TEXTA Book Club in the QUT Art Museum

TEXTA runs as a type of book club that we have previously labelled as ‘bespoke’ (Ellison, Holliday and Van Luyn 2012). We visualise TEXTA as a meeting place between the community and the university, as a space for discussion and engagement with both visual art forms and written texts. In today’s presentation, we shall briefly establish the ‘bespoke’ bookclub. We then want to introduce the idea of TEXTA as an example of a book club that negotiates Edward Soja’s Thirdspace (1996) – a space that incorporates and extends concepts of First and Secondspace (or perceived and conceived spaces). In doing so, we showcase two recent sessions of TEXTA as case studies. We will then illustrate some ideas we have for expanding TEXTA beyond the boundaries of Brisbane city, and invite feedback on how to further extend the opportunities for community engagement that TEXTA can offer in regional areas.

Living City 2013 Workshop

Living City 2013 Workshop, as part of a school term’s design-based curriculum connected to the KGSC/QUT Design Excellence Program and run from 11 February – 1 May, 2013, was essentially a three-day place-based urban design immersion workshop program for 25 Year 11 Visual Art and Design Students and 2 Teachers from Kelvin Grove State College (KGSC) held at both Queensland University of Technology (QUT) Gardens Point Campus and The Edge, State Library of Queensland. Mentored by 4 design professionals, 2 tertiary design academics, 2 public artists, and 12 QUT tertiary design students, the workshop explored youth-inspired public space design solutions for the active Brisbane City Council redevelopment site of Queens Wharf Road precinct. As well as the face-to-face workshops, for Living City 2013, an interactive web environment was introduced to enable students to connect with each other and program mentors throughout the course of the program. The workshop, framed within notions of ecological, economic, social and cultural sustainability, aimed to raise awareness of the layered complexity and perspectives involved in the design of shared city spaces and to encourage young people to voice their own concerns as future citizens about the shape and direction of their city. The program commenced with an introductory student briefing by stakeholders and mentors at KGSC on 11 February, an introduction to site appraisal and site visit held at QUT and Queens Wharf Road on 20 February, and a follow up site analysis session on 6 March. Day 1 Workshop on April 17 at the Edge, State Library of Queensland, as part of the Design Minds partnership (http://designminds.org.au/kelvin-grove-state-college-excellence-in-art-design/), focused on mentoring team development of a concept design for a range of selected sites. Two workshops on April 22 and 23 at QUT, to develop these designs and presentation schemes, followed this. The workshop program culminated in a visual presentation of concept design ideas and discussion with a public audience in the Ideas Gallery on The Deck, King George Square during the Brisbane City Council City Centre Master Plan Ideas Fiesta on 1 May, 2013, as referenced in the Ideas Fiesta Wrap-up Report (http://www.brisbane.qld.gov.au/planning-building/planning-guidelines-tools/city-centre-master-plan/city-centre-master-plan-ideas-fiesta). Students were introduced to design methodology, team thinking strategies, the scope of design practices and professions, presentation skills and post-secondary pathways, while participating teachers acquired content and design learning strategies transferable in many other contexts. The program was fully documented on the Living City website (http://www.livingcity.net.au/LC2013x/index.html) and has been recognised by the Brisbane City Council Youth Strategy 2014-2019 as a best practice model for making Brisbane a well-designed, subtropical city.

Australian Indigenous Art : Local Dreamings, Global Consumption (Autohtona Australijska Umetnost : Lokalno Sanjarenje, Globalna Potražnja)

Indigenous Australian visual art is an outstanding case of the dynamics of globalization and its intersection with the hyper-local wellsprings of cultural expression, and of the strengths and weaknesses of state, philanthropic and commercial backing for cultural production and dissemination. The chapter traces the development of the international profile of Indigenous ‘dot’ art – a traditional symbolic art form from the Western Desert – as ‘high-end’ visual art, and its positioning within elite markets and finance supported by key international brokers, collectors and philanthropists.

Continuing Bonds

Some of the oldest surviving examples of human creativity are items connected to death rituals. Despite the complexity of historical death rituals, the visceral sensations of grief are largely repressed or ignored in contemporary society – but where social ritual falters, art attempts to fill the gap. This catalogue essay was written to accompany Karike Ashworth's contemporary art exhibition, 'Lamentation', an exploration of grief, at The Hold Artspace in Brisbane.

