Victorian College of the Arts - Research Publications

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Start date: 2020 × End date: 2021 × Type: Exhibition ×

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    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.
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    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.
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    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
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    Jacqueline Felstead: Loss in a simulated environment
    Felstead, J (https://finearts-music.unimelb.edu.au/events/mlg/Jacqueline-Felstead_Loss-in-a-simulated-environment, 2021)
    Jacqueline Felstead's three-dimensional photographic works reintroduce absent subjects that once were – that can’t be seen and are no longer – back into the collective consciousness. Challenging the perceptual distinctions of traditional photography, here mappable territories are defined through positive and negative space, thinness and thickness, forms and edges. The works connect three-dimensional photographic technologies with propositions for future personas, future politics and loss.
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    How to build a universe
    Coyle, E (https://issuu.com/howtobuildauniverse/docs/purple_blue_art_showcase_raffle_contemporary_galle, 2021)
    In the past museums built universes that were miniature representations of the world but these microcosms were limited and limiting constructions. This exhibition takes the theatrical methodologies of dominant museums as a jumping-off point to launch a creative intervention. Four installation artists respond to the idea of universe building, commenting on the impossibilities of constructing a complete or neutral representation of the world we inhabit. These artists critique and pose alternatives. Through their works and experimentation we access multiple perspectives as if looking in at the world through a microcosm of speculative lenses.