“Artist-Run Stories. Archives. Information. Ideas. Inspiration. For everyone”
ARI Remix is a community contribution living archive, ARI heritage and collective memory project, study resource and Web 2.0 participatory artwork #ariremix
Australian ARIs, Web 2.0 and Longer-term Preservation Potential – Past Present Future
PROJECT ONE: Stages One & Two of this project are supported by the Queensland Government through Arts Queensland and have been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
The ARI Remix Living Archives and Social Memory project is embedded in the rich and vibrant artist-run space ecology ‘re-emerging’ in Brisbane during the oppressive Bjelke-Petersen era in Queensland during the 1970s and 1980s. Brisbane independent and DIY artist-run practices have a long history stemming back to the Barjai and MIYA Studio artist co-operatives in the 1943 to 1947 WW2 and post-war period. ARI Remix began as an expanded and collective artist response to discussions with curator Peter Anderson in March 2011 for a then proposed exhibition to be held at the University of Queensland Art Museum. You can read more about ephemeral traces: brisbane’s artist-run scene in the 1980s here:
Initial informal analogue and digital research began in March 2011 by reconnecting with many of the artists who actively operated Brisbane and Queensland regional artist-run spaces during the 1980s and who were the custodians of private artist/ARI archives about this period.
In December 2012 a social media open group was instigated to enable both the exhibition project and what was initially imagined as a complimentary and independent DIY feature online documentary project. The ephemeral traces exhibition was the first significant survey and introduction to the buried histories five of Brisbane’s 1980s artist-run spaces and the ARI Remix Project developed throughout 2013 and 2014 into an expanded view of Brisbane and regional Queensland’s artist-run sector. In March 2015 the remix.org.au site was launched online on the WordPress platform. You can read more on the social media page research and participation here – https://www.facebook.com/groups/451268288264701
Please join the conversation and if you are interested please post your comments, memories and insights directly to the ARI Remix archives in the threads below many of the posts located at www.remix.org.au
In keeping with the spirit of Reconciliation we acknowledge the Traditional Owners of the lands where we live and pay respect to the Elders – past, present and emerging – and acknowledge the important role Aboriginal and Torres Strait Islander people continue to play within the Australian arts and culture ecology.
We gratefully acknowledge all the artists, co-creatives and artist-runs who are kindly participating in the realisation of this project throughout Stages One and Two and who are invaluable in helping to grow and broaden this living conversation and making a variable Web 2.0 internet artwork like this possible.
Participating activists, artists, writers, musicians, designers, curators, publishers, media professionals, GLAM sector colleagues and co-creatives including Jasmine Hirst, Linda Dement, Hiram To, Jay Younger, Brian Doherty, Jane Richens, Angelina Martinez, Martyn Sommer, Elsie Brimblecombe, Kathryn Brimblecombe-Fox, Sue Barratt, Julie Barratt, Virginia Barratt, Adam Boyd, Tim Gruchy, Gary Warner, Carl Warner, Jeffrey Gibson, Luke Roberts, Bryan Spencer, Jon Adams, Clare Adams, Mark Ross, Malcolm Enright, John Douglas, Doug Spowart, Anne Jones, Robert Whyte , Belinda Gunn, David Holden, Dianne Heenan, Ross Wallace, Dale Chapman, Ian Wadley, Peter Anderson, Paul Andrew, Kenn Bushby, Lyndall Milani, Wendy Mills, Russell Lake, Urszula Szulakowska, Irena Luckus, John Willsteed, Leah Cottrell, John Waller, Mervyn Moriarty, Cassie Doyle, Rebekah Fogarty, Gus Eagleton, Louise Rollman, Travis Dewan, Sheridan Kennedy, Rob Munday, Richard Stringer, Racheal Bruhn, Ivan Nunn, Steven Grainger, Rob Bo, Comrade X.
