Abstract: The article begins with the observation that, as regards an anti-fascist sentiment in Poland today, the left appears mainly to have won one battle – in the terrain of culture – whereas ultra-conser...

Abstract: 3D scanners and printers offer a relatively inexpensive means of preserving threatened, destroyed, or lost cultural artifacts. At the same time, the digital reproduction of this heritage (which now...

Abstract: The most salient feature of the far-right movement, which became known as the alt-right, is its relation with IT rather than with the diminished expectations of the post-industrial working class. T...

Abstract: This article provides a reflective overview of What Lies Unspoken: Sounding the Colonial Archive, a sound intervention which I initiated and produced in collaboration with curators at the Statens M...

Abstract: One of the most significant roles of contemporary art in a globalised world has come to be to mediate between the local and the global, what has come to be discussed under the heading of the glocal. The glocal has been mainly explored through the lens of large-scale curatorial models, such as biennials. However, excessive focus on large-scale transitory events threatens to overlook the potentially fruitful contribution that small-scale projects can make to our understanding of this phenomenon. The same interplay between the local and the global that provided the conditions for the emergence of exemplarily large-scale events led to the emergence of what I call SVAOs (Small Visual Arts Organisations). In this article, I argue that the emergence and proliferation of these spaces worldwide during the 1990s has the potential to challenge existing conceptions of exhibition-making and the mediation between the local and the global in contemporary art.

Abstract: The article is intended as a broad contextualisation of the political concerns that underpin the special issue Anti-fascism/Art/Theory as the second decade of the twenty-first century is drawing to...

Abstract: Following other advances in international film movements, namely Third and Fourth Cinema, we propose the concept of Fifth Cinema to refer to a composite of audio-visual outputs developed primarily by refugees and/or enabled with their interests and stories at heart. Although the experience of forcible displacement and expatriation varies greatly from one person to the next, Fifth Cinema exhibits certain similarities. It is a cinema that is nomadic, insecure, fragmented, displaced, accented, and hybrid. Emotionally and politically fraught, it is emergency cinema, getting unheard voices out there. It is a ‘smart cinema’ enabled by the spread of digital technologies making it instantaneous, dispensable yet indispensable as a record of a millennial phenomenon. By no means a concerted social movement, it is certainly about reflecting on the surge of individual movements and their filmic outputs, occasionally collective as the result of shared endeavours and co-productions. In this article, we chart out some key features and proponents of Fifth Cinema as an ‘open corpus’ and as part of making a political statement: that refugee conditions and contributions are appreciated, valorised and supported with the means to represent themselves, creatively, interculturally and politically through the (co-)production of their own stories.

Abstract: This article examines engagements with the natural environment in Indonesian contemporary art, with a specific focus on Yogyakarta-based multimedia artist Setu Legi. After discussing various historical models of Indonesian creative engagements with the environment, I argue that Legi’s work deals with environmental problems by personalising the political as well as highlighting political aspects of the personal. Using the work of Felix Guattari and T J Demos, I show how his art offers a form of eco-aesthetics that disentangles the interconnections between art, politics and the natural environment. I analyse Legi’s critical exploration of the concept of ‘homeland’ (tanah air) and the geopolitics of West Papua through his creation of alternative maps of the Indonesian archipelagic state. Finally, I demonstrate how Legi relates cultural and environmental destruction as well as possible solutions for these problems to a range of religious and spiritual ideas and practices in Indonesia.

Abstract: This article examines Georges Bataille’s engagements with fascism and community during the 1930s as a means of providing a living historical lesson which might assist the navigation of the ...

