“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
“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.
“Perhaps it’s the dance music that confronts our jealousy, regrets, desires and despair—by directly addressing the hardships, contradictions and systemic failures of our time—that is empowering us to move through the chaos. Because even when life is so confusing, we can always work it out... on the remix.”
“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 Artlink Art / Write / Read Vol. 42, No.1March 2022 By Olivia J. Bennett
“[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 Gertrude Contemporary Art Ink Emerging Writers ProgramSeptember 2020
By Olivia J. Bennett
“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 Running Dog [This publication has since discontinued. I reflect on its disappearance in Art+Australia]
Digital4 September 2020 By Olivia J. Bennett
“Nonhuman objects speak, as do the bellows of Radio Belgrade, gurgling from a cthuloid nether to deliver us a sage warning. This warning is a call to memory—to not forget the atrocities and civil unrest of the past as we tread hesitantly towards a right rising future.”
ART IN YOUR INBOX The Big IssueAustralia 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.’”
“Desensitised by the flows of neoliberal society, Assayas and Mannheimer’s films reveal how we extort each other for a semblance of relational intimacy [...convincing ourselves of an authenticity shaped by the same capital forces that engineer value systems and magnify asynchronicities online.]”
“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.