Participating ARIs including E.M.U, Artworkers Union Qld, Red Comb House, One Flat, The Observatory, That Space, John Mills National, [Bureau] Art Space, That Annexe, John Mills Annexe, AXIS Art Projects, Interface: City as A Work of Art, F.Art, Galerie Brutal, Arch Lane Public Art, 210 Wickham Street, Belltower Studios, Chi Chi Deluxe, Brisbane Independent Filmmakers, Film Facts Collective, Blunt Focus Cinema Collective…
We are truly grateful for testimonies and letters of support for the research and development for Stage One from many people including Andrew McNamara, Queensland University of Technology, Peter Anderson, Michele Helmrich, University of Queensland Art Museum, Gillian Fuller, Luke Roberts, Russell Lake, Ross Harley UNSW, Jay Younger, Queensland College of Art, Adam Boyd, Sally Hart, Sarah Follent, Jeanelle Hurst, Travis Dewan, BNE Art, Eyeline Magazine, Queensland College of Art Griffith University, Kath Kerswell, Beth Jackson, Lismore Art Space.
Currently in progress until December 2019
Participating activists, artists, musicians, writers, designers, publishers, media professionals, curators, GLAM sector colleagues and co-creatives including the Shared Camera, Caitlin Franzmann, Shane Kneipp, Shehab Uddin, Ian McIntosh, Sally Hart, Tobias De Maine, Sally Hart, Jane Richens, Lucinda Elliott, Ian McIntosh, Brian Doherty, Jane Richens, Peter Breen, Stephen Jones, Jac Dyson, Erena Mercer, Kinly Grey, Lu Forsberg, Callum McGrath, Annie Winter, Rod Bunter, David Broker, Linda Wallace, Tayla Haggarty, Anna MacMahon, Madeline Bishop, John Waller, Stephen Jones, Meagan Mendels, Sharon Jewell, David Don, Jac Bates, Casselle Mountford, Barbara Campbell, Richard Mansfield, Niko Velutic and many others.
Participating ARIS including Omniscient Collective, Galerie Brutal, In Residence ARI, Kunstbunker, The Laundry Art Space, Clutch Collective, BARI Festival, House Conspiracy, Boxcopy, Level, ISN’T, Modus Studios, Process, Cut Thumb ARI, Video Access Centre Brisbane, DVAA, Watch This Space, Umbrella Studios, Canaipa Mudlines, White Box and many others.
We are truly grateful for testimonies and letters of support from artists including Simone Eisler, Kevin Wilson, Peter Breen, Tobias De Maine, Franz Ehmann, Adam Donovan, Luke Roberts, Matt Dabrowsky, Scott Whittaker, Allyson Reynolds, Sally Hart, Maria Filippow and from curators, writers and academics including Michele Helmrich, Peter Anderson, Jay Younger
ARI Remix Project is decentred/decentring in its transmedia Web 2.0 curatorial aim and approach.
These online nodes outlined below form part of the Web 2.0 information and collective content recovery, retrieval and keeping places:
Living Archives- Queensland Artist-Run Heritage 1980 – NOW https://www.facebook.com/groups/451268288264701
ARI Remix Project – Living Archives, Artist-Runs Past Present Future https://www.facebook.com/ariremixproject
Independent – Web Archiving – courtesy of Internet Archive WayBack Machine https://web.archive.org/web/*/remix.org.au
Artist, Paul Andrew
Artist/Designer, Joanna Kambourian (Lismore Artspace 2008-2018, Ms Browns Lounge)
Many artists and peers have been generous mentors, directly and indirectly during the initial research and set up on the remix.org.au archives throughout 2011 – 2015 including artists Joanna Kambourian, Linda Dement, Sarah Waterson, Liz Stokes, John Tonkin, Brian Doherty, Jane Richens, Virginia Barratt, Gillian Fuller, Jay Younger and many others.
Editors – Brian Doherty & Jane Richens
Collective or social memories are shaped by social, economic and political circumstances; by beliefs and values; by opposition and resistance. They involve cultural norms and issues of authenticity, identity and power. They are implicated in ideologies. Social memories are associated with or belong to particular categories or groups so they can be, and often are, the focus of conflict and contestation. They can be discussed and negotiated, accepted or rejected. Collective memories are expressed in a variety of ways. They create interpretive frameworks that help make experience comprehensible. They are marked by a dialectic between stability or historical continuities and innovations or change.
Jacob Climo and Maria Cattell, eds., Social Memory and History: Anthropological Perspectives (Walnut Creek, CA:Altamira Press, 2002),4.
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…”
“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)
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.
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.