world and world-making in art conference abstracts and biographies

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World and World-Making in Art conference Abstracts and Biographies Page 1 CIHA’S ROLES IN THE MAKING OF ART HISTORY AROUND THE GLOBE Jaynie Anderson, University of Melbourne (Lead Speaker) Since its foundation at Vienna in 1873 CIHA or the Comité International d’Histoire de l’Art has defined itself as the only true global organization in the history of art, one that creates permanent links between art historians of all countries. For most of the twentieth century the art historical globe was conceived of as European until the conferences organized by Irving Lavin (Washington) and Thomas Gaeghtgens (Berlin), which both attempted a global art history on an unprecedented scale. With the Melbourne congress in 2008, Crossing Cultures. Conflict, Migration and Convergence (published in 2009), some 700 art historians participated from 50 countries,and some 220 art historians from 25 countries published their presentations. The global mix and the difference in methodologies encouraged other countries to contribute to art historical debate. After Melbourne CIHA has held colloquia in Akita, Beijing, Florence, Johannesburg, Maribor, Nuremberg, and Rio de Janeiro. In my presentation I will present the last four years’ activities and look to the future of art history. At Nuremberg in 2012 I am chairing a session with Thomas Gaeghtgens on ‘CIHA as the object of art history’, where we ask for presentations on the past, present and future of art history, and who validates what is art history. Biography: Professor Jaynie Anderson graduated in History and Fine Arts from the University of Melbourne, and proceeded to a doctorate at Bryn Mawr College, where her thesis was on Giorgione. In 1970 she became the first woman Rhodes Fellow at the University of Oxford, where she remained until 1991 teaching art history. In 1997 she was appointed Herald Chair of Fine Arts and Head of the School of Art History, Cinema, Classics and Archaeology, in charge of creating a newly formed school in the Arts Faculty of the University of Melbourne. She remains committed to the pursuit of excellence in Renaissance scholarship. Jaynie hosted the 32nd international conference of art historians (CIHA) on the subject of Crossing Cultures, Conflict, Migration and Convergence, at the University of Melbourne, 13-18 January 2008. She has received grants from the British Academy (1981-82), the Leverhulme Trust (1993-4), and the Australian Research Council (1999-2003). She has been a visiting Scholar at the John Paul Getty Museum (1986), at the Centre for Advanced Study in the Visual Arts, National Gallery, Washington (1991), at the Harvard Centre for Renaissance Studies, I Tatti, Florence (2001, and 2003) and at the Institut national de l'histoire de l'art, Paris (2003). Jaynie has been elected President of the International Committee for the History of Art from 2008 to 2012.

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Contribution: MAKING PLACE: THE QUESTION OF TIME AND SPACE IN CONTEMPORARY PUBLIC ART PRACTICE IN MANILA AND THE REGIONSTessa Maria Guazon, University of the Philippines-Diliman

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Page 1: World and World-Making in Art conference Abstracts and Biographies

World and World-Making in Art conference Abstracts and Biographies

Page 1

CIHA’S ROLES IN THE MAKING OF ART HISTORY AROUND THE GLOBE Jaynie Anderson, University of Melbourne (Lead Speaker) Since its foundation at Vienna in 1873 CIHA or the Comité International d’Histoire de l’Art has defined itself as the only true global organization in the history of art, one that creates permanent links between art historians of all countries. For most of the twentieth century the art historical globe was conceived of as European until the conferences organized by Irving Lavin (Washington) and Thomas Gaeghtgens (Berlin), which both attempted a global art history on an unprecedented scale. With the Melbourne congress in 2008, Crossing Cultures. Conflict, Migration and Convergence (published in 2009), some 700 art historians participated from 50 countries,and some 220 art historians from 25 countries published their presentations. The global mix and the difference in methodologies encouraged other countries to contribute to art historical debate. After Melbourne CIHA has held colloquia in Akita, Beijing, Florence, Johannesburg, Maribor, Nuremberg, and Rio de Janeiro. In my presentation I will present the last four years’ activities and look to the future of art history. At Nuremberg in 2012 I am chairing a session with Thomas Gaeghtgens on ‘CIHA as the object of art history’, where we ask for presentations on the past, present and future of art history, and who validates what is art history.

Biography: Professor Jaynie Anderson graduated in History and Fine Arts from the University of Melbourne, and proceeded to a doctorate at Bryn Mawr College, where her thesis was on Giorgione. In 1970 she became the first woman Rhodes Fellow at the University of Oxford, where she remained until 1991 teaching art history. In 1997 she was appointed Herald Chair of Fine Arts and Head of the School of Art History, Cinema, Classics and Archaeology, in charge of creating a newly formed school in the Arts Faculty of the University of Melbourne. She remains committed to the pursuit of excellence in Renaissance scholarship. Jaynie hosted the 32nd international conference of art historians (CIHA) on the subject of Crossing Cultures, Conflict, Migration and Convergence, at the University of Melbourne, 13-18 January 2008. She has received grants from the British Academy (1981-82), the Leverhulme Trust (1993-4), and the Australian Research Council (1999-2003). She has been a visiting Scholar at the John Paul Getty Museum (1986), at the Centre for Advanced Study in the Visual Arts, National Gallery, Washington (1991), at the Harvard Centre for Renaissance Studies, I Tatti, Florence (2001, and 2003) and at the Institut national de l'histoire de l'art, Paris (2003). Jaynie has been elected President of the International Committee for the History of Art from 2008 to 2012.

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ATMOSPHERIC AFFECTS: THINKING ECOLOGICALLY ABOUT ART Jill Bennett, National Institute for Experimental Arts (NIEA) at UNSW (Lead Speaker) This paper is grounded in the belief that ecological thinking constitutes a new paradigm---one that extends and deepens the recent fascination with connectivity in the arts (as manifested in the development of interactive media arts, in concepts like relational aesthetics or dialogical aesthetics and in the prevalence of thematics of reciprocal engagement). Ecological thinking by its nature addresses the material connections between things and the dynamics of objects in time and space. Thinking ecologically about art (as opposed to simply representing ecologies) means rethinking the materiality of art objects and the way in which those objects occupy and are encountered in space. It means thinking about space (environment) in constitutive terms as something that materially affects experience and perception. This in turn has profound implications for the way in which we understand exhibition space and its relationship to the world beyond. In these terms, my paper will examine the relationship of air to contemporary art and aesthetics and will argue for immersion as a mode of ecological inquiry.

Biography: Professor Jill Bennett is Professor of Visual Culture and Director of the National Institute for Experimental Arts (NIEA) at UNSW, where she is also Associate Dean Research, College of Fine Arts (COFA) and Director of the Centre for Contemporary Art & Politics (CCAP). Her books include Empathic Vision; Affect, Trauma and Contemporary Art (Stanford University Press, 2005), Practical Aesthetics: Events, Affect and Art After 9/11 (IB.Tauris, in press), T-Visionarium: A User’s Guide (UNSW Press/Hatje Cantz 2008), Fantasmi: Dennis Del Favero, 1996-2003 (UNSW Press/Sprengel Museum, 2004) and with R. Kennedy ed., World Memory: Personal Trajectories in Global Time, (Palgrave/Macmillan 2003). She has curated a number of exhibitions associated with her research, including most recently, REAL emergency (with Anna Munster), Ivan Dougherty Gallery, Sydney, 2009 and Prepossession (with F. Fenner and L. Kelly), Ivan Dougherty Gallery and Golden Thread Gallery, Belfast, 2005. She is currently completing ARC funded research on current events in art and is working with the City of Sydney and Object on a series of sustainable public art projects.

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CROSSING BORDERS: PERFORMANCE, ART, ACTIVISM AND THE WORLD Thomas J. Berghuis, University of Sydney Art history often finds itself in a predicament when it comes to confronting the advent, growth and unremitting position of performance art in the overall development of contemporary art, in the world. Performance art can be considered an active agent and a perpetual driving force behind the historical avant-garde art. Performance art can also become the residue and sediment of past actions and events, as when it is collected and installed in exhibitions, placed on display as timeless artefacts. These records of 'the performance art past' have contributed to discussions of performance documentation, re-enactment, re-appropriation, and re-mediation. Then, there is the level at which performance art transforms into popular representations of conceptual photography, or where performance art becomes part of staged events at exhibitions, festivals, and at art fairs – often aimed at providing a form of entertainment and drawing on experiences of the public spectacle. Informing these realms lies the unremitting development and extensions of performance art practices across the globe that continues to offer momentous examples of the deepening relations between performance art, activism, and ‘world-making’ – by generating important new means of examining connectivities and potential differences between notions of art-making and community-making. This paper proposes to examine the development of performance art festivals across the world during the past 20 years, with a focus on the rise of new international performance art festivals in Asia, since the start of the 1990s. It seeks to provide an analysis of the way performance art festivals can offer important examples of new means of connectivity in art, as well as in relation to culture and society. The paper will examine how these performance art festivals – many of which have been developed in direct contact with the public domain – are crossing borders in terms of developing complex relations between international performance art communities with local communities in societies across Asia.

Biography: Dr Thomas J. Berghuis is a lecturer in Asian Art at the Department of Art History & Film Studies at the University of Sydney. From March to June 2011 Berghuis was a Visiting Fellow with the Humanities Research Centre at the Australian National University. Berghuis completed his PhD in Art History & Theory at the University of Sydney (Australia) in 2006, following an MA in Sinology at Leiden University in 1999. During the past 10 years he has traveled extensively to China, Indonesia, Malaysia and Singapore for his research, and from 2003 to 2004 he was a visiting scholar at the Central Academy of Fine Arts in Beijing. His book, Performance Art in China was published in 2006 with Timezone 8 in Hong Kong. Berghuis is currently working as a co-editor on a book marking the 10 year anniversary of the Jakarta-based artists’ collective ruangrupa, titled Siasat: Expanding the Space and the Public, featuring 38 writers from across Asia, Australia, and the Middle East.

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ASSERTING THEIR PRESENCE: ABORIGINAL ARTISTS ENGAGING WITH THE BUILT AND NATURAL ENVIRONMENTS OF THE ILLAWARRA (NSW) Vincent Bicego, University of Wollongong

How have Aboriginal artists engaged with the built and natural environments of South Coast NSW? How has this brought awareness to the general public of Aboriginal culture and the issues of concern to Aboriginal peoples? (Focus area: Illawarra and neighbouring localities.) These are the questions I seek to answer in my doctorial thesis (still in progress) and I will address key points of the research in this paper. Over the last two decades, a number of public artworks have emerged in both the Illawarra’s urban centres and relatively undeveloped areas. In the main, they are murals and sculptures that have been co-authored or produced solely by local Aboriginal people. Irrespective of the issues specific to each work, their positioning in the landscape necessarily reasserts an Aboriginal presence that has been largely dismissed for two hundred years, and inherently introduces participants and onlookers to a discourse sometimes rarely engaged with outside universities, governments, galleries and museums. As such, some of these works have been conscious acts of public education and reconciliation. Numerous murals produced by Kevin Butler, for example, grace the walls of preschools and primary schools throughout the Illawarra. They remain many of the students’ first real exposure to Aboriginal culture, and are indicative of the now accepted necessity of incorporating Aboriginal perspectives into the NSW school curriculum. Other projects that have included Aboriginal artists, such as a number of works at Wollongong’s popular family destination, Belmore Basin, finally acknowledge the place of Aboriginal people in Wollongong’s multicultural community, and contribute to a corrective history of the region. Of great importance are those public works that intersect with environmental concerns. Artist sisters, Lorraine Brown and Narelle Thomas, have been at the forefront of the protection and rejuvenation of Coomaditchie Lagoon, previously at risk from Wollongong’s suburban sprawl and steel industries. Contemporary totem poles, pictorial walkways, and murals, invite visitors to this now healthy reserve. Similarly, when Boolarng Nangamai recently worked with Land Care to regenerate the bushland around Kiama’s landmark ‘little blowhole’, the artists created a special mural to mark the occasion. Such works reinforce the health of Country as a prime concern of Aboriginal identity and culture, and the importance of Aboriginal people’s agency in helping shape our physical and cultural environments.

Biography: Vincent Bicego: PhD candidate (University of Wollongong, Faculty of Creative Arts).DEGREE: Bachelor of Creative Arts (Honours), 2008. University of Wollongong. Thesis title: ‘An Aboriginal Garden: Tradition and Innovation on the Southeast Coast’. CONFERENCE PAPER: A Koori Garden, ‘Selling Yarns 2: Innovation for Sustainability’, Australian National University / National Museum of Australia, March 2009.LECTURES: ‘Post’ colonial? Aboriginal culture on the world stage, and the denial of Aboriginal rights back home. University of Wollongong, Sept 2010. Aboriginal art of southeast Australia: rediscovering traditions. University of Wollongong, April 2009.TUTOR: Theory in practice: Australian Art, Media & Design in the Global Context (2009); Ideas in Practice: Perspectives on Modernism (2010); Introduction to Indigenous Art and Visual Culture (2010); Representation and Space in the Post Colonial World (2010). Faculty of Creative Arts, University of Wollongong

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CONFOUNDING LIGHT: SUBVERSION AND TRANSNATIONAL SYMPATHY Merlinda Bobis, University of Wollongong and Filipino-Australian writer, performer and academic Light is far reaching in Bobis’s novel The Solemn Lantern Maker. It exposes the Philippine’s history of colonisation, and ripples into contemporary politics and daily life impacted by globalisation. 9/11 and the discourse on terrorism, third world poverty and child prostitution, McDonald and Pizza Hut, transnational labour, and mobile phones intersect in local-global hostility and sympathy, co-optation and subversion. This paper will trace the trajectory of light in the novel, its reflections/refractions on a local life under siege by local-global politics and economics, and colonial history. Light and life are commodified—but can this commodification transpose into ‘alternative illuminations’? Is it possible to conceive a new discourse of resistance? Can one imagine a narrative paradigm of transnational sympathy that is safe from co-optation? Should globalised postcolonial modes of resistance not also be decolonised and re-imagined in an innovated space that is locally made? In this paper, novelist Bobis will examine the notion of ‘a subversive transnational sympathy’, which is the premise of her novel: “Inside the can, a lit candle, its light streaming through. It is the heart of the tree, a flickering innovation of a heart.”

Biography: Dr Merlinda Bobis, a Filipino-Australian writer, performer and academic, has published novels, short fiction, poetry, and drama. She has received the Prix Italia for Radio Fiction, the Australian Writers’ Guild Award, the Steele Rudd Award for the Best Published Collection of Australian Short Stories, the Philippine National Book Award, and the Philippine Balagtas Award, a lifetime award for her fiction and poetry in English, Pilipino and Bikol. Her first novel Banana Heart Summer was short-listed for the Australian Literature Society Gold Medal. Her plays have been performed/produced, mostly as her one-woman show, in Australia, Philippines, US, Spain, France, China, Thailand, and the Slovak Republic. She is senior lecturer in creative writing at the University of Wollongong, Australia, and poetry and fiction editor of the online journal Postcolonial Text. Currently she is researching the ‘transnational imaginary’ and strategies for ‘localising the global’ in cultural production. Author’s website: http://merlindabobis.com.au

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WORLDS APART, WORLDS UNITED Zoja Bojic, Australian National University This paper examines a phenomenon in the writing about art history. It is concerned with the legacy of Greek art in Roman art practices. It is based on an analysis of the writings by two writers from antiquity whose relatively substantial texts on art and art history survived to this day. Vitruvius and Pliny the Elder wrote extensively about their contemporary art practices as well as those through history until their times. Vitruvius wrote his ten books On Architecture in late 1st c. BC; Pliny wrote his Natural History in the 1st c AD. Vitruvius comes across as a person versed in practical work, not writing; Pliny is considered one of the first encyclopaedists and an intellectual of his time. The two writers belong to two different worlds, yet their writings demonstrate a strong similarity in that what they each considered ‘foreign’ art practices and in what they considered Roman art practices. This paper examines the relationship between the worlds of Vitruvius and Pliny the Elder, as well as the relationship, as described by these two writers, between Roman art practices of the times and the history of Greek art. In doing so, it contributes to our better understanding of these two interconnected art practices as well as some origins of later Euro-centric art.

