Art and Research at the Outermost Limits of Location-Specificity This conference explores the challenge of producing and disseminating art and research outside traditional circuits. How should art and research that takes place outside traditional contexts and timeframes in the fields of the visual arts, design and performance be validated, experienced and disseminated? What alternatives exist to the traditional role of the curator? How should art and research be validated within institutional contexts that typically champion the traditional journal basedparadigm for evaluating research outcomes? How do we negotiate the relative values of direct sense experience and exegetical and paratextual elements? Is documentation necessarily a ‘second best’ experience? What kinds of evaluative criteria should we apply to interdisciplinary projects that straddle aesthetic and other realms? What are the outermost limits of location-specificity? This two-day conference was provided free of charge by Project Anywhere and Parsons Fine Arts, School of Art, Media and Technology, Parsons The New School for Design. This publication was partly funded by The School of Creative Arts, University of Newcastle, Australia. Project Anywhere is an expanded international project space for art at the outermost limits of location-specificity. The role of curator is replaced with the type of peer review model typically endorsed by a refereed journal. This conference features presentations from international artists that have successfully navigated blind peer evaluation at the proposal stage within Project Anywhere’s 2013 and 2014 programs, together with a series of invited speakers and panel discussions featuring established artists, scholars, graduate students and arts professionals. This two-day event will bring a discursive world of new ideas from art at the outermost limits of location-specificity into critical focus. It marks a call to arms in the ongoing process of finding appropriate new models for the recognition, evaluation and dissemination of expanded art practices. Parsons The New School for Design is one of the world’s leading centers for teaching and research in the fields of art, design and new media. At Parsons, we believe that artists perform an essential role in our society; to that end, Parsons provides a challenging and diverse learning environment for developing studiobased research and critical scholarship. We embrace interdisciplinary approaches to making and thinking about visual culture and promote global understanding of the arts. The School of Creative Arts – University of Newcastle, Australia has earned a reputation for delivering quality programs in fine art, music and the creative and performing arts. It offers an interdisciplinary environment where social innovation and collaborative engagement sit comfortably alongside work and research integrated learning.





Art and research in which artistic practice is the significant medium is produced and understood in relation to an expanding field of art in public spaces; social, political and economic spheres; intersections of science and new technologies; remote, multiple and virtual geographies; interdisciplinary and cross-cultural collaborations; and uncertain or unfolding durations. Although conceptions of art and research have expanded considerably over the last two decades, institutional approaches to its validation and dissemination remain largely invested in more traditional understandings of exhibition location and duration. There are many reasons for this incongruity. Whilst much of this activity is concerned with events, actions or processes rather than the production of discrete objects to be displayed in traditional exhibition spaces, it nonetheless demands at least some degree of framing in order to be meaningfully recognized, evaluated and disseminated as art and research. This conference is concerned with identifying and discussing challenges facing artists and researchers working at the outermost limits of location-specificity. A key feature that research as creative practice embodies is an assertion that certain ideas can be given form through processes of making, doing, experiencing and participating. The already vexed issue of institutionally validating art and research of this kind is clearly more problematic when that activity is ‘out there in the world’ as opposed to contained within a traditional exhibition context. Established in 2012, Project Anywhere presents one possible solution to the challenge of evaluating and disseminating art at the outermost limits of locationspecificity. Project Anywhere is an expanded international project space for art at the outermost limits of location-specificity. The role of curator is replaced with the type of peer review model typically endorsed by a refereed journal. Together with a series of invited presentations by established artists and researchers, this conference event features ten projects that have successfully navigated blind peer evaluation at the proposal stage within Project Anywhere’s 2013 and 2014 programs. Common barriers perceived as separating research in which artistic practice is the significant medium from so-called traditional research include approaches to analysis, documentation, evaluation, dissemination and display. Further complicating this situation is the additional challenge of adequately documenting geographically remote or ephemeral art and research in formats that can facilitate meaningful dialogue under relatively stable conditions. This is especially challenging wherever these activities are specifically framed in relationship with the languages and conditions of host contexts far away from institutional centers. Even under relatively stable conditions, the process of producing and developing a creative work is characteristically difficult to describe. The narrative or the words that have to be used to articulate the process are not necessarily apparent during the process of development and production. Ideas and influences become more and less focused the work shifts, gestates, lies dormant, develops, regresses, transforms. There is often no clear path. No line. No end. One outcome reveals and leads to another. A process of constant consideration, reconsideration, rethinking and attempting, analysis, trial, error, occlusion and advancement. Somehow, the role of ambiguity must be accommodated. Otherwise, the whole project can lie within an implausible framework – or worse still – work instrumentally to serve fields and ends with little appreciation or sensitivity to art’s (contested) raison d’être.



The status of knowledge production in the creative arts is a problematic issue for many reasons. Much debate still centers around questions as to whether knowledge is located in the object/experience/event/location itself or built in conjunction with paratextual support of exegetical and contextualizing texts and documentary materials. What do we really mean when we talk about understanding? Understanding of research in which artistic practice is the significant medium typically involves both experience and explanation. Being and knowing. It is important that evaluative frameworks do not expunge the experiential value of contradiction and ambiguity. It should not be expected that an exegetical or contextualising textual accompaniment directly ‘explain’ the project. Instead, it might put key ideas experienced through the work in a wider cultural, political, social philosophical, scientific or historical context. Something is invariably lost and gained in any translation into words. Research in which artistic practice is the significant medium should be broadly supported by the premise that there are multiple ways of experiencing, knowing and communicating knowledges. This premise can however make it extremely difficult (and potentially undesirable) to establish rigid criteria for evaluation or appropriate guidelines for dissemination. In radically discursive and expanding interdisciplinary fields of practice, artists and researchers create and present dynamic constellations of concepts, traces, objects, locations, experiences, sensations, signs, myths and paradoxes intertwined in disparate networks of collective interpretations extending across time and space via documentation and discussion. This radical discursiveness clearly presents many challenges, especially given that much of this activity already straddles a schizophrenic ontological existence (insofar that it is art and at the same time something else—an event, research activity, design, protest, conversation, experiment etc.). It also means that the challenge of translating the kinds of knowledge production that might emanate from creative processes into formats commensurate with the journal based paradigm for evaluating the quality of research outcomes—whilst at the same time maintaining relatively stable conditions for dialogue and critical reflection—is bound to be a mixed enterprise. Do we need a wholesale rethinking of the nature and purpose of evaluation? For many artists in a knowledge-based economy, participating in research culture seems essential. For some dissenters, it seems that art has been problematically reconfigured as research in order to meet the demands of the knowledge economy. Project Anywhere contests the notion that new knowledges are exclusively produced, disseminated and understood through conventional forms of language. The discursive and interdisciplinary frontiers of art and research at the outermost limits of location-specificity are being engaged on many fronts. This conference represents a call to arms in the ongoing process of finding appropriate new models for the recognition, evaluation and dissemination of expanded art practices.

— Sean Lowry and Simone Douglas, 2014

*This text develops some ideas previously presented in Sean Lowry and Nancy De Freitas ‘The Frontiers of Artistic Research: The challenge of critique, peer review and validation at the outermost limits of location-specificity’, Critique 2013, Conference 26 – 29 November 2013, The University of South Australia, Adelaide, Australia.




For the past four years Haseeb Ahmed and Daniel G. Baird have been invested in a project that questions the authenticity of historical place and location through the creation of large-scale installations comprised of fragments collected from around the world using architectural conservation techniques. These disparate elements, comprising of ornamental, architectural and natural formations are brought together to create artworks embodying a single ‘universalized space’ designed to become ‘reverse site-specific.’ With the flow of time and subsequent material accumulation at the core of the project, a new direction has emerged that sees this representation of movement as a focal point for future projects. Following a survey of work to date, this presentation will introduce a new direction in Ahmed and Baird’s ongoing collaboration. Daniel G. Baird holds an MFA from the University of Illinois at Chicago and a BFA from the School of the Art Institute of Chicago. Haseeb Ahmed is currently pursuing a PhD in Practice Based Arts at Zurich University and holds an MFA from Massachusetts Institute of Technology and BFA from the School of the Art Institute of Chicago. Their collaborative project has recently been presented at the Elizabeth Foundation for the Arts, NY, simultaneously at Hedah Gallery, Maastricht, Netherlands and Roots and Culture, Chicago, Andrew Rafacz Gallery, Chicago and the Jan van Eyck Academie, Maastricht Netherlands.


