Congratulations on your work with the ARI Remix Project. It has become an invaluable resource that I look forward to seeing it continue to grow in the years to come. The issues you raise in your email around digital collections are very important to me as part of All Conference's work. For us, archives are important advocacy tools and making them accessible via access points like ARI Remix and (in a smaller way) the All Conference library, are excellent ways for those that actually work in these spaces to understand the lineage of their activities. https://allconference.org.au/library
IF NOTHING ELSE ACTIVITY IN THE ARTIST-RUN SCENE MADE WORK VISIBLE TO THE ART INSTITUTIONS.
Yes Artist-Runs 1980-1990 - My role was multifaceted in that I was involved with running the space(s) in so far as the day-to-day as well as organising exhibitions, and as a participant and contributing artist. I think that having a resource which enables people to visit; sometimes for the first time, activities undertaken in previous decades in Brisbane's art community helps provide important historical and cultural context. For those who were active at the time, it is an opportunity to view a period from often a slightly different direction having had time mediate, and in some ways re-contextualise events. It is also obviously wonderful to see,(and hear) things again that were in some cases all but forgotten, teetering on the edge of memory, faces, places and spaces inhabited by art and life. For a city and state that is continuing to develop in all sorts of directions, to be aware of its heritage from as many vantage points as possible is really important. That awareness needs to be pricked and fostered by projects such as this which allow recent cultural history to be viewed, reviewed and built upon. Artist Russell Lake
1980-1990,1990-2000, I was actively engaged in many artist-runs during this period. I was involved in the founding and setting up of THAT Space in Brisbane in the mid eighties. At the same time and later I was also involved in a number of studios around town. The ARI Remix project so far, EXCELLENT, it's great stuff. A fabulous resource. Lots and lots of good and interesting information. Lots and lots of hard work. And bouncing off what artist and designer Angelina Martinez has already said, we set up these spaces as a places for those like us to exhibit, and to create an environment where art practice at a grass roots level was possible and valued. The mix of artist-run spaces at the time created a rich and dynamic environment in which to develop our practices and share our work. The ARI Remix Project is an important record of that period, filling a hole in the collective memory of those places and that time. John Waller
1980-1990,1990-2000,2000-2010,2010-Now, I was involved with many artist-runs during these years. My role? I was engaged in finding a place to create work and exhibit the work. I worked for a small time in Red Comb House, Little Roma Street, Loch Street West End. Showing work in all places Le Scoops, Metro Arts, McWhirters, That Contemporary Artspace and Arch Lane Public Art. From the nineties to 2000's exhibited in small groups, tandem and solo in various small spots but mainly with Doggett Street Studio. Grateful for the drivers of all these places, their ability to find and build opportunities to show was great. The ARI Remix project so far is EXCELLENT, and I like the reflection, the process of having to put together a small story, to make it comprehensible made me go through old files and relook and actually look at different lines of work and pick some out to support that narrative. The process has also given me the inspiration to work on a project that I had been considering since making the first batch of work the documenting portrait photos that I took at the time retaking and revoking the photos. I now have a way of framing it that makes sense of the original work. I want to retake the photos of the people, plus some people that I knew back then but was a touch too shy to ask if I could their photo. It would make for an interesting document. The way people engaged with having their photo taken back then. It would be interesting to see their authorship, or engagement with having their image taken now. I have also found the stories people have told really interesting, human and so without guile. It is a delight to see work that was impulsive, insightful and real without the need for the academy's approval. It happened to spite any formal feeding into of a fine art industry (it didn't really exist then!) Maybe it still doesn't!? – just being cheeky, I have noticed traces and shadows of it! That the project can be dipped in and out of means that the audience and people can engage and build on the reflection, is a real strength of its building of testimony. A memory recalled together can be made more vivid because we can see different facets of the same event, time, and therefore where it overlaps, blurs shows the fragility of people. I like to see fragility, the appeal of a real humanity in any project or work... this shows all sheer highs of people's need to work and express their ideas of what it is be work. It is enjoyable and engaging, thank you. Racheal Bruhn
I am the Managing Director at new a non-profit ARI operating as an Incorporated Association, called House Conspiracy located in West End (December 2016). The ARI Remix project has been an invaluable resource in terms of allowing me and my Co-Director to plug into a wealth of history and culture that has informed our process and organisation. Excellent, and the exhibition at UQ was fantastic too. The ARI Remix project so far? EXCELLENT So rare to have something so cool pop up and remind us that Brisbane IS a town for the arts—we just have to believe that it is. Jonathan O'Brien
I'm an artist from Brisbane, and in the early '80's I participated in Technical Girl's Collective, and artist-run collective based in Darlinghurst, Sydney. We produced a calendar and postcards and a video about women and unemployment. We then wrote a film script about a day in the life of young women living in Darlinghurst in 1984 and received film production grants from the Women's Film Fund of the Australian Film Commission to make it. It screened at film festivals in Australia and internationally, appeared on SBS and won the Best Experimental Film from the Toowoomba Film Festival in 1986. The ARI Remix Project, EXCELLENT! When I was a young artist in Brisbane and Sydney in the 1980's, I had no idea that our art making was important. It's just who we were and what we did. The archiving of our work via this project organized by artist Paul Andrew is invaluable. Jasmine Hirst
