OF VIDEO ART INTERNATIONAL BIENNIAL 24 AUG –15SEPT
A 2011, lambda and PJFA. print onAlu oftheartist dibond.Courtesy COVER: Almagul Menlibayeva, Acknowledgements 17 Venues &Map 15 Program 11 Abbra Kotlarczyk Partic[ip]les for PoweringA Cappella In Material Per Versions I: Part 9 Din Heagney Doubleplusungood 8 María Galindo yo quiero no deti ser quieres, túme Así como 7 Kym Maxwell Collectors Data and Deaths 5 Eugene Nam Cheung Yiu Imagination Decolonial Engagement, the and Art Video Skewed: and Chopped Audience 4 Kelli Alred Laura and Couttie different togetherBecoming 2 – – – – – – 6 3 10 14 18 16
Centaur (from Transoxiana Dream) Transoxiana (from Centaur , International Biennial of Video 2019Art Welcome to Festival: Channels different togetherBecoming
Archie Barry, Fistimuff, 2019. Photo: Darren Sylvester. the broader Global South. to function indialogue withother regions including central Asiaand of post-colonialism withinAustralia by extending thosenarratives exhibitions. These programs provide afresh approach tocurrentdiscourses with theAssociaçãoCultural Videobrasil, our with AnnaSchwartz Gallery. the globe, asdoesthescreening program presented inpartnership program includes aselection ofcontemporary videoworks from across our neighbours intheSouthern Hemisphere. Our flagship of parallel practices from Europe, Asia,theMiddleEast,USA and cultures and women’s practices. artistic have occurred historically and stilltothisday, withrespect toIndigenous seek toredress issues ofvisibility, representation and erasure, which generations working ofartists across videoand performance. We also early proponents into contact withcurrent of videoart and emerging out inthe honouring thosewho paved theway for today. artists This thread isteased talks,artist lectures, conversations and discussions. programs, several performance works and asignificant schedule of public commissions by Archie and David Barry Rosetzky, four screening videoart festival events), theprogram presents sixexhibitions, including two new across Melbourne over three weeks (with theadditionofafew post- deconstruct notions ofbelonging, complicity and resistance. Rolling out around theglobe have beeninvited todevelop and present works that connectivity, power and place. from Australia artists Participating and across theprogram. encourage you toengage withthemultitude ofthemesand ideas emerging ofourparticipation community. We welcome you tothe2019festival and audiences. The festival has been, and continues to be, enriched through the we continue toask questions and toengage inconversation and withartists and now?’Inthefourth aquestion: iteration ‘whatisvideoart ofthebiennial, Legacies symposium, and the Longitudes, This international perspective isexpanded through apartnership The 2019festival situatesAustralian inthecontext videoart We look tothepast,highlighting and thehistoriesofvideoart The 2019Channels Festival seeks toexpand notions ofdifference, Channels Festival grew from inMelbourne acommunity ofartists
Latitudes and Legacies and Latitudes Untimely Geographies Geographies Untimely symposium, which brings Longitudes, and Digital Nations Digital
Latitudes and and Latitudes Video Visions Video
2 3 works are shown in Menlibayeva and Noor Afshanwhose Mirza, discussion bringstogether Reko Rennie, Almagul economically inalecture titled are weaponised politically, socially and within societyand howpost-truthmechanisms Din Heagney willaddress therole ofmedia technologised contemporary context. of globalisation and our technocratic, eras, cultures and geographies. and transformation occurringacross different and theimplications and processes ofchange Their conversation willaddress decolonisation
highlighting schisms between patriarchal ancient and contemporary cultures, and themselvesasserted over time by juxtaposing of patriarchal power structures thathave re-readings and imaginings. We look ata critique time and subjectivity, postcolonial and feminist often with reference and history, tomemory fact withfictionto challenge notions oftruth, reality and to build new, futures. better to envisage alternative visionsofpresent world, tochallenge assumptions and truths, narratives. allows ustoreflect Art on our to reimagine, reclaim and reassert new and productively usingcreative strategies be apowerful are tool. deliberately Artists and oppression? the systemic mechanisms ofinequality face ofglobal hegemony? How can we resist we cometogether toenactagency inthe questions we ask ourselves include: How can The human agency and mobility. related depletion ofenvironmental resources, of political and corporate interests; and the of colonisation; thepower and influence on theintergenerational and embodiedtrauma political age. Inparticular, there isafocus in Art (or how not to Instagram yourself yourself Instagram to not fame). to how (or Art in Geographies from the Videobrasil Collection, Videobrasil the from Amidstthesediscussions, recurring Several are artists posingacritique In both Throughout theprogram, fuse artists At such timesasthese, can art , artists explore, artists our current geo- Truth, Power and Optimism and Power Truth, The Anthropocene: Works Works Anthropocene: The Untimely Geographies. Untimely Post-Truth Post-Truth and Untimely Untimely