With specific reference to the work of Giorgio Agamben, this paper discusses the concept of ‘whatever’ as a philosophical foundation for art and research at the outer limits of location specificity. Agamben’s proposal of ‘whatever-singularity’ as an alternative basis for political action will be addressed in reference to several examples of work undertaken by artists selected for Project Anywhere since its inception. Bruce Barber is an interdisciplinary artist, cultural historian and curator, based in Halifax, Nova Scotia where he is Chair of Media Arts at NSCAD University. His artwork has been exhibited internationally, the Paris and Sydney Biennales, the New Museum of Contemporary Art, Artspace, Sydney and Auckland. Barber is the editor of Essays on Performance and Cultural Politicization and of Conceptual Art: the NSCAD Connection 1967-1973. He is co-editor, with Serge Guilbaut and John O’Brian of Voices of Fire: Art Rage, Power, and the State. Editor of Conde + Beveridge: Class Works (2008); author of Performance [Performance] and Performersw: Essays and Conversations (2 volumes) edited by Marc Léger (2008), Trans/Actions: Art, Film and Death (2008) and Littoral Art and Communicative Action (2013). His critical essays have appeared internationally in numerous anthologies, journals and magazines. His art practice is documented in the publications Reading Rooms and Bruce Barber Work 1970-2008. (

Top: Haseeb Ahmed and Daniel G. Baird, ‘Has the World Already Been Made? (process image from Joshua Tree, California), 2012 Bottom: Projected Performance for a Lake (1973, realized 2008) Performers: Anna Scott, Grant Thomson, Jeremy Leatinuu.




Through multiple interviews with artists and art audiences that attend ‘walkabouts’, Bosenberg looks at the importance of intimacy within the space of the ‘artist walkabout’. Bosenberg is particularly interested in exploring ways in which intimacy, as a process of imagining ‘closeness’ to various narratives, might invite an expansion of stories and meanings in relation to artworks. Using interviews, both as medium and inspiration, Bosenberg builds artworks that she then carries into various public spaces to operate as interruptions within daily experience. These public spaces might include sidewalks in front of art institutions, malls and the gallery/museum space itself. It is here that she hopes to converse and imagine narratives around art. These micro-intimacies, although potentially superficial at first, potentially resonate as a formation for connections between individual narratives. Operating as a filter through which the art is produced, Bosenberg conveys the freedom of the imagination as a powerful tool with which to seek out a meeting with other narratives. These public assertions require repetition, and it is through this repetition that she intends to trigger reflection upon the value of art as a common vehicle for communicating stories. Erin Bosenberg is an artist and aspiring researcher/curator. Her work focuses on how intimacy informs the ‘walkabout’ as a site within which stories are potentially built around artists and their works. She is particularly interested in the performance and presentation of art in public spaces operates as a tool with which to interconnect and expand narratives. Bosenberg completed her Bachelor of Fine Arts at the Nova Scotia College of Art and Design and is currently completing her Masters at the University of Witwatersrand in Johannesburg, South Africa, where she currently lives.


This presentation examines artists that expand an understanding of photographic practice through meditative, experiential and process driven work. Condon is particularly interested in the way in which the content and meaning of materiality unfolds over time. Sculpting with Light is an attempt to grapple with larger elements within the photographic process; matter that is unbounded, light that is in formation and continual evolution, energy that is in transformation. This presentation will examine ways in which materiality links and informs diverse photographic practices and reflect upon photography as a form of expanded thinking towards time and space. Centering upon notions of energy and its formation, and considering light as something perpetually transforming, forming, degrading and reforming, Condon will consider ways in which ancient light, distant matter becomes visible to us. In developing this theme, Condon will examine a range of artists in relation to her own practice, focussing in particular upon key ways in which materiality links and informs diverse practitioner Ella Condon is an Australian artist working with photography, video and installation. Her practice is engaged with light, extending upon notions of light and time within the photographic. Ella Condon has a Master of Fine Art by Research from Sydney College of the Arts, University of Sydney, a Bachelor of Visual Arts (Honours Class 1) from Sydney College of Arts, University of Sydney and a Bachelor of Fine Arts (Distinction) from the College of Fine Arts, University of NSW. She is currently a Visiting Artist at Parsons School of Design, New York. Condon has received funding from Australia Council for the Arts ArtStart Grant, National Association of Visual Artists and American Australian Association Dame Joan Sutherland Fund. Her work has been exhibited in Sydney, Melbourne, Queensland, New York, and Philadelphia.

Above: Erin Bosenberg, Interrupting Publics, 2014, site specific intervention/performance, 7 audio soundscapes, headphones, mp3 players, artist, various durations (photo by Erica Penfold) Opposite: Ella Condon, Trace (III) 2013, LED Lightbox, Duratran print, 630 x 460 mm




Locative media project City Drawings turns cities into canvases by driving a car whilst using an online open source tracking system. This project serves as an alternative way of revealing the structures of cities and their unique characters and physical/ wireless connectivities. City Drawings is both a comparative research into urban topology and an investigation in geo-social historic town planning/building and transportation. The trajectory of each drawing follows the connectivity of traffic patterns, giving a city an opportunity to make a drawing following the structure and shape of its streets. The course of each city drawing is of equal length (59 miles in the US and 59 km elsewhere) and therefore presents a relatively equivalent sampling comparison. Although the number 59 is also part of a larger project, the shapes of the numbers 5 and 9 contain appropriate curves and angles for an investigation of grid, ring or sector city models. This constellation of 3D, manual and virtual creation is also in part a conscious liberation of the artist-canvas-easelstudio truism. Accordingly, although the city becomes a canvas, world, and a studio, no art objects are produced. Finally, given that the works are placed on the Internet, these City Drawings are now nowhere and everywhere. Irina Danilova is a visual, media and performance artist and curator. Born and raised in Ukraine, Danilova has lived and worked in Moscow, and now lives and works in New York. Her works are shown nationally and internationally. In 2010, she took part in the First Ural Industrial Bienniale of Contemporary Art in Ekaterinburg, Russia; her work has also been shown at the Center for Contemporary Art and Regina Gallery in Moscow. Danilova has won an international public art competition in Halle, Germany, and her cyber works have been shown at Thundergulch and Smack Melon Gallery, in New York, and Prixars Electronica, in Austria. In 2012, Danilova was an inaugural Vilcek Foundation dArtboard artist of the year.

Irina Danilova in collaboration with Hiram Levy and David Ross. City Drawings/NYC, 2009. Tracked motion of the car driven throughout New York City using the pioneering free open source tracking program, (discontinued in 2012). City Drawing/NYC was part of the ‘Interrupted Correspondence’ event with Five Years Collective from London.




The Department of Biological Flow is an experimental dialogue of research-creation between Sean Smith and Barbara Fornssler. Their co-compositional and collaborative practice might be described as that of precarious insects working to develop an art-philosophistry of movements, concepts and techniques for life in the control society. They move fluidly between performance, installation, text, image, video, poetry, motion capture and curated event to engage themes of relation, energetics, hospitality and ethics. Their work explores process itself as perhaps that most plastic of the arts called living.


Department of Biological Flow, Channel Surf, 2014-15, research-creation event (photo courtesy of Department of Biological Flow) Opposite: Image by Seth Zucker, 2007 (Courtesy of Dispatch)

Channel Surf is an event hosted by the Department of Biological Flow that will bring together artists, academics and community members to explore practice-based learning through aesthetic experimentation in movement. Recalling the technics and gestures of analog television as metaphor, a paddling caravan of imaginative thinkers will canoe and camp the entire length of the Rideau Canal in Canada over a 14-day period during June 2015. As conditions of possibility for the event, the imaginative space of the canal/channel invites participants to embody the collective notion of data packets in transit who dwell in the fuzzy between of two signals: water and land. The event is not however simply two weeks on the water. Channel Surf is predicated upon an energetics of co-creation, and thus participants have been joining and building momentum in an online learning space to co-compose the event within these initial conditions of possibility for over a year. In this continually dynamic attempt at forming a ‘group subject’ for the event, it seeks a contextual politics appropriate to the relational fabric of experience. This approach emphasizes a ‘politics of touch’ that draws aesthetic experience and micropolitical praxis out from previously established identity formations by encouraging listening-engagement over communicative-demand as the channel’s primary mode of existence.


Dispatch is a New York-based curatorial partnership between Howie Chen and Gabrielle Giattino established in 2007. Dispatch offers a model for curatorial production: an office for receiving and originating exhibitions and projects treated as time-sensitive transmissions. Responding to a curatorial field that is increasingly preoccupied with institutional self-administration and formalized bureaucracies, the activities of Dispatch reflect the independent ability to mobilize with tactical urgency, editorial decisiveness, and critical rigor. The office, however manifested (virtual or as ad hoc physical locations functioning as base for operations or temporary relay posts), will in its production act as a flexible international conduit and local reception site. Chen and Giattino have collaborated on exhibitions and projects presented at the Elizabeth Foundation for the Arts, Whitney Museum of American Art at Altria, and the Swiss Institute. Giattino was formerly a Curator at the Swiss Institute, New York, and Chen was Senior Curatorial Coordinator at the Whitney Museum of American Art. Howie Chen is a New York–based artist and curator involved in collaborative art production and research. Chen is a founder of Dispatch, a curatorial production office and project space founded in New York City, later transitioning to a peripatetic exhibition model. He has organized exhibitions and programs at the Whitney Museum of American Art, P.S.1 Contemporary Art Center, The Kitchen, Circuit (Switzerland), IMO (Copenhagen) among others. With artist Mika Tajima, he formed New Humans, a moniker for collaborations with musicians, artists and designers. New Humans was included in the 2008 Whitney Biennial—a collaboration with Vito Acconci and musician C. Spencer Yeh—and more recently projects at SFMOMA and South London Gallery with collaborator Charles Atlas. He holds a degree in economics from The Wharton School at the University of Pennsylvania and attended the Whitney Museum Independent Study Program as a Helena Rubinstein Curatorial Fellow. 13