The ARI Remix Project is excellent. Wonderful remix of important art histories form a time of strong oppressive forces and therefore strong resistance. The incredible creativity, local initiatives, artists, venues, times and works that this site documents and archives, are a valuable resource that could so easily have been lost. Linda Dement
Yes, I was actively involved in 1980-1990 artist-runs in Brisbane, with Zip, it was a music and visual art collaboration. I was one of the five core members. The ARI Remix project is EXCELLENT All the hard work of the organisers seems to have paid off. I appreciate being invited to contribute. Matt Mawson
Yes I too was actively involved in artist-runs in Brisbane, 1980-1990,1990-2000. The artist-run scene was something I found immensely empowering, both in terms of providing somewhere to show, but also an entry into a wonderful community of like-minded people. Let us know how your rate the ARI Remix project so far:: EXCELLENT The whole thing has been incredible fun. Shane Kneipp
Yes I was actively involved in artist-runs 1980-1990, at the time, I had an active arts practice, collaborating wildly across many ARIs and other creative activities in Brisbane through the 80s The ARI Remix project so far, EXCELLENT Keep up the excellent job being done. This undertaking is crucially important. Tim Gruchy
My role ? I established the Ephemera Collection at State Library Queensland. My role as Arts Librarian at the State Library of Queensland was the impetus for me to actively engage,collect and preserve ephemera from the Artist-Runs from early 1980s to 1990s The ARI Remix project is EXCELLENT I think the ARI Remix Project has been extremely successful, inspiring, engaging and has galvanised so many to recall, contribute and maintain the extraordinary impact the Artist-Runs had on the cultural scene within Brisbane during this rapidly changing political, social and economic period. I congratulate all involved with this project and on continually sustaining the interest, passion and commitment to Artist-Runs which is not always easy to maintain. Paul Andrew and the ARI Remix collective, a highly committed team are to be congratulated. Cassie Doyle
I am an artist and I worked with THAT SPACE, an artist-run in the 1980s, exhibited a few exhibitions there and attended many events. One of the co-founding members and initial committee for Tropical Artists' Guild in Cairns. My exhibition 'Preliminaries for "Big Smoke"' was the first exhibition held at TAG. The ARI Remix project is EXCELLENT, the ARI Remix site is superb, what an amazing resource. I enjoy checking back and seeing what is new on site. I appreciate the effort gone into this project, a valuable archive of a vibrant and vital time in Australian arts. John Douglas
"This project begins to document the influence of artist run initiatives in Queensland. The artist run initiatives of the 1980s grew out of a critical relationship with the policies and practices of mainstream art institutions and governments. I support this project because documentation and analysis of artist run initiatives is important in the development of art in Queensland. I would like to see this project receive government funding and institutional support to expand on the current research and database and to develop new initiatives." Dianne Heenan
" I’ve been looking through the Remix site, it looks great, what an amazing project and resource! Please let us know if there are any other ways we can share and support the Remix Project, we love what you are doing"
" ARI’s or artist-run spaces as we called them also provided us with a place to exhibit, to network and to meet other contemporary artists. This was invaluable at the time as there were no venues, institutions or galleries that would even consider exhibiting my work or promoting my art practice, especially those of a young female artist like myself. It is disconcerting that documentation and ephemera from this era has not been collected and published. This archive of material and resources and those of others like myself, deserves to have a place in the social and art history of the city. It is important to document this history of ARI’s in Brisbane because of the unique political, economic and social circumstances at the time, and how this generated such enormous activity by cultural workers that was often critical, challenging and provocative. REMIX is designed as an online project and what is terrific about this is that it will make these interviews and archives available to a wider audience online, from Queensland and elsewhere, and for much longer period than any exhibition can even attempt to provide. This is important to me."
"The ARI remix website is a joy to behold...I was for a while a member of Red Comb House (1982), and subsequently an early participant in John Mills Himself, producing a site-specific installation there in 1984. During this time there was a lot of interaction within each other's work, and across ARI spaces, which was stimulating and productive. Jay Younger, John Waller, Wayne Smith, Jane Richens, Virginia Barratt, members of THAT Contemporary Art Space, became colleagues and collaborators as a result of the interactions within the ARI scene. One key difference that I noticed between Brisbane and the southern art scenes (at this time) was that Brisbane artists were very supportive of each other’s projects and practices. The ARI Remix project so far, EXCELLENT The ARI Remix project has been a catalyst for recovering a previously neglected and therefore inaccessible history of what was a remarkable and vibrant period of the burgeoning Brisbane art scene of the 1980s. This timely recovery added depth and vitality to the Ephemeral Traces (2016) exhibition, curated by Peter Anderson for UQ Art Museum. The chosen mode of interviews with the individual artists remembering their participation in their own words, has created a rich tapestry of voices and memories without the reductive suppression of a singular authorial voice. Lyndall Milani