Allanah Stewart is an artist from Aotearoa/New Zealand, currently living in Melbourne, Australia. As well as her work in various experimental music projects, she is the presenter of a monthly podcast radio programme called Enquiring Minds, hosted by Noods radio, which explores old and new, lesser known and well known sounds that loosely fit under the banner of experimental music.
Jen Callaway is a Melbourne musician, sound and performance artist, photographer, and community services worker raised in various parts of Tasmania. Current projects include bands Is There a Hotline?, Propolis, Snacks and Hi God People; and upcoming film Here at the End, by Campbell Walker, as actor/co-writer.
Isha Ram Das is a composer and sound artist primarily concerned with ecologies of environment and culture. He works with experimental sound techniques to produce performances, installations and recordings. He was the 2019 recipient of the Lionel Gell Award for Composition, and has scored feature-length films and nationally-touring theatre installations. He has performed at institutions such as the Sydney Opera House; Black Dot Gallery, Melbourne; Institute of Modern Art, Brisbane; Metro Arts, Brisbane; Museum of Contemporary Art, Sydney; and Boxcopy, Brisbane.
Dylan Robinson is a xwélméxw (Stó:lō) writer, artist, scholar and curator, He is Canada Research Chair in Indigenous Arts, and associate professor at Queen’s University in Kingston, Ontario. He is author of Hungry Listening, Resonant Theory for Indigenous Sound Studies, published by University of Minnesota Press.
Megan Cope is a Quandamooka woman (North Stradbroke Island) in South East Queensland. Her site-specific sculptural installations, video work and paintings investigate issues relating to identity, the environment and mapping practices. Cope’s work often resists prescribed notions of Aboriginality and becomes psychogeographies across various material outcomes that challenge the grand narrative of ‘Australia’ as well as our sense of time and ownership in a settler colonial state.
Australian musician Sean Baxter died on 15 March 2020. Part of Melbourne's improv scene, he is described by musician Anthony Pateras as possessing “a unique aesthetic vision and intellectual depth, mixing highbrow philosophical concepts with punk sensibilities in how he lived, spoke and played. He was pure energy.”
Drumkit and percussionist, Sean was an Australian improviser who forged an international reputation as a bold explorer of percussive possibilities both as a soloist and through his work with the acclaimed avant-garde trio, Pateras/Baxter/Brown. Focusing on the use of extended techniques applied to the conventional drum kit, he utilised an arsenal of metallic junk and other percussive detritus to expand the sonic palette of the percussion tradition. In addition to Pateras/Baxter/Brown, he was involved in many collaborations and was drummer for groups The Throwaways, Bucketrider, Lazy, SxSxSx and Terminal Hz.
Thomas Ragnar is an artist based in Singapore. His work is often underpinned by collaborations, affinities and research with experiential methodologies.
Alessandro Bosetti is an Italian composer, performer and sound artist, currently based in Marseille. His work delves into the musicality of spoken language, utilising misunderstandings, translations and interviews as compositional tools. His works for voice and electronics blur the line between electro-acoustic composition, aural writing and performance.
Lin Chi-Wei is a legend of Taiwanese sonic art, whose practice incorporates folklore culture, noise, ritual, and audience participation.
Mat Dryhurst is an artist who releases music and artworks solo and in conjunction with Holly Herndon and the record label PAN. Dryhurst developed the decentralised publishing framework Saga, which enables creators to claim ownership of each space in which their work appears online, and a number of audio plays that derive their narrative from the personal information of listeners. He lectures on issues of music, technology, and ideology at NYU, and advises the blockchain-based platform co-operative Resonate.is.
Sean Dockray is an artist, writer, and programmer living in Melbourne whose work explores the politics of technology, with a particular emphasis on artificial intelligences and the algorithmic web. He is also the founding director of the Los Angeles non-profit Telic Arts Exchange, and initiator of knowledge-sharing platforms, The Public School and Aaaaarg.
Author of Hearing the Cloud (Zero Books), Emile Frankel is a writer and composer researching the changing conditions of online listening. In his spare time he runs the Sci-Fi and critical fantasy publisher Formling.
Bridget Chappell is a raver and theory bro currently living on the unceded nations of the Latji Latji and Nyeri Nyeri people. They make music as Hextape and organise parties in drains, observatories, and other natural amphitheatres. They founded and run Sound School, work with young musicians behind bars, and make experimental sound technologies to challenge police sirens.