panel
performance, aswell asin presented asaone-night-only exhibitionand Rosetzky’s new commission performance. This can beseeninDavid the relationship on between videoand interdisciplinary boundaries and focusing offer innovative counterpoints by crossing verbal communication. cultural narratives through verbal and non- of resistance and the re-framing ofsocio- Reality works, we look towards theembodiment which includes new commissionsand Virtual of Festival Channels the 2019 team. onbehalf Kelli Couttie Laura and Alred become different together? question, which we nowput toyou: howdowe this festival, we kept comingback tothesame the way we perceive and act.Inpreparationsfor ourselves differently and tocollectively change future knowingthatwe have theagency toview we remain optimistic. We are hopeful for the number ofimportant criticaldiscourses. However, led by Camila Galaz. of hip hop, and the Kiraportrait, Nova’s feminist deconstruction Archie Barry’s newly commissionedvideo to intersectional feminisms. of identity and gender, and attention a shift towards more fluid notions Several alsoaddress artists participating and matriarchal value and belief systems. Time, After Time Time After Time, and Legacies and Throughout thefestival, artists The 2019Channels Festival delves into a In many oftheworks, including , Kira Nova’s videowork and the re-performance presentation Digital Nations Digital Longitudes, Latitudes Latitudes Longitudes, Composite Acts Composite exhibition, , the four-channel installation, AhKee creates from theirpresent statesofbeing. Through the immediacyof timetodisengage audiences cinema-verite typeimages, AhKee toys with from mobile phones, newsreels and other Palm Island. Constructed through found footage between police and First Nations peoples on an artwork tracing theerupting racial tensions at Sydney’s Museum ofContemporary – Art seconds average timespent infront ofartworks is27.2 truthfor thatthe an unsettling videoartists: encounter with Vernon AhKee’s holds? that videoart any power atall?Indeed,what isthepower we must cross inorder for tohave videoart Is audience impatience an impossible frontier role play can video art indismantling this? seen, heard and exhibited,thenwhat substantive is theway our impacts colonial history what is conceptual dilemmainAustralia’s ecology arts whatquestion, ‘to avail’? market, which begsustoask theinevitable continues toaccelerate and saturate theart Yet, theproduction oflong-form videoart of an image beingprizedonitsfleetingness. enhanced thecurrencymedia hasfurther with time-basedmedia. The advent ofsocial toplacatedone little theangst ofthoseworking published making.In2001,LisaF.art and Jeffrey K.Smith tofindits puberty feet asa form of‘legitimate’ of infancy for themediumbefore itreached the early sixties, there was aprotracted period by Korean-American Nam artist June Paikin as aform Most of art. famously pioneered door oftheSalonand left tounderstand itself wasvideo art thebastard turnedaway atthe unexpected child ofphotography and cinema, to master. Borninto thetwentieth asthe century Imagination Decolonial Engagement, the and Art Video Skewed: and Chopped Audience These questions remind meofmy first If we acknowledge thatthemostpressing The movingimage isachallenging medium 1 . Indeed,thelast eighteen years have Spending Time on Art, on Time Spending tall man tall which unveiled (2010) In many ways, We recognise thatAhKee implores usto emotion inplace ofnarrative loops endlessly. and affective wrath ofcommunity; thus, pandemonium. We are drawn into therage man incustody climaxes into anger and how aprotest against thedeath ofan Indigenous a polyphonic world ofdisquietaswe watch
of decolonisation. within both themediumand our pursuit image and the potentials thatliedormant in our mindswhen we encounter themoving do. Indeed,such isthetruthwe must keep alive emotions willnever becomesanitised asfacts change inthesame way thataffect can, for cannot achieve thedesired outcome ofstructural be underestimated. Appeals toreason alone of visualculture and decolonisation isnot to time itdemands –for itsrole inthelandscape to do. Hence, we must afford the videoart sensation inaway thatstillimages struggle to oneofembracing emotion; augmenting experience from oneinsearch ofart ofnarrative appeal to pathos. The movingimage shifts our medium an abilitytomasterfeeling and likevideo artists AhKee possesswithintheir most salient tool inthevideoartist’s inventory. pupils dilate. Perhaps ofaffect themastery isthe us tolook away from our phones and letour its unsanitised critique ofcolonial power, asking of Sydney. studies law and fromUniversity The history, degreesHe holds inart gender frameworks art. for contemporary imagining Western non- decolonial and with criticprimarily concerned art Eugene isan AustralianYiu Nam Cheung 1
SAGE Publications, California, p. 1. on Art’, Lisa F. Time Jeffrey Smith and K.Smith,‘Spending Against thepolitics ofimmediatefulfilment, Empirical Studies of the Arts the of Studies Empirical tall man tall enchants usthrough , 19(2), 2001, feel.
