Below, you will find some of Next Wave Festival 2016’s catalogue essays, podcasts and audience notes, just in case you missed them.
Exhibition essays and publications
Claire Robertson, Far From Here, catalogue essay by Clothilde Bulleen
“This is a love story. It’s not a story about a woman and a woman, or two men, or a child and their mother, although it could be all of these things. This is a love story with a difference…” Read more.
Separating Hydrogen from Air: A Primer, a discursive project by Eleanor Zeichner
Do you keep a diary? What would you think of it being published posthumously? What is an artwork you wish you’d made?” – questions asked to Next Wave Festival 2016 artists and presented online and in booklet form at select Next Wave venues. Read it here.
“In general—although it varies greatly for different types of prints—a photograph must not be subjected to light levels any greater than 50 lux, and after as little as a few months on display a photograph should rest in complete darkness for at least a year in archival conditions, in a space where the temperature is controlled, and the humidity is maintained…” Read more.
The Fraud Complex, curated by Johnson+Thwaites catalogue
“Otherwise known as ‘imposer syndrome’, the fraud complex is a neurosis which plagues the individual with a deep sense of inauthenticity and inadequacy. Suffered by many, but by marginalised people disproportionately, this syndrome is symptomatic of an authoritarian dichotomy between authenticity and fraudulence that permeates contemporary life…” Read more.
Ua Numi Le Fau, curated by Léuli Eshraghi catalogue
“This exhibition takes place in Narrm, the great bay, and the waters flowing through the great yaluk Birrarrung. The settler colonial city of Melbourne is built on the unceded, stolen biik lands and baan waters of the Wurundjeri and their relations, the Boon Wurrung, Taungwurrung, Dja Dja Wurrung and Wadawurrung. Distinct clans, together as the Kulin Nation, have survived and thrived, ensuring that timeless laws, ceremonial political practices, and knowledges continue into the future.” Read more.
“I walk into a room where there’s a work of art on the floor. It looks like a satellite photo of a landscape, filled with undulating browns. I bend down to get a closer view. Like a lone homestead, there’s an Aida-cloth square embroidered in black thread. It has the letters RD and WS. Someone has been here. I stand up and see a pattern of smaller patches. To capture it for later, I focus it on my camera phone. The screen is filled with the words ‘Thank you.’ For what?” Read more.
Podcasts and audio notes
In Sisters Akousmatica, curators Julia Drouhin & Pip Stafford spent a whole days taking people around Melbourne city to witness different musical acts in different city contexts. You can listen to their whole journey on 3CR. Listen here.
IMAGE: Hany Armanious, Body Swap (2015). Photo by Peter Morgan. Image courtest Roslyn Oxley9 Gallery, Sydney