal people. Between 1956 and 1963, the British conducted Nuclear Tests at Maralinga, South Australia. For several years Yhonnie Scarce has returned to Woomera and Maralinga in order to conceptualise and produce works that act as a memorial to the unspoken displacement and genocide of Aboriginal people as a result of these tests. In this context, Maralinga is a site for beginning to consider the role of memorialisation and how it might be conceptualised and actualised. Lead by artists, The image is not nothing (Concrete Archive) asks how we can address the cultural amnesia that obfuscates, if not renders invisible the Genocide of Aboriginal people in Australia since colonisation. This question addresses the impact cultural amnesia has had on our shared experiences, conflicts and representations of citizenship.
The image is not nothing (Concrete Archives) - Dialogues in two parts (COVA Talks)

Radford, L ; Scarce, Y (University of Melbourne, 2021)

he Image is not Nothing (Concrete Archives) was a group exhibition that explored the ways in which acts of nuclear trauma, Indigenous genocide and cultural erasure have been memorialised by artists and others. The exhibitions occurred across three venues and two states in the first half of 2021 and were the result of research by curators Lisa Radford and Yhonnie Scarce whose fieldwork encompassed sites of significance including Auschwitz, Chernobyl, Fukushima, Hiroshima, Maralinga, New York, Wounded Knee and former Yugoslavia. To coincide with the exhibitions, Lisa Radford & Yhonnie Scarce, the curators of The image is not nothing (Concrete Archives) collaborated with fine print magazine (Rayleen Forester and Joanna Kitto) and Melbourne’s Living Museum of the West on two conversation events held during May and June 2021.
The Master of the Scrovegni Chapel Choir presents Kylie White’s Manifesto of a Digital Relationship

George, S ; Radford, L (CAVES Gallery, 2019)

The performances on January 25, an atomised opera, utilised the time the emails were sent to explore the space of desire and doubt in choral form. An opera singer chanted the verbal descriptions of the attachments (literal and figural) mostly images, that Kylie and David send to each other over the 9 month period. Attachments is an accompanying booklet which contains a collection of fragments from a chart documenting the position of the sun in relation to Melbourne and San Diego based on the time attachments were sent as found in the as yet unpublished manuscript Manifesto of an Electronic Relationship by Kylie White and used as reference to produce the accompanying 25 frescoes in the exhibition. This document accompanies the exhibition The Master of the Scrovegni Chapel Choir presents Kylie White’s Manifesto of an Electronic Relationship by Sam George and Lisa Radford at Caves Gallery, 15th to 25th January, 2020 On Saturday January 25, 2020 at Caves Gallery, Room 13, Level 8, The Nicholas Building (37 Swanston Street), Melbourne the Chapel Choir comprising of members Andrew Kershaw, Ange Arabatzis and Emma Hall, performed the script contained twice. In the performance, the contents of the attachments are sung.
The image is not nothing (Concrete Archives) Symposium

Radford, L ; Scarce, Y (Adelaide Contemporary Experimental, 2021)

Coinciding with ACE Open’s current exhibition The Image is not Nothing (Concrete Archives), curators Lisa Radford and Yhonnie Scarce have organised Concrete Archives: Symposium
The Dugong Sublime

Radford, L ; George, S (Multiple venues, 2021-11-14)