Invited Presentation

Invited Presentation

What if an art educational institution was considered less in terms of production, capital and quantitative outcomes, and rather as an aesthetic entity in itself; an entity subject to the same critical analysis and re-thinking that might be applied to a process of making and engaging in art? By exploring the territory between being within the zone of art practice and the zone of art educational institutions along with their attendant bureaucratic structures, Dutton will engage with the possibility of applying different types of (poetic) sensibilities that emerge out of reflexive art practice onto and into the heart of the controlling rhetoric and processes that function as normative behaviour within many institutions of art education. Thinking of the Art School as a site of an improbable constellation of subjectivities and political and institutional imperatives, Dutton will outline a path through which art and institution might begin to conflate in a zone of possibilities. Starting with a propositional ‘Office of Institutional Aesthetics’, which has its roots in real world scenarios, Dutton will characterise the tensions and strains of contemporary institutions of art education as ‘end’ obsessed—after which he will explore forms of practice which concern ‘becomings’ rather than completions. Dutton concludes that those of us who straddle art and art-educational spheres might need to re-think our institutions as networks of behaviours and tactics in much the same way we might encounter and engage in the process of art over the fetish of the artefact.

The Deconsumptionists is a 48-foot semi-trailer traveling art exhibition and archive created by Melissa P. Wolf and Paul Lamarre—the art collective known as EIDIA. Part art exhibition, part performance and events space, The Deconsumptionists trailer is a ‘nomadic hybrid’—a curatorial outpost and sustainable art practice with archive. Originating in Brooklyn, New York the trailer traveled to Detroit, Michigan for a month long residency at Museum of Contemporary Art Detroit (MOCAD) from June 6 through June 29, 2014. Wolf and Lamarre seek to sojourn this traveling exhibition and art events space to museums and galleries across the US. Once on location the duo invites local artists, galleries, performers, and architects to create a variety of exhibitions, public programs and performances. The Deconsumptionists’ programming focuses on the environment, production and consumption, together with progressive architecture, design, and creative dwellings. Currently parked at an artist run gallery in Toledo Ohio, events are planned in collaboration with the Toledo Museum of Art.

Steve Dutton is a practicing artist and Professor in Contemporary Art Practice at the University of Lincoln. He is currently producing a new body of solo work which is characterized by a play with image/text boundaries and rhetorical devices. Dutton is increasingly writing and delivering papers around the subject of ‘Artists’ institutes and the Institutes of Art’, drawing on his own practice and the practice of a growing body of artists who seek to rethink the nature of the art educational institution as a process of unfolding ‘epistemic events’ rather than a sequence of ‘progressive’ tiers of knowledge. He also has curated a number of exhibitions, his most recent being a co-curated project with Brian Curtin entitled ‘Possession (1)’ for the Bangkok Arts and Culture Centre.

EIDIA’s practice posit the modality of reassembling, repositioning, and reshaping of everyday objects together with previously created artworks to provoke a differing (counter) conversation about production and consumption. By questioning what our responsibility is as ‘cultural producers’, EIDIA presents the struggles and contradictions of the production of art within the capitalist economic model. Paul Lamarre, BFA 1979, Magna Cum Laude, University of Michigan, and Melissa P. Wolf, BFA 1980, Boston Museum School /Tufts University, 1981-83 MFA program Pratt Institute Brooklyn, New York; are transdisciplinary artists from New York City collaborating under the name EIDIA. They are co-executive directors of EIDIA House, a meeting place and forum for artists, architects, scholars, poets, writers, and others interested in ‘idée force’—the arts as a instrument for positive social change. EIDIA House’s newest project: The Deconsumptionists, Art As Archive, (2006—) a 48-foot tractor-trailer containing 171 boxes of art production. This long-term project launched in 2011 with a Research Fellowship at the Sydney College of the Arts, University of Sydney. Wolf and Lamarre have since been appointed Research Affiliates of the University of Sydney.

Opposite: Melissa P. Wolf and Paul Lamarre Collaborative: EIDIA, The Deconsumptionists, Art As Archive, 2008 48ft x 14’ht semi-trailer, ‘nomadic hybrid’ traveling research archive & exhibition space (with solar roof) Photo by EIDIA © 2010




Sites-in-flux can peel away illusions of permanence-revealing places of potential in which the built environment and the nature of the community that inhabits it are undergoing transformation. Activation of these liminal places and moments via ephemeral performance and installation can enhance and catalyze this in-between condition, underscore the sense of possibility, sparking imagination and public discourse. To this end, architect/artist Ronit Eisenbach and dance artist Sharon Mansur’s collaboration combines movement, architectural and paratextual elements in situ to both extend their artistic/design practice and to engage themselves and others in the act of ‘attending to place’. Their public, participatory works explore inherent tensions between flux and stability through fluid movements, soundscapes and spaces, and explore what it means to seek, shape and preserve ‘place’ in the face of individual and shared ‘place-shifting’. Eisenbach will share Placeholders, the team’s recent public performance and installation, which explored the spatial and expressive potential of Long Branch, Maryland, a first ring suburb of Washington, DC that is grappling with current and anticipated physical, social and economic change. Employing Placeholders as example, Eisenbach will discuss strategies that this outsider/insider team developed to navigate opportunities and challenges posed by creating an interdisciplinary work that was both ‘art and something else’ and engaged individuals, a community, and a place in transition. Ronit Eisenbach is an architect, installation artist and author whose scholarship and multidisciplinary spatial practice aims to engage others in dialogue about the world we make for ourselves. Combining art, design and architecture, she explores how the perception of subjective, invisible and ephemeral objects affects understanding and experience of place. Eisenbach has exhibited worldwide, collaborating with a diverse collection of artists, architects, designers and choreographers. Venues have included, The Detroit Institute of Arts, The Cranbrook Art Museum, Oslo’s Galleri Rom, the Streets of Tel Aviv and Venice’s Palazzo Mocenigo. Her work has been celebrated in a variety of journals and publications including The Washington Post, The Journal of Architectural Education and the Public Art Review. She serves as Associate Professor of Architecture at the University of Maryland and curates the University’s Kibel Gallery. (

Ronit Eisenbach and Sharon Mansur, Placeholders, 2014, shifting bodies, objects and sites, Installation/Performance, Credit (Photo by Zachary Z. Handler © Eisenbach & Mansur)




In the spring of 2014, Liminal Dome, an airborne underwater structure, was set up in the Baltic Sea to enable an ingression from land into marine life forms. Confronted with the vague but urgent imperative of a world so dense that places to hide are constantly withdrawing from our horizon of perception, Liminal Dome figures as an escapist fantasy. Interestingly, escapism receives its perverted second life in the face of humanitarian and natural catastrophes, that have come to multiply the figure of the refugee around the world. From here, seemingly innocent aesthetic questions arise: Where do we draw lines between things?; How do they influence each other?; Can an understanding of those interdependencies lead to a yet utopian architecture that reformulates relations towards what once were nature and people? Liminal Dome establishes a material habitat for activating those questions. It unfolds a structure for the slow dismantling of the human flesh and its biological mode of life. Wavering between a device for bodily manipulation and a hub for futurist living fantasies, it investigates the very basic register of what it means to live in an environment. Liminal Dome is a project by three artists: Gabriel Hensche, Björn Kühn and Anna Romanenko. They studied visual arts, theater directing, architecture and cultural sciences in Stuttgart, Hamburg, London and Alexandria. None of them actually has diving experience. (


FormLAB is a mobile studio and laboratory that explores art-making and performance using a plurality of materials from host sites, video, photographs, sounds, and music. As a mobile ‘museum-within-a-museum’, FormLAB problematizes the passive viewing of artworks by creating a multiplicity of perspectives from which the LAB can be perceived, namely as: a) an ecosystem for the production of artwork; b) an observable model for the artist’s mind as making art through the creative process; and, c) a dynamic lens into the cultures that create artwork through a multiplicity of processes. FormLAB has exhibited at Treignac Projet, France (2010); Brazilian Museum of Sculpture, São Paulo (2012), Seoul Foundation for Art and Culture, Korea (2012); Zanabazar Museum of Fine Art, Mongolia (2014) and Museu de Arte Brasileira, São Paulo (2015). FormLAB is a New York Foundation for the Arts (NYFA) ArtSpire project and has received support from The United States Department of State, CEC ArtsLink (New York) and the Brazilian Ministry of Culture. Les Joynes PhD is an interdisciplinary artist based in New York, Beijing and London. A Visiting Associate Professor at Renmin University, Beijing, he is 2015 Visiting Fellow at the Research Centre for Transnational Art, Identity and Nation (TrAIN), University of the Arts London (UAL); Postdoctoral Scholar in Interdisciplinary Art at University of São Paulo, Brazil; and Arts Editor for published by the Center for Digital Research and Scholarship at Columbia University. His work has been featured in Sculpture Magazine, Commons & Sense, Japan; NHK Television Japan; and Art Monthly, London and he is represented by Thomas Jaeckel Gallery, New York. Joynes is a graduate of Goldsmiths, London, Leeds Metropolitan University, Leeds and Musashino Art University, Tokyo. ( 18