Abstract: Translation studies have moved beyond the phase of discussing translatability and untranslatability of a source text from the linguistic perspective alone. Issues such as gender and language inequality have entered the scene, foregrounding translation as a contextual, political, and potentially transformative act. Insofar as translation has to do with a mode of encounter firmly embedded in the on-going disproportional distribution of knowledge and power, the relation between translation and original lies at the heart of translation as a performance, whereas the question of how to mobilise this relation becomes crucial to appropriating translation as a strategy. This paperdraws upon the writings of Walter Benjamin, Judith Butler, and Gayatri Chakravorty Spivak to look into translation asa practice wherein the source text is acted out through the translator and the audience. While these theorists have formulated distinct views in terms of the role of the translator, this paper will focus on the notion of failure, which is proposed by Spivak and more thoroughly developed by Hetain Patel and Yuyu Rau in their stage performance Who am I? Think Again. If translation concerns doingsomething as supposed to merely sayingsomething,this stage work shows that failure is constitutive to translation as a practice and that the performance of failure is productive to translation as a strategy.

Abstract: This article explores the norms, spaces, positions and conditions of visibility for non-white refugees and migrants as well as white non-refugee characters in Dheepan (Jacques Audiard, 2015), a fil...

Abstract: In 1974, the First Biennale of Arab Art was inaugurated in Baghdad, envisioning a radical nomadic exhibitionary model that preceded the European equivalent, Manifesta, by two decades. The ostensibl...

Abstract: While national agendas and individual university mission statements seek to make Australian higher education more inclusive for an increasingly diverse student population, the contribution that writing centres can make to achieving these goals has been overlooked. This article outlines the rationale, development, and growth of the Writing Hub at the University of Sydney to advocate for writing centre/writing across the curriculum (WAC) collaborations as the future of writing instruction in Australia. By reimagining academic writing instruction as creative, collaborative practice, Australian higher education can move beyond the antiquated deficit remediation model.

Abstract: This article describes, on the one hand, key conduits between open fascists and the current US administration, and, on the other, the ties of major arts philanthropists to this administration. It r...

Abstract: This publication appears in Special Issue 54: Writing and researching (in) the regions, eds Nike Sulway, Lynda Hawryluk and Moya Costello, April 2019.

Abstract: Public diary-reading events, arguably originating in the USA in 2002, continue to draw participants eager to share their teenage angst and juvenilia, yet there is little scholarly reflection on this peripheral practice of performative writing. Having birthed our own version in 2017 within the safe harbour of the academy and using an intuitive, practice-based methodology we believe there are some useful questions to pose about the autoethnographic contributions of this mortification rite. Eighteen months in, we are further moved to ask, what is happening in the presentational and performative space as we show our younger selves to one another as we have, and do? This article, a follow-up to our previous Diarology for beginners (2019), formally reiterates on the page the associative leaps and communal meaning-making arising from our explorations so far. Prompted by questions, such as, Is the practice of diary keeping inherently gendered? Is it about becoming visible? Audible? Memorable? What? And what is the impulse to publicly share the archives? (Munro, Murray and Taylor 2019), we draw on the literature around diary keeping, as well as theories on voice, gender and creative autoethnography, as a way into understanding diary performing and the public sharing of juvenile shame.

Abstract: Antoine-Ignace Melling's engraving Inside the Harem of the Sultan (c 1810) depicts women's everyday life and their relationships, rituals and spatial practices in the Ottoman harem. Two centuries later, Inci Eviner, one of the leading contemporary artists internationally acclaimed for her solo and group exhibitions as well as for her contribution to numerous biennials, animates the same anonymous women in her video Harem (2009) by displacing the spatio-temporal nexus of Melling's work and exposes, in the manner of a visual parrhesia, the desires, the revolting gestures and the violence inherent in the harem. To discuss the nature of this displacement, we open with a few initial remarks on Melling's Harem. Then we focus on Eviner's Harem, elaborating on the forms of subjectivity and spatiality it evokes. In this discussion we pay special attention to the role of becoming, sacrifice, resurrection and the virtual in Eviner's work. The power relation specific to the harem, that of between the despot and the female slave, plays a pivotal role in this context. To end with, we turn to another significant work by Eviner, The Parliament, which, rather unexpectedly, relates the subjective and spatial nexus of the Oriental harem to Western politics.

Abstract: Museopiracy is a way of working with/challenging the workings of museum collections as an outsider to the institution. It takes as its basis the project Cook’s New Clothes, which was a performative...