4 5 of Museums annual meetingsfor thepasttenyears Digital heritage hasbeendiscussedinthe International Council market? Why isitdeniedpurchase instateand nationalcollections? Is itacommodityfor/as/of culture, aswell asartwork withinthearts in an expanded field of data and mediasaturation and integration? And since, thequestion remains, belong where art’ does‘video It was sold toonly oneState Library, afew collectors institutions. and noart works promoted by thecollection individuals ofvideoart and museums. Schreuder. This nowanachronistic collector’s setof VHS limitededition Arjona, Lane Cormick, Violet Faigan, Stephen Honegger and Jacinta Patricia Piccinini,Ricky Swallow, Nat and Ali,David Noonan, Hayley from 1999to2001,representing originalvideoworks by Australian artists I knowbecauseran label avideoart calledLaHiPrism VideoLabel that Australian weren’t artists interested invideo. But, infact,they were. works from the1970sand ‘80s. The message theiromissionsendsis include, somewhat unsurprisingly, female artists, aswell ashistoric art atanationalmuseum levelart of Modern New Art, York –was thefirst toestablish the purchase ofvideo Barbara London–thelong-standing videocurator attheMuseum an important historicalarchive for generations tocome? a high value collection withan Australian focus toprovide Australian institutionslagging? Is itnot theircultural duty tobuild sentiments shared by businessman-collector Howard Wise, a New York Disseminating reach were and supporting themaking ofvideoart two ofthefirst vanguard topromote video artwork salesineditions. scene. Meanwhile, gallerists Leo Castelli and Ileana Sonnabendwere were thefirst to establish a buyers market for videoontheinternational experimentation withthe mediumsincethe1970s in particular lacks aclear anthology ofAustralian and our videoart culture viacollecting. Looking locally, theNational of Gallery Victoria Australian museums appear reluctant makingand tosupport videoart the United States. of our times, collecting hasdonehistorically asart inEurope and collecting need tocomment needstoaddress ontheconditions artists’ and commenting onour world. Anew model through offunding videoart technological play context, videoartists an important role inreflecting messed with the audio-visual signal. London started withNammessed withtheaudio-visual signal.Londonstarted June Paik’s decades to start acollection decades tostart Global Groove Global dominating theglobal economy withcompanieson earth, such asGoogle, Facebook and Amazon is bigmoney. Lastyear, data surpassedoilasthemostvaluable asset Arguably, videoisthelanguage ofour times. Data–and itschild, media– since inventionthe of printingthe press.’ is] ‘[Video mostthe radical change sociocultural Collectors Data The and Deaths (1973), purchase for $250,whilst other museums took 6 . Intheearly 1970s, independent US collectors 5 . Her focus was who onartists gamely 2 . Given our society’s quick-paced 1 3
. Particular omissions 4 . Sowhy are Art, Underground documentary. (dir.),
Art, 5 4 3 2 1 &from=1> type=collection gov.au/?s=video& p. 83. Publishing, Milan, Italy, (ed.), 2016, Mousse – OnCollecting Video Bought a Video, Once Who Someone Knows I Have aFriend Who AreNeither They’, Collectors? Noand ‘Are you ready for the Beiguelman,Giselle 2019, Netflix original Noujaim Jehane Karim and Amer Time Traveller’,Time Julia Stoschek, ‘The Video Collection. Video Museums founded the 1970–2013) and MoMA (from at Performance Art and Media of Department in the Associatethe Curator longstanding career as her finished Barbara London p. 50. p. Publishing, Milan, Italy, (ed.), 2016, Mousse – OnCollecting Video Bought a Video, Once Who Someone Knows Have aFriend Who accessed 30 July2019,accessed (search-term: ‘video’), of Victoria collection National Gallery LOOP Barcelona LOOP Barcelona The GreatThe Hack, I based gallerist. In1969 Wise presented acuratorial project and, in some cases, institutional frameworks. insome and, architecture,the territories and/or language of relational and/orperformance formats, web-based aimingto represent form through sculpture, photography, drawing, publications, Her work ispresented curatorial, ineither ormaterial social Kym author. and Maxwell isan interdisciplinary artist of inter-generational storytelling. way can we foster themediumand uphold theimportant lineage historical archives thatcan beshared by other institutes. Only inthis would ensure localrelevance onpar withinternational markets, and byThe collection museums ofvideoart and collectors inAustralia greater international dialogue and presentation opportunities. great value and agency and toenable ofvideoart Australian artists market,art collectors and museums needtodigdeeper tofoster the formats play out inalocalcollectors economy? Definitely. Ina reductive management, eventual obsolescence and theaestheticsofpresentation So why ontheback burn isvideoart inlocalmarkets? Doesdata institutions topresent collaborative projects. the