Top: Anna Romanenko, Björn Kühn, Gabriel Hensche, Liminal Dome, 2014, elastomeres, 500cmx230cmx230cm, Photo by Natasha Paganelli, Bottom: Les Joynes in Shapeshifter (video still), 2014. Video, shot in Khovsgol Province, northern Mongolia near Siberia.© Les Joynes; FormLaboratory; Soundtrack © Human Nature Love Freedom (Mongolia) and Mohanik (Mongolia). © ARS (New York) and DACS (London)

Peer Reviewed Project



Multidisciplinary artist team Lin + Lam’s recent collaborations have entered public arenas within which they put into question the politics of identity and cultural translation. Their approach to social engagement suggests that art practice is a means of negotiating difference—between both themselves and a particular community, and inherently within community itself. Lan Thao Lam will discuss two projects that work within, around, and between practices structured by both formal institutions and dispersed sites. Unisex, a 2008 Queens Museum commission, explores the barbershop and salon culture in Corona, Queens. Through a series of performative events at street fairs as well as a mixed media installation that drew from interactions with local barbers and hair stylists, Unisex examines the cultural significance of grooming, the intimate relations within the salon, and the therapeutic role of the beautician. Tomorrow I Leave, a mixed media installation, considers the disappearance of former Vietnamese refugee camps in Hong Kong, Malaysia, and Singapore and their metamorphosis into tourist and recreational spots. Situated within the entangled discourses of leisure and trauma, the project references archive, reliquary, memorial, and junkyard in its response to the forces of gentrification and commodification emerging out of the legacies of war. Since 2001, H. Lan Thao Lam has been active as ‘Lin + Lam,’ producing collaborative multidisciplinary projects about immigration, sites of trauma, national identity and historical memory. Lam received her MFA from California Institute of the Arts, and considers her experiences in refugee camps and housing projects as part of her education. Her work has been exhibited at international venues, including The New Museum; The Kitchen, NY; 3rd Guangzhou Triennial; Korean Arts Council; Stedelijk Museum; The International Short Film Festival Oberhausen. Her awards include Canada Council for the Arts and Vera List Center for Art and Politics Fellowship.

Above: Lin + Lam, Tomorrow I Leave, 2010, digital photograph, 60”x 40” Opposite: Hans Kalliwoda, The Polliniferous Project, 2010, diverse materials, 17 x 10 x 10 metres (photo by Michi Meier/Blindpainters Foundation)



The polliniferous project is an investigation into the essential building blocks for a sustainable ‘lifestyle’ in the 21-century. It considers diverse sources of knowledge fields and questions how these findings might be compiled and enacted in order to effectively engage in discourses surrounding impending global, ecological and systemic crises. One potential way to respond to these challenges is found in actively researching two related phenomena that present a case of non-sustainability and self-destruction through monoculture in a human and agricultural sense: the Colony Collapse Disorder (CCD) within honeybee populations; and an epidemic of suicide within indigenous groups like the San and Inuit, whose languages lack the term ‘suicide’. The underlying reason to link the two phenomena is that they are both valuable examples of a sustainable lifestyle proven in historical terms, however the existence of both populations has come under pressure of advancing monocultures to which they seemingly have no natural remedy. Polliniferous [poliniferus] adj., derives from the biological sciences, meaning bearing or yielding of pollen and adapted for carrying pollen. It is here that we find a metaphor for the artist as an agent for the dissemination of ideas between separate cultural and specialist foci. Just as the survival of the organic ecosystem is predicated on the spread of pollen so too, that of human civilization is dependent on cross-pollination between the conceptions and practices of Indigenous cultures and those of industrialized, urbancentric culture. Both of these cultures are in a state of collapse, the former at the hands of the latter, and the latter from apparent unsustainability. Hans Kalliwoda is a PhD Arts candidate and researcher at the University of Leiden, the Netherlands. Since the 1980s, Kalliwoda’s work has focused on the integration of spectators into artworks, installations and interventions. His conceptual work has been exhibited in numerous galleries, musea and public spaces internationally. His latest project the World in a Shell polliniferous project (WiaS) continues his decades-long tradition of travel and exchange. With this intervention project, Kalliwoda stimulated the Delft University for Technology with new paradigms and programs revealing that the thrill of exchange invites participtaion. Working within the framework of autonomy and mobility, Kalliwoda often plays guinea pig of his own experiments. New ambiguous ventures with the San (Bushmen) bring a new facet of his work to life. Kalliwoda conveys romanticism and utopia into the reality of the here and now. 21


Television has been attacking us all our lives, now we can attack it back. Now we make our own TV. —Nam June Paik In 2006, Paris based artist and filmmaker Marcus Kreiss founded the first TV channel for contemporary art, SOUVENIRS FROM EARTH. Broadcasting on French, German, and Austrian cable, the channel offers carefully curated videoart, contemporary dance, performance art, electronic music, and photography, together with short news flashes and underground talk shows. The team is working toward launching a US channel in 2015. Why create such a channel in a mass-media dominated corporate world? The channel provides a time slot for time-based artworks that many museums, art space or art gallery cannot offer. Unlike the traditional art-world, with an economy based on scarcity, the 24/7 time space of the channel gives visibility to hardly ever works from around the world. Artificially limited editions of digital video art have had limited success in the art market, consequently limiting production budgets. This linear channel, presented as an artwork in itself and comprising of more than 2000 video pieces, offers a solution. Marcus Kreiss studied filmmaking in Rome and fine arts in Aix-en-Provence before creating art for urban spaces, working on large scale oil-paintings, and VJing at international festivals. Looking for a third way to produce and distribute images between filmmaking and painting, Marcus Kreiss invented a new way to distribute video art: TV. In 2006 he began to build a television channel, starting on local cable TV networks in Germany under the name of SOUVENIRS FROM EARTH The channel that ‘transforms flat screens into works of art’ quickly established itself in France where it is today one of the first seven freely available high definition channels.In his personal video works, Kreiss explores the physical possibilities of the bi-dimensional space of the flat screen with hypnotic images, often of iconic value, and often working with professional actors or celebrities. Extreme slow motion and natural color fields are frequently used. Kreiss’ work is represented in major art collections including Deutsche Bank, Fnac, and the Yvon Lambert Collection in Avignon.

Above: Marcus Kreiss, Glibberings, 2007, HD video (photo Marcus Kreiss) Opposite: John R. Neeson, Urban Bodegón 5, 2013, dimensions variable



This presentation contextualizes Neeson’s current artistic research, which since 1993 has been both venue specific and contained referential installations of mimetic works. By necessity, these projects take place outside the orthodoxy of the ‘white cube’ in order to include the transition of daylight at the sites in which they are both made and experienced. For Neeson, this liberates representation from a debilitation imposed on it from outside the form. Neeson’s projects initially grew out of an examination of the Still Life as a marginalised genre. Over the last five years, Neeson has worked to arrange and document Still Life in the streets and lanes of inner Melbourne using window ledges and blind niches that read as ‘Bodegóns’. In employing an attitude related to the dérive and the flâneur, he has more recently ceased practicing such these interventions to simply record found Still Life on his smartphone. Although this activity takes place outside traditional exhibition environments, Neeson nonetheless conforms to certain conventions of display and social commentary inherent to the Still Life canon—an activity which in turn addresses the role of authorship and intent within the genre (and the arts generally). John R. Neeson is a current PhD candidate at the University of Tasmania. Previous research includes PhD, Monash, 2002, Royal College of Art, London- Samstag Scholarship Program 1996/97. Venue specific projects include Conical, WestSpace, Techno Park Studios, Melbourne, blackartprojects, Melbourne & Milan, AC Institute NYC, Arthouse and GasWorks London, Ar.Co - Centro de Arte e Comunicação Visual, Lisbon (and forthcoming in 2015 at The Institut für alles mögliche, Berlin). Curated exhibitions include ‘Objectives‘ TechnoPark Studios. ‘Imaging the Apple’ AC Institute New York, ‘Arrangement - Australian Still life 1973 - 1993’ Heide MoMA.‘Projects One – VCA’ Gallery. Grants and Awards include American Australian Association, Australia Council, Australian Post Graduate Research Award. 23


Nuclei was founded in 2012 by Fernando do Campo, Laura Hindmarsh, Claire Krouzecky and Alex Nielsen and designed from the outset as a model to be passed on to new participants. The current group consists of Gillian Marsden, Dylan Sheridan, Patrick Sutczak and Liz Walsh. Nuclei presented Volume 1 at Feltspace, Adelaide as part of The Writing Project and at the Museum of Old and New Art (MONA) Markets, Hobart. It has received funding through the Australia Council for the Arts and Arts Tasmania. Nuclei II is currently working towards an outcome for the Plimsoll Inquiry, Plimsoll Gallery, Tasmanian College of the Arts, Hobart.