Biography: Dr Zoja Bojic is an Australian scholar who is currently lecturing in art history at ANU. Her books include Stanislaus Rapotec, a Barbarogenius in Australian Art, and Imaginary Landscapes, the Art of Danila Vassilieff (both published in 2007), a book on Australian art scene published in Serbian (2004) and the book of translation from Latin into Serbian, Vitruvius, De Architectura (2009) with her essay, selection of images, commentaries and apparatus. Her book on Pliny the Elder’s writings about the arts, with her selection of Pliny’s texts, her translation from Latin into Serbian, her essay, selection of images, commentaries and apparatus, is scheduled for publication in 2011.

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WAR ART AND CONTEMPORARY ART Lyndell Brown and Charles Green, University of Melbourne In conflicts since Vietnam, Western artists and photographers have expanded existing definitions of war documentation and war art. It is widely assumed that they shaped perceptions of conflicts. The paper argues for the emergence of a very different development of war images in the present, and asks if these might assist Australian citizens as much to understand the contemporary as to understand their own images of war. Recent war art commissions contribute to the understanding of the nation’s participation in conflict, even though the artists were alternately subject to delusions of cultural importance or haunted by a sense of their irrelevance, afraid that culture is little more than a fancy mode of luxury retailing. It is clear to us, however, that recent contemporary art’s approaches to the particularity and contingency of images of conflict rather than stories about it—to visual history—is a crucial resource if Australian society is to understand how culture and politics are entwined as the contemporary.

Biography: Dr Lyndell Brown and Dr Charles Green have worked in collaboration since 1989. They have held more than 30 solo exhibitions, most recently including: Framing Conflict: Iraq and Afghanistan, Ian Potter Museum of Art, University of Melbourne (2008); War 2007, Nature Morte Gallery, New Delhi (2008); and have been included in several national and international curated group exhibitions including Tranquility, The Art Gallery of New South Wales, and M.Y. Art Prospects, New York, (2005), with Rose Farrell & George Parkin; Photographica Australis, ARCO Madrid, National Gallery of Thailand, National Gallery of Singapore, 2003-2004, and Tales of the Unexpected, National Gallery of Australia, 2002. Brown and Green are represented in major national and international collections including National Gallery of Australia; Art Gallery of New South Wales; Art Gallery of South Australia; National Gallery of Victoria; Art Gallery of West Australia; University of Melbourne Vizard Foundation; University of Sydney; University of Western Sydney; King’s School; Trinity College; McClelland Regional Gallery and several other regional galleries and curated corporate collections in Australia, United States, Spain, Germany, India, Japan and Canada.

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CONNECTING THROUGH COMPUTER ART Kathryn Brown, Tilburg University in the Netherlands This paper examines the theme of ‘world-making’ in contemporary art by analyzing the aesthetic properties and social effects of interactive computer artworks that invite individuals from around the world to participate in the creation of objects and displays. I focus on the large-scale public light installations of Rafael Lozano-Hemmer and the webbased computer art of Ken Goldberg. Lozano-Hemmer has produced a number of public artworks, described by the artist as ‘relational architecture’, in which individuals control the projection of searchlights or animations by sending messages over the internet, or via cell phones and iPads. Vectorial Elevation (1999, Mexico City), Amodal Suspension (2003, Yamaguchi), and Solar Equation (2010, Melbourne) operate on the principle that individuals who are not necessarily present at the site of the work’s display can, nevertheless, be involved in the control and appearance of the work. The web-based work, Telegarden (1995-2004) by US artist, Ken Goldberg, operated in a similar way: individuals logged on to a website in order to control the functioning of machinery that monitored, watered, and tended a remote, but living garden. With over 10,000 participants (and 100,000 viewers), the work prompted co-operation, communication, and, on occasion, rivalry between strangers. These interactive pieces exploit the potential of new media as a means of staging ‘human connectivity’ by implicating individuals in the realization of an artwork and drawing people together for the purposes of collaborating on a single project. They broaden the definition of ‘interactivity’ as it applies to computer art forms by prompting exchanges not just between individuals and computers, but between people. Liberating viewers from the physical and cultural specificity of traditional spaces for art viewing, these uses of digital technology create new arenas for the participation in, and enjoyment of, visual art. I examine the aesthetic consequences of this development by analyzing the actual locus of these artworks, questioning the concept of ‘site specificity’, and considering what it means to ‘experience’ an artwork from whose actual display a participant may remain physically distant.

Biography: Dr Kathryn Brown is Assistant Professor of Art History at Tilburg University in the Netherlands. She holds a D.Phil from the University of Oxford and a PhD from the University of London. Her research areas include nineteenth-century French painting, twentieth-century modernism (with particular focus on the livres d’artiste of Henri Matisse), and contemporary art. Her book, Women Readers in French Painting 1870-1886, is forthcoming with Ashgate Publishing. She is currently editing a collection of essays on the art book tradition in twentieth-century Europe (also forthcoming with Ashgate). Her most recent articles (2010) have appeared in the Journal of Aesthetics and Art Criticism and American Art. Recent conference presentations include papers delivered at the College Art Association (New York, 2011) and the Association of Art Historians (University of Warwick, 2011). She has organized an international conference on aesthetics entitled Towards a Contemporary Aesthetic Education to be held at Tilburg University in October 2011.

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MEANWHILE, IN ANOTHER PART OF THE WORLD… Charlotte Bydler, Johannes Gutenberg-University …I deny the existence of one single time, in which all times are linked as in a chain. [...] I deny, in an elevated number of instances, the successive; I deny, in an elevated number of instances, the contemporary as well. (JL Borges, ‘A New Refutation of Time’, 1944/46, Labyrinths, 1970, pp 257-58. Is it at all possible to identify a shared problem in ‘Global Art’, ‘Cosmopolitanism’, or indeed ‘art history’? Any material at hand resolutely situates both inquiry and researcher. In the following, cosmopolitanism will be unfixed from ancient genealogies, and used to describe modes of conviviality in different art worlds on equal footing with ‘le tout-monde’ (Glissant) and heeding Pollock, Breckenridge and Bhabha’s call to keep ‘cosmopolis’ an open and porous concept. This is no peaceful state, but people who negotiate their living in aesthetics – sometimes parallel, sometimes together – without constitution or laws. Communication is central. But connectivity feeds both flash mobs and democratic revolutions. The problems of co-presence in judgments on historical time is not only ubiquitous in cultural history – it is its basic matter. We perceive events in relation to other events: euphoric, anticipated or feared, simultaneous, enduring, long since past, traumatic, unknown, sudden, frustrating, etcetera. And the mere smell of yesterday’s new technology and debates in whatever is at hand is enough to drive a wedge between its undeniable presence and its claims to be part of the present. I want to investigate the time/s inhabited by two roughly coeval events that thematised contemporaneity. The first is Plateau of Thought, a portion of Harald Szeemann’s dAPERTutto at the 2001 Venice Biennale, Plateau of Humankind. The second event is Wired Ruins, a collection of projects on the internet publication CTheory’s multimedia site, curated by Timothy Murray and launched in 2002.Szeemann’s coy bricolage of events taken out of human aesthetic history will be set against Wired Ruins’s threatening subtitles, ‘digital terror’ and ‘ethnic paranoia’, that signal a shocked realization that the attacks on the World Trade Center in 2001 spawned a new cosmos for humanity to inhabit. Images themselves mark time, and lend themselves as supports for production of claims to anciennéité. (Didi-Huberman) These events reveal diverging senses of time as simultaneity or contemporaneity, and as history – without necessarily causing conflict. But were they lived as part of the same time, as equally relevant to any one aesthetic community or art world?

Biography: Dr Charlotte Bydler: 2010-11: Guest Professor, Institut für Kunstgeschichte, Johannes Gutenberg-Universität, Mainz, Germany. PUBLICATIONS: The global, the cosmopolitan, and other Internet art worlds (earlier HSFR-project), Södertörn Studies in Art History, No 2 (ms 2011);‘Global contemporary?’, Globalization and Contemporary Art, Jonathan Harris (ed.), Blackwell (2011);‘The Global Art World, Inc.: On the Globalization of Contemporary Art’ (2004), pp. 378-405; Elena Filipovic, Marieke Van Hal & Solveig Øvstebø (eds.), The Biennial Reader: An Anthology on Large-Scale Perennial Exhibitions of Contemporary Art, Bergen Kunsthall & Hatje Cantz Verlag (2010);‘Forhandlinger om det samtidige – Anders Sunnas kunstnerskap’, pp. 9-14, Ottar. Tromsø Universitetsmuseet (282/2010); ‘Performativitet och relevans’ (Performativity and Relevance), in Birgitta Åkerström et al. (eds.), Det åskådliga och det bottenlösa. Tankar kring konst och humaniora, Festschrift for Professor Margaretha Rossholm Lagerlöf, Stockholm University (2010); ‘A Local Global Art History’, Is Art History Global?, James Elkins (ed.), Routledge (2007).

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BEYOND THE SELF: CONTEMPORARY PORTRAITURE FROM ASIA Christine Clark, National Portrait Gallery This paper explores the representation of the self in current South and Southeast Asian visual art practice, through the National Portrait Gallery exhibition Beyond the Self: Contemporary Portraiture from Asia. The use and manipulation of the artist’s own image has become noticeably prevalent in contemporary art across the Asian region, with many artists exploring and re-exploring their self-personae through altering their own image. For these artists, their contemporary worlds involve increased global awareness and mobility and altered economic and technological possibilities. These very factors have provided artists with renewed impetus for the investigation of older contentions, namely the objectivised, material body and an immaterial inner subjectivity. Artists have focused attention on their individual and/or collective positioning within historical or cultural constructs, frequently examining existing tropes of representation, endorsed nationalist mantras and ideas, the use of culturally-specific objects to personify one's identity or beliefs. Yet, many of these artists’ practices are not only defined and confined by national boundaries. The fluidity of references at local, national and international levels and, in some instances, identification across current borders speaks eloquently of contemporary being, including location, and self representation. Many of the artists in the exhibition are notable mid-career and senior artists – Agus Suwage and FX Harsono (Indonesia), Vivan Sundaram and Atul Bhalla (India) and Navin Rawanchaikul (Thailand) – as it is these generations particularly whose concerns and inquiries focus on the self image. Beyond the Self explores the transgressive and transformative possibility of portraiture and tracks some evolving influences in contemporary self portraiture in Asia through the works of artists from Indonesia and India as well as Malaysia, Thailand and the Philippines.

Biography: Christine Clark has been in the museum sector for the past twenty years, where she has worked as a curator, writer and exhibition manger. Her academic qualifications include a Masters of Business Administration (dissertations in Asian-Australian cultural relations and cultural policy) and a Bachelor (art history). She was extensively involved in the first three Asia-Pacific Triennial projects. Christine has predominately curated and managed exhibitions focusing on the Asian-Pacific region and Asian Australian visual art practice. This has included curating the Museum of Brisbane’s Echoes of Home: Memory and mobility in recent Austral-Asian art (2005 – 2008) a major exhibition which toured to 8 capital and regional centres across Australia and managing and conducting Arts Management Workshops in Indonesia. She is currently Exhibitions Manager at the National Portrait Gallery and is the curator of Beyond the Self: Contemporary Portraiture from Asia¸ a major NPG travelling exhibition.

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THE WORLDING OF THE ASIAN MODERN John Clark, University of Sydney (Lead Speaker) This paper reconsiders the historical depth and global range for art works and practices we may call ‘The Asian Modern’. These had their inception in the early to mid-19th century but were much more than counter-appropriations under the constraints of colonialism or neo-colonialism. All of the modern Asian art discourses arose in conditions where there were both internal or endogenous forces at play with external or exogenous demands and provision of models. It is important now in post-colonial times to reconsider more carefully the various ways of conceiving the distinction between exogenous and endogenous art discourses even under such constraints since the resulting works have become the originary works for long-term and in most cases almost wholly endogenous genealogies of the modern. Whether artists moved or stayed at home, the notional stability and motility of modern Asian artists & art works seems to be a grounding feature of their existence, one sometimes occluded by later nationalist ideologies. But these were emplaced in a set of relations between domestic and overseas art centres which it is no longer feasible to see as merely those of colonial or later neo-colonial following and transfer. Indeed the nature of art centres was so various and changed so completely between say the Paris of the 1880s to 1910s and the New York of the 1960s to 1990s that the changing nature, rise, and varying functions of exogenous art centres and of endogeneity in the art discourses we now associate with particular Asian nations must be examined.As material the paper will deploy results from the first three years of my ARC-funded research.

Biography: Professor John Clark, CIHA, FAHA, is Professor of Asian Art History and ARC Professorial Fellow at the University of Sydney. Among his recent books is Asian Modernities: Chinese and Thai Art of the 1980s and 1990s, Sydney: Power Publications, 2010 and Modernities of Chinese Art, Leiden: Brill, 2010. He is author of the chapter ‘The Southeast Asian Modern’ in the anthology Modern and Contemporary Southeast Asian Art, forthcoming from the University of Hawai’i Press, and is a member of the international advisory board for the new journal World Art.

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DIGITAL WORLDMAKING: NEW MEDIA IN ARNHEM LAND Jennifer Deger, New York University and National Institute for Experimental Arts, UNSW This presentation explores digital media as a vital force for social connection and creative practice in a ‘remote’ Aboriginal community in Arnhem Land. Christmas Birrimbirr (Christmas Spirit) is a multi-screen installation project directed by Paul Wunungmurra aimed at both Yolngu and non-local audiences. Its performative aesthetics show Christmas as a Yolngu ritual concerned with making the dead co-present with the living. Innovative in both form and content, this work provides a glimpse of the ways that new media can enable Yolngu to creatively revitalize and re-envision ties to kin and country, while generating new trajectories of intercultural encounter and connection. Produced in the context of heightened local anxiety about cultural loss and future forms of belonging, conceptualized within broader questions regarding the nature of digital knowledge and technologically-mediated sociality, this collaborative project is informed by community based agendas, indigenous aesthetic practices, and ceremonial forms incorporated from elsewhere. Using tinsel, lights and Christmas tunes to build an affectively charged viewing experience, this work claims new possibilities for Yolngu cultural production and practice-based digital scholarship.

Biography: Dr Jennifer Deger is an ethnographer and founding member of Miyarrka Media, a collective of indigenous and non-indigenous artists and filmmakers based in the community of Gapuwiyak,NT, formed to enable Yolngu to working creatively with new media technologies at a community level. She is a Research Fellow at the Center for Religion and Media at New York University and a Visiting Fellow at the National Institute for Experimental Arts, University of New South Wales.

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THE EARLY NINETEENTH CENTURY WAS A GLOBALISING AGE, BUT WAS THE ARTIST AUGUSTUS EARLE A GLOBALIST? Mary Eagle The British artist Augustus Earle (1793-1838) lived and worked in the period after sea exploration had succeeded in mapping the main outlines of the world. From the British point of view, maritime travel expanded after the Napoleonic wars, with a global pattern of shipping dictated by trade and colonisation. European interests, modern science, and missionary work informed the Western interpretation of the world. The claim for Earle having been a globalising artist of his time rests on the fact that he travelled widely for the twenty years of his working life, visiting Ireland and France, the Mediterranean, Northern Africa, North America, South America, the South Atlantic, Australia, New Zealand, the Pacific and China Seas, South East Asia and India. Given the scientific tendency of much travel art at the time, it is notable that he participated only minimally in scientific work. Through his brother, he learned the art of hydrographic and topographic illustration but practiced this scientific skill only occasionally. Likewise, he produced remarkably few illustrations of natural history (there may be collections as yet untraced). One of his few declared ambitions was to participate in expeditions of exploration, but his applications met with little success, and when he joined the Beagle, illness obliged him to resign before the expedition had completed a quarter of its work. Of the other main avenues open to a travelling artist, Earle engaged only occasionally and half-heartedly in commercial illustration (he was distressed when his work was tweaked for use as advertisement) and was disenchanted by what he saw as the hypocrisy of missionaries and officials. Rather than working along the scientific and commercial lines of his time, and in paid employment, Earle followed a much older tourist tradition of distinguishing places and peoples through costumes, customs, and scenic features. Earle’s mature characterisations are his main contribution as artist and, potentially, as globalist. His point of view was globalising insofar as he candidly described a reputation a place or people had acquired outside the immediate context. Equally, Earle was wide ranging in almost the opposite sense in that his interpretation disregarded racial and national divides, and can seem empathetic to the points of view of the person and people who are players in the scene. In a period increasingly given to moral one-upmanship, his stance was that we all have responsibility for the good and the bad behaviour of humankind. It wasn’t only an attitude of ‘let he that is without sin among us, let him cast the first stone’. Earle puts viewers of his pictures in the picture, therefore we are presumed to participate in various scenes of life around the world. If ‘globalising’ refers to the dominant direction of travel art in his time, Earle’s engagement was small. Alternatively, he was a globalist if the term is applicable to an approach which, without taking people entirely on their own terms, affirms that we too participate in the same kinds of behaviour.