public, she presents free exhibitionsand works withcurators and perhaps an ideal model for collectors. Keen toshare hercollection with the early days ofthemediumthrough tocurrent works. Stoschek provides dimension’ works from the1960stopresent, Isituatevideoinitshistorical of my generation, which Icallthe“archive oftemporalities”…By collecting sees videoasthemediumofour time. She states, ‘I wish tocreate an image on themanagement and archiving Avisionary, oftimebasedart. she (Munich) are forerunners. Stoschek’s deep and expansive collection focuses Today, collectors Goetz and such Ingvild asJulia Stoschek (Dusseldorf) process ofinnovation. by commissioningoracquiringsuch artworks, collectors finance this draw for contemporary collectors. It hasbeenwell recognised that worldwide Intermix (EAI),Arts oneofthelargest onlineloan collections ofvideoart Medium (1969). Then, in1971,heclosed hisgallery tofound Electronic 7 8 . This buy intoinnovation and critique hasbecomeamain . Her astutecollection holds contemporary videoworks from TV as a Creative Creative a as TV Art, Art, 8 Art, 7 6 Art, ‘The Time Traveller’, Time ‘The Julia Stoschek, ‘Buying Time’, Barbara London, curators.and directorsmuseum impact had on he London limited the lamented to Barbara Howard often Wise During thistime Italy, p. 50. Publishing, Milan, (ed.), 2016, Mousse Italy, p. 18. Publishing, Milan, (ed.), 2016, Mousse – On Collecting Video Video Once Collecting On Video, – Who a Bought Someone Who Knows Friend a Have I Video Once Collecting On Video, – a Who Bought Knows Someone Who Friend a Italy, p. 11. Publishing, Milan, 2016, Mousse Barcelona (ed.), – OnCollecting Video Bought a Video, Once Who Someone a Friend KnowsWho ‘Buying Time’, IHave Barbara London, LOOP Barcelona LOOP Barcelona LOOP I Have Have I 6 7 una impostora. Sólo puedo presentarme austedescomo nos rodea, envuelve ydesenvuelve. significativaparte de la realidad que es toda la realidad, nisiquiera esuna Porque el sistemanoloestodo, no no adentro del sistema. no adentro dela legitimación, no adentro dela aceptación, no adentro dela institución, No adentro dela galería, Afuera ynoadentro. institución, afuera del sistema. sentido, valor yfuerza afuera, afuera dela institucionalidad, unaimpostora que cobra Una impostora dentro decualquierytoda yo quiero no deti ser quieres, túme Así como which envelops and develops us. us, develops and surrounds that envelops significant a reality which the even of everything, not not part is reality, all system not the Because system. the within not legitimacy, within not acceptance, within institution, not the gallery, within art not the within. within not Not and Outside and system. value the meaning, outside institutions, gains all and who any impostor within an impostor An you to myself impostor. an as introduce only can I strength outside, outside the institution, institution, the outside outside, strength Photo: EmmaJane Richards. oftheartists. Courtesy Noor Afshan Mirzaand Brad Butler, civilresistance.and propaganda, street performances work through in antipoverty Western hegemonies, whileengaging against LGBT the and community of sexism, structural discrimination (Women Creating) to challenge issues movement social and Creando Mujeres feminist the co-founded collective she performer, activist writer. and In1992 artist, isaBolivian María Galindo Translation by Pamela Arce Maria and Teresa Tavares. Argentina, pp. 206–222. 2005,de los deseos, Tinta Aries, Buenos limón, Yo quiero no deti’, ser Mujeres Creando, La virgen Extract from María Galindo, ‘Así quieres túme como The Scar The (video still), 2018. else, you usethe same software, hardware, agree withthe statusquo but, justlike everyone it every time you usethe internet. You donot military-industrial complex and yet you support and yet they ruleyou. You donot advocate the You didnot vote for thegovernment inpower You donot feel complicit and yet you are. in our fascinationwiththepower oftheimage’. disturbing film when she says we are ‘complicit narrator sumsup thefeelings evoked inthe unquestioning. The eponymous unreliable that be–tokeep you inline, consuming, of both theformal and invisible powers and draws awareness tothemediamethods the ease ofmanipulation through images power toboth inform and corrupt. screened worldwide. The image hasthe layers ofdeceitschoreographed, filmed and and dissolved into terrorism asentertainment, Mirza and Brad Butler. Here truthisreflected Rahila Gupta inthe2015videowork doing but initsbeingseen’, statesjournalist to theworld oncemore. and junkand wonder until it’s revealed reach, hiddenaway among allthefragments willgo on,outsideyour ofyour digital‘self’ ago inanowovergrown pathway ofneurones, Like toforget trying planted amemory long but itwillonly be erased from yourself. unfriend, delete your entire digitalhistory in allyour naked truth.Locked and loaded. be able toaccess, adigitalreflection of you and stored inaprivate database you willnever every postyou ever