Hear, Here, experimental opera at the New Museum on June 13-14, 2014, Writer/Director: Jeanine Oleson; Composers: Rainy Orteca and Kelly Pratt (aurihorn solos); Performers: Beth Griffith, David Gould, Lisa Reynolds, Sister, Diwa Tamrong, Tony Torn and nyx zierhut; Musicians: Rainy Orteca, Kelly Pratt and John Michael Swartz; Costumes: Kim Charles Kay; Lighting Design: Derek Wright.

Nuclei is an experiment in peripheral working practices, a group of people working collectively outside of a ‘collective’. It simultaneously exists and resists existence through multiple and undefined outcomes. Nuclei operates via a cyclical model that enables collective thought across disciplines, alignment of practice through conversation and the collaborative publishing and distribution of ideas. The Nuclei project was initiated by a team of four Tasmanian practitioners (architect/writer/ artist/curator) who sought to develop a new platform for sustainable critique within their creative community. At the outset it was envisaged that the model be passed on to other groups of Tasmanian- based practitioners. A group of four has since inherited Nuclei with an intention to hand over the project in due course to a future group, and so on. While Nuclei is cyclical and group-specific on the one hand, it also has the capacity to be modular, shape-shifting, and re-organizing in its working structure and outreach, as an ever-growing collective network. The attraction of a slow, continued and expanding collaboration through Nuclei, coupled with perceptions of the group locally and further afield has triggered questions around definition, collaboration, peer reviewing, systems and structures and project versus praxis. These conversations manifest as the work in itself, proving the most fertile way to remain self-critical and open. This presentation will discuss the initial project, Nuclei Volume 1 in detail as well as the reception and conversations that followed. It will also unpack the group’s current state in flux as a holistic ‘Nucleus’ and discuss our combined excitement and hesitations as we stand collectively at the threshold of the indefinite in creative practice.

Nuclei, Pump House Point, Lake St Clair, Tasmania, Australia, 2012, Nuclei Vol. 1, dimensions variable (Photograph: Alex Nielsen)

Invited Presentation

JEANINE OLESON HEAR, HERE Invited Presentation

Jeanine Oleson will discuss her intensive exhibition and residency, Hear, Here, which took place at the New Museum in spring 2014. During the residency she developed a group of interrelated works: an exhibition, reading seminar, public programs, education workshops, publication, and an experimental opera. An exploration of different kinds of voice, the project both investigated language and points beyond it. Looking for alternative models outside of the academic and curatorial, Hear, Here asks questions such as: How can we attune ourselves to each other? What does an audience want? What does it really mean to listen? The foundation for these queries resides within the work—particularly in relation to issues of audience and embodied engagement, as well as objects and conditions that alter modes of expression. Within the institutional context, Oleson developed a video installation for the Museum’s Fifth Floor gallery that investigates conditions of spectatorship. The set and objects for an experimental opera were present during the run of the exhibition, forming an impromptu stage set or catalyst for a series of informal programs in the gallery space leading up to the final performance. Accompanying the exhibition was a presentation in collaboration with the Museum’s archivist and curatorial staff in the Resource Center that addressed an institutional relationship with audience. Oleson is interested in the ramifications of working both inside and out of institutional spaces. How can we stretch the traditional boundaries to fit the needs of ideas, aesthetics, politics and forms? How can institutions support something beyond and alongside authorship? Jeanine Oleson is a visual artist with an expanded practice. She attended the School of the Art Institute of Chicago, and Rutgers University. Oleson has exhibited and performed at venues including: New Museum, NY; Exit Art, NY; Beta Local, San Juan, PR; X-Initiative, NY; Grand Arts, Kansas City, MO; Socrates Sculpture Park, NY; Diverseworks, Houston, TX; L.A.C.E., Los Angeles; Monya Rowe Gallery, NY; Samson Projects, Boston, MA; MoMA/P.S.1, NY; White Columns, NY; and Art in General, NY. Oleson has been in residence at the New Museum, Smack Mellon Studio Program and Skowhegan. Oleson is an Assistant Professor of Photography, Parsons the New School for Design. 25


Since 2012, Ou has been involved with the Hillman Photography Initiative, a large-scale project housed within the Carnegie Museum of Art in Pittsburgh. The project aims to take a broad view on the changing field of photography. There are 5 distinct projects within the initiative, each lead by what they call an agent. As one of the agents, Ou is involved in producing a series of short films called The Invisible Photograph. The series investigates the expansive realms of photographic production, distribution, and consumption through examining the hidden side of the medium. Part 5 of the series focuses on the photographic processes being utilized at the European Center for Nuclear Research (CERN) to conduct research. As the creative director for the series, he had the opportunity to spend some time at CERN. The experience of speaking to some of the physicists and engineers was profound. Ou came to the realization that some of the questions they posed are similar to those by artists, working towards an understanding of the world, though through very different methodologies. He also had the chance to photograph some of the apparatuses that were used in the experimentations. Ou will speak about these as they relate to his larger practice and research. Arthur Ou is an artist and writer based in New York City. He is assistant professor of photography in the School of Art, Media, and Technology at Parsons The New School for Design. He has exhibited internationally, most recently in One Torino, in Turin, Italy. His work has been featured in publications including Aperture, Blind Spot, Art On Paper, North Drive Press, Art in America, and The Photograph as Contemporary Art (Thames & Hudson). He has published critical texts in Aperture, Art In America,,, Bidoun, Fantom, Foam, and X-Tra.

Arthur Ou, Untitled (Atlas Detector), 2014, Gelatin silver print, 8 x 10” Courtesy of Brennan and Griffin, New York




Carrie Paterson gives an overview of her work to date on olfactory projects to be experienced by people on Earth and in outer space. These include space greenhouse projects, a ‘Homesickness Kit’ with solid beeswax perfumes made from the 15 most recognizable cultural scent-memory triggers for people on Earth, a scentbased cosmology – ‘The Chemisphere’, and concentric spherical perfume bottles that model consciousness as an ephemeral multi-valent structure embedded in sensory information. Paterson’s experimental practice in spatial and visual art has included installation, performance, text, drawing, and multisensory works. In 2007, she began a series of research collaborations with architects, engineers, and scientists, specifically in the space field. In Spring 2014 her paper coauthored with a space architect and members of the German Space Agency on developing greenhouses for space was published by the peer-reviewed journal Acta Astronautica. This paper serves as a background in the presentation for discussion of functional methodologies, challenges, and approaches to interaction with potential partners for artists in this expanding field of knowledge. Since 2002, Los Angeles-based artist Carrie Paterson has focused on the discourses of popular culture, science and technology of space exploration, and astronautics. Her multidisciplinary and occasionally collaborative practice emphasizes the fertile nexus between the disciplines of science, art, and engineering. She holds US utility Patent No. 8,499,960 B2 with scientific glassblower Bob Maiden for an integral storage container comprised of multiple, concentric, but independent glass spheres. Paterson is a professional writer and editor who taught in universities throughout Southern California from 2001-2013. In 2011, she founded an independent publishing company, DoppelHouse Press, specializing in art, design and architecture.

Carrie Paterson, Copernican System No.1, 2009, Borosilicate glass and fragrance, 8 x 8 x 8” (photo by Shaun McCracken)




Sound as a key aspect of landscape – functioning as a background against which the landscape is perceived. Considering the possibilities of sonic augmentation (i.e. a hybrid soundscape that consists of actual sound objects as well as processed sounds captured from the environment), Patton will discuss recent performances/ workshops in which participants and audience members were invited to simultaneously listen to an augmented soundscape while exploring the physical landscape from which it was derived. Kamau Amu Patton is an interdisciplinary artist based in New York. His work issues from an ongoing involvement with the generative intersection of sound, light and electronics. He received his MFA from Stanford University in 2007 and is a graduate of the University of Pennsylvania with a degree in Sociology. His work was shown in 2012 as part of the Pacific Standard Time Performance and Public Art Festival and in 2013 as part of the Machine Project Field guide to L.A. Architecture. Patton has recently completed projects in the area of soundscape studies through grant support provided by the State University of New York at Buffalo, the Mellon Elemental Arts Initiative at Pomona College and the Tang Teaching Museum at Skidmore college.


