The ARI Remix project is largely driven by social media engagement and it began in earnest in November 2012 via the social media open-group, now comprising over 300 of the artists, designers, creatives, peers and social observers engaged in 1980-1990 Queensland artist-run collaborations here: https://www.facebook.com/groups/451268288264701
This open-group was initiated to assist with both the study, education, research and development of the Ephemeral Traces exhibition curated by Peter Anderson at the University of Queensland Art Museum and the collaborative ARI Remix Living Archive Past Present Future located here. These two projects are independent but delightfully entangled and interrelated projects. They are being generated in collaboration through shared research, study and dialogue to enhance the knowledge base with artist histories to produce a broader more inclusive andd diverse social history moving forward, we believe in the power of the chorus and its heartfelt songlines.
Read More about the ephemeral traces: brisbane’s artist-run scene in the 1980s exhibition and to read about the impact of the ARI Remix Project so far visit the following issuu links too:
Joanna Kambourian & Linda Dement
Consultant – Paul Andrew, Editors – Brian Doherty & Jane Richens
The ARI Remix Collective – Over 300 of the 1980-Now Queensland born or Queensland based artists directly engaged in the delightfully entangled artist-run activism infrastructural
activism Post 1970- Located here https://www.facebook.com/groups/451268288264701
Including artists Sarah Waterson, Liz Stokes, John Tonkin, Virginia Barratt, Maria Filippow
We gratefully acknowledge all the artists, co-creatives and artist-runs in Queensland 1970-Now who have kindly participated in the realisation of this living archives project and made this living conversation and internet artwork possible.
noun. An artist-run initiative is any project run by visual artists to present their and others’ projects. They might approximate a traditional art gallery space in appearance or function, or they may take a markedly different approach, limited only by the artist’s understanding of the term. …“Artist-run means initiating exchange; emphasizing cross and inter-disciplinary approaches to making art; developing networks; through curation, putting creative ideas and arguments into action”
Catalyst Arts (1996), Life/Live, Paris: Musée d’Art Moderne, p. 45
“To borrow a definition from LIFT (London International Festival of Theatre), the ‘living’ archive’s aim is not to bury the past in boxes or databases for posterity, but to “unearth fresh forms of thinking from what has gone before” (2010, online). The ‘living’ component of this archival framework is thus twofold: on the one hand it is about access as it encourages researchers to make connections between materials and to map out their own archival journeys in hopes of “revealing new ways of looking at the future by examining the past” (LIFT 2010, online). On the other hand, it is also about survival, in opposition to death, loss, and destruction, by way of engaging with the traces and remnants that live on. But just what constitutes digital traces online and how traces are retrieved remains one of the dominant conundrums of the online archive…” ( http://archinodes.com/node/168)
“a set of practices which takes as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space.”
(Bourriaud 2002: 113)
Artist-run spaces, places, projects and initiatives have long been sites of both precarity and impact for the shared professional development of artists; groups, collectives and informal associations, artists together working for artists, for growing audience engagement and for public activation of knowledge about the diversity of contemporary art practices. Here using a polyvocal approach and the re-iterating of ephemera, digital storytelling and resources we share something of Australia’s participatory heritage in the artist-run field since the countercultural 1970s as a small way of tempering, altering, transforming, critiquing and nuancing the official or dominant narratives that have long told the stories of contemporary art, community participation and social histories.
In the popular imagination 1980’s Queensland is often touted as the “Police State” years, a decade of menace during the final leg of an oppressive twenty-year right wing regime. Queensland under the Joh Bjelke-Petersen Government was known locally, nationally and internationally for many things, most particularly for its inappropriate police powers and extensive police brutalities, for citizen disappearances, for deaths in custody, for state-sanctioned disavowal of dissent, disavowal of community consultation and collaboration, for its hubris surrounding truthful media reportage and public accountability, for its gross disregard of civil liberties and human rights, for wrongful imprisonment, for its vehement disregard for refugees, disregard for racial diversity, for transgender politics, for homosexuality, for feminism, for migration, for refugees and perhaps most pernicious of all, for its anti-integration and apartheid policies, its desecration of the social and ecological frameworks that formed the cornerstone of an ancient living aboriginal heritage at the heart of Queensland’s ancient, rich, diverse arts and culture history.
It is during this era that artist-run spaces proliferated as never before, and this living archive we are participating in now is beginning to slowly gather together and share, testimonies, artist interviews, ephemera and resources to map and remix the 1980-Now artist-run scene and to begin to understand something of it’s impact on diversifying the arts ecology we know today.
Website copyright information.
This website contains information, data, documents, pages, photographs, audio, video and images (‘the material’) prepared by the ARI Remix Project which is a collaborative memory and living archives project of Queensland /Australia 1980-NOW artist-run heritage and culture for the purposes of documenting the vibrant, diverse, neglected and under-valued and un-valued DIY collaborations of the region.
Kindly include your contact details, provenance details, contextual information, appropriate credits, url links, tags and acknowledgements or if you prefer kindly request for its removal from the archive. Thanks for your interest, enthusiasm and shared passion for helping us redress the blind spot of artist-run heritage in the local global arts and culture canon, thanks for reading, thanks for your care, your attention and for participating, thanks for sharing in the spirit of open-source social and cultural change and digital community engagement and strengthening.