Biography: Dr Mary Eagle is an art historian and curator and author of a number of books on Australian Art including Peter Purves Smith: A Painter in Peace and War (2001).

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AN ART MUSEUM IN THE 21ST CENTURY Tony Ellwood, Director, Queensland Art Gallery (Lead Speaker)

Biography: Tony Ellwood is the Director of the Queensland Art Gallery; this is a two campus facility which includes the Gallery of Modern Art, which opened in December 2006. Prior to taking up this position in June 2007, he was Deputy Director – International Art, at the National Gallery of Victoria for seven years. He was Director, Bendigo Art Gallery, from 1996 – 1999 and also worked as a Curator at the National Gallery of Victoria from 1993 – 1996, specialising in major international curatorial projects. He has also been an Aboriginal Art Coordinator, working at Waringarri Aboriginal Arts, Kununurra, from 1991 – 1992. He has been on numerous state and Commonwealth boards, this has included the Visions of Australia Committee, Museums Australia National Board, and Victorian College of the Arts (Board and Academic committee) and was on the selection committee for the 2005 and 2009 Venice Biennales. He has written and edited numerous publications and articles. Currently Tony is on the Japan-Australia Foundation Board and will undertake the role of nominator for the next Hiroshima Art Prize, organised by Hiroshima City Museum of Contemporary Art and Foundation.

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THE PHILIPPINE POLYTROPE: INTIMATING THE WORLD IN PIECES Patrick Flores, Professor of Art Studies and Curator of the Vargas Museum, University of the Philippines (Keynote Speaker)

Biography: Professor Patrick Flores is the keynote speaker for this conference. He is Professor of Art History, Theory, and Criticism at the University of the Philippines at Diliman, and is the Curator of the University of the Philippines Vargas Museum and Adjunct Curator of the National Art Galleries of the Philippines and Singapore. A recognized scholar in the fields of Philippine and Asian art, Flores has organized several national and international platforms, including Luz: Traces of Depiction at the National Museum of the Philippines (2006), and Under Construction: New Dimensions of Asian Art at the Japan Foundation Asia Center (2000-2003). In 2008, he was a curator for the Position Papers series at the Gwangju Biennale. Flores is the author of numerous articles and several books concerning Philippine art. Among his publications are: Painting History: Revisions in Philippine Colonial Art (Quezon City/Manila, 1998), Remarkable Collection: Art, History, and the National Museum, (Manila, 2008) and Past Peripheral: Curation in Southeast Asia, (Singapore, 2008). (biography from Global Art and the Museum http://globalartmuseum.de/site/person/141)

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WHEN ART MIGRATES: BIENNALES AND ITINERANCY Anthony Gardner, The Courtauld Institute of Art (Lead Speaker) This paper examines the re-emergence of ‘itinerant biennales’ – that is, biennales that shift location each time they are held – in Europe since the early 1990s. In particular, I will focus on two specific exhibitions: the Emergency Biennale, in which an exhibition of art was sent by suitcase to Grozny at the height of the Chechen wars, so as to show artistic support for local residents (the ‘biennale’ also travelled elsewhere in Europe and subsequently to North America as well); and the European biennale of art, Manifesta, that has taken particular instances of European politics as its focal point every two years (including East-West relations in Ljubljana in 2000, Turkish-Greek disputes in Cyprus in 2006, and Europe-Africa tensions in 2010). Does the itinerancy of these biennales reinforce or problematise the usual presumption that contemporary art, and especially large-scale exhibitions of art like biennales, are mere handmaidens to neoliberal globalisation? Is migration a trope or a politics in these exhibitions? And have these exhibitions exploited local politics of migration, war and under-development, or presented an important politicisation of art amid globalisation?

Biography: Dr Anthony Gardner is the Andrew W Mellon Foundation / Research Forum Postdoctoral Fellow at the Courtauld Institute of Art, London, UK, for 2010-2011 and, from 2011, an ARC Postdoctoral Fellow at the University of Melbourne, Australia. His research examines the histories of art and exhibition since 1970 in Europe and Australasia, with particular focus on postsocialism, biennales and the “global turn” in art. Recent publications include essays in Third Text, The Australian and New Zealand Journal of Art, Postcolonial Studies and The Cambridge Companion to Australian Art (ed. Jaynie Anderson, Cambridge UP, 2011). In 2009, he was an International Fellow through the Global Art and the Museum project, organised by Hans Belting, Andrea Buddensieg and Peter Weibel, at the ZKM, Karlsruhe, Germany; and in 2011 a Visiting Fellow at the New Europe College, Bucharest, Romania. Among his current research projects are a monograph on Postsocialist Art’s Critiques of Democracy, another on the history of biennales since 1970 (co-written with Charles Green, University of Melbourne), as well as an edited anthology on The South Project. He lives and works between London and Melbourne.

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SYMBOLIC PRACTICES OF EXCHANGE IN THE GLOBAL ART WORLD: INDIGENOUS AUSTRALIAN ART, ART INVESTMENT AND WORLD-MAKING Elisabeth Gigler The current globalised (art) world poses many challenges to postcolonial theory and analysis, as it creates a fast changing, highly individualized and facetted area of experiences that is hard to fit into common models of explanation and analysis of postcolonial theory, but also art history. This problematic state of the postcolonial world is often addressed. Hardly looked at, however, are the interdependencies between the artists, the showrooms / museums and the investment sector in the contemporary art world within its fundamentally postcolonial and neocolonial as well as consumerist environment. In this paper I aim at discussing art in the global art world, starting from Adorno’s idea of the artwork as ‘absolute commodity’. Which value/s are attached to the artwork from side of the various parts involved in the art sector (artist, gallery, collector, society) and in how far have value-systems changed over times? Which values are attached to the artwork, within this ‘circuit of cultur(s)’ thinking specifically about contemporary Indigenous Australian art in relation to the international art investment? How can the different and partly contradictory values attached to the artwork be combined? Can they be combined at all?

Biography: Dr Elisabeth Gigler holds a MA in English/American Studies and Italian Studies from University of Graz (2003) and a PhD in English Studies (focus: Australian and Postcolonial Studies, Visual Studies) from University of Klagenfurt, Austria (2007). Her dissertation “Indigenous Australian Art Photography: An Intercultural Perspective” has been published in 2008 by Shaker Verlag, Aachen (Germany). Elisabeth Gigler is currently working as a lecturer at the Department of Art History of University Graz and has worked at the University of Klagenfurt, Department of English and American Studies. She has also worked in education for some years and is consultant, project manager and researcher for the AVL Cultural Foundation.

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CONNECTING A GLOBALISED WORLD; MAKING GLOBALIZATION CONTEMPORARY THROUGH ART AND BIENNALES Charles Green, University of Melbourne

This paper will explore the history, display and transformation of the contemporary through one of the most significant phenomena in contemporary global culture: landmark international survey shows or, as they are also known, “mega-exhibitions”. It draws on jointly-written research towards a forthcoming book on mega-exhibitions by Charles Green and Anthony Gardner. Biennales and triennales have drawn local practitioners into ostensibly globalised networks of art world attention and financial support, publicising regions or cities previously deemed “peripheral” to the metropolitan centres of London and New York. Where this paper differs from the general demonisation of mega-exhibitions is in our contention that ‘biennialisation’ has not merely reflected the recent phase of globalization and geopolitical change, but has offered profound, critical insights into art’s nexus with globalised commerce and political interests, both after 1989 and, surprisingly, long before it, offering new and profound methods of human connectivity and instances of cultural exchange. The paper focuses on a time—the late 1970s—when regional artists were working in a cultural geography of destabilized but still crushingly hegemonic center/periphery relationships, and on a particular mega-exhibition—the 1979 Biennale of Sydney—that offered a confused and contradictory place for local art. For Australian artists, that biennale brought welcome news in the form of recent, major works by international artists, but it also brought an infuriating exclusion from their circles, for the number of local artists was a small percentage of the exhibitors and the visitors were often carefully chaperoned or had set themselves over-optimistically tight schedules, oblivious to the twenty hours flight time from Europe or New York. The issue of artists and audiences for Biennales in regional centres went further than artists’ concerns about exclusion and lack of representation to the deeper question of whether something other than a token link between local and international art is possible. The 1979 Biennale of Sydney’s problems were to be replicated in the short-lived Johannesburg Biennale during the mid-1990s, and both Sydney and Johannesburg struggled with the issue of local relevance and the question of who is a biennale for and who is connected to what, in the creation of a global contemporary.

Biography: Dr Charles Green is Associate Professor of Contemporary Art in the School of Culture and Communication at the University of Melbourne. Author of Peripheral Vision (1996) and The Third Hand (2001), he is currently working with Anthony Gardner on a forthcoming book that will be a history of biennales, assisted by an ARC grant. He is also an artist, working since 1989 in collaboration with Lyndell Brown. In 2007, they were Australia’s Official War Artists, deployed to Afghanistan and Iraq, and are currently working on a follow-up project with Jon Cattapan, also with the assistance of an ARC grant.

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MAKING PLACE: THE QUESTION OF TIME AND SPACE IN CONTEMPORARY PUBLIC ART PRACTICE IN MANILA AND THE REGIONS Tessa Maria Guazon, University of the Philippines-Diliman Contemporary public art projects in Manila and regions outside the capital illustrate interesting shifts in scope. They encompass state sponsored programs and corporate commissions, as well as projects that combine state support, non-government organizations and the participation of artist collectives. The engagements that transpire are rarely examined and assessed, with focus inordinately object based and little attention given to process, site and the often overlooked element of time. My essay presents as examples public art projects organized and realized by artists engaging communities. These include those by Alma Quinto both in central Manila (Urban Plan/Duyan) and in Mindanao, Kawayan de Guia’s Ax (is) Tent project for the recent Philippine art festival celebration in Baguio, its counterpart exhibition Transient Studio, and Mark Salvatus’s collaborative projects with prison inmates in Quezon province for Secret Garden. Spanning the last five years (2007 to 2011) these endeavors were founded on collaboration, engagement with communities in varying degrees, and are more or less reliant on ties with state agencies. These artist’s projects will be examined through the rubrics of time and space, as they are highly informed by locale and the shared qualities of transience and ‘the fleeting’. The ‘worlds’ these projects attempt to weave will be graphed against the larger sphere of contemporary art making in the Philippines. Interrogating place making as a manner of constructing worlds, the paper examines art’s crafting of the human condition. The essay is part of a larger endeavor to extend understandings of the nature and changing breadth of ‘public art’ in specific local contexts, its proposed aims and the possibilities they offer for communities grappling with challenges wrought by globalizing’s rapid, if not bewildering tempo..

Biography: Tessa Maria Guazon is Assistant Professor of Art Studies at the University of the Philippines-Diliman She has published essays on topics of urban issues and public art, cities and cinema, and artistic interventions of the urban condition. These have appeared in the journals Philippine Humanities Review, Agham Tao, Pananaw and proceedings for conferences on cities held in Lisbon and Liverpool. A forthcoming journal essay and book chapter examines public art practice in Manila. Research interests include public art practice, curation and contemporary art and artistic mediations of the urban Her art critical reviews on exhibitions and film have appeared in Humanities Diliman and Asian Art News. She is currently at work on a university-funded research grant on contemporary commissions for public art in Manila.

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HERE IN BYZANTIUM: IMITATING REALITY IN THE SOUTH PACIFIC Anthea Gunn This paper argues that the work of the Imitation Realists, a short-lived collective of artists in 1960s Sydney, can be seen to foreground the engagement with cosmopolitanism and globalisation in contemporary art. The work of these artists - Mike Brown, Ross Crothall and Colin Lanceley - during the 1960s offers an alternative view to traditional Australian art history and its charting of the relationship between Australian art and the art centres of the Northern Hemisphere. These artists constantly sought to embed their work within the local, with a deliberate focus on the Pacific region and a conscious refusal of the traditional gaze toward Europe. They drew on indigenous cultures, their immediate urban surrounds and contemporary popular culture as a part of a strategy to make art constructed out of the material environment that surrounded them and that reflected the entirety of their world. They asserted that their perspective on the world was just as valid as that of the traditional Western cultural centres and was not limited to the strangeness of the antipodean landscape. Their use of assemblage enabled the artists to break through the impasse they perceived in contemporary art. Their work was one instance of a widespread interest in the 'primitive' and assemblage shared by artists in Europe and the United States at the time. The Imitation Realists used assemblage to actively engage with the modern world as they saw it from their specific context, seeking both to shape and represent it.

Biography: Dr Anthea Gunn was awarded a PhD in Art History by the Australian National University in 2010. She has worked as an assistant curator at the National Museum of Australia since 2008. Her article ‘A-changin' times: the art of Martin Sharp in the 1960s’ was published by the Journal of Australian Studies in June 2010.

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OTHER WORLDS: ON MUSIC, PAROCHIALITY AND BREAKING OUT Huw Hallam, King’s College London Like the notoriously uneven spread of globalization’s social and economic effects, its impact on the various arts shows marked differences. Music, in particular, has witnessed profound convulsions through globalization and this paper will examine how transformations of its production, dissemination and consumption compare to those of the visual arts, exploring their ramifications for the theme of ‘world-making’. Major technological developments over the course of the last three decades, including the internet and efficient digital audio data compression technologies, have furnished new social practices of music sharing and consumption that have proved major challenges to music copyright legislation and the music industry’s functioning. Increasingly, high profile musicians, including the German post-industrial band Einstürzende Neubauten (my example here), have sought to engage these developments to bypass the music industry’s traditional mediating functions and establish more direct relationships with their audiences. This nascent but still uncertain shift raises the prospect of an unprecedented decentralization of music’s world economy, away from the Euro-American centres of concentrated capital and their function as transnational, cultural door-keepers. However, attunement to music’s peculiar sense-making logic suggests that the increased potential of global connectivity offered by recent media developments and the (possible) etiolation of the music industry's centres of power may nevertheless fall short of provoking a situation of musical ‘world-making’. A fundamental distinction exists between immersive, auditory resonance and structures of visuality and representation. Whereas the visual arts generally favour a relation of difference that indicates a field of reality beyond the observer, music tends to generate pockets of empathic homogeneity, parochial worlds cut loose from the world around them. The final section of this paper will explore certain strategies to expose and break through these worlds, focussing on the tropes of 'citation' and 'collapse' in Einstürzende Neubauten's work and its critical positioning in relation to art world institutionalism.

Biography: Huw Hallam is currently a PhD candidate in musicology at King’s College London. He has written articles interrogating the politics of ‘world art’ historiography, as well as art and music criticism. His current project is a theoretical examination of music’s political dimensions.

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TRACING CONFLICT ZONES: A SURVEY OF RECENT AUSTRALIAN WAR MEMORIAL OFFICIAL COMMISSIONS Warwick Heywood, Australian War Memorial Since 2007 the Australian War Memorial has commissioned five artists to travel to conflict zones around the world and record Australian Defence Force operations. This paper will argue that the commissioned works represent conflict zones as radically asymmetrical, dispersed and evolving environments where various coalitions of nation-states campaign against non-state entities; and advanced military systems, international businesses and digital imaging technologies are rapidly installed into, or on top of, established cultures, geographies and identities. The works focus on the Australian soldier within these complex environments but also explore the way resources, cultures, histories, bodies, territories, and identities are contested and/or remade through the conflicts. The presentation will survey the following commissions:

• In 2007 collaborative artists Lyndell Brown and Charles Green travelled to the Middle East and Afghanistan. Their paintings and photographic work focuses on imported military bases and the way landscapes are reconfigured by these amorphous international spaces.

