Olivia J. Bennett 

is a writer, editor & critic.


She works across narrative development, editorial strategy and cultural insight for creative, design-led projects.

Her writing spans screen, sound, software and the systems that shape them.


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ROMANIAN DIRECTOR ANDREI EPURE DRILLS DOWN ON ‘SABOTAGING REALISM’ IN HIS LOCARNO PLAYER ‘DON’T LET ME DIE’


“Epure takes inspiration from the strigoi of Romanian folklore, a spectral creature neither living nor dead. Seeking a conscious departure from the contemporary cinematic traditions of his home country – cultivated by the likes of Cristi Puiu and Corneliu Porumboiu – he ‘questions realism and its artificiality through soft ruptures.’”

Image Credit: Saga Films
EVERY LINK IS A BROKEN PROMISE: DELETING THE DIGITAL ART ARCHIVE


“This tendency to perform progress while sidestepping its material implications is everywhere. An art university without an art gallery is as senseless as software without hardware. Just like a digital art collection with no evolving archival strategy, both suggest an infrastructure that no longer serves its cultural purpose.“

Screenshot of the Prototype website as archived by the Internet Archive, captured 2 March 2024. Accessed 31 January 2025.


DRUNKEN MIND, HEAVY HEART


“Leaning on popular mythology and culturally specific rituals, Contact High’s curation splinters selfhood into a triad of spiritual negotiations. […] Transference becomes more than the repetition of self-perception—it is the continual practice of swerving into the light of a forked trajectory.”

Kenneth Suico, Nostos, Sing It To Me (Balikbayan), performance documentation, Contact High 2023, Gertrude Glasshouse, Naarm (Melbourne). Photo: Machiko Abe. Documentation facilitated by Open Practice Studio. Courtesy of Gertrude and Performance Review.
Sophie Gargan, when did you stop laughing, 2023, performance documentation, Contact High 2023, Gertrude Glasshouse, Naarm (Melbourne). Photo: Machiko Abe. Documentation facilitated by Open Practice Studio. Courtesy of Gertrude and Performance Review.
Diego Ramírez, I am a ‘diaspora’ Latinx. Hola. It means everyone back home thinks I am basic, 2023, performance documentation, Contact High 2023, Gertrude Glasshouse, Naarm (Melbourne). Photo: Machiko Abe. Documentation facilitated by Open Practice Studio. Courtesy of Gertrude and Performance Review.
Cover of Art / Write / Read, Issue 42:1, Autumn–Winter 2022. Cover image: Dean Cross, gunalgunal (contracted field), 2022 (detail).
 Page 37 of K-HOLE’s Youthmode: A Report on Freedom, October 2013. Retrieved from khole.net
KINGS OF WISHFUL THINKING: INTERNET IRONY AND ITS ILLUSIONARY CRITICS


“[Jaakko] Pallasvuo joins a burgeoning group of these artists turned curators turned critics or blanketed ‘content creators’, spiteful of the institutions that dare to govern them while pathologically averse to the criticism they bestow, taking to networking platforms to soothe their insecurity through memesis and mimesis[...].
KISSING AT THE INTERSECTION


“The vagary of the intersection [between art and technology] has developed a lexicon (both verbal and visual) that is being used by institutions to catfish audiences and artists into believing that they are delivering new work and providing genuine support.“

‘what if we kissed at the intersection of art and technology’ meme by Jillian Zhong aka @ada.wrong. Sold as an NFT to Foundation user @aito March 17, 2021.
Still from Speak So I Can See You (2019), dir. Marija Stojnić.
SPEAK SO I CAN SEE YOU
ART IN YOUR INBOX
The Big Issue Australia
Issue #61215 May 2020
By Olivia J. Bennett

“’Prototype’s Care Package is all about works that are made for the digital realm, made for small screens and responsive to the present moment,’ explains [Lauren] Carroll Harris. ‘We’re already seeing artists changing the way they work and think through states of emergency, and this program reflects that. It includes artists making some of the first works I’ve seen that directly respond to the COVID-19 crisis.’”

Still from Demonlover (2002), dir. Olivier Assayas.
STUCK BETWEEN PRESENCE AND ABSENCE: DEMONLOVER AND MATING
FALLING INTO THE BEAUTIFUL TRAP: THE MARATHON AS MODERN MALAISE
Overland
DigitalDecember 2019
By Olivia J. Bennett

“Taking proselytising outside of the gym and into the public, marathon-running has become the ultimate way to signal patriarchal and capitalistic virtues that are otherwise difficult to measure. The protagonists of Run Fat Boy Run and Brittany Runs A Marathon reveal that only through limitation do we feel as if we are without limits[...]“
Still from Brittany Runs a Marathon (2019), dir. Paul Downs Colaizzo.