Uneducated : play becomes artwork, artwork becomes play

Over the past twenty years the contemporary art world has seen a significant shift in the modes and structures of connection between work and its audiences. This shift is termed by Irit Rogoff, amongst others, as an ‘educational turn’. The turn has been described as the eruption of discussions and investigations, inside and outside of institutions, that interrupt the presumed power hierarchies and bureaucratised systems of both art and education. This essay was written to accompany artist/curator Kym Maxwell's exhibition project, 'Uneducated', exploring these ideas. It was held at the Counihan Gallery in Melbourne, 2014.

Visual narratives and counter-narratives in aged care : Centring the participant as photographer in social science research

As detailed by a number of scholars (Emmison & Smith, 2000, 2012; Harrison, 1996, 2002, 2004), photographs and the process of photographing can provide fertile ground for sociological investigation. Examining the production of photography can tell us much about inclusion/omission and power/knowledge in a variety of social settings. Recently, some researchers have begun to utilise the participatory action research methodology, PhotoVoice, where people take and share photographs as a means of communicating and advocating on a specific topic. While medical sociologists have used PhotoVoice to communicate the impacts of disease in vulnerable populations (eg Burles, 2010), little social research has been done that combines PhotoVoice and older persons. This is interesting given the world’s population is ageing and the general lack of research that examines what daily life is like for older people living in aged care (Timonen & O’Dwyer, 2009). In response, a recent project tracked 10 participants who recently transitioned into living in residential aged care (RAC). The project combined the use of PhotoVoice methodology with repeated in-depth interviews. Residents were asked to orally and visually describe the positives and negative aspects of their daily lives. In the first instance, they shared the use of a RAC owned camera and later had the opportunity to access a camera for their sole use. Photographic analysis emphasised the value of centring the participant as an autonomous photographer in social research. In the photographs captured on a shared use camera, the photographs tended to depict predominately positive life stories (e.g. weekly morning tea outings, social activities). In comparison, the photographs captured on the sole use camera also described intimate but everyday activities, spaces, objects and people that frequented in their daily lives. Shifting the responsibility of the camera and photography solely to the participants resulted in the residents disrupting conventions of ‘suitable’ subject matter to photograph (Harrison, 2004) and in doing so, provided a much richer insight into what daily life is like in aged care.

She’s done alright for a girl : strategies for teaching women artists

While evidence suggests that up to 65% of visual arts graduates in Australia are women, women artists are still dramatically under-represented in most sectors of the industry, from institutional exhibitions through to commercial gallery representation. Gender awareness in art school education was a prominent aspect of second wave feminist activism in this country, however the outcomes for women artists, particularly as their careers proceed, often remain discouraging. Over approximately the past ten years, the Visual Arts discipline at Queensland University of Technology has integrated a range of gender awareness strategies into its teaching program across both studio practice and history/theory areas, with relatively strong outcomes amongst female graduates, both as artists and arts workers. Employing practitioner reflection and praxis-based research, this paper takes stock of the approaches that have been trialled over this period and reflects on the combination of both explicit and implicit strategies employed, as well as student responses to them.

"Rebirth: Combined art performance"--Shirin Madg & Sweet Sound Ensemble

Vanessa Mafe-Keane was invited to participate as choreographer in Iranian singer Shirin Madg 's project, Rebirth: Combined art performance. This project integrated singing, music, visual-art, film, dance and is based on the dissident poetry of female Iranian poet, Forough Farrokhzad. The choreographic dance movement focused on simple, lyrical, flowing classical dance forms that also incorporated everyday gestures and actions performed by two Queensland dancers, Caitlin MacKenzie and Abby Johnson. The choreographic intention was not to attempt to re-create Iranian dance practices instead, to draw inspiration and reference specific movement qualities. This was achieved through the subtle inclusion of spinning movements and focusing attention on the dancers’ arms and upper torso. This fusion became an underlying theme reflected throughout the choreographic component. Additionally, this project presented an opportunity to draw on past experiences and problem-solve ways to construct choreographic work where the dancers and the musical assemble group could be staged side by side. This experience highlighted differing approaches to rehearsal protocols within disciplines, the practicalities of staging different artists, understanding musical cues and the diversity of audience engagement. Performances: BEMAC Multicultural Centre, Brisbane 06 February 2015 and Helensvale Cultural Centre, Gold Coast 07 February 2015

WIL-power: Developing journalism students' intercultural communications and international reporting skills on field trips to Vietnam

This article examines journalism students' learning experience that is intercultural, immersive and intensive. Accounts of 'intercultural' experience date back to Herodotus of Halicarnassus; 'immersion' is integral to contemporary practice in language learning; and 'intensive' delivery has been refined to an art by postgraduate business education. Together they can be grouped under the broader pedagogical concept of work-integrated learning (WIL). This article examines two WIL projects that involved field trips by journalism students to Vietnam in 2012 and 2014, and their implications for future WIL initiatives.