• Shaun Gladwell toured Afghanistan in 2009, and his video work examines the training and rituals of Australian soldiers and their relationship to global war zones.

• Jon Cattapan’s paintings and prints represent Australian solders involved in peace enforcement operations in East Timor. Exploring night vision technologies and digital communications his work evokes an abstract “battlespace”, which advanced military organisations project over operational environments. He toured East Timor in 2008.

• eX de Medici travelled to the Solomon Islands in 2009. Her watercolours represent different armies that make up peace enforcement operations in the region as well as weapons and other machines. Her work catalogues the various historical and contemporary global pressures that reshape the cultures and environment of the Solomon Islands.

Biography: Warwick Heywood is an art curator at the Australian War Memorial. He is the curator of the Memorial exhibitions, Framing Conflict: Iraq and Afghanistan - Lyndell Brown and Charles Green, and the recently completed Double Field: Shaun Gladwell – Afghanistan.

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KEEPING AN EYE ON THE HAINTS Pat Hoffie, Queensland College of Art, Griffith University (Lead Speaker) “That yard’s a mighty long place for little girls to cross at night,’ Jem teased. ‘Ain’t you scared of haints?’ We laughed. ‘Haints, Hot Steam, incantations, secret signs, that old thing,’ Jem said, ‘Angel bright, life-in-death; get off the road, don’t suck my breath.’ (To Kill a Mockingbird, Harper Lee, 1960,Chapter 28, p. 280) All notions of ‘worlds’ depend on definitions of boundaries; so in this sense I guess all worlds could be described as more or less like the big yards of the imagination. Yet there are other worlds that transcribe what seem to be those more familiar worlds. They operate within boundaries that are invisible; mutating, steaming up to take on temporary forms and relationships, then dissolving again to reveal that what was previously familiar has been transformed into new apparitions and visions. These worlds within worlds can play a lot of mischief with what we might think is real. They are the worlds of myths, superstitions, opinions, attitudes, inflections; the moving worlds of interpretation that change with the times and that cloud and shroud and open up to reveal the familiar again in changed ways One of the roles of art has been to keep a keen eye on those changes in forms and relationships; to trace the invisible edges of apparitions so that we can trace our path through the newly reconstituted familiar in ways that open up possibilities. Harper Lee’s novel is set amidst the racial and class tensions and hypocrisies of a small town. When I first read it as an adolescent living in Brisbane, lots of it seemed oddly familiar. And so that novel, among others, shaped part of the boundaries of my own little world that I packed up to take with me when I first began my own journeys beyond that ‘mighty long’ yard of home. This paper will trace some of the ways visual art helped me try to make sense of those places – those worlds - as they kept mutating, transfiguring and transforming before my very eyes, and looks at the way fear can constrict the possibility of living in - or constructing - other worlds.

Biography: Professor Pat Hoffie is a visual artist who has worked extensively in the Asia-Pacific region for the past three decades. During this time, her series titled Fully Exploited Labour has explored a number of themes including the way visual culture is valued, issues concerning social justice and human rights, and cross-cultural mistranslations. She works in a range of media and her work has been included in a number of public collections and survey exhibitions of contemporary Australian art in Australia and overseas. Her curatorial projects have involved international collaborations with artists from the Asia-Pacific region and include a number of research projects including (with Caroline Turner) Art and Human Rights, QPACifika, The Peel Island Artists’ Residencies, and Planet Ueno (Tokyo/Brisbane). Other recent collaborative projects focus on aspects of local history; these include BABELprojekt at the 2010/11 Woodford Folk Festival, WindWells: channelling + divining at the State Library of Queensland Gallery in 2010, and Troop drill at Queensland’s Fort Lytton in November 2009. A monograph on her work, Fully Exploited Labour (ed. Sally Butler), was published by the University of Queensland Art Gallery in 2008.She is a regular contributor to journals, magazines and newspapers and is currently a Professor and Director of the research focus group SECAP (Sustainable Environment through Culture, Asia Pacific) at Queensland College of Art. She currently holds the UNESCO Orbicom Chair in Communications at Griffith University.

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GRASSROOTS CONNECTIONS IN JAPAN-AUSTRALIA CULTURAL RELATIONS IN THE 1980S: GRYPHON GALLERY AND THE MELBOURNE ART SCENE Allison Holland, Monash University In the late 1970s the Australian artist Stelarc, then residing in Japan, proposed to Ken Scarlett, Director of Gryphon Galleries, Melbourne an idea for an exhibition that eventuated in Yo in: Ideas from Japan made in Australia (1981). A large-scale project of twenty-seven Japanese artists across seven sites, this exhibition was a significant initiative in affirming ties between the art milieus of Japan and Australia. With budgetary constraints to consider the project minimised the cost of freight and insurance by engaging teams of Melbourne-based art students to recreate many of the works in situ. Using local materials the teams, headed by lecturers from Melbourne’s key art colleges, worked from sketches and photographs supplied by the represented artists. The project offered local artists unique opportunities to engage with the immersive installation and experimental practices of an emerging generation Japanese artists, as well as the established members of Mono-ha and Koto-ha collectives. As a result of this event an influential yet informal collective emerged, which included artists John Davis, Peter Callas and Goji Hamada. The reverberations of Yo in were two-fold: Continuum 1983 and Continuum 1985. Both exhibitions were curated by Emiko Namikawa and presented works across the media of video, installation and performance. Continuum 1983 toured twenty-seven Australian artists to several commercial galleries in Tokyo. While the subsequent exhibition in Australia, Continuum 1985, hosted thirty-three Japanese artists across nine venues. This paper will consider the benefits and shortcomings of these ambitious bi-cultural projects within the current arts infrastructure and the motivations of the key players, both curators and artists. More importantly, it will focus on the innovative use of technology and performance, by select artists, in the evolution of hybrid art practices.

Biography: Dr Allison Holland is currently an Adjunct lecturer at Monash University. Allison has previously worked at the National Gallery of Victoria and State Library of Victoria as a curator.

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THE GLOBALIZATION OF INDONESIAN ART Sue Ingham, University of NSW Indonesian artists entered the international art world in the 1990s through overseas residencies and international survey exhibitions or biennales. Biennales have been the clearest example of globalization in the visual arts for, although some of the first Euro – American exhibitions had long traditions, it was during the 1990s they increased exponentially in number and appeared across the world and in Asia. This coincided with a time when opportunities inside Indonesia to exhibit experimental and socio/political art were extremely limited. Indonesia was emerging from a repressive dictatorship that was culturally conservative while the exploding art market was primarily interested in commercially viable work that was decorative and non contentious. The biennale circuit was an appealing outlet for alternative art and those few Indonesian artists and one curator who could navigate the requirements and the predominantly western paradigms of the international exhibition circuit were repeatedly selected to show or work with them. They came to represent Indonesian art internationally, yet biennales are imperfect vehicles to represent a culture in its entirety. Biennales have a particular focus and limitations and much of Indonesian culture was not experienced through them. Unlike many discussions concerning the impact of globalization on Asian modern and contemporary art, this paper will consider the relationship between Indonesian art in the 1990s and its global exposure from the inside out, beginning with the conditions inside Indonesia at the time. The history of Indonesian art has elements in common with other post colonial Asian countries such as Malaysia, but there are significant variations in response to local issues and as a result generalizations about all Southeast Asian art can be misleading.

Biography: Dr Susan Ingham is a writer and researcher in contemporary Indonesian art after a career teaching the history and theory of art in Department of Technical and Further Education schools of Fine Arts. She received her PhD in 2008 from the University of New South Wales and her thesis entitled, ‘Powerlines: Alternative art and infrastructure in Indonesia in the 1990s’, is being re written for publication. She has published articles in a number of art magazines including Asian Art News, TAASA Review, Contemporary Arts&Culture Broadsheet and C Arts and in catalogues for the Gang Festival, Asian Traffic, Gallery 4A and Contemporaneity: Contemporary Art of Indonesia, Museum of Contemporary Art, Shanghai.

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IMPERIAL AND LOCAL: ART AND THE ERASURE OF BORDERS IN THE NINETEENTH-CENTURY BRITISH WORLD Alison Inglis, University of Melbourne This paper looks to the historical precedent of ‘old empires’ by examining a nineteenth-century example of art that crosses and simultaneously erases national borders by achieving significance at both a local and global level. The focus of the paper is the imperial monument in the nineteenth-century British World; and while the term ‘imperial monument’ can encompass a variety of sculptural projects, in this case will confine itself to those statues of imperial dignitaries that were reproduced in a number of localities across the British Empire. Two case studies with relevance to Australia will be investigated: the bronze memorial statue of Sir John Franklin by Matthew Noble that was erected in London and Hobart respectively during the 1860s; and the bronze monument to General Gordon by Hamo Thornycroft, which was erected in London and Melbourne in the 1880s. The historical circumstances of the four commissions will be investigated to determine why the colonial commissioning bodies chose to erect reproductions of monuments currently under construction in Imperial London; as well as the extent to which the ‘colonial’ versions were made to differ from the metropolitan templates (with respect to inscriptions, iconographic details, etc). The reception of the monuments in London and Australia will also be analysed to determine the contemporary rhetoric in which these works were located as well as shed light on the shifting dynamic that existed between such notions as ‘foreign’ and ‘local’; ‘imperial’ and ‘national’; and ‘metropolitan’ and ‘provincial’’. Finally, the paper will determine the extent to which the idea of Empire transformed colonial perceptions of art, so that art was increasingly valued for its role in facilitating the ‘domain of human connectivity’ across the English-speaking world; a view that would be gradually undermined post-Federation by the cultural divide associated with ascendant nationalism.

Biography: Dr Alison Inglis is an Associate Professor in Art History at the University of Melbourne. She has co-ordinated the Master of Art Curatorship program since 1995. Her primary research area is nineteenth-century British art but she has a strong interest in colonial art in Australia and British Imperial art networks. She is particularly engaged by the role of art museums in Australian society, an interest that has been strengthened by her involvement as a Board Member with a number of Victoria’s art institutions including Heide Museum of Modern Art and the National Gallery of Victoria (of which she is an Emeritus Trustee). She has completed a doctoral thesis on the work of the English artist, Sir Edward Poynter and has co-curated several exhibitions including one with Ann Galbally on the foundation collections of Melbourne’s Public Library and National Gallery in the 1850s and 1860s (1992). Her contributions to Australian art have focused on imperial perspectives, exhibitions, collecting and patronage, and include: a chapter entitled ‘Empires of Art’ in the Routledge ‘Victorian World’ series (in press – 2012); a chapter entitled ‘Imperial perspectives on art in nineteenth-century Australia’ in the forthcoming Cambridge Companion to Australia Art (in press - 2011); articles on ‘Aestheticism and Empire: the Grosvenor Gallery Intercolonial Art Exhibition’ (2008); ‘The allure of Albion: collecting British Art in Adelaide’ (2005); ‘”Desirable Things”: The Private Collection of Alfred Felton’, with John Poynter (2004).

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THE INDONESIAN ART SCENE TODAY Mella Jaarsma, Artist and Co-founder, Cemeti Art House, Yogyakarta, Indonesia (Lead Speaker) In the Indonesian art scene today, everything lies in the hands of private initiators: that is, private artists, galleries, curators, supporters, and collectors. They are newly defining the nature and pace of art developments and discourses. With the lack of an established national art infrastructure that supports art institutions and contemporary art museums, it seems the most important point of reference at the moment for assessing art in Indonesia is in terms of market trends. Nowadays, many Indonesian artists ‘go international’ to art fairs instead of participating in art biennales and non-profit art projects. Observation of the latest developments in Indonesia reveals that young artists are following art market tendencies, producing artworks mainly for group shows with themes imposed by ‘independent’ curators hired by commercial galleries. They produce works upon invitation to participate in an exhibition, according to the curator’s theme. Consequently, what happens is that most artists, although very skillful, do not develop a body of works following their own vision and concepts. This is a different approach to art practice when compared with the previous generation of artists who concentrated on specific issues with political and social concerns, based on research and experimentation, and shaped their artistic profiles relatively independently. This earlier generation of artists has been succeeded by a new generation of artists that want to have fun with art and make artworks as part of their daily activities while communicating through facebook, making music, and designing merchandise products, for instance. Are young artists growing up after dictatorial eras in Asia only engaged in safe play, non-critical and consumer art?

Biography: Mella Jaarsma, was born in Emmeloord, the Netherlands in 1960 and studied visual art at 'Minerva' Academy, Groningen (1978 - 1984), after which she left the Netherlands to study at the IKJ (Art Institute of Jakarta, 1984), Jakarta and at ISI ( Indonesia Institute of the Arts, 1985 - 1986), Yogyakarta and stayed ever since in Indonesia. Her work has been presented widely in exhibitions in Indonesia as well as in international art events at the Singapore Art Museum, Queensland Art Gallery – Brisbane, Center of Academic Resources, Chulalongkorn University - Bangkok, KIASMA - Helsinki, Yokohama Triennale, Museum of Contemporary Art – Taipei, Katonah Museum - New York, The Royal Academy of Arts - London, etc. Her work is in major public collections such as the Queensland Art Gallery, Brisbane, Australia, the Singapore Art Museum, and others. She gives workshops and lectures in Indonesia as well as abroad. In 1988, together with her partner Nindityo Adipurnomo she founded the Cemeti Art Gallery in Yogyakarta, which since 1999 has changed into Cemeti Art House; organizing exhibitions, projects and residencies. Since 1995 she also has been active as a board member at the Cemeti Art Foundation –Yogyakarta, recently changed into the Indonesia Visual Art Archive (IVAA) and since 2010 she is a board member of the Yogyakarta Biennale Foundation. Together with Nindityo Adipurnomo she received the John D. Rockefeller 3rd Award, New York, USA (2006) and the Academic Art Award #2, Jogya Gallery / Indonesia Institute of The Arts, Yogyakarta (2008).

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REVALUING OCEANIC THINGS AS WORLD ART: A PERSPECTIVE ON MUSÉE DU QUAI BRANLY Margaret Jolly, Australian National University Musée du Quai Branly has generated passionate debates, even before its opening, engaging scholars, museum professionals, politicians, journalists, and publics in France as well as broader global audiences. Here I reflect on how a curatorial celebration of ‘les arts premiers’ and the ostensible desire to dislodge a colonial Eurocentrism in an embrace of ‘world art’ can paradoxically reinscribe European genealogies which emphasise the value of Oceanic arts as inspiration for European artists and as valuable commodities for collection with little deep or critical scrutiny of their Indigenous meanings and values. Making a world through art requires not just the rhetoric of ‘cultures conversing’ but developed dialogues with Indigenous creators and curators.

Biography: Professor Margaret Jolly is Professor in Gender and Cultural Studies and Pacific Studies in the School of Culture, History and Language in the College of Asia and the Pacific. She is an historical anthropologist who has written extensively on gender in the Pacific, on exploratory voyages and travel writing, missions and contemporary Christianity, maternity and sexuality, cinema and art. Research interests: Gender and sexuality in the Pacific and Asia; ethnography of the Pacific, especially Vanuatu; anthropology and colonial history; politics of tradition; indigeneity, diaspora and citizenship; feminist theory; photography and cinema; museums and material culture in Oceania.:

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BETWEEN UTOPIA AND REAL WORLDS: INDONESIA’S NEW MEDIA ART AVANT-GARDE Edwin Jurriëns, University of NSW This presentation will focus on the ways in which two Indonesian new media art initiatives, Common Room from Bandung (West Java) and The House of Natural Fiber (HONF) from Yogyakarta (Central Java), envisage some of the key aspects of Indonesia’s democratic future. Since the fall of Suharto’s totalitarian New Order regime in 1998, Indonesia has made important democratic progress, particularly in terms of freedoms of press and expression. At the same time, the country has tremendous challenges ahead, such as creating conducive environments for ecological sustainability and local economic development. Indonesian visual artists make important contributions to generating discourse about and seeking practical solutions to some of these problems, especially through their creative explorations of an impressive array of new media, technologies and scientific fields; ranging from video and mobile phones to robotics and microbiology. On the one hand, these artists attempt to find ideas and alternatives by engaging with the imaginary, the unknown and the utopian. On the other hand, they derive inspiration and gain a sense of urgency from their close collaboration with local communities as well as international counterparts. It is this unique engagement with the tensions and opportunities that arise from combinations of the artistic and the technological, the abstract and the practical, and the global and the local, that position new media art communities such as Common Room and HONF at the vanguard of Indonesia’s creative and social development. As this presentation will demonstrate, Common Room is predominantly concerned with the urban and ecological development of Bandung and surroundings, while HONF deals mainly with the future of education, health care and rural development in the Yogyakarta area.