deleted. Allofitrecorded of your phone, every website click, every ‘like’, the shop, every swipe ofevery card, every tap They knowwhere you live, what you bought at Monitored by astranger inanother country. doubleplusungood Unreliable Narrator Unreliable ‘The meaning ofan actliesnot inits ‘The You can backtrack, untag, unfollow, You are beingwatched asyou read this. The Unreliable Narrator Unreliable The by artists Noor by Afshan artists highlights The The cultural organisations. designers, publishers, galleries and over years the withmany and artists Monash University. Hehascollaborated of MADA, RMITUniversity and Design, director teacher and at School the Din Heagney isawriter, editor, art This isthetruth,real doubleplusungood. version ofyour real life, alltosell back toyou. in your pocket, accumulating a sumtotal fake you every day toan invisible enemy. slave Alittle private desires, your deepest secrets. It betrays It watches asyou binge stream. It knows your spy. It listenswhen you talkwith your friends. only your keys. of freedom when you leave thehouse carrying all punctuated by retail therapy ormoments events, mindcontrol, mediamanipulation, of illusion without end.Amazeofstaged everyone runsthrough an endlessmaze ads, profiles,tweets. Ina world of spectacle, Fake celebrity, eyes, lips, teeth.Fake companies, photographs. Fake politics, promises, votes. is an upside-down smiley emoji. on your desire. Copy and paste. The truth Search online. Donot passpage one. Click you. Facts are optional. Opinionsare king. not understand and anything thatcontradicts Choose your ownanswer. Ignore what you do well toclimb try tothemoon.Search online. and pinyour deepest hopes onit. You may as an illusion. There isnotruth.Pick aphilosophy income, friendships. world risks thatentails toreputation, career, now requires open rebellion, withallthereal currency. Limitedby design,any resistance You are beingwatched. Your phone isa Fake isthenew real. Fake news, headlines, Truth isreality. Truth isrelative. Truth is 8 9 hair –arooted, oxygenating chord sustainingmaterialand spiritual life material frictions. The sweetgrass isfor ancient cultures themother’s – elastically. Anobscured essencetransmitted and translated through Language, like power, isenactedand displaced, conducted and diffracted of language? Speech actsare howwe metaphorically thinkofourselves. void, thatpurges itslogictowards amuscular dance thatcommutes inspite vex/cave ofathorax. Is this thedrum’s sheath thatcontracts around the tunnel, athreshold for themovingfrom sub-to-e/merge-way like thecon/ agential lives re: your abilitytoself-annihilate. that primalmimeticact;acontradictory flashing ofthepan on your us, you reach into your pocket toprove uswrong. to justasquickly refract alongitspath. you and another fastapproaching train thatpropels towards you, between thistrain carriage, theseemingly tracks stationary beneath of aphoton makes for aradical collaborative orelse consumptive act. ethical courtroom dramas. The slumping ofan electron over thebody materialising through thoseobjects displaced from thescenesof your a ‘we’, an ‘us’, a‘they’. We are awildingofpositives, negatives, and neuters repulsions; ofdominance and compliance thatkeeps usallinit.[apause] if you will,ofour oddly powered friendship –oneofsweeping excitations, despite usrepelling your fleshly charge. Thisisthe general gist,the shape, pocket becomesareceptacle for our reaching out and touching you, Two female forms encountered, an arm resting contingent on a buttock. props his buttock. a on reposition to contingent down resting bends arm an subject male A encountered, forms The neutron justkindofsitsthere onitsstiltsofsilent witness, distracted. female Two The pull of the different… [actors] in the threesome the in [actors] different… the of pull The by atorsion ofenergy – by another human, only torealise your jacket pocket isbeingfed attention. You reach for your phone, thinkingyou’re beingcontacted o’clock against your lower torso. Somethingisvibrating for –vying your of thismovingtrain, your right arm dives into your jacket pocket, nine I: Part A Cappella for Powering Partic[ip]les In Material Per Versions photon – from asymbolic toanoun positionthissimply translates to–electron imaged amongst you. zones; it’s howyou heal through themessofplainly absurd players being arms tongues. and tittering Such are thegreenscreens ofyour terrene human subjectssplit apart into hyper-pink and red amoebas ofarachnid The lights inthetrain carriage momentarily go out. Adarkened Just aswe’re makingassumptions about you not beingable tosense We are acompound interest ofI-me’s –but not an ‘I’ ora‘me’, rather You didn’t thinkatthetime, but standing ontheinternal precipice Upon thisstage ofdark subways exitingback towards thefirst light, and neutron. For ease ofimagination, thinkofusaselectricity: No body is real; no body is fake is body no real; is body No dint, right arm, sway arm, right dint, 1 . There isapalpitation Touch/e 5 . Context iseverything. 