Holly Herndon experiments at the outer reaches of dance music and pop. Born in Tennessee, Herndon spent her formative years in Berlin’s techno scene and repatriated to San Francisco, where she completed her PhD at Stanford’s Center for Computer Research in Music and Acoustics. Her albums include Platform (2015) and Proto (2019).
Candice Hopkins is a curator, writer and researcher interested in history, art and indigeneity, and their intersections. Originally from Whitehorse, Yukon Territory, Hopkins is a citizen of Carcross/Tagish First Nation. She was senior curator for the 2019 Toronto Biennial of Art, and worked on the curatorial teams for the Canadian Pavilion at the 58th Venice Biennale, and documenta 14.
Raven Chacon is a composer, performer and artist from Fort Defiance, Navajo Nation. His work ranges from chamber music to experimental noise, to large scale installations, produced solo and with the Indigenous art collective Postcommodity. At California Institute of the Arts, Chacon studied with James Tenney, Morton Subotnick, Michael Pisaro and Wadada Leo Smith developing a compositional language steeped in both the modernist avant-garde and Indigenous cosmologies and subjectivities. He has written for ensembles, musicians and non-musicians, and for social and educational situations, and toured the world as a noise artist.
Lisa Lerkenfeldt is a multi-disciplinary artist working in sound, gesture and performance. Central to her practice is languages of improvisation and intimacy with technology. Traces of a personal discipline and form of graphic notation are introduced in the online exhibition 14 Gestures. The associated recorded work Collagen (Shelter Press, 2020) disrupts the role of the common hair comb through gesture and sound.
Haroon Mirza is an artist who intertwines his practice with the role of composer. Mirza considers electricity his main medium and creates atmospheric environments through the linking together of light, sound, music, videos and elements of architecture. Regularly showing internationally in group and solo exhibitions, Mirza’s work has also been included in the 7th Shenzhen Sculpture Biennale, China (2012) and the 54th Venice Biennale, Italy (2011), where he was awarded the Silver Lion.
Shanghai native 33EMYBW (Wu Shanmin) has been an active member in the Chinese music scene for over a decade. She has also performed at CTM and Sinotronics in Germany, China Drifting Festival in Switzerland, and SXSW. Her 2018 album Golem, released on SVBKVLT, was met with critical acclaim and voted one of the best electronic albums of 2018 by Bandcamp. In 2019 she released DONG2 EP under Merrie Records Beijing, and will premiere her sophomore album Arthropods (SVBKVLT) at Unsound 2019.
Alexander Garsden is a Melbourne-based composer, guitarist and electroacoustic musician, working across multiple exploratory musical disciplines. Recent work includes commissions from the Sydney Symphony Orchestra, the Melbourne Symphony Orchestra, Speak Percussion, Michael Kieran Harvey and Eugene Ughetti; alongside performances with artists including Tetuzi Akiyama (Japan), Oren Ambarchi, Radu Malfatti (Austria), Julia Reidy, David Stackenäs (Sweden), and with Erkki Veltheim and Rohan Drape. From 2014 to 2019 Garsden was Co-Director of the INLAND Concert Series. He has taught through RMIT University and the University of Melbourne.
Annika Kristensen is Senior Curator at the Australian Centre for Contemporary Art, Melbourne.
Arben Dzika is an artist whose practice involves working with various media including, but not limited to: sound, image, word, and performance. His work primarily seeks to reflect on, interrogate, and play with technologies, systems, and human senses. Within his practice, he works as a producer and DJ under the moniker, Dilae.
Audrey Schmidt is a writer and editor based in Melbourne, Australia. She is a regular contributor to Memo Review, co-editor the third issue of Dissect Journal, and has written for various publications including Art Monthly, Art + Australia and un Magazine. She co-founded Minority Report with Adam Hammad in 2018 and released one online issue that was available until the domain expired in 2019. Audrey sits on the FYTA (GR) Board of Advisors.
Autumn Royal is a poet, researcher, and educator based in Narrm/Melbourne. Autumn’s current research examines elegiac expression in contemporary poetry. Autumn is the interviews editor for Cordite Poetry Review, and author of the poetry collections She Woke & Rose (Cordite Books, 2016) and Liquidation (Incendium Radical Library, 2019).