Biography: Dr Edwin Jurriëns is a lecturer in Indonesian Studies and Southeast Asian Social Inquiry at The University of New South Wales in Canberra. He obtained MA and PhD degrees in Literature and Indonesian Studies from Leiden University, the Netherlands. He also studied at the Indonesian Institute of Arts (ISI) in Yogyakarta. His current research interests are new media art, community media, television culture and media literacy in Indonesia. He is author of From Monologue to Dialogue: Radio and Reform in Indonesia (KITLV Press, 2009) and Cultural Travel and Migrancy: The Artistic Representation of Globalization in the Electronic Media of West Java (KITLV Press, 2004). He also co-edited Cosmopatriots: On Distant Belongings and Close Encounters (Rodopi, 2007), a book about expressions of cosmopolitanism and patriotism in Asian media and art. His articles about new media art include: • ‘ “No false echoes” ; Polyphony in colonial and post-colonial times’ (2008) International Institute for Asian Studies Newsletter 48 <http://www.iias.nl/files/IIAS_NL48_21.pdf>. • ‘Indonesian video art; Discourse, display and development’ (2009) Review of Indonesian and Malaysian Affairs (RIMA) 43(2): 165-189. • ‘Motion and distortion; The media in the art of Jompet and Tintin’ (2009) Indonesia and the Malay World 37(109): 277-297. • ‘Video spa; Krisna Murti’s treatment of the senses’ (2010) Bijdragen tot de Taal-, Land- en Volkenkunde (BKI) 166(1): 1-24.

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THE WORLD IN CENTRAL AUSTRALIA: INDIGENOUS ART AND GLOBALIZATION Ian McLean, University of Western Australia Recent notions of world art history and globalization are yet to be adequately theorized. This will only happen after the consideration of specific examples in which art production has responded to global networks of power, be they technological, political, religious, aesthetic or whatever. This paper will begin such a project from the perspective of the world in Central Australia. It will sketch a history of the world in two key moments of aesthetic production in Central Australia – the impact of the world religion of Christianity in the art of Albert Namatjira and the impact of the artworld on Papunya Tula – with the aim of outlining points that need to be accounted for in a theory of globalization and world art history.

Biography: Professor Ian McLean is currently Professor in the History of Australian Art at the University of Western Australia, and in October 2011 will take up an appointment as Research Professor in Australian art at the University of Wollongong. He has written extensively on Australian art. He is on the advisory boards of the journals Third Text and World Art. His most recent book, How Aborigines Invented the Idea of Contemporary Art: Writings on Aboriginal Contemporary Art (2011), chronicles the critical reception of Aboriginal art since the early 1980s.

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OLD COLONIES: NEW LUXURIES: EASTON PEARSON AND THE PROBLEM OF CONTEMPORARY FASHION Peter McNeil, University of Technology Sydney In 1989, Brisbane-based fashion designers Pam Easton and Lydia Pearson began to create from an Australian provincial city their range of garments that were deliberately nostalgic and feminine, with an air of knowing retrospection generated through an engagement with historical and ethnographic sources. At first they were not widely known and their market was completely local. Within ten years their female clothing-line, manufactured in Brisbane, made of textiles garnered from Italy, France, Vietnam and India, was retailing in Browns, London; Neiman Marcus, USA; and Alta Moda, Kuwait. An engagement with ethnographic sources by contemporary designers is not uncommon, sometimes amounting to a type of scavenging activity, perhaps Baudelairian ‘rag-picking’ to be more poetic and polite. In going to the ‘source’ of ethnic textiles and re-commissioning in India fabrics that had not been produced in some cases for decades, their practice raises questions about authenticity, intervention and revival. How have they engaged with colonial women’s imagery from their base in a post-colonial city? Is it this sense of a diasporic imaginary that has made the Easton Pearson label so successful overseas? In what ways do they highlight a position for their imaginary female subject featured in their designs, press releases and fashion parades, a consumer who is post-colonial and knowing at the same time? Can such complex ideas as the identity of the inter-war white imperial woman who is simultaneously both the colonizer and the colonized be conveyed through a garment or a collection in which a straightforward didactic capacity can never be ensured? What happens when such semiotically-laden garments are worn today by the (privileged) ‘other, such as the Gulf woman engaging with up to date western-generated fashions? If these same garments are desired by non-western elites such as the women of the Gulf States, then how does this change our understandings of global luxuries and their continuing relationship to orientalisms in fashion?

Biography: Professor Peter McNeil is Professor of Design History at University of Technology Sydney and concurrent Professor of Fashion Studies at Stockholm University. Trained as an art and design historian, his research crosses disciplines, chronologies and geographies from the early-modern (c1500-1800) to the late-20th century. He is currently a Principal Investigator within a major EU/HERA-funded project, 'Fashioning the Early Modern c1500-1800' and in Australia leads the 'Surry Hills Project', a study of clothing workers, entrepreneurs and consumers, c1890-1980. McNeil’s co-edited Shoes (2006, with Giorgio Riello) has been translated into Italian and will soon be issued in paper. Other recently completed projects include The Men’s Fashion Reader; Fashion in Fiction; Fashion: Critical and Primary Sources (4 volumes, Berg) and The Fashion History Reader (Routledge, with G.Riello). McNeil’s latest projects include ‘Back in Fashion: A Global History of Fashion in the Second Millenium’ (with G. Riello). McNeil is past President of the Art Historian’s Association of Australia and New Zealand (AAANZ); member of the Editorial Board of Journal of Design History (OUP); Board and Book Reviews Editor, Fashion Theory (Berg); committee, Journal of Aesthetics and Culture.

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META NARRATIVES OF CONTEMPORARY ART BY WOMEN Kate MacNeill, University of Melbourne This paper analyses four recent large scale international exhibitions of art by women held in the years 2007 to 2009. These exhibitions provide an opportunity to consider the nature of the contemporary feminist art project and the curatorial framing of contemporary art practices by women. One of the first exhibitions at the Elizabeth Sackler Center for Feminist Art, Brooklyn Museum, Global Feminisms: New Directions in Contemporary Art (2007) consisted of 98 works produced by 80 women artists since 1990. WACK! Art and the Feminist Revolution (2007), at the Museum of Contemporary Art in Los Angeles, traced the influence of the 1960s and 1970s women’s art movements predominantly, but not exclusively, in the United States with work from 120 artists connected to over twenty different countries. The Pompidou Centre’s elles@centrepompidou (2009) contained of over 500 works drawn from the museum’s own collection by more than 200 women artists. Kiss Kiss Bang Bang (2007) at the Bilbao Fine Arts Museum sought to highlight the conflicted nature of women’s images in art: as sexual object and as agents of change. It comprised 69 works by 38 artists and 3 artist’s collectives. Adopting a type of meta-analysis this paper treats each exhibition as a survey of women’s art practices and seeks out correlation and disjuncture between the exhibitions. It does this through interrogation of the catalogue essays, identification of themes in the exhibitions and an analysis of the artists and works chosen for inclusion. The aim of the research is to both reflect upon modes of representation of art by women and to speculate as to what these exhibitions can tell us about the nature of global art practices more generally.

Biography: Dr Kate MacNeill is a senior lecturer in the School of Culture and Communication, University of Melbourne. Her PhD, Art that Matters (2007), examined identity as performativity in Australian contemporary art. Recent publications have considered indigenous/non-indigenous collaborative practices in Third Text, the Bill Henson controversy in Media International Australia and contemporary dance as a creative industry in the International Journal of Cultural Policy. Research for this paper was undertaken in 2010 when Dr MacNeill was a visiting scholar at the Beatrice Bain Research Group, UC Berkeley, California.

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TRANSNATIONAL ASSEMBLAGES: WORLD-MAKING ON THE EDGE OF ART AND COMMUNITY Francis Maravillas, University of Technology Sydney The recent turn to the dynamics of relationality and interconnection in contemporary art theory has coincided with a heightened awareness of the complexities of context and the limitations of identity and community as organising tropes of art and exhibition practice. Since its launch in 2010, the Edge of Elsewhere exhibition series (2010-12) organized by Campbelltown Arts Centre and 4a Centre for Contemporary Asian Art in Sydney, has sought to redefine and expand the boundaries of exhibitionary and artistic practice through complex forms of collaboration and engagement with the diverse local communities from Asia and the Pacific in the outer western suburbs of Sydney. In this paper, I examine the ways in which Edge of Elsewhere may be understood as aligning itself with a post-identity politics that emphasizes relations and connections and the emergence of fluid, contingent communities that are not anchored in either a bounded territory or a coherent identity. In particular, I explore how this shift from identity to relationality – along with the positing of community as a dynamic process and unstable formation – necessitates new ways of thinking about art and community. Significantly, I argue that Edge of Elsewhere evokes an alternate conception of community and relationality in art, one that moves beyond closed and convivial circuits of interaction towards a transnational aesthetic assemblage that foregrounds the complex, and at times fraught, ligatures of meaning and interconnection between diverse, transversal locales.

Biography: Dr Francis Maravillas is Associate Researcher at the Transforming Cultures Research Centre at the University of Technology, Sydney, where he also lectures in cultural studies. His current research interests include contemporary art and visual culture in Asia and Australia, curatorial practice and international exhibitions and art in urban spaces. His work on Asian art in Australia appears in various journals and exhibition catalogues as well as recent edited collections including Crossing cultures: conflict, migration and convergence (2009), Cosmopatriots: On Distant Belongings and Close Encounters (2007) and In the Eye of the Beholder Reception and Audience for Modern Asian Art (2006). He was previously a board member of the 4a Centre for Contemporary Asian Art in Sydney (2004-2007).

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SPACED – ART OUT OF PLACE Marco Marcon, IASKA This paper addresses some of the broader critical, theoretical and curatorial issues arising from the development of spaced: art out of place, IASKA’s new international art event. Founded in 1998, IASKA ran for over ten years an international program of context-responsive art projects in and around the small town of Kellerberrin, 210 kilometres east of Perth. The recently launched spaced greatly expands the scope of IASKA’s program while maintaining its original core aims and philosophy. Spaced features visual arts and new media projects created through a process that combines in-depth engagement with local social and environmental contexts and a global dialogue facilitated by web-based technology. The event focuses on current modes of socially engaged and participatory art, with special emphasis on hybrid practices that operate at the crossroads of visual art, digital art, architecture and design. Spaced is structured around a global/local network linking local communities throughout Western Australia as well as several overseas locations. This structure is intended to facilitate an examination of the connections linking the immediacy of our local here-and-now to a global context shaped by transnational social, cultural, environmental and economic forces. Underpinning spaced’s curatorial concept is a reflection on the recent debate on notions of participation, collaboration and social engagement in art. The paper discusses these currently topical themes in the context of a broader analysis of the idea of community in aesthetic theory. In order to explore these issues the paper touches on the works of theorists, critics and curators such as Jacques Ranciere, Grant Kester, Nicholas Bourriaud, Claire Bishop, Miwon Kwon, Maria Lind and Peter Weibel.

Biography: Marco Marcon was born in Italy and moved to Australia in late 1984. In Italy, he co-founded and directed Murales, one of Rome’s most innovative live music venues of the late 70s, and worked as a writer-producer of cultural programmes for the Italian Broadcasting Corporation. In Australia he worked as editor of the art journal Praxis M and lecturer in art theory and cultural studies at several universities. In 1998 he co-founded IASKA, of which he is the CEO/Artistic Director. Marco Marcon curated several exhibitions, collaborated with artists on public art projects and published over 110 articles, essays and reviews in various journals, magazines, catalogues and books.

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ENVIRONMENTAL CRITIQUE AND SLAVERY IN 19TH CENTURY BRAZIL Claudia Mattos, Campinas State University The present paper will discuss, through the analysis of both landscape painting and literature, the relations established in the beginning of the 19th century in Brazil between the destruction of the native forests of the country, alteration in climate, and slavery. In 1823, José Bonifácio de Andrada e Silva, an important politician at the time, pronounced a speech against slavery in front of the National Assembly, in which he explicitly associated the practice of destruction of the Brazilian forests and climate changes related to it, with slavery. His main argument was that the abolition of slavery would be an important movement towards the preservation of the nation’s natural patrimony. Bonifácio’s environmental concerns were related to Alexander von Humboldt’s ideas on climate, expressed in his book on the Americas. These ideas were very influential among a circle of intellectuals and artists, active in mid-nineteenth century Brazil, such as the painters Félix-Émile Taunay (who was also director of the Art Academy at the time) and Manoel Araújo Porto Alegre, and writers such as Gonçalves Dias and Bernardo Guimarães. They were all politically active around 1840-1860, and transformed their works into vehicles for the diffusion of preservationist and abolitionist discusses.

Biography: Professor Claudia Mattos is Professor for the History of Art at the Campinas State University (Unicamp) – São Paulo, Brazil, since 2002. PhD at the Kunsthistorisches Institute der Freie Universität in Berlin (from 1992 to 1996). Pos-Doc at the Courtauld Institute in London (2000-2001). Publishes on Brazilian 19th and 20th Century Art, and European 18th Century Art. At the moment she is one of the four leading researchers of the project: “Plus Ultra: cultural transfer between Europe and Latin-America”, which is financed by the São Paulo State Research Foundation (Fapesp). Present research interest: The representation of the conflict between nature and civilization in Brazilian painting of the 19th century (in a post-colonial perspective). Published books: Goethe e Hackert: Sobre a Pintura de Paisagem (Ateliê Editorial, 2008), Lasar Segall. Expressionismo e Judaísmo (Perspectiva, 2000), O Brado do Ipiranga (EDUSP, 1999), Entre Quadros e Esculturas. Wesley Duke Lee e os fundadores da Escola Brasil: (Discurso Editorial, 1997), Lasar Segall (EDUSP, 1996).

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CROSSING TIME AND SPACE: MAX BECKMANN, LEON GOLUB, NANCY SPERO AND GEORGE GITTOES Joanna Mendelssohn, University of NSW It could be argued that current conflicts are elaborate reconfigurations of those of the past. During World War I Max Beckmann’s work as a medical orderly gave him access to the intensity and futility of trauma, so he turned to metaphor, using unlikely visual images to show the absurd horror of a world at war with itself. A generation later, his uncomfortable, tough but engrossing work spoke to dissident Americans, including the Chicago born artists Leon Golub and Nancy Spero. Using different techniques, but a similar sensibility, this husband and wife partnership, used allegory and metaphor to make art with a message. Largely because of their political passion, neither Golub nor Spero have been fully acknowledged in their own country. However, in 2010 the Pompidou Centre held a major Nancy Spero retrospective, and later this year the Prado will exhibit Golub’s work. In 1987 conflicts led by the USA led them to befriend the Australian artist, George Gittoes, whose early film, The Bullets of the Poets, dealt with the poetry of Women guerrilla fighters in Nicaragua. Gittoes’ mature painting style was significantly and demonstrably influenced by Golub. Gittoes was with Golub and Spero in New York in early 2003 when they saw the protests at the forthcoming US invasion of Iraq. He subsequently returned to documentary film making with a technique that combines the visual urgency of MTV with elements of burlesque fiction as he places himself as a ‘holy fool’ in the midst of madness. There are additional personal connections between these artists across generations. Beckmann’s widow lived for many years in the same apartment block as Spero and Golub, and befriended them. Gittoes is also a friend of Beckmann’s granddaughter, Mayen Beckmann, who has supported his European career. This paper argues that as well as the visual and personal connections that cross both generations and continents, what these artists have in common is a sense of being outside any artistic establishment, while at the same time being committed to using sometimes elaborate visual imagery to critique the events of their time.