The philosophical origins of modern art in the Western world rest primarily with Immanuel Kant, representative of a stream of thought emphasizing the autonomy of art; and Friedrich Hegel, representing a symbolic expression, an expression that connects art to social history. Although the two streams were codependent historically ‘[…] the two operations were in tension, and this tension has run through the discipline [art history] like a fault-line.’1 The Kantian model would represent an aesthetic of production, to include objective formal, material, and technical criteria leading to anticipated and measurable outcomes. A Hegelian model speaks to an aesthetic of reception, connecting art to subjectivity and the role of experience which, attached to the influence of Duchamp, forged ties to conceptual and minimalist art, and later to community based arts and social process. If the artistic experience is primarily a dialogical one and if the ‘discussion’ is the art what variables inform the act of critical judgment? Or is critical judgment even warranted? How have methodologies of critique and critical judgment responded to the role of hybridity and paradigmatic shifts in artistic fields? Is the anthropological turn in art history and criticism too limiting? This presentation will open these questions and avenues for thought and discussion. 1

Top: Kamau Amu Patton, Proof of Concept, Mellon Elemental Arts Initiative at Pomona College, 2014, Video Document kite, sound, electronics, landscape Opposite: Gary Pearson, Sleeping Dogs, 2008


Foster, Hal, P.85, Design and Crime, New York, Verso Pub. 2002

Gary Pearson is an artist and Associate Professor in the Department of Creative Studies at UBC Okanagan, in Kelowna, BC, Canada. His exhibition reviews have been published in Canadian Art, Border Crossings, and Sculpture magazine, among other publications. He has written numerous catalogue essays, and recently contributed a book chapter called On The Outskirts of Town, for the book Re-Thinking the Contemporary Art School, the Artist, the PhD, and the Academy, NSCAD University Press, 2009. Recent conference presentations are: 1st Conference on Arts-Based and Artistic Research, Faculty of Fine Arts, University of Barcelona, 2013; and 2nd Conference on Arts-Based and Artistic Research, the University of Granada, 2014. 31


Rather than an exhibition or project, The Plimsoll Inquiry AS ‘inquiry’ was an open-ended excursion into alternative exhibition and event programming for a university art school gallery. It comprised two ‘seasons’ of multi-artform activities and actions. The first seven-week stint took place in the 2013; the second season is current and concludes in 2015. Through a series of loosely orchestrated exhibition and dialogical events, The PI disturbed the established roles and functions of artist, curator and exhibition, as they had become entrenched over the twenty-six year history of the Plimsoll Gallery. The extended role of the artist as witness, educator, provocateur, hero, healer, victim, creator/producer, philosopher or collaborator was trialed. Similarly, the curatorial function was explored – as educator, artist, communicator, trendsetter, zeitgeist (er), midwife, maker-and-breaker, manager or counsellor. The research-based exhibition as showcase (or commonly nowadays— project) was expanded beyond being a static staged event, and the gallery and its environs were implicated to operate as an extended site for production as well as reception. The PI strove to suggest new ways of engagement for staff, students and a broader audience through process and experimental collaborations to shift traditional modes of thinking within the specific community of the art school, and the arts community more generally. This talk will report on the ramifications of the PI as a social and curatorial experiment, and how its lessons will be reincorporated into education delivery and programming for the Plimsoll Gallery – as a space redefined more broadly and flexibly – not just as a disseminator of research outcomes, but as an instigator of research activity. Maria Kunda is a lecturer in art and design history and theory and curatorial studies at the Tasmanian College of the Arts, UTAS. She holds a PhD from the University of Tasmania and teaches across all undergraduate levels and supervises research higher degree candidates. Maria is also the Director of the Plimsoll Gallery. Her research spans curatorial and writing practices. Current specialist areas of teaching relate to modernism, postmodernism, international avant-garde movements; contemporary Australian art, craft and design; professional art-writing-as-creativepractice, and printmaking. She was a longstanding board member and Chair of Contemporary Art Services Tasmania, and has worked in general management and as a designer for performing arts companies. Maria has contributed to numerous publications and curated exhibitions. Her doctoral thesis (completed in 2010) is entitled The Politics Of Imperfection: The Critical Legacy Of Surrealist Anti-Colonialism. It analyses the anti-colonial politics and poetics of the Surrealist movement from the 1920s until the 1960s, situating Surrealism’s legacy within contemporary practice. Fiona Lee is an artist with an interest in social pedagogy and the working methodologies of conversation in art. She is completing her PhD: her research concerns two major projects as case studies: Our Day will Come was an alternative art school orchestrated and animated by Paul O’Neill (2011) for Contemporary Art Tasmania, and The Plimsoll Inquiry (2013-15) is being staged at the University of Tasmania’s College of the Arts. Recently Fiona was awarded two Australia Council international residencies, an APA post-graduate scholarship and selected for the 2013 Banff Research in Culture Residency organized by the Liverpool Biennale, The University of Alberta and the Banff Centre, Canada. She also worked for the Australia Council at the 2009 Venice Biennale.


Honi Ryan’s ongoing international projects, such as her Silent Dinner Parties and her series of Mindful Encounters, are examples of a social practice that locates the site of her work in the space between people, crafting human relationships as sculptural form and approaching mindfulness as creative practice. Her performative research responds to the dwindling necessity of human to human encounters, for much of the established functions of communication are now completed digitally. Ryan therefore opens up her ‘real-space’ exchanges for experimentation and play. Performance art is her arena for developing life by articulating ideas out loud and turning them into actions, enacting possible futures. Although Ryan works collaboratively with people from many walks of life and mounts her actions in different countries around the world, the same set of performative guidelines are implemented everywhere. For Ryan, this allows cultural differences to emerge while revealing a base and unifying humanity. Mindful techniques are consciously placed within her social exchanges because of their intrinsic relationship to peace propagation, creating situations that nurture empathy and foster awareness. Honi Ryan is an interdisciplinary artist based in the Blue Mountains, Australia, and in Berlin, Germany. Ryan’s social practice draws from many disciplines: performance, sculpture, sound, video, and installation. She is interested in socially engaged art for its capacity to reveal and explore alternative models for living. Her work has intercultural concerns and combines the contemporary body with digital media, a body that is both individual and collective - connected to the single human organism. Ryan has exhibited and performed in 11 countries, received a BVA from the University of Sydney, where she was awarded the university medal, and is currently an MFA candidate at the Transart Institute, New York/Berlin.

Honi Ryan and Caara Fritz-Hunter, Mindful Encounters: The Passage Of Water, Ecological Pilgrimage, video still, California, 2014




Experience means knowledge. But how can you tell if the knowledge you have is the right knowledge. Maybe you’ve got the wrong knowledge. Maybe you’re experienced in a bad way. That’s the problem with experience, you never quite know whether it’s valid or not. So there’s a big issue here. There’s kind of a dance going on between certainty and uncertainty. —Timothy Morton This paper will discuss Ryan’s participation in the organisation, development and execution of collaborative offsite projects (including a series of projects by an artist group without a fixed home and an artist led space without a space). Beginning with the evolution of these projects in 2011, and then tracing their development into Ryan’s most recent collaborative project A Popular Destination, Ryan will examine three different types of site for four different projects over a three year period, each using a different theme as a foundation and each having a very different result. Significantly, at the end of each project, new findings and outcomes are used to develop the concept for the next project. Ryan will outline the initial concept undertaken by the artists for each project and how practice and process was employed as a way of understanding ideas and how they might exist outside of theory. Subjects used have included ecology, temporality, solitude, and most recently, friendship. Finally, A Popular Destination will be evaluated with reference to some current trends in theory, particularly object oriented thought and pedagogy. John Ryan is studying for an MFA in The Glasgow School of Art and is currently participating in an exchange in The Stadelschule in Frankfurt studying under Professor Douglas Gordon. In 2012 he cofounded (with artist Tom Watt) the Resort projects (a series of off site residences experimenting with new methods of art making, communal living and friendship in remote locations). In 2014, he featured in the publications Prismatic Ecology: EcoTheory Beyond Green (Jeffrey Jerome Cohen, University of Minnesota Press) and Weaponising Speculation (Punctum Books, New York).


Jeff Stark presents findings from his recent site-specific theater piece, The Dreary Coast. The 2014 project on Brooklyn’s Gowanus Canal took on elements of immersive theater and the promenade or processional form in a public space—a public space that happens to be one of the most polluted bodies of water in the United States. Stark’s piece began 10 years ago with a tour of the Canal given by a local environmental activist. After several starts, stops, twists, and turns, Stark incited a DIY collaboration of more than 30 artists, performers, and craftspeople in service of a story that investigates the way myth and story can generate new spaces—or hold us back in the ones we already know. A part of the presentation will focus on practical tactics for dreaming in public. Jeff Stark is the editor of Nonsense NYC, a weekly email list and discriminating resource for independent art, weird events, strange happenings, unique parties, and senseless culture in New York City. His events have been covered by The New York Times, the Wall Street Journal, Time Out New York, and National Public Radio, as well as by international media organizations like ARD Germany, the BBC, and Nikkan Gendai in Japan. In 2009, New York magazine singled him out as one of the ‘Influentials’ shaping life in the city.