Embodying a future for the future: Creative Robotics and Ecosophical Practice

In recent years I have begun to integrate Creative Robotics into my Ecosophically-led art practices – which I have long deployed to investigate, materialise and engage thorny, ecological questions of the Anthropocene, seeking to understand how such forms of practice may promote the cultural conditions required to assure, rather than degrade, our collective futures. Many of us would instinctively conceive of robotics as an industrially driven endeavor, shaped by the pursuit of relentless efficiencies. Instead I ask through my practices, might the nascent field of Creative Robotics still be able to emerge with radically different frames of intention? Might creative practitioners still be able to shape experiences using robotic media that retain a healthy criticality towards such productivist lineages? Could this nascent form even bring forward fresh new techniques and assemblages that better encourage conversations around sustaining a future for the future, and, if so, which of its characteristics presents the greatest opportunities? I therefore ask, when Creative Robotics and Ecosophical Practice combine forces in strategic intervention, what qualities of this hybrid might best further the central aims of Ecosophical Practice – encouraging cultural conditions required to assure a future for the future?

It's complicated: Romancing the [male] modernist canon

This research project proposes a model of dialogue between the [predominantly male] modernist canon and models of feminist resistance. Employing a practice based methodology that utilises humour as a method for ironic deconstruction as well as a feminist methodology of revision, critique, and dialogic exchange; the resulting body of work disrupts and augments the modernist canon. Making intimate relationships explicit, the artworks explor collaborative and faux-llaborative processes to form a series of tentative gestures that refute notions of mastery and control. The accompanying exegesis contextualises this work by placing the research and the outputs amongst the field.

Re-imagining legacy: A woman experimental filmmaker’s response to colonisation

This practice-led research project analyses the creative and critical processes that occur when women visual artists respond to the legacy of colonisation. The research investigates the practices of selected visual artists, interrogates the candidate's creative practice, and analyses interview data. The creative practice component of the research analyses the critical and artistic strategies undertaken to produce an original set of six moving image artworks entitled Sankɔfa Dreaming. The creative practice develops an original artist method, Re-imagining Legacy. This method produces multivalent artworks that express a dynamic set of integrated critical standpoints on legacy and re-imaginings of history.

Running Men

In this multi-screen installation, iconic male characters from Hollywood films are reconfigured to create infinitely looping scenes of running; trapping the characters in a kind of Nietchzen eternal recurrence. Stemming primarily from my investigation into anxiety as a shared social experience, the carefully edited, looped, and rotoscoped characters become avatars or surrogates for myself, and for the viewer. Through this editing, they are caught in a space of relentless confusion and paranoia – they run with, and from, anxiety. They are never caught by any unseen pursuers, but are equally unable to catch up to any unseen goal. These figures act as models of masculinity, they are objects of identification and emulation. Simultaneously, as celebrities, they are also fictions of the media sphere, both real and ethereal, they are impossible to grasp. In this duality, the work also references cinema’s tangled conflation of character and celebrity identity. It examines the subjective and intersubjective engagements we can have with popular culture, and the way that these engagements can as strategies to ‘make sense’ of social experiences. The work was exhibited in the Carriageworks space of ‘You Imagine What You Desire’, the 19th Biennale of Sydney.

Zarathustra’s Cave

In 'Zarathustra’s Cave' the iconic apartment set from 90’s sitcom 'Seinfeld' is presented devoid of actors or action of any kind. Instead the ‘apartment’ sits empty, accompanied by the ambient noise of the screen-space and the distant sound of city traffic. At irregular intervals this relative silence is punctuated by the laughter of an off-screen audience. Unprompted by any on-screen action, this spontaneous audience response ranges from raucous fits of cheering and applause to singular guffaws and giggles. The work is the product of a deep engagement with its subject matter, the result of countless hours of re-watching and editing to isolate the aural and visual spaces presented on the screen. In its resolute emptiness, the installation addresses the notion of narrative expectation. It creates a ‘nothing-space’, where a viewer can experientially oscillate between a sense of presence and absence, tension and pathos, or even between humour and existential crisis. The work was first exhibited in ‘NEW14’, at the Australian Centre for Contemporary Art in Melbourne.