artistic support material for career development grant

I am an early-career curator with an interest in the role of computational technologies in generating modes of meaning, cultural expressions and infrastructures of society. My practice includes making exhibitions, writing texts and software and forming collectives in order to speculate on media systems of automation, social computing, and immaterial labour. I am interested in pursuing collaborative curatorial methods and collective production of knowledge as a mode of de-universalisation. Below is a selection of some of my curatorial projects to give an overview of my work. 

 
 

Interactive documentation of final showcase of participants' work, coded in three.js

ratio club, 2017-2018

Ratio Club was an experimentation in the expanded field of curatorial pedagogy. The project explored computation as creative practice, and aimed to strengthen the skills of regional artists and build a community of peers working at the intersection of art and technology. Between November 2017 and January 2018, 10 artists were introduced to the JavaScript programming language as a medium for aesthetic and critical enquiry, alongside discussion sessions on the philosophical and cultural implications of computational technologies. The workshop model was based on alternative models of arts education, with an emphasis on tools, environments and techniques to facilitate transparency and peer-to-peer collaboration. This project also extended my personal research into digital documentation techniques, as I used three.js to present the outcomes of this project as an interactive interface. 


South west art now, 2016-2018

I was Exhibitions Curator at Bunbury Regional Art Gallery (BRAG) 2014-2018, which meant that I took primary responsibility for all temporary exhibitions. 

During this time I curated a comprehensive survey, "South West Art Now", which aimed to map the current state of contemporary artistic practice in the South West corner of Western Australia. I conducted studio visits throughout a region 60,000 square kilometres in size over two years, culminating in an exhibition and publication which were launched in February 2018.

The exhibition traced correspondences and contradictions in the work of the work of 60 artists under the themes of mapping, materials and movement, and focused on allowing suppressed histories to be heard. 

I wrote a substantial essay and profiles on each artist for the publication, as well as commissioning new writing on the connection between art and place. 

 View of installed exhibition, Bunbury Regional Art Gallery, 24 February - 13 May 2018

View of installed exhibition, Bunbury Regional Art Gallery, 24 February - 13 May 2018


Video documentation of exhibition, Heathcote Museum and Gallery, 17 June - 23 July 2017

NOISE MUSEUM, 2017

This exhibition looked at the politics of technology within the institution. The exhibition was held on the site of former mental hospital, Heathcote Museum and Gallery, at Goolyagatup - originally a Noongar place of initiation for young men. Noise was positioned in ideological opposition to the museum' construction of systems of categorization imposing order and meaning on objects, as a way of shifting emphasis to the qualitative, contextual and extrinsic. I invited six artists from UK, Australia and Germany to make new site specific work in order to create a shared aural environment. I sought to experiment with methods of curating sound using digital technologies in order to allow audiences to experience and interact with sound objects haptically and bodily. The exhibition attempted to work with the environment, creating an immersive social space and challenging the boundaries between sound, noise, music and art.


PARADATABASE, 2017

As the final project of my MA Digital Culture, I undertook an investigation into the structure of digitised museum collections to analyse how the mode and protocols of display guide the way in which we experience collections. This extended my written research into the role of software in the museum. 

I presented the installation CRUDREAM (Create Read Update Delete Rules Everything Around Me) in an exhibition at Laurie Grove Baths, Goldsmiths between 14-17 July 2017. This work included 3D printed representations of the publicly available metadata of the Tate Gallery, Powerhouse Gallery and Walters Art Museum, with an accompanying audio guide. Each dataset was in a different format, which I normalised to the same spatial interpretation by translating them into point clouds which I then turned into a 3D printable mesh.  

The final work framed each collection as a narrative, reflecting on the politics of classification as a balance between the fiction of ideal forms and reality of singular objects.  

 

 Alisa Blakeney, CRUDREAM, 2017. installation view

Alisa Blakeney, CRUDREAM, 2017. installation view


Interactive online component of "Does It Matter?" featuring artworks by Friendred, Orange, Ursula Pelczar, Gaby Sahhar

DOES IT MATTER?, 2017

Does It Matter was a collaborative curatorial project with Compiler, investigating the boundaries of digital and organic, virtual and physical, and self and non-self. The exhibition took place simultaneously online and in the basement of Out of the Brew, New Cross between 25-26 May 2017. 

The exhibition brought together four London-based artists whose work traces the relationship between matter and identity to challenge the idea of digital technology as virtual or immaterial. Through investigating the way in which individual realities are created, their work reminds us that our relationship to the digital world is also one of materiality: of circuits, wires, and silicon. 

Through this project I developed an interest in working towards curatorial projects that do not replicate traditional exhibition modes, but are adapted and appropriate to the media and ideas being expressed


PLAY SAFE, 2017

Play Safe was an exhibition I curated for Compiler, New Cross, examining the surveillance inherent in the practices of states, corporations, technological spaces and the idioms of digital art. The works in this exhibition moved from dystopian and disciplinary aspects of surveillance to the participatory, communal and ludic. 

My brief from Compiler required that the project be cross-disciplinary and connect artists and audiences. The artists in the exhibition included a journalist, a software developer and cryptography expert, a choreographer, an interaction designer and a sound designer. All works were interactive, including "If the Internet Could Dance", which translated websites into instructions for dance so that the public could participate in their own surveillance, and "Cryptobar" where visitors to the exhibition paired with a "Cryptobartender" who could diagnose their privacy complaints and prescribe a cocktail of cyber-security tools.  

The exhibition took place in New Cross, London between 6-8 April 2017 and presented work by Michela Carmazzi, Oscar Cass-Darweish, Eleanor Chownsmith, Saskia Freeke, and Fabio Natali. 

 Fabio Natali, Cryptobar, 2017, performance and installation

Fabio Natali, Cryptobar, 2017, performance and installation


So Long and thanks..., 2016

This exhibition attempted to present the complex and variable experience of place, inviting six contemporary artists with an historical connection to Bunbury to consider ideas around personal, community and civic identity arising from the city's relationship with the dolphins who visit its shores. 

The exhibition was presented at Bunbury Regional Art Galleries, 14 May - 13 June 2016, and included work by Caroline Dale, Grace Gammage, Dionne Hooyberg, Danni McGrath, Mark Parfitt and Gemma Weston. Each of these artists grew up in Bunbury, but no longer live there. Their work addressed themes of history, nostalgia, family and social connection, reflecting a vision of Bunbury’s identity that is connected, layered, and evolving.


keep running, 2015

I was Co-Director of the Perth-based artist run initiative Paper Mountain 2013-2015, where I helped deliver a series of events exploring the importance of community, collaboration and collective support in national artist-run culture. This included two exhibitions (Run Artist Run in 2013 and Keep Running in 2015) and a national symposium (Ari2Ari in 2015). 

Keep Running featured work by Boxcopy, FELTspace, Firstdraft, Freerange, Gotham Studios, Kings Artist Run, Moana Project Space, Sticky Institute, West Space & Paper Mountain. The exhibition was accompanied by a publication and discussion forum at Central Institute of Technology. The project was supported by City of Perth and the Government of Western Australia through the Department of Culture and the Arts.

 "Keep Running" install view, Paper Mountain, 2015

"Keep Running" install view, Paper Mountain, 2015