Abstract: This article applies Mikhael Bakthin’s concept of ‘chronotope’, understood as the ways in which writers narrate time and space and thus create worlds which enable subjectivities to emerge, to Tony ...

Abstract: This article reflects on the curating of an exhibition at the Museum of Anthropology and Archaeology, University of Cambridge, ‘Another India: Explorations and Expressions of Indigenous South Asia’...

Abstract: This article discusses the use of a filmed conversation as a medium of reflection on creative practice, in particular the practice of making filmpoems. We consider in what sense the filmed conversation might be a rigorous and productive mode of reflection, and describe the process of producing the film, as well as analyzing the mode’s effectiveness as a way of reflecting on practice. This analysis is presented as a case study of a non-conventional medium of reflection and of its relation to the more conventional scholarly article. We argue that the reflection recorded in the film is distorted by production and editorial processes, but that nevertheless it provides a useful and distinctive form of reflection to augment conventional accounts. By exploring how reflection on practice is shaped by the medium of publication, this article contributes to advancing the discipline of Creative Writing and making its reflective element more productive.

Abstract: Through engaging closely with Grettis saga I was able to understand how saga style and structure relate to each other and to the historical context of their setting. Learning from saga writers cannot be a case of cherrypicking certain techniques and effects. Rather, it involves understanding how saga narrative, style, structure and context combine to produce a mature literary work. Meanwhile, rewriting the saga into a contemporary setting meant finding narrative equivalents for saga events, and re-imagining their consequences to make sense in a contemporary world. In turn this meant reflecting on societal values and structures in the two contexts and on how these shape events, lives and stories: in particular, the role of violence, the notion of the monstrous, and the treatment of gender and sexual violence. Though these specific lessons are peculiar to the rewriting of this saga, the project provides one model for writer-researchers interested in engaging with medieval literature. It shows that it is possible to move beyond the appropriation of tropes, setting and materials into an existing modern form (a process which treats sources as inert and disregards the writerly techniques and practices which produce them). Engaging respectfully and in detail with medieval writers and their practice means looking beyond the exotic Other of distant historical settings and materials, and instead seeking to learn how medieval styles, structures and processes can be used to extend, diversify and invigorate writing in our own time.

Abstract: This critical/creative work responds to a call from Krauth and Watkins for amore radical form of the scholarly paper. Its hybrid form presents poems written in response to events at the second Poetry on the Move festival at the University of Canberra in 2016. Key ideas about the intersections betweenpoetry and knowledge from David McCooey and William Carlos Williams areconsidered together with readings and discussions by poets Tusiata Avia and Simon Armitage. The article charts writing experiences, tracking the drafts andthe editing process for ways in which my festival-inspired poems reflect on the intersections between poetry and knowledge, knowing and unknowing. Specifically, the poems concern the topics of knowing and observing the world; knowing memory and integrating the past with the present; and knowing the body. They embrace embodiment, imagination and biography, conscious of antagonisms between memory and the present. In this article, I problematise the use of the noun knowledge as opposed to the verb knowing and demonstrate that the former is unnecessarily privileged. I argue that articulating the full scope of poetry composition from inspiration to the final stages of editing demonstrates that artistic knowledge is best defined as a process of knowing. It is my contention that poets do demonstrate the knowledge of how to make things, as identified by Aristotle (1954); and alsothat we show ‘knowing as a process of inquiry’ (Johnson 2010). In doing so, we offer readers ‘new ways of knowing and doing’ (Webb 2012, my emphasis). At the same time, our own new work, as I demonstrate here, responds to knowledge as ‘a living current’ (Williams 1923), an active state characterised by the verb ‘to know’.

Abstract: Since around 2000, the strategies of participation and compromise in socially engaged art have contributed to modest victories providing at the same time an excuse to left-wing intellectual...

Abstract: Coloniser and colonised were produced as subjectivities through power relations mediated through objects. The erection of public statues of ‘great men’ in prominent places in European and colonial ...

Abstract: This article examines post-socialist performance art in Serbia and Russia, which has sought to challenge official narratives of nationalism and history in these two countries. The 1990s work of Ser...