Opposite: Ruth Clinton and Niamh Moriarty, Lament for Portsalon, performance, 2012 (Photo by Tom Watt) Above: The Dreary Coast, 2014 (Photo by Tod Seelie)




Strange will present his ongoing site specific works, Suburban Intervention, Suburban and Final Act. Strange’s ongoing Suburban Intervention series are site-specific works incorporating suburban homes in the USA, Australia and New Zealand. Between 2011 and 2013 Strange worked on Suburban, creating site-specific work incorporating American homes in Ohio, New York, Michigan, New Hampshire and New Jersey. Using paint, fire and geometric cuts as an act of transformation, Strange makes the psychological interior external in order to destabilize the home. All that remains of these works is meticulous documentation. Working with a full-scale film crew, each home is lit and documented at a cinematic scale. Herein lies the contradiction in the work. By documenting only the homes, a performative act against them is implied but never actually seen. Such production values elevate these homes beyond the mundane popular idea of the home that have seen in film and television to perform as a proxy for all homes. Following Surburban, Strange created Final Act, three new interventions incorporating four suburban homes in Christchurch, New Zealand. Significantly, these homes were located in Christchurch’s residential ‘Red Zone’, an area containing over 16,000 houses slated for demolition after the devastating 2011 earthquake. This work was documented in collaboration with New Zealand based cinematographer Alun Bollinger [Lord of the Rings, Heavenly Creatures, The Frighteners] and shown at the Canterbury Museum. Ian Strange is a New York based Australian artist. His work investigates the home as a social and psychological construct together with broader themes of disenfranchisement within the built environment. His practice includes painting, film, photography, sculpture, installation and site-specific interventions. Most recently, Strange has held solo exhibitions at the National Gallery of Victoria, Australia [Suburban, 2011-2013] and The Canterbury Museum, Christchurch [Final Act, 2013]. Strange also recently participated in the 2014 Adelaide Biennial of Australia Art at the Art Gallery of South Australia through the commission of a large sculptural installation on the forecourt of the gallery. His work has been featured in numerous publications including; OSMOS Magazine, Dazed and Confused Magazine, Artist Profile, Artlink, Art Almanac, Vault, The Australian, The Financial Review and Oyster Magazine.


Drawing on work hosted by Project Anywhere, Weir will present and discuss artwork developed from research into deep geological repository sites for long-term nuclear storage. This work takes the form of a series of sonic fictions, using field recording at these sites, oscillation detection, computer models and scenario plans to simulate or invoke deep futures. Andy Weir is an artist from London, UK. His work proposes strategies for collective knowledge in the context of the ungrounding panic of the geological Anthropocene. Recent exhibitions and publications include ‘Out to Get You’,Transmediale 2014 at HKW, Berlin; ‘Thick Dia-chronic Crash’ in Realism Materialism Art (2014) and ‘Geologies of Value and Vestige’ at Stanley Picker Gallery, London (2013). He is Senior Lecturer in Fine Art at Arts University Bournemouth and PhD Researcher at Goldsmiths, University of London. (

Above: Andy Weir, Relatively Endogenically Inactive Cool Interior Version, 2013 Opposite: Ian Strange, Number Twelve, 2013, Archival Digital Print






Invited Presentation


Zacharias will present findings of the Music for Spaces performance project, which addresses issues of documentation and dissemination unique to site-specific, time-based work. Conceived in 2005, Music for Spaces creates intimate, unique listening situations which explore and renegotiate relationships between audience, performers, buildings, public spaces and the natural environment. It pursues site-specific, audience-oriented and environmentally-sensitive concert design at the same time as deconstructing concert rituals, and has been presented across Canada, the US and Germany. Case studies include listening environments and unique ‘live installations’ including Moveable Feast (in which audience traveled by canoe past musicians placed on docks on the Colorado River in Austin), Music for Stairs (a chamber recital in a grand stairwell on the campus of University of Texas), Museum Music (situating ‘old’ music next to fossils and geological specimens), Music for Tower (an outdoor cello collaboration with the UT Carillon bells), Threshold of Immanence (cello recital in a strawbale observatory overlooking a rural Saskatchewan valley), Listening Booth (solo cello recitals for one audience member at a time, featured at the Sappyfest Music + Art Festival), and CityWide (simultaneous recitals by fifty cellist across public spaces in Winnipeg).

Leanne Zacharias. Music for Anywhere, (Bertram 2014)

Leanne Zacharias is a dynamic cellist, educator and interdisciplinary artist known for innovative collaborations with artists of all stripes. Her performance project Music for Spaces reimagines concert, public and natural space with sound, and recent work includes CityWide: simultaneous recitals by 50 cellists; Sonus Loci: a sound installation on ice, selected by Winnipeg’s 2013 Warming Huts Art & Architecture competition, a solo performance from a rowboat presented by Austin Museum of Art, release of Rand Steiger’s Elusive Peace for drumset and cello on New World Records, and a Venice Biennale performance in support of artist Shary Boyle, presented by the National Gallery of Canada. Professor of Cello and Contemporary Performance Practice at Brandon University, she also leads the Correction Line Ensemble and performs across genres and the world.




Simone Douglas is a NYC based artist. Her work takes place globally from the extreme landscapes of the Gobi Desert in Inner Mongolia to Australia. She is the Director of the MFA Fine Arts program at Parsons The New School for Design, NY. Her practice incorporates installation, photography, video and more recently site-specific works. Out of a practice that engages with contemporary issues of the sublime, cultural and environmental legacy have become rising issues in her work. At current she is working on a large-scale installation, Promise, in the desert regions of Australia. The research that supports Promise encompasses indigenous and post colonial histories, environmental engineering, ecological impact, climate change, and community outreach. Douglas’s site-specific work is an extension of a long term, ongoing project Douglas initiated; Exquisite Corpse (Site+Sight), A Visual Research Collaboration. The collaborative project asks artists and designers from around the globe to respond to crucial issues of the environment while working with cultural differences and historical legacies. The project has taken place in China, USA, Germany and Australia. This ongoing commitment to issues of environment, intercultural facilitation and art as a medium that activates crucial issues of our time is the backbone of Douglas’ larger agenda within her practice. Her works have been exhibited at the Victoria & Albert Museum, The Photographers Gallery, London; Museum of Contemporary Art , Australian Centre of Photography and the Art Gallery of NSW, Sydney: and the National Gallery of Victoria, Melbourne. She was project director and curator for the Getty Conservation I Institute and the Australian Museum Picture Sydney: landmarks of a new generation at the Australian Museum and curator for the international exhibition Landmarks of a New Generation (Sydney, Mumbai, LA, Berlin, Cape Town). Douglas holds a MFA and a G.D.P.A.S from the University of NSW and a BVA from The University of Sydney. (

Simone Douglas, Promise, site test 7 (top) , site test 4 (bottom), 2014, Ice.



During the Cold War, the Bering Strait marked the physical border between the United States and the Soviet Union. Although it is not possible to physically see the 55 miles across the Bering Strait, as Sarah Palin reminded us in her now infamous September 11 2008 ABC interview ‘…you can actually see Russia from land here in Alaska, from an island in Alaska.’ Beyond the banality of Palin’s command of international relations, it is nonetheless true that there are two islands in the middle of the Bering Strait: Big Diomede (the easternmost point of Russia), and Little Diomede (part of the United States). At their closest point, the two islands are approximately 2.4 miles apart. Given that the horizon is approximately 2.9 miles away at sea level, on a clear day it is indeed possible to see Russia from U.S. territory. The Diomede Islands are however typically blanketed by dense fog. Although geographically remote to key Cold War boundaries such as Berlin, the Korean Demilitarized Zone and the Florida Straits, Little Diomede Island was once the only place from which one could literally see the Soviet Union from U.S. territory. Together with an international border, the International Date Line also separates the islands (at 168°58’37’W). During winter, an ice bridge spans the distance between the two islands, making it possible to walk between the islands. During the Cold War, this space was referred to as the ‘Ice Curtain’. Today, this space, as it freezes and thaws with the seasons, can be potentially reimagined as symbolizing the ephemerally tempered threat of human conflict (both tangible and imagined). In 1987, long distance swimmer Lynne Cox managed to swim from one island to the other, a feat that at the time attracted the congratulatory praise of Mikhail Gorbachev and Ronald Reagan. For some, real potential for détente was somehow symbolically imagined through this crossing. Although the Cold War has since thawed, international relations remain substantially underpinned by its legacy. Accordingly, this Cold War Memorial is designed to remind us of the tangible human cost of the immateriality of fear. This Cold War Memorial is simple. In conceptually marking the intermittently frozen 2.4-mile wide space between the Diomede Islands as a memorial to the dangers of ideologically charged fear, a conceptual object is superimposed over the physical space between the islands. Although, for most people, this memorial will remain beyond the realm of direct sense perception, it is nonetheless hoped that the simple exercise of orienting in thought toward a place that actually exists might vicariously provide both solace and reconsideration of the legacies of conflict. To this end, a supplementary feature is added to assist in this task. Whilst looking at a map of this location, the beholder is invited to imagine a modest sign placed on the western coastline Little Diomede Island. Echoing the iconic facsimile signage at Checkpoint Charlie in Berlin, this sign would declare the ephemeral winter ice bridge between the islands to be a Cold War Memorial. This signage should be imagined as presented in English, Russian and the indigenous Iñupiaq language. Quietly symbolizing a world of forgotten peoples turned inside out by the tectonic reaches of immaterial tensions, the Inupiat peoples are emblematic of all peoples divided or repatriated during the Cold War era (the Indigenous population of Big Diomede Island was wholly relocated by the Soviets to mainland Russia in order to house a military presence whilst Little Diomede still has an Inupiat Inuit population of around 170).


