Morrell contemplates the Banana Republic, a tourist destination with exotic indigenous culture and good weather. An Australian Republic seems to be inevitable...but where will art sit in this new future?
Sport and Porn was huge in its scope and scale. The show ran for an hour and a half over a two week period at the Performance Space in Sydney during March 1997. Victoria Spence writes about the performance that she was involved in. The team comprised Morgan Lewis, Scott Wright, Sharon Kerr and Steve Howarth, Adam Kronenburg, Dana Diaz Tutaan, Victoria Spence and Rodgers D.
The ideas behind this project stem from the particular legacy of Black British arts practice in the 1980s....This touring visual arts exhibition and book project tries to deconstruct the notion of the centre (London/UK/Europe) both as a site of former colonial power and as a site of current economic and cultural power.
In Australia, the land has been, for non-Aboriginal settlers, from the beginning a sign for the nation and for the manufacture of livelihood (the sheep's back, mineral wealth) as well as a repository of dreams and misapprehensions. The importance of the land to Aboriginal Australian ought to be easy for us to comprehend.
Trademarks and logos have been vital ways of marketing goods and services for well over a century. What are the readily identifiable symbols for Australia?
Aboriginal culture, National identity and the Australian Republic. The closing ceremonies of the Atlanta Olympics were watched by a 1/5th of the world's population. This was arguably the most expensive bit of air time on the planet at that moment....
Some thoughts on performance and the Australian cinema. Verhoeven snuggles up to the sheep film as a clue to what Australian filmmakers have held dear. Nationalism and republicanism examined.
Looks at the cultural events planned to accompany the Olympic Games to be held in Sydney in September 2000. There are 4 cultural festivals -- 1997 The Festival of the Dreaming curated by Rhoda Roberts, 1998 A Sea Change curated by Andrea Stretton, 1999 Reaching the World, 2000 Harbour of Life co-ordinated by Leo Schofield.
Flags are vexing (vexillological) by nature. Explores the role of flags and the ways they have been subverted, with recent exhibitions recognising their irony and employing ideas that unpick the ideological rhetoric stitched into these symbols.
Mapping the Comfort Zone: The Dream and the Real
works by Irene Briant, Jenny Clapson, Jo Crawford, Christine James. Catherine K, Nien Schwartz, Lucinda Clutterbuck & Sarah Watt.
Artspace, Adelaide Festival Centre
4 July - 16 August 1997