Bianca Winataputri is a Melbourne-based independent curator and writer researching contemporary practice in Southeast Asia, and relationships between individuals and collectives in relation to history, globalisation, identity and community building. Currently working at Regional Arts Victoria, Bianca was previously Assistant Curator of Contemporary Art at the NGA. She holds a BA (University of Melbourne), and BA Honours from the ANU where she received the Janet Wilkie Prize for Art. In 2018 Bianca was selected for 4A Centre for Contemporary Asian Art’s Curators’ Intensive.
Brian Hioe was one of the founding editors of New Bloom, an online magazine covering activism and youth politics in Taiwan and the Asia Pacific, founded in 2014 in the wake of the Sunflower Movement. Hioe is a freelance writer on social movements and politics, as well as an occasional translator.
Chi Tran is a writer, editor, and an artist who makes poems that may be text, video, object, sound, or drawing. Chi is primarily interested in working with language as a means of coming-to-terms. Their work has been published by Incendium Radical Library Press, Cordite Poetry Review, Australian Poetry and Liminal Magazine and exhibited at galleries including Firstdraft, Sydney; Punk Café, Melbourne; and ACCA, Melbourne. In 2019, as a recipient of The Ian Potter Cultural Trust Fund, Chi spent three months in New York developing their practice with renowned poets including Mei-mei Berssenbrugge, Fred Moten, and Jackie Wang.
Chun Yin Rainbow Chan is a Hong Kong–Australian artist, living in Sydney. Working across music, performance and installation, Rainbow is interested in the copy and how the ways in which it can disrupt Western notions of ownership. Central to Rainbow's work is the circulation of knock-off objects, sounds and images in global media. Her work positions the counterfeit as a complex sign that shapes new myths, values and contemporary commodity production.
Dale Gorfinkel is a musician-artist whose stylefree improvisational approach informs his performances, instrument-building, and kinetic sound installations. Aiming to reflect an awareness of the dynamic nature of culture and the value of listening as a mode of knowing people and places, Dale is interested in bringing creative communities together and shifting perceived boundaries. Current projects include Prophets, Sounds Like Movement, and Music Yared as well as facilitating Art Day South, an inclusive arts studio with Arts Access Victoria.
Danni Zuvela is a curator and writer based in Melbourne and the Gold Coast. Her research is informed by interests in feminism, activism, ecology, language and performance. With Joel Stern, Danni has led Liquid Architecture as Artistic Director, and continues to develop curatorial projects for the organisation.
Eric Avery is a Ngiyampaa, Yuin, Bandjalang and Gumbangirr artist. As part of his practice Eric plays the violin, dances and composes music. Working with his family’s custodial songs he seeks to revive and continue on an age old legacy – continuing the tradition of singing in his tribe – utilising his talents to combine and create an experience of his peoples culture.
Fjorn Butler is an artist, researcher, and event organiser. As an artist, she works primarily in sound and performance under the name Papaphilia. As a researcher, she interrogates how biological discourses are used in neoliberal/colonial governance structures to shape the political. Fjorn's research informs her writing on sound-poetics and the challenges this framework poses to anglophone notions of property. She is also co-director of Future Tense and co-curator of Writing and Concepts.
Freya Schack-Arnott is an Australian/Danish cellist who enjoys a multi-faceted career as a soloist and ensemble performer of classical and contemporary repertoire, curator and improviser within experimental music, electronics, popular and cross-disciplinary art forms. Schack-Arnott regularly performs with Australia's leading new music ensembles, including ELISION Ensemble (as core member) and Ensemble Offspring. Her curatorial roles include co-curator/founder of the regular 'Opus Now' music series and previous curator of the NOW Now festival and Rosenberg Museum.
Gooooose (Han Han) is an electronic music producer, visual artist and software developer based in Shanghai, China. His current releases include They (D Force, 2017), Dong 1 (D Force, 2018), Pro Rata (ANTE-RASA, 2019). Gooooose's 2019 SVBKVLT–released RUSTED SILICON received positive reviews from media including boomkat, Resident Advisor, Dusted Magazine, and The Wire. Gooooose has performed live at CTM (Berlin, 2018), Nyege Nyege (Kampala, 2019), Soft Centre (Sydney, 2019), Unsound (Kraków, 2019) and Recombinant (San Francisco, 2019).
Harmony Holiday is a writer, dancer, archivist, director, and the author of four collections of poetry, Negro League Baseball, Go Find Your Father/A Famous Blues, Hollywood Forever, and A Jazz Funeral for Uncle Tom. She lives in New York and Los Angeles.