2 2 – e – 4 . - - p . The jacket. The + + and and n 3 . o 5 4 Plants, 3 Acts, 2 1 Fistimuff, 2019. from Archie Barry, rephrasing of lyrics Editions, Canada, p. 5. Teachingsthe of and Scientific Knowledge, Indigenous Wisdom, Braiding Sweetgrass: Robin Wall Kimmerer, [excerpt], Composite ‘Friendship’ script David Rosetsky Wordbook.iPhone ‘power’ synonyms, Composite Acts, 2019. from David Rosetsky, description of ascene 2019. 2013, Milkweed abrasions ofacut as quickly aswe arrived, through aseries ofslits akintothefilmic – thatis, empathy. maximal opportunitycan for carry human and nonhuman touching of power thatisgranular and true toour deviant behaviour, onethat ghosts waltzing toEdithPiaf around thesur, nay madame-realism of theButoh –leeringJapanese a confabulation typicalofthe West’s inabilitytowrap itsowntongue but we are an exquisite corpselacking definition despite high definition; theatrics do, theway your language does. Excuse theinflated tone, We convulse incrementally theway your does, memory theway your knowledge; and shock, through radical forms ofhospitality and soft appeasings of publication, citizenry and embodied poetics. publication, embodied and citizenry trans-historically through expanded notions of queerness, linguisticon visualand take that inquiries often place prose. and Herpractice ishingedwriting of criticism,poetry makingand art of through conceptual modes articulated curator. maintains She practice aresearch-based that is Abbra Kotlarczyk writer, isan artist, sometimes and editor page. Let’s vibrate onthefaceofitslogic. any linguafranca thatthinks ofitself astheone. and thestabbing and thestretching and thebitingoftongue away from itself through modesofdiscombobulation. We fully support thetrilling We co-opt thetongue asamuscle powerful enough toaccurately represent ‘thou’ (contemporary ‘they’) singular body, where ‘ye’ (contemporary ‘you’) was usedapropos ofagroup governing idea solongas it never governs to beyour tenderhost:amaximalversion oftheworld thatfloats any In our attempts toavoid renormalisation, we enter and exitjust Our linguafranca ispure felt energy. We arrest your bodiesinpleasure Enter, performers, from backstage Let’s open thisup tounpin ourselves from thepunctuation ofthe know thou/self, know 11 . we chant, inobservance ofatradition inwhich 7 was an intimate form ofaddress toavariegated 6 . and—Action. It’s time to debeef to time It’s 10 . We rally behind aform 9 . Wewant 8 . wXyg> watch?v=cS7szDF www.youtube.com/ ine.com/search?q=ye> 11 Art, ‘Supercommunity: 10 9 8 7 6 Debeef, realm/#XTO8PWQzbfY> dance-in-a-surreal- /08/general/butoh- community/2003/06 www.japantimes.co.jp/ realm, 2003, retrieved org/wiki/Thou> org/wiki/Thou> Etymonline, Etymonline, David Rosetzky, Think of yourself as plural (video still), 2008. July 2019, 10 11 Program and aperformance by Jacqui Shelton. TICKET HOURS DATE VENUE of Melbourne and Creative Victoria. Supported by BLINDSIDE through theCity ontological deep tissue massage tothecity. the New York basedLords ofBeef Gang delivering A fictional music video work by Kira Nova, featuring Kira Nova It’s to Time Debeef TICKETS DATE VENUE a preview ofthe exhibition Channels Festival. Includes welcome addresses, Join usfor aspecial celebration tolaunch the2019 FestivalChannels Launch Free 31 July –7September Saturday 24August, 2–5pm Tuesday–Saturday, 12–6pm BLINDSIDE PLAY (ingallery +online) The SUBSTATION Free by registration Untimely Geographies, Untimely TICKET DATE VENUE Presented in partnership withRMITUniversity. photography and video. Festival, aswell ashisbroader practice across development ofhisnew commissionfor Channels discusses thecollaborative process involved inthe Join David Rosetzky for alunchtime lecture ashe Lunchtime Lecture David Rosetzky TICKET HOURS DATE VENUE Presented inpartnership withBlak Dot Gallery. the present and thefuture. Nations thatdraw artists links between history, Reality works by Australian and international First New and experimental video, installation and Virtual (Onesian), Tamara Whyte Haines, BrettJody Leavy, AllenVili Digital Nations This is my my is This Free Free left side. left Sunday, 12–4pm Thursday–Saturday, 12–5pm; Monday 26August, 12.30–1.30pm Opening Wednesday 28August, 6–8pm 22 August –8September Level 6,Room 5 RMIT University, Building 80, Blak Dot Gallery Joan Jonas, Left side right side right side Left , 1972 Presented in partnership withACCA. TICKETS DATE VENUE Geographies Untimely correlations across theirworks intheexhibition Kelli Alred, thediscussionwilltease out thematic with oneanother for thefirst time. Chaired by Menlibayeva and Noor Afshan Mirzainto dialogue This panel discussion bringsReko Rennie, Almagul Truth, Power Optimism and TICKET HOURS DATE VENUE Presented inpartnership with The SUBSTATION. and geographies, curated by Kelli Alred. of transformation across different eras, cultures An exhibitionexamining criticalmoments Bradand Butler, Reko