The Bureau of Writing is a collaborative writing program designed for artists and presented alongside the 20th Biennale in association with Artspace. Conceived to highlight emerging or underrepresented practices in art and writing, it is inspired by key concepts explored in The future is already here – it’s just not evenly distributed: the ‘in-between’, and the blurring of traditional boundaries between art forms.
Increasingly, visual arts practitioners are working collaboratively and on the fringes of other disciplines; equally, contemporary writing practices merge genres, and engage with virtual and physical spaces. This project aims to encourage these conversations and explore the ways in which different disciplines fold into contemporary writing.
Australian and international artists, curators, writers, academics and participants in the 20th Biennale participate in a series of talks, public programs and workshops that will explore such questions as: How might writing constitute performance? How is meaning produced through language? How has our understanding of text been changed through experimental, performative, feminist, queer and ficto-critical writing practices? What online spaces and methods are being used for writing today?
Participants in the Bureau of Writing
Andrew Brooks is a Sydney-based artist, writer, curator and organiser. His work explores the politics of systems and contemporary aesthetics in the extended age of crisis, and takes the form of texts, installations, performances, lectures and sound recordings. He is a co-director of Firstdraft, Sydney, a former curator of the NOW now Festival of Exploratory Art, and a PhD candidate at UNSW Art & Design. He has performed and/or exhibited in Europe, Japan, New Zealand and Australia.
Beth Caird and Aodhan Madden are both artists and writers. Collaboratively they have worked as sub-editors for Issue 9 of un Magazine, produced the art/writing/labour performance Burn Rate at the Emerging Writers’ Festival, and have exhibited in art spaces across Australia and New Zealand.
Kelly Fliedner is a writer, curator, and co-founder and co-editor of West Space Journal (with Rowan McNaught), an online platform for criticism and commissions. She was Program Curator of West Space, Melbourne, from 2009 until 2013 and has been involved with the organisation in a variety of ways since 2006. She has also worked with organisations such as Monash University Museum of Art, MPavilion, Next Wave, un Magazine, and Melbourne Fringe, and was part of the Gertrude Contemporary Emerging Writers Program.
Benjamin Forster is not . ( Primavera, MCA, 12 ) sure . ( NEW13, ACCA, 13 )
was ( Reading, Stedelijk, 15 ) perhaps.
( co-editing with rc, un magazine, 14 ) o they are . ( , , Firstdraft, 13 )
ACT, WA, NSW based . ( Bachelor of Visual Arts Honours, ANU, 08 )
a corpus a body
or ( Kynic, CCAS, 13 ) she will . ( Residencies: MCA 13,
SymbioticA 09, PICA 09, CIA 12-13, FAC 11, Helsinki 14, etc ) no.
he assures you. ( Reading, De Appel, 15 ) you may
( My Brain Is in My Inkstand, Cranbrook Art Museum, 13 ) be unsure.
( SafARI, around SYD, 14 ) of acronym . of
Astrid Lorange is a writer, editor and teacher from Sydney. She lectures at UNSW Art & Design, where she researches writing and its relationship to contemporary art. She runs the talk series Conspiracy at Minerva Gallery, Sydney. Her book How Reading is Written: A Brief Index to Gertrude Stein was published by Wesleyan University Press in 2014. Poetry books include Eating and Speaking, Minor Dogs, one that made it alike and Pathetic Tower. Other work has been published in Das Superpaper, Artlink, un Magazine, Seizure, Jacket and Cordite, and exhibited at 107 Projects and 55 Sydenham Rd, Sydney and Margaret Lawrence Gallery, Melbourne. Lorange regularly speaks, performs, organises and arranges at galleries and festivals around Australia, such as the recent group show Hell Broth (co-curated with Vaughan O’Connor) at Firstdraft, Sydney, featuring works from emerging artists, designers and writers.
Sarah Rodigari addresses economies of exchange pertaining to sociopolitical engagement, shared authorship and new institutionalism. The form of her work is responsive and context specific. Her working method is interdisciplinary, and recent projects take the form of performance, installations, text, video, curating and collaboration. Rodigari has presented work nationally and internationally. A PhD candidate in Creative Arts at the University of Wollongong, she is a founding member of the collective Field Theory, who make and support art projects that cross disciplines, shift contexts and seek new strategies for intervening in the public sphere. She has written for and edited publications on performance, and is co-curator of the Sydney performance program Restaging, Restating Histories.