Biography: Associate Professor Joanna Mendelssohn is an Associate Professor at the College of Fine Arts, University of New South Wales and coordinator of the Master of Art Administration. She has written studies of Australian artists Sydney Long, Lionel Lindsay, Norman Lindsay and the Lindsay family, George Gittoes, Richard and Pat Larter. She is currently investigating connections between Max Beckmann, Leon Golub, Nancy Spero and George Gittoes. She is one of the instigators of the digital research project, http://www.daao.org.au. Her award winning art criticism has been published in the Bulletin, Sydney Morning Herald, The Australian, and The Independent Monthly. She has also written extensively for Australian arts publications including Artlink, Art and Australia and Art Monthly.

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TITLE TBA Charles Merewether, Institute of Contemporary Arts Singapore, LASALLE College of the Arts (Lead Speaker)

Biography: Dr Charles Merewether is an art historian, writer and curator who has worked in Australia, Asia, Europe and the Americas. He is currently Director Institute of Contemporary Arts Singapore, LASALLE College of the Arts, Singapore. Previously he was Deputy Director of the Cultural District (Saadiyat Island) in Abu Dhabi and was Chairman of the Advisory Board of the Hong Kong International Art Fair. He was the Artistic Director and Curator of the Biennale of Sydney 2006. He has taught at the University of Sydney, Universidad Autonoma (Barcelona), the Ibero-Americana (Mexico City), and University of Southern California and had been recipient of various Fellowships. From 1994 to 2004 he was Collections Curator at the Getty Research Center in LA. He has published widely on modernism and contemporary art. His most recent publications include ‘Under Construction: Ai Weiwei’ (2008), and ‘Art, Anti-Art, Non-Art: Experimentations in the Public Sphere in Postwar Japan 1950-1970′ (2007) and forthcoming co-editor (with John Potts) of ‘After the Event’ by Manchester University Press. Charles Merewether is currently Director of the ICA in Singapore, and he is Honorary Director of Momentum:Sydney. ( http://www.lasalle.edu.sg/index.php/galleries)

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TITLE TBA (Provisional title Cosmopolitanism) Marsha Meskimmon , Loughborough University (Lead Speaker)

Biography: Professor Marsha Meskimmon is the School of Art Director at Loughborough University. She research centres on the work of women artists and expanded theoretical and critical perspectives on ethics, aesthetics and subjectivity in contemporary art. She has explored these ideas in a number of different publications, from The Art of Reflection: Women Artists' Self Portraiture in the Twentieth Century (1996) and We Weren't Modern Enough: Women Artists and the Limits of German Modernism (1999) to Women Making Art: History, Subjectivity, Aesthetics (2003), which argued for the significance of women's cultural agency and the work that art does in materialising difference. Shifting from object to process, and refusing to define 'women's art' as an a-historical category of objects, it is possible to articulate the contingency of 'women' making 'art' in varied, yet particular, situations, and to evaluate the mediating dynamics of nation, culture, 'race', sex, age and class in each instance. Marsha’s most recent book, Contemporary Art and the Cosmopolitan Imagination (2010), explores the dynamics of ‘belonging’ - of being ‘at home’ - in contemporary transnational art in and through four rich tropes: foundation, threshold, passage and landing.

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RITUALS AS EXHIBITIONS: WORLD-MAKING THROUGH YOLNGU ART Howard Morphy, Australian National University (Lead Speaker)

Biography: Professor Howard Morphy (BSc, MPhil London, PhD ANU, FASSA, FAAH, CIHA) is Professor of Anthropology and Director of the Research School of Humanities and the Arts at the Australian National University. Prior to returning to the Australian National University in 1997, he held the chair in Anthropology at University College London. Before that he spent ten years as a curator at the Pitt Rivers Museum, Oxford. He is an anthropologist of art and visual anthropologist having co- edited two of the main source books in the respective fields The Anthropology of Art: a Reader (2006, Blackwell's, with Morgan Perkins) and Rethinking Visual Anthropology (1997, Yale University Press, with Marcus Banks). He has written extensively on Australian Aboriginal art with a monograph of Yolngu Art, Ancestral Connections (Chicago 1991), a general survey Aboriginal Art (Phaidon, 1998) and most recently Becoming Art: Exploring Cross-Cultural Categories (Berg, 2007). He has also produced a pioneering multimedia biography The Art of Narritjin Maymuru with Pip Deveson and Katie Hayne (ANU EPress 2005). He has conducted extensive fieldwork with the Yolngu people of Northern Australia, and collaborated on many films with Ian Dunlop of Film Australia and has curated many exhibitions including Yingapungapu at the National Museum of Australia. With Frances Morphy he helped prepare the Blue Mud Bay Native Title Claim which as a result of the 2008 High Court judgement recognised Indigenous ownership of the waters over the intertidal zone under the Land Rights (Northern Territory) Act. His involvement in e-research and in the development of museum exhibitions reflects his determination to make humanities research as accessible as possible to wider publics and to close the distance between the research process and research outcomes. In 2008 he was one of the organising committee of the major CIHA conference in Melbourne Crossing Cultures: conflict, migration, convergence.

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IS AUSTRALIAN PHOTOGRAPHY GLOBAL? Daniel Palmer, Monash University The introduction of non-Western and other marginalised histories into the dominant narrative of photography mirrors the ‘global turn’ in art history. This pluralising of photography’s histories brings into view a far wider range of photographic practice, one in which the production of images and their meanings and uses are both locally grounded and implicated in the array of national and international interchanges that inform them. At the same time, approaches to understanding photography are potentially limited by a continued reliance on national frameworks. This paper considers Australian photography, whose local accents are typically discussed in terms of Australia’s colonial history, distinctive landscapes, Indigenous practice and multiculturalism. I argue that while the question of difference must continue to be asked, to understand contemporary Australian photography requires an account of the differential impact of globalisation on national practice – particularly as the medium has been so fundamentally reconfigured for the computer. If part of photography’s success as a global medium is based upon a photograph’s openness to multiple recontextualisations, the digital era bring this more plainly into view. As the historical epoch of the printed page gives way to that of the monitor screen, the photograph has become a repurposable visual content open to multiple visualisations. This globalisation of photography – which can only accelerate and become more elaborate – has major implications for how we understand the representation of place and the circumstances of a photograph’s creation, and thus the boundaries of photography’s identity. Our task is to begin to discern and describe this changed world of photography, and what it means for photographic art.

Biography: Dr Daniel Palmer is a Senior Lecturer in the Theory Department of the Faculty of Art & Design at Monash University (Melbourne, Australia). He was formerly a Curator at the Centre for Contemporary Photography in Melbourne. His publications include Twelve Australian Photo Artists (2009), co-authored with Blair French, and Photogenic: Essays/Photography/CCP 2000–2004 (2005). His writings on photography and contemporary art have appeared in scholarly journals such as Photographies, Reading Room, Philosophy of Photography, Angelaki and Transformations. As an art critic, he has written extensively for journals such as Art & Australia, Photofile, Broadsheet and frieze. His current research is focused around the status of photography in digital culture, as part of an ARC funded project with Sean Cubitt and Les Walkling titled ‘Genealogies of Digital Light’, and he is also working in collaboration with David Bate on a project around photography and globalisation.

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DID YOU COME HERE TO FIND HISTORY? Nursa Qureshi, Artist represented National Portrait Gallery exhibition Beyond the Self: Contemporary Portraiture from Asia What is this work really about? ‘Did you come here to find history?’ is fairly recent work, a departure in terms of technique. This work was shown at Venice Biennale in 2009. On one level, it was created in response to the history in general and on another level, the particular history of Venice. I also wanted to explore the relationship of the artist to art history.It also addresses the ever interesting area of identity-politics.

Biography: Nusra Latif Qureshi is an artist who was born in Pakistan in 1973 where she trained in the art of Mughal miniature painting. She lectured at the National School of Art in Lahore from 1995 to 1999, migrating to Australia in 2001 for postgraduate study in Melbourne where she now lives. Recent Solo Exhibitions 2009: The Invisible Gun, Chawkandi Art Gallery, Karachi. 2007 Familiar Memories, Joshua McClelland Print Room, Melbourne, A Garden of Fruit Trees, Anant Art Gallery, New Delhi 2005 Acts of Compliance, Studio Glass Gallery, London, Intentions of Memory, Joshua McClelland Print Room, Melbourne 2004 Exotic Bodies, Counihan Gallery In Brunswick, Melbourne, The Way I Remember Them, Smith College Museum of Art, Northampton, U.S.A. Selected Group Exhibitions 2011: Gallery 4A, Sydney, - Zentrum Fuer Kunst und Medientechnologie, Karlsruhe, Germany. 2010 Cross Art Projects, Sydney, Pacific Asia Museum, Pasadena, USA 2009 ‘East West Divan: Contemporary Art from Iran, Afghanistan and Pakistan’, The 53rd Venice Biennale, Italy. Green Cardamom, London 2008 Perth Institute of Modern Art, Perth, Doris McCarthy Gallery, University of Toronto, Canada 2007 UTS Gallery, Sydney 2006 The 5th Asia Pacific Triennial, Queensland Art Gallery, Brisbane, Australia, The Drawing Center, New York, Manchester Art Gallery and Asia House in London, UK, Karkhana: Collaborative Painting from Pakistan’s Avant-garde, San Francisco Asian Art Museum, U.S.A. 2005 Fremantle Arts Centre, Fremantle, Australia, The Aldrich Contemporary Art Museum, Ridgefield, USA, Sherman Galleries, Sydney 2004 Fukuoka Asian Art Museum, Japan.

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SEEDING [MIND] FIELDS WITH NATIVE THINKINGS Lisa Reihana, Contemporary Artist + Tohunga a Toi, Unitec School Design and Vis Arts. (Lead Speaker) Climb onboard my inbound musings, this whistle-stop tour takes you on a journey examining twenty+ years of art making practice and life living influences, variously described as a Young Gun, New Zealand’s Tracey Moffatt, and a Patupaiarehe [Maori fairy-folk] hear what makes this daughter of the Nga Puhi tribe tick, urban and urbane, playful yet serious; sexy and eclectic, this body of work has traversed animation to installation, new media, photography and all manner of furry/feathery things. Underpinning projects such as Native Portraits, Wog Features, Hypergirls and Digital Marae is a personal politic that honours Women, Maori and Indigenous cultures.

Biography: Lisa Reihana, born in 1964, is a mid-career artist of Nga Puhi descent. Her practice is wide-ranging, and includes sculpture, installation and time-based media works, performance, costume and body adornment and photography. Reihana's works communicate complex ideas about indigenous identity and bicultural living, and are drawn from Mäori mythology and contemporary culture and is widely acknowledged as a ‘Mäori international'. Reihana reinterprets oral histories and customary lore making them accessible through her contemporary presentation.

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GLOBAL OBJECTS: CONTENTIONS AND ENTANGLEMENTS Giorgio Riello, University of Warwick For those seeking to chart a global history, artefacts might seem a last resort. Most functional items were never intended to communicate explicitly, and extracting information from them can be difficult. They rarely survive in accurate samples; the material culture of the elite is vastly over-represented in the world’s museums. And with some exceptions (like archaeological remains, architecture, and tombstones), they are decontexualized. Reconstructing the original place and time of their making and use is often a matter of guesswork. For historians, the interpretation of an object is dependent upon a prior understanding gained from documents, images, and other sources of information. Yet, we are increasingly presented with exhibitions, museum re-displays and successful radio programmes (in the UK Neil McGregor’s BBC The World in 100 Objects) that suggest that artefacts are indeed suitable to be conveyors of global stories. There is a disjuncture between objects used as the pretext to talk about global events, concepts and stories and their methodological use in the study and writing of historical narratives. This paper adopts an object-based methodology starting with three rather dissimilar objects, namely a seventeenth-century Japanese suit of armour (given as a gift to the King of England), a nineteenth-century Indian building (built as an expression of Imperial architecture), and a recent soccer ball used for the 2010 World Cup (created as an object that had to be respectful of all nations in the world). Each of these objects presents one way that an artefact can fit into (and sometimes challenge) a narrative of global history: objects that demonstrate cultural encounters (connections); objects that synthesize global difference within themselves (hybridity); and objects that imagine the global (globalism). This paper is an attempt to reflect on the complex relationship between artefacts and the historical concepts that are mobilised to explain world history.

Biography: Dr Giorgio Riello is currently Associate Professor in Global History and Culture at the University of Warwick, UK (since 2007). He was previously Research Officer at the London School of Economics (2004-06) and Tutor in Design History at the Royal College of Art/ Victoria and Albert Museum (2003-04). Since 2010 he has been the Director of the Pasold Research Fund for the History of Textiles, Dress and Fashion. He holds a degree (Laurea) in Business Economics from the University of Venice, Ca’ Foscari (1998; 1st class degree). His Laurea thesis won the Special prize of the Bank of Venice in 1998. He completed his PhD in History at University College London in 2002. During his doctorate studies, he was the recipient of several major awards including the Fellowship of the Luigi Einaudi Foundation in 18th-Century Studies (2000) and the Pollard Prize of the Institute of Historical Research (2001). More recently he has been awarded the Philip Leverhulme Prize (2010), the Newcomen Business Prize of America (2009), and the Senior Braudel Fellowship (2011). He is currently a Fellow at the Stanford Humanities Center and will be a Visiting Fellow at the Australian National University Humanities Research Centre in July-September 2011. His fields of expertise are located within the long chronologies and geographical spaces covered by Global History. His particular interests are directed towards issues of ‘material life and economic development’ and the relationship between consumption and production. His current research focuses on changes in consumer demand and their impact on the spheres of production and material culture, with specific reference to textiles and clothing. http://www2.warwick.ac.uk/fac/arts/history/people/staff_index/griello/

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TOLERANCE: THE WORLD OF YANG FUDONG Claire Roberts, Australian National University Yang Fudong (b. 1971) is one of the most interesting contemporary Chinese artists working in the area of photography, video and film. His immersive multi-screen installations have been exhibited in Biennales and Triennales in China and around the world. Born in a small village north-east of Beijing, he studied oil painting at the China Academy of Art in Hangzhou, and now lives and works in Shanghai. He is part of a generation of Chinese artists who have developed a high international profile while continuing to live and work primarily in China. Yang’s abstract works, often focusing on the activities of a collective of young people (intellectuals), explore moods and sensibilities, thoughts and feelings. They are questing and questioning, empty and illusory, using visual and sensory means to give form to things that have no form. While Chinese natural, regional and urban landscapes form the backdrop of his works, narrative disjunction and an emphasis on emotion, cause viewers to loose their bearings in time and space, transcending the need for specific cultural knowledge. Yang Fudong has described himself as not belonging to any particular place, and of working in an expansive international arena, yet living in a world that is actually very small. He has also spoken of the increasing importance of the concept of tolerance (kuanrong) in his thinking - tolerance in relation to people, art and life. The presentation explores the artistic practice of Yang Fudong in the context of tolerance, humanity and Chinese concepts of ‘world’.

Biography: Dr Claire Roberts is a historian of Chinese art and a curator. She is a Research Fellow at the ANU College of Asia and the Pacific at The Australian National University. She was a Co-ordinate Research Scholar at the Harvard-Yenching Institute, Harvard University 2011, Research Fellow at the Radcliffe Institute for Advanced Study, Harvard University 2009-2010 and Senior Curator of Asian arts at the Powerhouse Museum, Sydney 1988-2010. Claire studied at the Beijing Foreign Languages Institute 1978-79 and the Central Academy of Fine Arts, Beijing 1979-81. She has a Master of Arts from the University of Melbourne. Her PhD, undertaken at ANU, focused on the work of modern Chinese brush-and-ink painter Huang Binhong (1865-1955). Claire has published widely on Asian art and curated numerous exhibitions. Her most recent publications are Friendship in Art: Fou Lei and Huang Binhong (2010), Other Histories: Guan Wei’s Fable for a Contemporary World (2008) and The Great Wall of China (2006). Her forthcoming book is titled Photography and China.

