I am interested in writing as a dialogic practise in which I am listening as a mediator for voices that are otherwise not heard.
I have written several scripts, poems, stories that I also perform live, and mostly non-fiction that experiments with the writing of history. I write the occasional piece of criticism but only from the position of choice about a piece that has moved me.
Each of these publications is freely available along with others not listed here but available on request.
Soon forthcoming books
Bordered Lives: Immigration Detention Archive (Berlin: Sternberg Press, 2020)
Fragile Crown: Empire, Collection, Restitution, (Chicago University Press)
Special Journal Issues and Books Edited
Cook’s New Clothes: Redressing Pacific History, London: Bloomsbury Press, 2020.
Three Tiles of Text, In: Her Eyes and My Voice: A Relationship in Ekphrasis, Connie Butler and Lauren Godfrey (Eds), (London, Hato Press, 2012).
Façades, In: The Harvard Dudley Literary Review, Volume 11, (Cambridge, Harvard University Press, 2005), 66-67.
Articles in peer-reviewed journals
‘Museopiracy: Redressing the commemoration of the Endeavour’s voyage to the Pacific in Processions for Tupaia’, Third Text, (2019). In press.
‘NonWest by North: Marianne North and William Colenso’s responses to plantlife and the classification of economic botany’, Third Text journal special Issue on ‘The Wretched Earth: Botanical Conflicts and Artistic Interventions’, Shela Sheikh and Ros Gray (Eds), (2018) pp. 290-310.
‘The Senses, Presences and Beliefs in Indigenous Art History: Towards a recognition of non-Western historiography and methodology’, with Damian Skinner in Furthering, nurturing and futuring Global Art Histories, special issue of Kunstlicht, (2018), pp. 72-80.
‘Censorship and X-Ray of Malevich’s Black Square, 1915’, Third Text special issue on Decolonizing Colour, Natasha Eaton (Ed.), with Dina Gusjenova, (2019). Forthcoming.
‘Sartre’s Boomerang: The Archive as Choreographed Readymade’ in: The Importance of Being Anachronistic: Contemporary Aboriginal Art and Museum Reparations, special issue of Discipline, Khadija von Zinnenburg Carroll (ed.), (2016), pp. 19-51.
Contributions to Books
‘Painting the Political in Oceanian Textile Cultures: Collectivity, syncretism and globalization’, in J. Harris (ed.), A Companion to Textile Culture, (Oxford: Wiley-Blackwell, 2019). In press.
‘Art and Migration: On the Power of Movement’, Migration: Darwin Lecture Series, Cambridge: Cambridge University Press, 2019. In press.
‘The Aesthetics of Classification Indigenous Classification and Enlightenment’s Taxonomy. Wilhelm Blandowski’s Encyclopaedia of Australia (1849–1859)’, in N. Zschocke (ed.), Productive Universals – Specific Situations. Analysis and Intervention in Art, Architecture and Urbanism, (Berlin: Sternberg, 2019) In press.
Appropriating Universal Centrality: Containing the World in Berlin’s new Humboldt Forum, in The (City) Centre Cannot Hold? New Monumentality, Neo-Modernity and Other Zombie Urban Utopias, UCL Press, 2019. In press.
‘The Inbetweenness of the Vitrine: Three Paraerga of a Feather Headdress’, P. Basu (ed.), The In-Betweenness of Things: Materialising Mediation and Movement between Worlds ~ A Cabinet of Curiosities ~, (London: Bloomsbury, 2017) pp. 25-45.
‘Anachronically Archived: Time in Contemporary Art’, in I. McLean and Darren Jorgenson (eds.), The Archival turn in Australian Aboriginal art, (Perth: University of Western Australia Press, 2016) pp. 342-361.
‘Introduction’, and chapter ‘Marianne North, William Colenso, and Economic Botany at Kew’, Botanical Drift: Economic Botany and its Plant Protagonists, (Berlin: Sternberg, 2017).
‘Curating Curiosity: Wonder’s Colonial Phenomenology’, in: Timothy Mehigan (Ed.), Frameworks, Artworks, Place: The Space of Perception in the Modern World, (Amsterdam, Rodopi Press), 2008, pp. 203-225. Reviewed by Eugenia Fratzeskou, Leonardo, (Cambridge, MIT Press, 2008), Vol. 42, No.1, 86-87.
Critical Essays and Reviews
Sovereignty: Indigenizing and Decolonizing curatorial practise, Art Monthly, December 2016, pp. 36-39.