Sean Lowry is a Sydney-based visual artist, musician and writer. Lowry holds a PhD in Visual Arts from The University of Sydney and currently teaches in the School of Creative Arts at the University of Newcastle, Australia. Lowry has performed, exhibited and presented extensively both nationally and internationally and his published writing appears in numerous international journals and edited volumes. His conceptually driven artistic practice employs strategies of concealed quotation designed to operate at the limits of recognition and specificity. Lowry’s practice ranges from overpainted wall painting to dematerialized conceptualism, subliminally inflected electronic music, strategies of détournement, expanded painting, sound and video. His research interests include art after appropriation, aesthetics after conceptualism, artistic production after postmodernism, creative arts pedagogy, and the role of sound in visually centered cultural formations. Lowry is also the Founder and Executive Director of Project Anywhere: Art At The Outermost Limits Of Location-Specificity. From September to December 2014, Lowry is Visiting Scholar/Artist at the School of Art, Media, and Technology at Parsons The New School for Design in New York. (

From the 1960s onwards (building upon key early twentieth century trajectories), several artists have employed projections of thought as an aesthetic medium. This Cold War Memorial takes its points of departure from Terry Atkinson and Michael Baldwin’s unspecified ‘column’ of air over Oxfordshire; Air Show/Air Conditioning (1966–7), the relationship between physical and political markers implicit in in Dennis Oppenheim’s Annual Rings (1968), the moment of 1:36pm on June 15 1969 in which Robert Barry nominated All The Things I Know But Of Which I Am Not At The Moment Thinking, and art historian Sergiusz Michalski’s descriptions of monuments that seek “invisibility as a way of engendering reflection on the limits of monumental imagery”. It is also informed by the way in which artists such as Teching Hseih have successfully activated the potential of building aesthetic experiences in the mind through documentation. Accordingly, this Cold War Memorial is accessible via the perceptual conduit of this text and an accompanying map. In a manner aesthetically and structurally distinguishable from theory and philosophy, art is a vehicle for communicating ideas experientially. Moreover, this is its key point of difference. Like any nation or superpower, an artwork only exists to the extent that people ‘agree’ that it does. As Art & Language declared in 1968, “things are noticed and attended to not in virtue of some ‘naturally’ obvious assertiveness but in respect of culturally, instrumentally, and materially conditioned discursive activity”. Just as fashion magazines list fragrances that models are supposedly wearing alongside other credits, and uninhabited wilderness provide solace by virtue of our knowledge of its existence, art can provide a vehicle for experiencing ideas that exist beyond direct sense perception. Conceptualism’s implicit suggestion that absence can offer a vehicle for aesthetic content has reshaped the idea of memorializing. Just as Maya Lin’s Vietnam Veterans Memorial (1982) now stands as testament to a previous generation re-imagining of the legacies of war via a framing of absence, this Cold War Memorial represents a conflict made tangible through the collective power of imagination through a thought projection created using only searchable information and mapping technology. Since we are no longer comfortable with the idea of memorialising war through the figure of a triumphant phallus, this Cold War Memorial invites contemplation by instead directing our imagination toward an ephemerally present physical location. Given the complexities of conflict, a paradoxical insight that full comprehension is impossible might then accompany our apprehension of the liminal edges of this memorial as it extends into surrounding North Pacific and Arctic waters. One of its most enduring characteristics of the Cold War was its seeming invisibility. Largely played out beyond the realms of direct sense perception, its underlying raison d’être was that of a deployment of an ideologically driven and consensually imagined sense of fear capable of controlling the imaginations of entire civilisations.

Sean Lowry, Cold War Memorial (2013), thought projection over Bering Strait (168°58’37’W)



Executive Introduction and Additional Session Chairs

Mira Schor is a New York-based painter and writer. She is the author of A Decade of Negative Thinking: Essays on Art, Politics, and Daily Life (2009), Wet: On Painting, Feminism, and Art Culture (1997) and the blog A Year of Positive Thinking. She is coeditor of M/E/A/N/I/N/G Online. Recent writings have appeared in Artforum, The Brooklyn Rail, and Paper Monument. Schor is the recipient of awards in painting from the Guggenheim, Rockefeller, and Pollock-Krasner foundations, as well as a recipient of the College Art Association’s Frank Jewett Mather Award for Art Criticism and a Creative Capital/Warhol Foundation Arts Writers Grant. She is an Associate Teaching Professor in Fine Arts AMT at Parsons The New School for Design.

The conference organizers wish to acknowledge the executive input of introductory speaker Anne Gaines, Dean, School of Art, Media and Technology, Parsons The New School for Design, and additional session chairs, Radhika Subramaniam and Mira Schor.


Radhika Subramaniam is a curator and researcher interested in urban crises and surprises. She is Director/Chief Curator of the Sheila C. Johnson Design Center (SJDC) at Parsons The New School for Design where she is assistant professor. Her curatorial projects include Art in Odd Places: Number (2013) and Sign (2009, with Erin Donnelly), Abecedarium for Our Times (Apexart, 2008), and Cities, Art and Recovery (LMCC, 2005–2006), a major two-year international initiative focused on art and culture in the aftermath of catastrophe. At the SJDC, she has developed dialogic curatorial platforms such as Living Concrete/Carrot City (2010, with Nevin Cohen), #searchunderoccupy (2012, collaboratively curated), Art Environment Action! (2012), an environmental “artshop,” Masterpieces of Everyday New York: Objects as Story (2013, with Margot Bouman) and Offense and Dissent: Image, Conflict, Belonging (2014, with Julia Foulkes and Mark Larrimore). She was formerly the Director of Cultural Programs at the Lower Manhattan Cultural Council and the founding executive editor of an interdisciplinary journal, Connect: Art.Politics. Theory.Practice. She received a SEED Foundation teaching fellowship in urban studies at the San Francisco Art Institute (2012) and a residency at The Banff Centre (2014). She has a Masters in Anthropology and a PhD. in Performance Studies. Art Environment Action!, entrance wall, curated by Radhika Subramaniam, SJDC, The New School 2012

Top: Parsons Scholars Program, 2013, (Photo by Shola Ajayi) Bottom: Mira Schor, Conditions of Contemporary Practice, 2013. Ink and oil on gesso on linen, 24 x 45 inches. Courtesy of the artist and CB1 Gallery

Anne Gaines, Dean for the School of Art, Media, and Technology, artist and educator, applies a broad pedagogical vision and administrative experience to foster a strong, collaborative academic culture within a large and complex school at Parsons. Gaines actively engages urban youth in college preparation and her focus is on building a dynamic and diverse future for art and design fields and communities. Gaines works to provide access to college through her work with the Parsons Scholars program and the development of early college models. She received a Master of Fine Arts from Parsons and a Bachelor of Fine Arts from Memphis College of Art.


Project Anywhere Founding Concept and Executive Director Dr. Sean Lowry The University of Newcastle

Editorial Committee Professor Brad Buckley,

Professor of Contemporary Art and Culture, The University of Sydney

Professor Bruce Barber,

Chair of Media Arts, Nova Scotia College of Art and Design

Associate Professor Simone Douglas,

Director MFA Fine Arts, Parsons The New School for Design

Professor Steve Dutton,

Professor in Contemporary Art Practice, The University of Lincoln

Dr. Angela Philp,

The University of Newcastle

Dr. Adam Geczy,

The University of Sydney

Dr. Les Joynes,

Director, FormLAB and Visiting Associate Professor of Art, Renmin University of China

Advisory Committee Professor Su Baker,

Director Victorian College of the Arts, The University of Melbourne

Mr. Ilmar Taimre,

Executive Consultant, Independent Researcher/Virtual Musician

Dr. Jocelyn McKinnon,

The University of Newcastle

Associate Professor Nancy de Freitas,

Auckland University of Technology and Editor-in-Chief, Studies in Material Thinking

Professor Brad Buckley,

Professor of Contemporary Art and Culture, The University of Sydney

All peer reviewers for Project Anywhere are artist academics of international standing. All evaluations are archived for independent auditing.


The conference organizers would like to sincerely thank Parsons The New School, The University of Newcastle, Anne Gaines (Dean of The School of Art, Media and Technology), The Office of AMT and Fine Arts, Tanesha Jemison, Mike Palumbo, Galit Lurya, Minnie Kang, Jessie English, Mark Smith, Ella Condon, Fernando do Campo, and all the MFA students that have contributed their time to this event. This two-day conference is provided free of charge by Project Anywhere and Parsons Fine Arts, School of Art, Media and Technology, Parsons The New School for Design. This publication would not have been possible without our forward thinking publisher, Conveyor Arts. This publication is funded by Parsons Fine Arts, School of Art, Media and Technology, Parsons The New School for Design and The School of Creative Arts, University of Newcastle, Australia.

Contact Email: [email protected] Conference Website: ISBN # 978-0-692-32297-0 Design: Christina Labey Pre-production Layout and Design: Galit Lurya Interior and Cover Design: Christina Labey Printed and bound at Conveyor Arts in the United States Cover Image: Courtesy of NASA All Included Images © 2014 Copyright the Artist Unless Otherwise Noted



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