Just like home : suburban realities and the art of Lisa Hilli

This article profiles the work of Australian-based Tolai artist Lisa Hilli and her photographic, video, installation and performance-based arts practice. Hilli's work deals with contemporary Pacific diasporic identity in Australia.

The evolution and conservation of Taiwan's aboriginal art heritage

This thesis synthesises perspectives from heritage, museum studies, anthropology and contemporary art to provide a dynamic account of the role of art among the Aboriginal peoples of Taiwan. It proposes that the continuing practice of contemporary Aboriginal art in Taiwan is an important instrument for maintaining Aboriginal groups' cultural vitality.

Developing a relationship with place : art in the context of bioregional theory and practice

Investigates a proposed solution to Western culture's essentially separatist and destructive relationship with the earth from the perspective of the artist. Examines the author's bioregional philosophical model which is based on a belief in the importance of place in physical and spiritual well-being and argues that it is an appropriate one to apply in the context of contemporary Australian art practice.

Padangustasana with dadakulaci

The dadakulaci is an amphibious sea snake, commonly found in the waters around Kadavu, Fiji. Straddling existence in the sea and on land, this graceful creature is obscured by myth. Although it is often dismissed as a passive sea snake with a jaw too small to injure a human, the dadkulaci is able to disarticulate its jaw to 180 degrees. Furthermore, it has the ability to withhold its powerful venom. This work was made for the exhibition Diasporadic 679.
DIASPORADIC679 was a public exhibition of Fiji artists living in diaspora. Timed to acknowledge Fiji Independence Day and pay homage to the Fiji telephone prefix, +679, the artists reflect on Fiji Islander identity and diaspora experience from seven diverse positions.

All living in diaspora, the artists are Margaret Aull (NZ), Torika Bolatagici (Australia), Tagi Qolouvaki (USA), Sangeeta Singh (NZ), Dulcie Stewart (Australia), Ema Tavola (NZ) and Luisa Tora (NZ).

Collectively, the selected artists’ practices represent investigations into text and urban landscapes, feminism and sexuality, militarism, power and struggle. In the form of posters, the artists’ works are installed in the windows of six venues in and around Otahuhu Town Centre, South Auckland.

Finding the six venues and experiencing the exhibition in its entirety gives audiences a taste of Otahuhu, home of three of the seven artists, the Auckland Fiji Community headquarters and a significant Fiji Islander community.

Women's silence : in the space of words and images

My thesis is made up of words and images. This study investigates the way in which silence operates productively within and between the two modes of communication. I suggest that in the process of changing words into images or scripto-visual art-practice, the silence in women's lives can be articulated. I argue that women draw on the generative qualities of silence to create forms of speech that override the cultural constructions of gender which have placed them within the space of ‘mute’ silence. To gain an historical perspective of this practice by women, I consider the lives of medieval nuns within religious enclosure and their work with words and images in the illuminated manuscript. I make a comparative study of original illuminated manuscripts, focussing mainly on visual language and locating aspects of the work closest to my own art-practice: the visual treatment of the space and inter-textual components of the page or folio. This project does not include an examination of miniatures or historiated initials. Rather, its aim is to identify and compare the use of other aesthetic devices available to the medieval scribe/artist through which they might have interacted with the text. I suggest links between verbal and visual performances of language and the repetition, or copying of texts by medieval nuns, as a means of female embodiment of words and their spaces. From the outcomes of my studio investigations and my consideration of other contemporary feminist art practices, I demonstrate how women artists may ‘re-write’ the text and ‘speak’ their silence through visual language and the acts of writing, drawing and painting the words of others. Through my engagement with feminist critical theory, the work of medieval scholars, original illuminated manuscripts and my studio research, I propose that scripto-visual practice remains particularly significant for women despite the differences between the medieval period and our own. As a generative practice, it negotiates some of the societal constraints on women's speech and visibility, because its language is ‘silent and disembodied’ from the image of woman constructed by male discourse. It is a form of speech that acknowledges as it defies the social and cultural conditions that shaped its necessity, articulating an alternative voice of women in the space of words and images.

iSeru : Meleponi Pasifika Exhibition

Mixed-media, Fijian barkcloth (masi), screenprint, digital photographic prints, Fijian wooden comb all exhibited in the exhibition Meleponi Pasifika.

What is a transmitter?

This article discusses the approach that Yvonne Rainer has taken to conserving her Trio A, a work made originally in 1966 and which has been performed many times since, including now by custodians or ‘transmitters’ of the dance. The discussion is contextualized within the broader frame of the question of whether and how the legacy of modern and postmodern dance might be maintained for the benefit of future dancers and their capacity to develop contemporary dance art – particularly at a time when a generation of seminal artists who also voice their desire regarding these matters is passing away. I use the question ‘What is a transmitter?’ and an alternative notion of ‘translator’, drawing on philosopher Paul Ricoeur, to highlight the complex role of dancer-performers, not only in the creation and performance of work(s) but also in maintaining a repertoire.

Fragmentos

Curatorial Aims and Objectives: Fragmentos was a curated exhibition (or expose) of 13 contemporary Australian artists. It was presented at the upstairs gallery at the Escuela Activa de fotografia in Cuernavaca, Morelos in Mexico. The curatorial objective was to present small samples or fragments from the creative practice of a number Australian artists. It would therefore act as introduction to their broader practice and as a way of representing the diverse range of creative explorations by a number contemporary, mostly Melbourne based Australian artists. These artists were selected on the basis of their diverse and often conceptual approaches to art making. All the artists have an established practice in the arts and their work reflects an experimental and investigative approach to materials and processes as well as exploring a wide range of conceptual and thematic concerns. Visitors to the Fragmentos exhibition were primarily local Mexican artists, art students and academics and members of the general public. The gallery is located in the heart of a photography school in central Cuernavaca but the students are engaged in a wide range of practices and the local arts community is vibrant and divers. Many of the works presented in this exhibition invited audience interaction and even the opportunity to contribute to the works providing a connection to the Australian artists involved and as a way of demystifying the ideas behind the works. One of the main curatorial objectives was to create a sense of connection and dialogue between local Mexican artists and the works. By offering samples and fragments, some of which were from unfinished work (in development) the audience could have an experience which was akin to visiting an artists studio or at least seeing something from behind the scenes This gives a sense of the artists as people, which is often not the case with highly resolved and finished works of art, displayed in a white cube. To facilitate this sense of discovery I made a number of small tables using builders timber work horses with a simple ply wood top to act as benches on which the artists work could be placed and to suggest the idea of things being in a transitional stage and undergoing and development. Also, the inclusion of pin boards, magnifying glasses, G Clamps were used during the installation to invoke this sense of workshop or studio. The works were very well received and I gave a number of public talks and presentation to student groups as well as after hour’s appointments to discuss the exhibition with various academics. The project has also generated some new engagements between Mexican and Australian artists with at least 3 outcomes emerging.