The Dugong Sublime (Hotel Sorrento) is polyphonic vocal performance that used extracts from Hannie Rayson’s script for Hotel Sorrento (1989) as means for giving a part voice to artworks by Stuart Ringholt and Mutlu Cerkez held in the collection of  Buxton Contemporary. The performance was been developed by Sam George and Lisa Radford, with Evelyn Pohl and Yundi Wang. It was performed by Freyja Black, Ivy Crago, Sophia Derkenne, Ludomyr Kemp-Mykyta and Iris Simpson Thanks to Jane E. German and Danny Lacy from Mornington Peninsular Regional Gallery and Mark Friedlander. Performance documentation by Ezz Monem Commissioned for This is a Poem, curated by Melissa Keys for Buxton Contemporary. Sam George and Lisa Radford’s The dugong sublime is an epic absurdist poem with multiple interconnecting and intertwined cultural and historical references, narratives and ideas. George and Radford’s episodic project began with the selection of two self-portraits – a painted self-portrait by Mutlu Çerkez Untitled: 17 April 2023 and Stuart Ringholt’s Everything I own, a bound book containing an inventory list of everything that the artist owned in the year 2002. While discussing the approach that they would take to creating their ekphrastic poem as part of this exhibition, George posed the question to Radford ‘what is the purpose of poetry’ – however, a slip of the tongue turned this question into ‘what is the porpoise of poetry’ at which point their investigation took an oceanic turn. Responding to their selected artworks through processes of association, intuition, emotion and sensation, the porpoise was soon replaced by the dugong, a gentle, highly social, sea creature that is of significance in numerous cultures and vulnerable to over-exploitation – vulnerability and social care being qualities that George and Radford identify in Çerkez and Ringholt’s approaches to art practice. The score of The dugong sublime is, in part, based on the echo sounding language of chirps, whistles and barks that dugong’s use underwater in order to communicate. After numerous attempts to swim with a dugong, each thwarted by rolling travel restrictions, an experience the artists had anticipated would be an encounter with the sublime, they turned their attention locally to Port Phillip bay – to look for a Dugong, in a place that they knew the animals cannot be found. While undertaking an artist’s residency at the Police Point, Quarantine Station, in the Point Nepean National Park, George recorded a sequence of video of the sea floor, that now forms part of this presentation. This recording is as much of the marine environment, as it is of an absence. During their stay in Point Nepean the artists came upon a number of old film reels held in the Queenscliff Gallery each of which was shot in the area. Among the reels is a copy of the post-apocalyptic science fiction film On the Beach (1959) and the film version of the well-known play Hotel Sorrento (1995) by Hannie Rayson that engages with Australia’s place in the world and the enduring impact of cultural cringe. Paired with the footage of the sea floor, scenes of Gregory Peck’s character in On the Beach, Commander Dwight Lionel Towers, is seen peering through a submarine periscope looking for signs of humanity. It is a sequence that ironically underscores the artists’ and their collaborators open-ended exploration and search with its multiple diversions and ellipses and no particular destination in mind but instead a series of natural phenomena, fragments of histories, and ideas alive with possibility.
There will be nudity, intermittently

Radford, L (IKON Park, 2018)

There will be nudity, intermittently contributed to the project Duck on the Pond organised by Darcey Bella Arnold. A group show investigating the newly inaugurated AFL Women’s (AFLW 2017) Australia’s national Australian rules football league for female players it included work by Kalinda Vary, Elena Betros López, Salote Tawale, Noriko Nakamura, Roberta Joy Rich, Lisa Radford and Darcey Bella Arnold. Curated by Darcey Bella Arnold. The exhibition was held in the George Harris Room located within IKON PARK, the home of the AFLW. Using the site specifically as a profoundly entrenched meeting place for the public, the exhibition took over the arena in an attempt to begin a dialogue about the AFLW, AFL and Australian sporting culture. Lisa Radford There will be nudity, intermittently Breanna McCarter and disclaimer in title on roomsheet, 2018
Cook Beale Mustard Swan

Radford, L (Version, 2017)

We have known each other for more than 20 years. More than half our lives. We are engaged in narratives. Many of these have no beginning, middle or end. These narratives are mostly oral and sustained through place, music and myth. We are always negotiating a present, and if I was Lane, I might be drinking a Montenegro. We meet to talk about this writing, he says in reference to the last 20 years, “This is my vocabulary now, proven by the exhibitions. It is now it. I’m adding to it with new work. Vocabulary isn’t words, it is a sequence.” Lane is aware he is re-arranging things, re-enacting them rather than “making” or “inventing” them. His authorship is shared, his process always changing, but the stake always remaining — a kind of re-shuffling of power and place. A performed masculinity, a relational question, a desire to make ordered noise. He sits beside me with a Dot Matrix printer — he likes that I am thinking about him occupying the city, bring the suburban to the urban or finding both the suburban and the international in our urban by re-arranging identity, gender and class —production sans product.

Victorian College of the Arts - Research Publications

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