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ART IN THE WAKE OF VIOLENCE: THE WORK OF NALINI MALANI Macushla Robinson, Art Gallery of NSW The contemporary Indian artist Nalini Malani confronts histories of violence in post-partition India. Through a close reading of her video works, I explore her response to historical instances of violence. I argue that her representations of brutality work to connect the artist with others, breaking down corporeal boundaries to find a space of bodily empathy for victims. In so doing, she seeks to shape what Veena Das has called ‘… a world in which one can dwell again, in full awareness of a life that has to be lived in loss’. Through drawing, animation and sound installation, her works reference historical violence such as the 1949 partition of India and Pakistan, coupled with recent atrocities such as the riots in Gujarat in 2002 (Mother India: Transactions in the Construction of Pain 2005), or the aggravated destruction of Islamic cultural heritage (Cities of Desire 1992). Her video installation titled Mother India: transactions in the construction of pain was made in response to Veena Das’ essay Language and the body: transactions in the construction of pain, which examines how widespread sexual violence against women at the time of partition was incorporated into a political narrative that reinforced the allegorical notion of the nation-state as a paternal figure. Das’ essay asserts the need to ‘re-enter this scene of devastation to ask how one should inhabit such a world that has been made strange through the desolating experience of violence and loss.’ Malani’s works take up this project, both representing and critiquing the political narratives that have constructed the world that she inhabits. By imaging this history and connecting it to present violence Malani’s empathic and corporeal explorations of the body in pain open cultural wounds, unsettling the gendered and nationalist narratives formed in the wake of violence.

Biography: Macushla Robinson is an emerging theorist, practicing artist (trained in printmaking) and Curatorial Assistant at the Art Gallery of New South Wales. She recently completed her Honours year in Theories of Art Practice at the University of Sydney, for which she received the University Medal. Her research is in the field of contemporary art, focusing upon the philosophical implications of material practices, such as the handwritten word and transcription in art. Her methods are trans-disciplinary: her theoretical enquiries begin with material encounters and processes, privileging process and materiality.

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WHEN INDIA AND CHINA ENGAGE: A CURATORIAL ADVENTURE Chaitanya Sambrani, Australian National University This paper addresses my curatorial project Place. Time. Play: Contemporary Art from India and China, which was shown in Shanghai from October to December 2010. Marking the first occasion for intellectual and creative engagement across the art and academic cultures of these two countries, the exhibition was part of a larger and continuing project titled West Heavens initiated by Chinese curator, academic and entrepreneur Chang Tsong-Zung. The exhibition Place. Time. Play included nine artists and one collective from India, and five artists from China. Working in a situation where there were no substantial precedents for engagement between artist communities from these countries, and, in the absence of major infrastructural support, most decisions and arrangements had to be made “on the run” as it were. There were no familiar conventions that could be relied upon. The artists were encouraged to use each other’s countries as a laboratory in which to test new ideas for cross-cultural engagement. In the year leading up to the exhibition, all of the participants travelled through each other’s countries, visiting major museums, art schools and historical sites, and making friendships unclouded by official policies characterised by mutual distrust. Several of the Indian artists subsequently returned to China to conduct further research, and/or to produce their work for the exhibition. Place. Time. Play extended an invitation to artists to engage with “other” possibilities of geographical location (place), historical position (time) and finally, creative intervention (play). Deliberately eschewing potentially essentialist or national attributions in the title, we asked artists to engage in what might be seen as universal, yet locally situated, extensions of their current practice. Linguistic barriers notwithstanding, the project marks a significant engagement with a different vision of “global” or “international” art, one that is premised on encountering that which is at once deeply intimate and incontrovertibly foreign.

Biography: Dr Chaitanya Sambrani is an art historian and curator with special interests in modern and contemporary art in Asia. He has an MA (Fine) in Art Criticism from the Faculty of Fine Arts, M.S. University, Baroda, and a Ph.D. in Art History and Curatorship from the Australian National University. His work has been featured in major publications, exhibitions and conferences in Australia, India, China, Korea, Singapore, and the USA. His recent curatorial projects include Place.Time.Play: India-China Contemporary Art (Shanghai, October-December 2010) and Edge of Desire: Recent Art In India (Perth, New York, Mexico City, Monterrey, Berkeley, New Delhi, Mumbai 2004-07).

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DISPLACED CONNECTIONS: METHODS OF COLLABORATION AND CROSS-CULTURAL ENGAGEMENT ON PUBLIC SCREENS Kristen Sharp, RMIT University This paper will focus on the process and practice of collaboration used in an international art project, ‘Spatial Dialogues: Public Art and Climate Change’. ‘Spatial Dialogues’ is a three-year Australian Research Council Linkage project employing models of engagement between artists, academic researchers, private corporations and the public. The project is situated in three geographic locations: Melbourne, Shanghai and Tokyo. It involves site-specific screen-based artwork and social networking systems. The multiple layers of interaction available in this project establish a complex platform of collaboration. This paper will explore methods of documenting and analysing the ‘behind the scenes’ modes of engagement in Spatial Dialogues in order to draw attention drawn to the challenges and opportunities created by collaboration in a cross-cultural and cross-disciplinary context.

Biography: Dr Kristen Sharp is the Coordinator of Art History and Theory in the School of Art at RMIT University. Her research is focused on contemporary art, globalisation and urbanisation. Her PhD, ‘Superflat Worlds: a topography of Takashi Murakami and the cultures of Superflat art’, examined the contemporary Japanese artist Takashi Murakami as an example of a contemporary art practice that is strategically located within the processes of contemporary globalisation. Kristen has recently co-edited a book on public art for McCulloch & McCulloch and has published research papers in Access: Critical Perspectives on Communication, Cultural and Policy Studies. She is currently part of an Australian Research Council Linkage Project researching new international models of screen-based public art.

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CONTEMPORARY ART: WORLD CURRENTS Terry Smith, University of Pittsburgh (Lead Speaker)

At the beginning of the second decade of the twenty-first century, art seems markedly different from what it was during the modern era: it is now—above all, and before it is anything else—contemporary. What kind of change is this: illusory or actual, singular or multiple? Why did it happen? How deep does it go? Has it, yet, a history? I argue that a worldwide shift from modern to contemporary was prefigured in some late modern art during the 1950s, that it took definitive shape in the 1980s, and that it continues to unfold through the present, thus shaping art’s imaginable futures. While having some shared characteristics, this shift occurred in different and distinctive ways in each cultural region, and in each art-producing locality within these regions. Cultural patterns with quite distinct temporalities co-exist, develop separately or together, connect then part ways. Precisely in its grasp of this experiential complexity, contemporary art is—perhaps for the first time in history—truly an art of the world. It comes from the whole world, and frequently tries to imagine the world as a differentiated yet inevitably connected whole. This is the definition of diversity: it is the key characteristic of contemporary art, as it is of contemporary life, in the world today. My forthcoming book, Contemporary Art: World Currents (London: Laurence King and Thames & Hudson; Upper Saddle River, NJ: Pearson/Prentice Hall, 2011), traces these changes as they happened, and as they continue to play out. In this lecture I will outline the theoretical and art historical hypotheses underlying my recent work.

Biography: Professor Terry Smith, FAHA, CIHA, is Andrew W. Mellon Professor of Contemporary Art History and Theory in the Department of the History of Art and Architecture at the University of Pittsburgh, and Distinguished Visiting Professor, National Institute for Experimental Arts, College of Fine Arts, UNSW. He is the 2010 winner of the Mather Award for art criticism (College Art Association USA), and recipient of the 2010 Australia Council Visual Arts Award. During 2001-2002 he was a Getty Scholar at the Getty Research Institute, Los Angeles, and in 2007-8 the GlaxoSmithKlein Senior Fellow at the National Humanities Research Centre, Raleigh-Durham. From 1994-2001 he was Power Professor of Contemporary Art and Director of the Power Institute, Foundation for Art and Visual Culture, University of Sydney. He was a member of the Art & Language group (New York) and a founder of Union Media Services (Sydney). His books include Making the Modern: Industry, Art and Design in America (University of Chicago Press, 1993; inaugural Georgia O’Keeffe Museum Book Prize 2009); Transformations in Australian Art, volume 1, The Nineteenth Century: Landscape, Colony and Nation, volume 2, The Twentieth Century: Modernism and Aboriginality (Craftsman House, Sydney, 2002); The Architecture of Aftermath (University of Chicago Press, 2006) and What is Contemporary Art? (University of Chicago Press, 2009). He is editor of many others including In Visible Touch: Modernism and Masculinity (Power Publications and the University of Chicago Press, 1997), First People, Second Chance: The Humanities and Aboriginal Australia (Australian Academy of the Humanities, 1999), Impossible Presence: Surface and Screen in the Photogenic Era (Power Publications and the University of Chicago Press, 2001), with Paul Patton, Jacques Derrida, Deconstruction Engaged: The Sydney Seminars (Power Publications, 2001, Tokyo: Iwanami Shoten, 2005), Contemporary Art + Philanthropy (UNSW Press, 2007), and Antinomies of Art and Culture: Modernity, postmodernity and contemporaneity (with Nancy Condee and Okwui Enwezor, Duke University Press, 2008). Contemporary Art: World Currents (Laurence King and Pearson/Prentice-Hall, 2011).A foundation Board member of the MCA, he is currently a Board member of the Andy Warhol Museum, Pittsburgh.

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‘THE FRONTIER’ SPEAKS BACK: AUSTRALIAN ARTISTS WORKING IN PARIS AND LONDON Catherine Speck, University of Adelaide Australian artists living and working in Paris and London in the Belle Epoque and modern eras had deep engagement with cosmopolitan culture and international modernism. They experienced the liberation of putting aside issues of nation, and of working in large, alienating but culturally challenging multi-nation environs in the pre and post war years. This paper will explore how artists in France including Rupert Bunny and Hilda Rix connected with, articulated and negotiated cosmopolitan tendencies in their work, while those in London like Roy de Maistre and Eric Wilson, all too often ill-described in the Empire of language of being as ‘at home’, also had a similar and deep engagement with cosmopolitan culture. This off- shore practice constitutes another and very rich side of Australian art.

Biography: Dr Catherine Speck is the author of Painting Ghosts: Australian Women Artists in Wartime (Craftsman House /Thames and Hudson 2004) and Heysen to Heysen (National Library of Australia forthcoming 2011) exploring the father-daughter relationship between two of Australia’s eminent artists, Hans Heysen and his daughter Nora, and numerous articles and catalogue essays probing expatriate artists and cosmopolitanism, the representation of war, war memorials and the memory of war, gender and war, gender and modern Australian art, and contemporary art. Current research also includes the exhibitionary complex. She is an Associate Professor and Reader in Art History at the University of Adelaide and coordinates postgraduate programs in Art History and Curatorial and Museum Studies at the Art Gallery of South Australia and the University of Adelaide. She is on the Editorial Board of Design and Art of Australia Online www.daao.org.au and a member of the Adelaide Critics Circle.

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UNINVITED GUESTS: ARTISTS CONFRONTING THE THRESHOLD OF SOCIABILITY IN URBAN AMSTERDAM Zara Stanhope, Australian National University In 2004 artist Jeanne van Heeswijk organised Het Blauwe Huis (‘The Blue House’) to be situated amongst the construction of IJburg, a new commuter suburb reclaimed from the IJmeer lake in Amsterdam. The Blue House was an autonomous four-year long participatory art project for researching ‘the unplanned’ – a site for artistic production focused on a neighbourhood in which community services were still years away. As members, artists, architects and academics undertook residencies in the house for the purpose of investigating the character of this new urbanism and ‘what did not yet exist’. The Blue House supported selected projects proposed by local residents that filled immediate needs, as well as those initiated by members addressing diverse phenomena in that environment In this paper I argue that beyond drawing attention to the social engineering of public and private life within urbanism, The Blue House was effective in opening a discursive space in the public sphere at a local level that led to subtle transnational resonances. However, as well as successes, there were also failures to participate or sustain projects, partly due to the demographic control of the city, reinforcing Zygmunt Bauman’s vision of the disintegration of collective agency within globalisation. The Blue House did not fulfil either a utopian model for relational aesthetics nor a service provider in the style of NGOs. While precluding the formation of a local micro-community or a counter public that could foreshadow an impetus toward communicative action, The Blue House did offer intersubjective potential that I argue facilitated a discursive experience at the level of the individual. As a case of art that crossed social boundaries in investigating the bureaucratic control of urban existence, I suggest the value of The Blue House lay in the totality of its successes and failures to intervene in state and market forces. It stimulated a reflexive and social praxis that enabled the individual to act within a temporary creative milieu, and thereby enhance the possibility of active citizenship.

Biography: Zara Stanhope is a curator and PhD candidate at the Australian National University, Canberra. Her professional positions have included Deputy Director and Senior Curator at Heide Museum of Modern Art, Melbourne (2002−08); inaugural Director of the Adam Art Gallery, Victoria University of Wellington, New Zealand (1999-2002), and Assistant Director, Monash University Gallery (1993–1999). Recent curated exhibitions comprise: Objects to Live By, The Art of John Meade (touring Australia 2009–2011); The world in painting (touring Asia and Australia 2007–09) and Perfect for every occasion: photography today (Heide Museum of Modern Art, 2007). She co-edited the books Les Kossatz, The Art of Existence (2008) and The Cbus Collection (2009), and regularly contributes to exhibition catalogues and art publications. She is Chair of un Projects, the publisher of un Magazine, a Board member of the National Exhibition Touring Service (NETS) Victoria, an advisor to the RMIT University School of Art Galleries Board and a Mentor in the National Association of the Visual Arts (NAVA) Curator Initiative. Current research interests include social art and the public sphere, artist-run initiatives and curatorial practice for the twenty-first century.

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CONNECTING WORLDS Dr Caroline Turner and Dr Michelle Antoinette, Australian National University

Biographies: Dr Caroline Turner is a Senior Research Fellow in the Research School of Humanities and the Arts, Australian National University. Prior to joining the ANU in 2000 she was Deputy Director of the Queensland Art Gallery and organised and curated many international exhibitions, including from the Louvre, the Shanghai Museum, and the Idemitsu Museum as well as co-curating Matisse in 1995 with works from 50 collections worldwide. She was co-founder and Project Director for nearly ten years in the 1990s for the Asia-Pacific Triennials (1993, 1996, 1999) at the Queensland Art Gallery, scholarly editor of the three major catalogues for the first three Triennials and convener of the three international conferences. Her edited book Tradition and Change: Contemporary Art of Asia and the Pacific, 1993 was the first survey treatment in English on this subject and she has also published a more recent survey Art and Social Change: Contemporary Art in Asia and the Pacific, 2005. She has written extensively on contemporary Asian art and museums as well as lecturing on this subject internationally and has also served on the Australian Government’s Australia-China Council, Australia-Indonesia Institute and the Australia Abroad Council. Dr Michelle Antoinette is an ARC Postdoctoral Fellow at the School of Cultural Inquiry, Research School of Humanities and the Arts at The Australian National University. She is a researcher of modern and contemporary Asian art and has been a lecturer on contemporary Asian and Pacific art and museums at the ANU. From 2010, Michelle is undertaking research together with Dr Caroline Turner on the emergence of new cultural networks in Asia underlining shifts in the development of Asian art and museums in the twenty-first century. Michelle's previous research has focused on the contemporary art histories of Southeast Asia and her publications include "The Art of Race: Rethinking Malaysian Identity Through the Art of Wong Hoy Cheong" (2009), "Contending with Present Pasts: on developing Southeast Asian art histories" (2009), "Intimate Pasts Resurrected and Released: Sex, death, and faith in the art of Josè Legaspi" (2008), and "Deterritorializing Aesthetics: International art and its new cosmopolitanisms, from an Indonesian Perspective" (2007). Her forthcoming book Images that Quiver (Rodopi) explores the emergence and representation of contemporary Southeast Asian art on the international stage in the 1990s.