James Rushford is an Australian composer-performer who holds a doctorate from the California Institute of the Arts, and was a 2018 fellow at Academy Schloss Solitude in Stuttgart. His work is drawn from a familiarity with specific concrète, improvised, avant-garde and collagist languages. Currently, his work deals with the aesthetic concept of musical shadow. James has been commissioned as a composer by ensembles including the BBC Scottish Symphony Orchestra (Glasgow), and Melbourne Symphony Orchestra, and regularly performs in Australia and internationally.
Jessica Aszodi is an Australian-born, London-based vocalist who has premiered many new pieces, performed work that has lain dormant for centuries, and sung roles ranging from standard operatic repertoire to artistic collaborations. She has been a soloist with ensembles including ICE; the Melbourne, Sydney and Adelaide Symphony Orchestras; and San Diego and Chicago Symphony Orchestras’ chamber series. Aszodi can be heard on numerous recordings and has sung in festivals around the world. She holds a Doctorate of Musical Arts from the Queensland Conservatorium, an MFA from the University of California, and is co-director of the Resonant Bodies Festival (Australia), and artistic associate of BIFEM.
Kt Spit (Katie Collins) is an artist and musician based in Narrm (Melbourne). Lyrically and visually her work explores subcultural narratives and challenges dominant representations of loss, grief, and true love. In 2015 Kt independently released her debut album, Combluotion, and in 2019 will release a visual album entitled Kill the King.
The Convoy conjure illustrious soundscapes from the abyss of chaos, revealing hidden worlds of the imagination as the performance takes form and infuses with subjective experience. Using instruments of sound, light and smell, The Convoy enchant space with themes of tension, evolution, entropy and regeneration. Sensorial immersion transports audiences through highly dynamic environments that shift and blend into one single, breathing moment. As entity, rather than singular, Immy Chuah is a guest within The Convoy on unceded land.
I’m interested in what can be done with one’s identity and the space around it. Both my body and mind, touching everyday feelings between the rational, the playful and the political. Of course, this is often to do with my disability and my sexuality. My work has been focused on access, and the lack of it — to places, people’s minds and opportunities. I find plasticine is a great subverter of space and potentially of people’s minds. And the continued flexibility of it is something I am really enjoying — covering or filling up gaps and playing with crevices. But I’m finding that my work is drawing more and more to spoken word as a powerful format.
Sarah McCauley is a Melbourne-based music producer, editor and writer.
Neil Morris is a Yorta Yorta, Dja Dja Wurrung man. He is well known in Narrm/Birraranga for his musical project DRMNGNOW, a project built on subject matter tackling the colonial nature of the Australian construct and how that affects contemporary society upon this land. The work is unapologetic, clear, and deeply poetic. It hints toward Morris's extensive experience as a spoken word artist in Narrm since 2015. Morris's work is triumphant in the face of severe adversity often imbued in a quite fortified melancholy, a powerful marker of the survival of First Nations peoples in the now.
Natasha Tontey is an artist and graphic designer based in Yogyakarta. She is interested in exploring the concept of fiction as a method of speculative thinking. Through her artistic practice she investigates the idea of how fear, horror, and terror could be manifested in order to control the public and how fictional accounts of the history and myth surrounding ‘manufactured fear’ might operate as a method of speculative fiction that determines expectations for the future.
Mat Spisbah is a New Media curator with a unique portfolio of programming that seeks to integrate non-traditional artistic methods and emerging technologies. Having lived in Hong Kong for 14 years, he is connected to the region’s art and culture, and has created professional networks with artists, curators, galleries, promoters and industry professionals across Australasia. Portfolio highlights include the debut Australian performances of north Asian artists including: Howie Lee, Rui Ho, Meuko Meuko, Pan Daijing, Alex Zhang Hungtai, Tzusing, and Gabber Modus Operandi.
Mandy Nicholson is a Wurundjeri-willam (Wurundjeri-baluk patriline) artist and Traditional Custodian of Melbourne and surrounds. Mandy also has connections to the Dja Dja wurrung and Ngurai illam wurrung language groups of the Central/Eastern Kulin Nation. Mandy gained a Bachelor of Arts (Honours) in Aboriginal Archaeology in 2011, worked for the Victorian Aboriginal Corporation for Languages for six years and is now a PhD candidate studying how Aboriginal people connect to Country, Off Country.