Everywhen: Interview with Stephen Gilchrist at Harvard Art Museums, Art Monthly, September 2016
Appropriating Universal Centrality: Containing the World in Berlin’s new Humboldt Forum, Calvert Journal, May 2016. Online
My Big Ugly Art World: Grayson Perry on Aboriginal art and how to be undiplomatic in the history wars, Art Monthly, November 2015, pp. 38-41.
Being in Detention: Media Arts at Colnbrook IRC. Border Criminologies, Oxford University, (2015). Online
Desert Visions Reach Across an Ocean, In: The Sydney Morning Herald, (August 25, 2007). Also printed as exhibition text at The Kluge-Ruhe Aboriginal Art Collection, (Charlottesville, University of Virginia, 2007).
Our culture’s still cringing, In: The Age, (July 25, 2005)
Bataille, Nieztsche, Clemens Wild: Portraits des Innenlebens als soziale Kritik, in: Clemens Wild: Outsider Artist, (Milan: Bolo Papers, 2016).
Ore Black Ore, in: Allegory of Cave Painting, (Extracity Kunsthal, Antwerpen, 2014).
The Rise and fall, with Alex Schweder, in: Chan, Carson and Nadim Samman (eds),Higher Atlas/Au-delà de l’Atlas, (Berlin: Sternberg Press, 2012) 313-336.
Le Musée comme la Silhouette, in: Jean-Charles Agboton-Jumeau (Ed.), Exposition 5-31 Janvier 2009, (Cherbourg-Octeville: Ecole des beaux-arts de Cherbourg-Octeville, 2009), 22-29.
Living Monuments, with Azra Aksamija, in: Mihnea Mircan (Ed.), Memosphere: Rethinking Monuments, (Venice Biennale: Revolver Press, 2007), 4-6. Also published in an installation titled Living Monuments + Track Changes, in: Lost Highway Exhibition, (Ljubljana: Skuc Gallery, 2007), 10-12.
6: Six artists from the MIT visual arts program, (Cambridge, MIT Centre for Advanced Visual Studies and Space Other Gallery Boston, 2006).
Contributions to Conference Proceedings
‘Immigrate into your Shadows (or the border will eat us)’, Proceedings of the 9th SAR – International Conference on Artistic Research, Anya Lewin (Ed.), April 11th – 13th 2018, University of Plymouth, UK.
‘Wilhelm von Blandowski und der Versuch, indigenes Wissen von Australien zu verbildlichen’, Whose Heritage?, Anne-Marie Bonnet and Floorplan (Eds.), (Munich: Autopress, 2017), pp.126-163.
‘The beard: A lecture performance with Ludwig Leichhardt and Wilhelm von Blandowski, 1860|2013 re-enactment’, in: Leichhard: A scientist in a strange land, Lindsay Barrett, Lars Eckstein, Andrew Wright Hurley, and Anja Schwarz (Eds), 1001 Leichhardts, International Conference, 2013, published through Queensland Museum.
‘Wer performt Kunst? Die performenden Betrachter Innen’, This Sentence is Now Being Performed, (Vienna: Akademie Der Bildenden Kunst, 2010), pp. 31–5.
‘Vitrinendenken: Vectors between Subject and Object’, in: G. Ulrich Großmann and P. Krutisch (eds), The Challenge of the Object, Congress of the International Committee of the History of Art, (Nuremberg: Germanisches National Museum, 2013)
Small Mirrors to Large Empires: Towards a Theory of Meta-museums in Contemporary Art (2008). Crossing Cultures, Economies of desire: art collecting and dealing across cultures, Proceedings of the 32nd Congress of the International Committee of the History of Art (CIHA), Ed. Jaynie Anderson, (Melbourne, Melbourne University Press), 2009, 1012-1017.
Artist Residencies held
2019 Sharjah Biennale with Nikolaus Gansterer
2018 Australian Embassy, Berlin
2017 Austrian Cultural Forum London
2016 Papermoon Theatre and Contemporary Art Jogjakarta, Indonesia
2014 Savvy Contemporary, Berlin
2013 Australian Print Workshop, Melbourne, artist in residence
2012 Wysing Arts Center, UK, escalator artist in residence
Riad el Fenn, Marrakech, biennale artist in residence with Alex Schweder
2011 La Cieba Grafika, Print Workshop, Mexican cultural forum artist in residence