Queer theory / Identity Politics / Visual Art / Aesthetics and Culture / Social Science / Critical Studies / Philosophy / Environment and Sustainability / Literature / Mythology / Colonial History / Decoloniality / Intersectionality
These are the topics of discussion underway at RAYGUN PROJECTS, as a part of the current show IN TRANSLATION
You are invited to contribute a reading, essay excerpt, visual print out, or some kind of printed matter that reflects your ideas concerning any of these contemporary discussions. Share and become a part of this dynamic archive by emailing your material to the HVID [me] ARCHIVE : mail@Hvidme.dk and make this a global conversation.
This past week we have hosted Danish curator Louise Lassen Iversen. Louise’s project ‘In Translation’ is a group show by Danish artists including Suada Demirovic, Miriam Haile, Annarosa Kroyer Holm and the collective Hvid[me] Archive. The works in the show represent each artists interpretation of cultural differences, where the act of translation becomes a cultural meeting ground. Louise has brought to us, an array of video works and an interactive growing archive (where RAYGUN community are invited to contribute), as a way to reveal concepts of decoloniality associated with the Danish history/culture. This ‘active’ exhibition enables Louise to connect perceptions of colonisation with the Australian audience in order to give space to individual reflections within a global domain.
As Louise states:
IN TRANSLATION is an exhibition that uses the act of translation as a cultural meeting ground. Because a translation is a movement from one linguistic, cultural and historical context to another and because every language is contaminated by linguistic differences – it is in reality a paradoxical task. A translation is never an exact similarity but always both a copy of an original text and an original in and of itself owing to the fact that interpretation and reformulating are necessary. Therefore the act of translation is an unpredictable space in which the cultural background of the duplicate is inevitably mixed with that of the original text both restoring and erasing it. It is in this space in-between that we operate.
This exhibition is an attempt to create a meeting ground of experiences between the country we have travelled from – Denmark, an old European nation and colonial power – and the country we visit – Australia, a young nation and former colony.
2017 marks the centennial of Denmark’s sale of three Virgin Islands to the US. Still to this day Greenland and the Faroe Islands are a part of the Danish territory. Unlike the Commonwealth of Nations that Australia is a part of Greenland and the Faroe Islands are not fully independent. In the exhibition we look at, how colonial structures to this day influences racial structures, immigration policies and experiences of privilege or discrimination in Scandinavia.
Through an open call created by the collective Hvid[mə] Archive we invite you to participate in the exhibition with contributions on decolonial practices within Australia.
We are super excited to have German Painter Gerhard Richters exhibition ‘The Life of Images’ opening this weekend through February 2018 at Brisbane’s GOMA. Check here for details on associated events.
In May this year we were lucky to have met the fantastic art writer Gina Fairley during her joint visit to Toowomba with Sharon Louden and Hrag Vartanian. On the side of writing and reviewing Gina spends time sharing her knowledge about living day to day as a professional artist and arts worker and we are super excited she’s taking the time to venture back to our region and deliver a workshop and discussion on the topic. Numbers are limited and first in best dressed. Email us at RAYGUN to reserve your seat.
Ali and Tarn email@example.com
Friday night saw the opening of David Akenson’s Participatory Game #4. The board game required 4 players to execute and we had some keen punters to carry out the task. David was able to give an outline/premise behind the show and explain the rules. See below for a review of the show, with words by Graeme Kelly. It’s all about the grid. Thanks David for showing with us.
Participatory Game #4 Kusama, words by Graeme Kelly
A lecturer in Visual Fine Arts theory Dr David Akenson is one of the University of Southern Queensland’s most respected identities. Among his research interests are modern art, Australian art, contemporary art, art history and German idealism. David also expresses interest in the relationship between art and life. “Art, like life, is a game with rules that can be followed or broken, but must always be observed,” he says. This theory has been taken to a new level by David with a showing of his Participatory Game #4: Kasuma, which was launched at RAYGUN PROJECTS in Margaret Street, Toowoomba, on September 1. “This work is a hybrid form of art that belongs to a series of such works I began a few years ago,” David told an audience of admirers, who packed into the gallery for the launch. “It is an abstract game of art for two to six participants. “It consists of a set of rules; a number of objects used in the game; a group of participants; and a location, in this case RAYGUN Projects, Toowoomba. “The work represents a convergence of a number of influences. The dot work of Yayoi Kusama, the grid works of modernists, the games of the Dadaists, Fluxus and the Situationists, and the participatory works of artists aiming to include the viewer as participants in the created ‘situation’.” The game David has devised is played on a square measuring one metre by one metre placed on top of a plinth with some round discs denoting various values, which are placed around the board. Although the rules of the game were displayed on the gallery wall there was much mirth as those attending the launch tested themselves against each other. The showing will continue through until the end of September.