Lucreccia Quintanilla is an artist, writer, DJ and PhD candidate researcher at Monash University. Her writing and art have been published and exhibited both within Australia and internationally. Quintanilla’s practice is a collaborative one that manifests into outcomes within galleries and also as events and performances outside of that context. She regularly speaks at panels and symposiums on themes within her research, has received grants for her projects and residencies, and has taught at university level.
Amanda Stewart is a poet, author, and vocal artist. She has created a diverse range of publications, performances, film and radio productions in Australia, Europe, Japan, and the USA, working in literature, new music, broadcasting, theatre, dance, and new media environments. Amanda collaborated with Chris Mann for many years in the Australian ensemble, Machine For Making Sense (with Jim Denley, Rik Rue, and Stevie Wishart), as well as in other contexts. Her poem ‘ta’ was written in honour of Chris Mann’s extraordinary vision and work.
Holly Childs is an artist and writer. Her research involves filtering stories of computation through frames of ecology, earth, memory, poetry, and light. She is the author of two books: No Limit (Hologram, Melbourne) and Danklands (Arcadia Missa, London), and she collaborates with Gediminas Žygus on ‘Hydrangea’. She is currently writing her third book, What Causes Flowers Not to Bloom?.
Ivy Alvarez’s poetry collections include The Everyday English Dictionary, Disturbance, and Mortal. Her latest is Diaspora: Volume L (Paloma Press, 2019). A Fellow of MacDowell Colony (US), and Hawthornden (UK), her work is widely published and anthologised (twice in Best Australian Poems), with poems translated into Russian, Spanish, Japanese and Korean. Born in the Philippines and raised in Australia, she lived in Wales for almost a decade, before arriving in New Zealand in 2014.
Nick Ashwood is a guitarist, composer, improviser and performer from Nipaluna/Tasmania now residing in Sydney. His focuses have been exploring deep listening, harmonic space and the possibilities of the steel-string acoustic guitar by means of preparations, just intonation, objects and bowing.
Berlin-based composer-performer Johnny Chang engages in extended explorations surrounding the relationships of sound/listening and the in-between areas of improvisation, composition and performance. Johnny is part of the Wandelweiser composers collective and currently collaborates with: Catherine Lamb (Viola Torros project), Mike Majkowski (illogical harmonies), Phill Niblock, Samuel Dunscombe, Derek Shirley and others.
Megan Alice Clune shifts between musician, composer and artist. Primarily, her work explores both the concept and aesthetics of ambient music through sound installation, collaboration and performance. Megan is the founding member of the Alaska Orchestra, and has presented work and undertaken residencies across Australia, Asia, Europe and North America, including the Bang on a Can Summer Music Festival (MA), Next Wave Festival, Underbelly Arts Festival, Performa 15 (NYC) and VividLIVE at the Sydney Opera House.
Andrew Fedorovitch is compos mentis. Andrew Fedorovitch embodies professionalism in every aspect of his life, including music.
Shota is an artist working in Australia. He makes sound-based works for varying contexts. He has had the opportunity to collaborate with a multitude of artists from varying disciplines. Shota is currently an honours student who is associated with the Plant ecophysiology and Ecosystem processes lab at the University of Sydney.
Sonya Holowell is a Dharawal woman, vocalist, composer and writer working across new and experimental genres. The contexts for her work, and the forms they take, are diverse and deeply questioning. Her practice comprises interdisciplinary collaboration, improvisation, multi-form writing and conceptual composition. She is also a workshop facilitator; a curator of the Now Now Festival; lecturer in experimental vocal practice; and a co-founder/editor of online arts publication ADSR Zine.
Alexandra Spence is an artist and musician living on Gadigal country in Sydney, Australia. She makes installations, compositions and performances based on (everyday) sound and listening. Through her practice she attempts to reimagine the intricate relationships between the listener, the object, and the surrounding environment as a kind of communion or conversation. She has a current, near-spiritual, obsession with the animation of material and object through sound. Alex has performed and presented work on radio, in concerts, festivals, symposiums and galleries worldwide, and has two releases: Waking, She Heard The Fluttering, with Room40, and Immaterial, with Longform Editions.
MP Hopkins is an artist based in Sydney, Australia, that is concerned with how to record voices that are not really there, and ways to make voices that are there not sound like voices. He makes audio recordings, performances, and texts.
Joel Stern is a curator, researcher, and artist living and working on Wurundjeri land in Melbourne, Australia. He has been Artistic Director of Liquid Architecture since 2013. In 2018, with critical legal scholar James Parker, Stern curated Eavesdropping, an expansive project addressing the ‘politics of listening’ through work by artists, researchers, writers, detainees and activists from Australia and around the world.