Rennie Almagul Menlibayeva, Afshan Noor Mirza Untimely Geographies right side. right my is This Free Tuesday–Saturday, 11am–6pm Tuesday 27August, 6–8pm 27 August –21September Australian Centre for Contemporary Art The SUBSTATION Free by registration . TICKET DATE VENUE Cultural Videobrasil. Presented inpartnership withAssociação ecological crisis. Brazilian artists, addressing our urgent global A looped screening ofvideoworks by contemporary Guimarães, Eder Santos, AnaVaz Dantas,Chico Caetano Dias, Cao Videobrasil Collection Works from the Anthropocene: The TICKET HOURS DATE VENUE the CityofMelbourne and Creative Victoria. Festival and supported by BLINDSIDE through This exhibitioniscommissionedby Channels visibility and thefluid nature ofidentity. A new by videoportrait Archie examining Barry Archie Barry Fistimuff Longplay Sunday 1September, 6–10pm Opening Thursday 29August, 6–8pm 28 August –14September Tuesday–Saturday, 12–6pm BLINDSIDE Free (18+) Free 12 13 TICKET DATE VENUE Parr, Matthew Perkins LyndalGalaz, Jones, JillOrr, Mike Cleveland), Archie Barry, Camila Diana Baker Smith (Barbara SPEAKERSPERFORMERS AND Regina Vater Richard Serra, Ken Unsworth, Mike Parr, Peter Kennedy, JillScott, Nauman, JillOrr,Bruce Letícia Parente, Hoover, Marshall, Joan Jonas, Stuart Peter Campus, VALIE EXPORT, Nan Marina Abramović, Lynda Benglis, ARTISTSSCREENING of Victoria. Presented in partnership withtheNational Gallery and contemporaryof videoart practice. highlight relationships between historicallegacies screenings andvideo art panel discussionsthat A one-day program oflecture performances, historic Legaciesand Longitudes, Latitudes TICKET DATE VENUE Presented inpartnership withAnnaSchwartz Gallery. screened infive chapters. exploring themesoftemporality, selfhood and place, A curated selection ofcontemporary videoworks Shiota, Daniel von Sturmer David Mike Noonan, Parr, Chiharu Silvanaand Mangano, Angelica Mesiti, Shaun Gladwell, Mangano Gabriella LaurenBreitz, Daniel Brincat, Crooks, Oliver Beer,Lida Abdul, Candice Proximity Place and Free Saturday 7September, 10am–4pm 3 September –7September, 4–5pm Full $15/Concession$10(18+) Anna Schwartz Gallery Clemenger Auditorium National of Gallery Victoria, and practice theconnectionsbetween and art life. across audio, performance and videomediums, as cyclic working methodology, developing thepiece TICKET DATE VENUE as they discuss Join Archie inconversation Barry withSean Lowry Lowry with Sean inconversationArchie Barry TICKET DATE VENUE and Schoolhouse Studios. Presented inpartnership withFree Association complexities oftruthtelling. of cultural memory, inheritedtrauma, and the re-performance can beusedtoexplore ideas Led by Camila Galaz, theprogram considers how of workshops organised by Free Association. This public program istheoutcome ofaseries Public Presentation Time, After Time: TICKET DATE VENUE Presented inpartnership with WRITING &CONCEPTS. image inapost-truthworld. exploring howtonavigate themeaning and value ofthe Din Heagney presents arollercoaster rideofalecture your way to fame) (orArt how not to Instagram Din Heagney: Post-Truth in Free Saturday 14September, 2–3pm Friday 13 September, 6.30–8pm Thursday 12September, 6–8pm Free by registration Free BLINDSIDE Schoolhouse Studios ACMI X Fistimuff , touching ontopics such for today. that’s allIknow destroy to build, Build to destroy, TICKET DATE VENUE to Metro Arts, Brisbane after the festival. Premiering inMelbourne, theprogram willtour the breadth ofcontemporary video art. recently created, single-channel works thatshowcases Visions program presents acurated selection of A feature-length cinemascreening, the2019 Video Young, Caroline Rumley, Venturelli Devis Ella Parkes-Talbot, SophiePenkethman- JuyiMao,Chesworth, Nguyen, Alison Kelly,Deborah David and SoniaLeber CROSSLUCID, Maren Dagny Juell,DiHu, Gianluca Abbate, Córdoba, Pablo-Martín Visions Video Kira Nova Sunday 15September, 5–7pm Full $15/Concession $10(15+) Cinema Nova advisory body.advisory through theAustralia funding Council, and itsarts Foundation and assisted by theAustralian Government Presented in partnership withtheAbbotsford Convent TICKET DATE VENUE Acts Composite by Duane Morrison. Meilak; and amusic composition performed live choreographed by Jo Lloyd; sculptural works by Sean by Shelley Lasicaand Harrison Ritchie-Jones, by David Rosetzky. The event includes performances presenting anew videowork and live performance A special one-night exhibitionand performance David Rosetzky ActsComposite Saturday 21September, 8–10pm Full $15 / Concession $10 Full $15/Concession $10 Abbotsford Convent, Magdalen North Laundry is aChannels Festival commission. 