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MAKING WORLDS: ART, ETHICS AND MATERIALITY Jen Webb, University of Canberra and Lorraine Webb, Ucol Wanganui, NZ ‘The world’ seems, often, to be more a proposition than a place, more a theory than a thing-in-itself. The fluidity of its meanings means that the dominant discourse tends to focus on the conceptual, the economic and the political, rather than on lived experience, phenomenological encounters, or the multiple ways of being in what each person might consider ‘the world’. How we might access the plural experience of the world is a point of considerable scholarly debate as philosopher Nelson Goodman notes, writing that ‘universes of worlds as well as worlds themselves may be built in many ways’ (1978: 5). We start from Goodman’s constructivist premise, and focus on art as a domain for the making of worlds. Art is perhaps under-determined compared with linguistic and political mediums, but it may have equally profound effects on how lived worlds emerge and are understood. In this paper we take up the twin concepts of plurality and practice to explore how art might enable an exploration of connectivities and differences, and how it might form a venue for the making of worlds that are not fully in accord with contemporary logics and ‘truths’. We do this through a discussion of a recent exhibition that was framed around the theme of ‘making worlds’, and mounted in a small regional city in New Zealand, Whanganui. It included the work of 7 artists whose common point of connection is that town – one of the oldest colonial towns in New Zealand, and a fountainhead for indigenous rights protests within Aotearoa. The artists’ connection with this luminal town, and their separate experiences and identifications, serve to highlight the ways in which visual art can afford the place to situate oneself: whether a geographical or an ontological place. From such places they can produce and present their works to unmake and remake the known, authorised world – to allow new conceptual frameworks and, possibly, new grounds for human connectivity. Artists: Kura Te Waru Rewiri, Kate Lepper, Faith McManus, Lily Laita, Lorraine Webb, Chaco Kato, Helen Manning

Biographies: Professor Jen Webb is Professor of creative practice at the University of Canberra, and Dean of the Faculty of Arts and Design. Jen holds a PhD in cultural theory, focusing on the field of creative production, and a DCA in creative writing. She has published widely in poetry, short fiction, and scholarly works: her most recent book is Understanding Representation (Sage, 2009).She is currently completing a co-authored book on the work of Michel Foucault, a co-authored book on embodiment, and a textbook on research for creative writing. Jen is co-editor of the Sage book series, ‘Understanding Contemporary Culture’, and of Axon: Creative Explorations, a new online journal (UC). Her current research investigates representations of critical global events, and the use of research in and through creative practice to generate new knowledge. Lorraine Webb is Head of Painting at Whanganui UCOL's Quay School of the Arts in New Zealand. Her work is in public collections in New Zealand and private collections in Australia, New Zealand and France. She has a DFA (Honours) Printmaking from the University of Canterbury, and a MFA by research Victorian College of the Arts, University of Melbourne. She has been a finalist in the 32nd Alice Art Prize, the Biennial Adams New Zealand Portrait Competition, the Trust Waikato Contemporary Art Award, the Anthony Harper Art Awards, the New Zealand Painting and Printmaking Award. Winner of the Zinni Douglas Merit Award 2009 Walker and Hall Art Award, and has won the Cranleigh Barton Drawing Award, been the recipient of the William Hodges Fellowship and artist in residence at CAMAC, France.

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POST WAR RECOVERY AND COSMOPOLITANISM IN VISUAL CULTURES: ITALY 1943 – 1964 Anthony White (& Mark Nicholls), University of Melbourne This paper investigates the links between post-conflict recovery and cosmopolitanism in the visual arts, using Italy as a case study. After WWII Italy was a devastated and divided country. In this paper we argue that prominent in the nation’s recovery was the role played by cultural cosmopolitanism in art and cinema. Cities such as Rome, Venice, Milan and Turin housed important Italian avant-garde artists such as Lucio Fontana and Alberto Burri, and neo-realist filmmakers such as Luchino Visconti and Roberto Rossellini. However these cities also attracted avant-garde artists from Northern Europe, Latin America, the USA and Oceania including Asger Jorn [Denmark], Roberto Matta [Chile], Wilfredo Lam [Cuba], Robert Rauschenberg [USA] and Yvonne Audette [Australia], prominent filmmakers as diverse as David Lean [UK], Ingrid Bergman [Sweden], Orson Welles and William Wyler [USA] and Jean Luc Godard [France] as well as important institutions such as the French and American Academies, foreign news desks, the major Hollywood studies, and travelling exhibitions from a variety of different destinations around the world. The artworks and films produced in these centres were often the outcome of collaborations and dialogues between artists and filmmakers from around the globe. As a result, Rome, Milan, Venice and Turin, with their vibrant, international cultural communities, became cosmopolitan centres of cultural activity which gave rise to fractured and multiple but highly productive artistic communities. The artists and filmmakers who came together in Italy in the two decades following WWII embodied a dynamic, trans-national creative energy which had a lasting effect not only on contemporary international art and entertainment cultures, but also, as we argue, on the extraordinary post-war political and economic recovery of Italy.

Biographies: Dr Anthony White is Senior Lecturer in Art History at The University of Melbourne. His book Lucio Fontana: Between Utopia and Kitsch (2011) will be published by MIT Press. Since 2005 he has published several articles on Italian modern art in The Australian and New Zealand Journal of Art, Grey Room, October, and Reading Room. From 2000 - 2002 he was Curator of International Painting and Sculpture at the National Gallery of Australia where he curated several major exhibitions of American art. Dr Mark Nicholls (not attending) Mark Nicholls is Senior Lecturer in Cinema Studies at the University of Melbourne where he has taught film and television since 1993. He is author of Scorsese’s Men: Melancholia and the Mob (2004), recently published articles on Martin Scorsese, Luchino Visconti, Shakespeare in film and film and the Cold War, and the forthcoming book Jeremy Irons and the Prince of Perversion. He is active as a film critic and as a theatre writer, director and producer.

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CONTEMPORARY CHINESE ART IN THE CONTEXT OF GLOBALISATION Xu Hong: Senior Research Fellow, National Art Museum of China, Beijing (Lead Speaker) The Historical Context of Chinese Contemporary Art From Japan to Europe – the channels via which Chinese artists have come to understand Western modern art

- the perplexity of ‘choosing’ and ‘being chosen’ Debate over the ‘jump’ model of social transformation and that of ‘discarding the old and mapping the new’ The context of reality, and ideals The Nature and Characteristics of Chinese Contemporary Art The World and ‘World-making’ and the ideological trend of Chinese cultural nationalism”: to ‘adopt’ or ‘create’ A new mix: leaving ‘Realism’ behind Chinese cultural signs in artworks and the artist’s Chinese cultural status Chinese artists’ image of the West The compulsion of humanity: progress amid contradiction.

Biography: Xu Hong is an artist, writer and curator and currently Senior Research Fellow of National Art Museum of China in Beijing. Educated at Shanghai Normal University and the Central Academy of Fine Arts in Beijing she was previously Associate Researcher of Shanghai Art Museum. She has been the curator and key organiser of many exhibitions including Passing Through the Horizon---Contemporary Chinese Art Exhibition San Diego in 2010; Turner From The Tate Collection Beijing 2009; Speak·Describe cross-strait contemporary art 2009; After Impressionist Arts Musée D’Orsay collection Beijing 2008; Silk Road Painting USA 2007; Prado Museum Collection Exhibition From Tiziano to Goya Beijing 2007;National Art Museum of China Peasant·Peasant exhibition 2006; Prism---Chinese Contemporary Art Exhibition Vienna 2005; National Art Museum of China Open Era invitational exhibition 2003;The first and second Shanghai Biennale 1996 and 1998;Century---Female Art Exhibition Beijing 1997. Her research and writing has concentrated on Chinese modern and contemporary art theory and criticism. Among her recent publications are: Echo of Thinking,2010, coauthored, Shanghai People’s Fine Arts Publishing House The Complete Works of WU Guanzhong,2007, coauthored, Hunan Fine Arts Publishing House Chinese Female Art in the Nineties of 20th Century,2005, Hunan Fine Arts Publishing House ‘Foreign Collection of National Art Museum: Situation and Strategy’ ,article, 2004 ‘Social Progress and Female Arts: Chinese Female Artists in the Early 20th Century’,article,2003 Thinking on Female Art,2003,Jiangsu People’s Publishing House A Study of ZHAN Jianjun,2001, Shanghai Ancient Books Publishing House A Study of PAN Tianshou,1997,China Academy of Art Publishing House

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THE THRILL OF THE COLOURED LINE; PAINTINGS, STRING AND OTHER THINGS Diana Young, University of Queensland In this paper I consider colour as line and colour as plane and the role of each in Western Desert sociality. The materiality of contemporary life for Aboriginal people in central Australia is composed with the help of multiple things yet art making is often analysed as an isolated activity and the role of the materiality of consumer goods neglected. Here I explore the connection between consumption practices, in particular of ‘stringy things’ and art making that employs ‘the thrill of the line’. I use archival material from the Ernabella Mission records and fieldwork at Ernabella in the far north west of South Australia. Practices with consumer goods influence art marking across many media creating a way of being in the world that enables Anangu (Pitjantjatjara and Yankunytjatjara people) to imagine an alternative modernity.

Biography: Dr Diana Young is Director of the University of Queensland Anthropology Museum and lectures in Anthropology in the School of Social Science. Her research interests include colour, material culture and consumption practices. Since 1996 she has worked with Anangu Pitjantjatjara Yankunytjatjara on a number of collaborative projects.

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ART MUSEUMS IN SHANGHAI Lansheng Zhang, Australian National University This paper will discuss the art museums in Shanghai and the role they played in art in the 1980s in China – a period of reconnection to the contemporary art world outside China. Art museums in Shanghai were instrumental in connecting local art communities to the international art scene and in sharing knowledge of international art discourses through their exhibition programs, despite the constraints of the political system in China. Key international exhibitions in the 1980s showed important influences from the West. Artists responded with enthusiasm. The process of reconnecting to the international art world through the efforts of art museums, individual artists, art institutions and educators in Shanghai in 1980s made important contributions to the development of contemporary art t in China. This process and the leadership of art museums became one of the major driving force from inside that led Chinese contemporary art onto the international stage as a recent phenomenon in the art world today.

Biography: Lansheng Zhang Lansheng Zhang is an artist and curator and a PhD candidate at the Australian National University. He has a long association and interest in art museums in China. His current research work includes an investigation into the role art museums have played in the development of the contemporary art in China. He was the Adjunct Professor with the RMIT University School of Art in Melbourne from 2006 to 2008, and now is the associate professor and convener of the Arts Management Program in the Eastern China Normal University School of Art, Shanghai.

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CONFERENCE CONVENERS: Dr Michelle Antoinette is an ARC Postdoctoral Fellow at the School of Cultural Inquiry, Research School of Humanities and the Arts at The Australian National University. She is a researcher of modern and contemporary Asian art and has been a lecturer on contemporary Asian and Pacific art and museums at the ANU. From 2010, Michelle is undertaking research together with Dr Caroline Turner on the emergence of new cultural networks in Asia underlining shifts in the development of Asian art and museums in the twenty-first century. Michelle's previous research has focused on the contemporary art histories of Southeast Asia and her publications include "The Art of Race: Rethinking Malaysian Identity Through the Art of Wong Hoy Cheong" (2009), "Contending with Present Pasts: on developing Southeast Asian art histories" (2009), "Intimate Pasts Resurrected and Released: Sex, death, and faith in the art of Josè Legaspi" (2008), and "Deterritorializing Aesthetics: International art and its new cosmopolitanisms, from an Indonesian Perspective" (2007). Her forthcoming book Images that Quiver (Rodopi) explores the emergence and representation of contemporary Southeast Asian art on the international stage in the 1990s. Zara Stanhope is a curator and PhD candidate at the Australian National University, Canberra. Her professional positions have included Deputy Director and Senior Curator at Heide Museum of Modern Art, Melbourne (2002−08); inaugural Director of the Adam Art Gallery, Victoria University of Wellington, New Zealand (1999-2002), and Assistant Director, Monash University Gallery (1993–1999). Recent curated exhibitions comprise: Objects to Live By, The Art of John Meade (touring Australia 2009–2011); The world in painting (touring Asia and Australia 2007–09) and Perfect for every occasion: photography today (Heide Museum of Modern Art, 2007). She co-edited the books Les Kossatz, The Art of Existence (2008) and The Cbus Collection (2009), and regularly contributes to exhibition catalogues and art publications. She is Chair of un Projects, the publisher of un Magazine, a Board member of the National Exhibition Touring Service (NETS) Victoria, an advisor to the RMIT University School of Art Galleries Board and a Mentor in the National Association of the Visual Arts (NAVA) Curator Initiative. Current research interests include social art and the public sphere, artist-run initiatives and curatorial practice for the twenty-first century. Jackie Menzies is a graduate of the University of Sydney and has been responsible for the development of the Asian collections at the Art Gallery of New South Wales since her appointment in 1980. She has been responsible for many publications relating to the collections, and overseen two expansions of the Asian galleries (one in 1990; then most recently the upstairs Asian ‘pavilion’ in 2003). The 352 page book 'The Asian Collections' (2003), edited by her, was awarded 'Best Book of the Year' 2003 by the Power Institute and the Association of Art Historians of Australia and New Zealand. Ms Menzies has been the recipient of many grants, including two Australian Research Council (ARC) Linkage grants: one with the University of Sydney, another with the University of Western Sydney, and an AMCAI (Art Museum Collections Accessibility Initiative) grant from the Ian Potter Foundation (2001-2003) to research audience development. Ms Menzies has curated/organised many exhibitions – large and small - and edited/ contributed to many catalogues. Selected major Asian exhibitions include 'Imperial China' (1992), 'Sacred Images of Sri Lanka'(1994), 'INDIA: Dancing to the Flute' (1997), 'MODERN BOY, MODERN GIRL, Modernity in Japanese Art 1910-1935' (1998), 'BUDDHA, Radiant Awakening' (2001), and ‘GODDESS, Divine Energy’ (2006). The catalogue for GODDESS was awarded

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the Art Association of Australia and New Zealand (AAANZ) 2007 prize for best large catalogue with citation (in part) ‘…this catalogue, and the exhibition that accompanied it, are outstanding examples of global scholarly endeavour of the highest international standard’. She has been a Director of VisAsia (the Australian Institute of Asian Art and Culture) since 2000, and was President of The Asian Arts Society of Australia (TAASA) 1993-2000 (Vice-President 1991-93). She was a recipient of a Centenary Medal of the Commonwealth of Australia in 2003, and in 2008 was awarded a Medal of the Order of Australia for ‘the study, preservation and promotion of Asian art in Australia.’ Dr Caroline Turner is a Senior Research Fellow in the Research School of Humanities and the Arts and the School of Cultural Inquiry, Australian National University. She was Deputy Director of the Humanities Research Centre from 2000-2006. Prior to taking up this appointment in January 2000 she spent 20 years as a senior art museum professional. At the HRC she organised numerous conferences and was editor of the HRC/CCR Journal Humanities Research 2000-2008. As Deputy Director of the Queensland Art Gallery from 1982-1999 she played a key role in developing the Gallery’s international programmes and organised and curated many international exhibitions, including Matisse (with Roger Benjamin) with works from 50 collections worldwide, which toured Australia in 1995. In the mid-1980s Turner also began working in the area of contemporary Asian and Pacific art. She was co-founder and Project Director for nearly ten years for the Asia-Pacific Triennial exhibitions in 1993, 1996 and 1999. Turner was the scholarly editor of the three major catalogues in the 1990s and the book Tradition and Change: Contemporary Art of Asia and the Pacific, University of Queensland Press, 1993 and has written extensively on contemporary Asian art as well as lecturing on this subject internationally. Her book of essays Art and Social Change: Contemporary Art of Asia and the Pacific, Pandanus Press 2005 is a survey of the dramatic developments in Asian and Pacific contemporary art in the last decade. Her research has included an ARC grant ‘The Limits of Tolerance’ exploring the links between art and human rights. The Australian Government appointed her to the Australia-China Council in the 1980s and the Australia-Indonesia Institute in the 1990's.She was made a Member of the Order of Australia (AM) in 2009 for contributions to the visual arts and to the establishment and fostering of cultural relationships in the Asia-Pacific region.