14 15 away. pass come and feelings same; feelings the stays nothing Time goes by and 10 12 11 8 4 9 6 3 5 2 7 1 Archie Barry, RMIT Longplay BLINDSIDE Centre Australian 1 Market St, Newport 81 Rupert St, Collingwood 185 Flinders Ln,Melbourne Level 4,2Kavanagh St, Southbank 1 St Heliers St, Abbotsford Building 80,445Swanston St, Melbourne 318 St Georges Rd, Fitzroy North L7, Nicholas Building, St,111 Sturt Southbank 37 Swanston St, Melbourne 180 St Kilda Rd, Melbourne 380 Lygon St, Carlton 33 Saxon St, Brunswick The SUBSTATIONThe Studios Schoolhouse NGV International NovaCinema Gallery Blak Dot for Art Contemporary Gallery Anna Schwartz ACMI X Abbotsford Convent Fistimuff , 2019 12 NEWPORT SOUTHBANK MELBOURNE 5 10 BRUNSWICK EAST 6 CARLTON 4 2 7 3 9 FITZROY NORTH COLLINGWOOD 8 11 ABBOTSFORD 1 17 AV DESIGN AND INSTALLATION Kym Maxwell, Kelli Alred, Laura Couttie ENGAGEMENT COORDINATOR COORDINATOR PROGRAMS PUBLIC Alicia Renew, Leela Schauble, Jessie Scott ADVISORY COMMITTEE PUBLICITY WEBSITE DESIGN ADMINISTRATOR PRODUCER ANDADMINISTRATOR PROGRAM INTERPRETATION AND ENGAGEMENT CURATOR MANAGERPROGRAM GENERAL MANAGER ARTISTIC DIRECTOR FESTIVAL CHANNELS TEAM © 2019 FESTIVAL: CHANNELS INTERNATIONAL BIENNIAL OF VIDEO ART PRINTING DESIGN WRITERS EDITOR PUBLICATION Joel Stern, Andrew Tetzlaff, Yandell Walton, Amelia Winata, Siying Zhou, EmileZile Isobel Knowles, Youjia Lu, Alan Nguyen, Liam O’Brien,Diego Ramirez, Jessie Scott, Kelli Alred, Archie Barry, Megan Cope, Ian Haig, LisaHilli,Edwin Jurriens, CONVERSATIONSCHANNELS CONTRIBUTORS with special thanks toPamela Arce, Laura Couttieand Maria Teresa Tavares Ian Haig, SimoneHine, Jessica O’Brien,Diego Ramirez, Jessie Scott, Kyle Weise, VIDEO VISIONS SELECTION PANEL Robert Jordan, Gerardo Pavon Pichardo, Andrew Sainsbury, AriSharp Acknowledgments Laura Couttie Steve Gavan and Sara Hayat Steve Gavan and Sara Hayat Jack Fowler Eugene Yiu Nam Cheung,María Galindo, DinHeagney, Abbra Kotlarczyk, Moule Printing Zilla and Brook Beatrix Macintyre Kelli Alred Shannon King Jessica O’Brien Isabella Hone-Saunders Nicole Breedon, Wesley Dowling, Felix terHedde, Maria Teresa Tavares Pamela Arce Laura Couttie on thefestival withenthusiasm and creativity. and toprevious Directors NikkiLam and AliciaRenew for continuing and building Rachel Feery and Jessie Scott for theirvisionand passionincreating thefestival, We express our admiration and gratitude toChannels Festival founders Eugenia Lim, A special thank you toallofour artists, participating writers and volunteers. Design Hub, RMITGallery, and many others. Museum Faculty ofArt, and Melbourne ofArts School ofDesign, The University ofMelbourne, Shearman atUrban Screen Productions, James Doyle and Moule Printing, Monash University Caio Meirelles Aguiar, LetíciaParente Estate, Marcus SmithatUnited Finishing Artists, Emma Associação Cultural Videobrasil, Jaqueline Martins, GaleriaJaqueline Martins, Juliana Landgraf, van Schaik, AnitaSpooner, KiahReading, Solange O. Farkas, Daniel Escorel and theteam at Hanlin, Renee Daniele, Holly Cochran, Arnold Katzen, CaitlinKavanagh, Tull Alred, Jan Rob Sowinski, Max Delany, Adriane Hayward, Samantha Vawdrey, ColletteBrennan, Jacqueline Martina Copley, Lucy McIntosh, Claire Grech, Brad Spolding, Kali Michailidis, Marisa Fiume, Kristen Sharp, Kit Wise, Kimba Thompson, AnnaSchwartz, Tania Doropoulos, Katarina Klaric, Simon Maidment, Pip Wallis, ZoeKirkby, Ewan McEoin, Andrew Tetzlaff, Verity Hayward, and assistedustomake the2019festival areality: Channels Festival would like toextendaheartfelt thank you toeveryone who hassupported THANK YOU FESTIVAL PARTNERS #channelsfestival #channelsfestival2019 channelsfestival.net.au @channels_festival GOVERNMENT PARTNERS Gianluca Abbate (ITA) Lida Abdul (AFG/USA) Marina Abramović (SRB/USA) Diana Baker Smith (Barbara Cleveland) (AUS) Archie Barry (AUS) Oliver Beer (UK/FRA) Lynda Benglis (USA) Candice Breitz (ZAF/DEU) Lauren Brincat (AUS) Peter Campus (USA) Pablo-Martín Córdoba (ARG/ FRA) Daniel Crooks (NZ/AUS) CROSSLUCID (POL/HUN/DEU) Maren Dagny Juell (NOR) Chico Dantas (BRA) Caetano Dias (BRA) VALIE EXPORT (AUT) Arabella Frahn-Starkie (AUS) Camila Galaz (CHL/AUS) Cao Guimarães (BRA) Shaun Gladwell (AUS) Jody Haines (Tommeginner/AUS) Din Heagney (AUS) Nan Hoover (NDL/USA) Di Hu (CHN/IRL) Joan Jonas (USA/CAN) Lyndal Jones (AUS) Deborah Kelly (AUS/JPN) Peter Kennedy (AUS) Shelley Lasica (AUS) Brett Leavy (Kooma/AUS) Sonia Leber and David Chesworth (GBR/AUS) Jo Lloyd (AUS) Gabriella Mangano and Silvana Mangano (AUS) Juyi Mao (CHN/USA) Stuart Marshall (UK) Sean Meilak (AUS) Almagul Menlibayeva (KAZ/DEU) Angelica Mesiti (AUS/FRA) Noor Afshan Mirza and Brad Butler (TUR/UK) Duane Morrison (AUS) Bruce Nauman (USA) Alison Nguyen (USA) David Noonan (AUS/UK) Kira Nova (NLD/USA) Jill Orr (AUS) Letícia Parente (BRA) Ella Parkes-Talbot (AUS) Mike Parr (AUS) Sophie Penkethman-Young (AUS) Matthew Perkins (AUS) Reko Rennie (Kamilaroi/AUS) Harrison Ritchie-Jones (AUS) David Rosetzky (AUS) Caroline Rumley (USA) Eder Santos (BRA) Jill Scott (AUS/CHE) Jacqui Shelton (AUS) Chiharu Shiota (JPN/DEU) Ken Unsworth (AUS) Regina Vater (BRA/ USA) Ana Vaz (BRA/PRT) Devis Venturelli (ITA) Allen Vili (Onesian) (Aotearoa/Ngati Awa/Ngai Tuhoe/WSM) Daniel von Sturmer (NZ/AUS) Tamara Whyte (Waggamay/ASSI/AUS)