Georgia Hutchison is a cultural development practitioner and arts executive in Naarm/Melbourne, and Executive Director/CEO of Liquid Architecture. Her practice as an artist, educator, organiser and strategist crosses contemporary art, music, design and social justice.
Rob Thorne (Ngāti Tumutumu) is a new and original voice in the evolving journey of Taonga Puoro. His debut album Whāia te Māramatanga (Rattle Records) is a deeply felt and highly concentrated conversation between the past and the present—a musical passage of identity and connection. Using modern loop technology and traditional Māori flutes and horns made from stone, bone, shell and wood, Thorne creates a transcendent aural experience that touches the soul with timeless beauty. Every performance of Whāia te Māramatanga is a stunning and very personal exploration of the spiritual and healing qualities of an ancient practice.
Michiko Ogawa is a performer-composer specialising in the clarinet, born and raised in Tokyo, Japan. She performs not only classical repertoire but also contemporary and experimental music, including free improvisation and film soundtrack work. In 2019 she was awarded a doctorate (DMA) from the University of California San Diego, with a dissertation focusing on the film music of Teiji Ito. She is in the beginning stages of writing a biography of Ito’s life.
Curious about the tender intersections between art, life and friendships, Emma Nixon is an emerging curator and writer. In 2018 she completed a Bachelor of Art History and Curating at Monash University and co-founded Cathedral Cabinet ARI in the Nicholas Building. In Melbourne she has curated and written about exhibitions that investigate subjects such as abstraction, the domestic, care and collage within contemporary art.
Fayen d’Evie is an artist and writer, based in Muckleford, Australia. Her projects are often conversational and collaborative, and resist spectatorship by inviting audiences into sensorial readings of artworks. Fayen advocates the radical potential for blindness, arguing that blindness offers critical positions and methods attuned to sensory translations, ephemerality, the tangible and the intangible, concealment, uncertainty, the precarious, and the invisible. With artist Katie West, Fayen co-founded the Museum Incognita, which revisits neglected or obscured histories through scores that activate embodied readings. Fayen is also the founder of 3-ply, which investigates artist-led publishing as an experimental site for the creation, dispersal, translation, and archiving of texts.
Debris Facility Pty Ltd is a para-corporate entity who engages im/material contexts with the view to highlight and disrupt administrative forms and their embedded power relations. Deploying print, design, installation, and wearables as the most visible parts of operations, they also work in experimental pedagogy and perforated performance of labour. They are a white-settler parasite with theft and dispossession as the implicated ground from which they work. They currently hold contracts with Liquid Architecture, Victorian College of the Arts, Monash University and Debris Facility Pty Ltd.
Timmah Ball is a writer and urban researcher of Ballardong Noongar descent. She has written for The Griffith Review, Right Now, Meanjin, Overland, Westerly, Art Guide Australia, Assemble Papers, The Big Issue, The Lifted Brow, the Victorian Writer magazine and won the Westerly Patricia Hackett Prize for writing.
Jessie Scott is a practising video artist, writer, programmer and producer who works across the spectrum of screen culture in Melbourne. She is a founding member of audiovisual art collective Tape Projects, and co-directed and founded the inaugural Channels Video Art Festival in 2013.
Christopher L G Hill is an artist, poet, anarchist, collaborator, facilitator, lover, friend, DJ, performer, sound pervader, publisher of Endless Lonely Planet, co-label boss; Bunyip trax, traveller, homebody, dancer, considerate participator, dishwasher, writer, bencher, eater, exhibitor: Sydney, Physics Room, Westspace, TCB, BUS, Punk Cafe,100 Grand street, Lismore Regional Gallery, Good Press, Gambia Castle, Conical, GCAS, NGV, VCA, Mission Comics, Slopes, Art Beat, Papakura Gallery, Neon Parc, UQ Gallery, Tate Modern, Connors Connors, Glasgow International, Sandy Brown, OFLUXO, New Scenarios, Margaret Lawrence, Flake, Utopian Slumps, World Food Books, Sutton, Rearview, Joint Hassles, a basement, a tree, Innen publications, SAM, Chateau 2F, etc, and tweeter, twitcher, sleeper, Biennale director (‘Melbourne Artist initiated’ 2008, 2011, 2013, 2016, 2018-20), DJ, retired gallerist Y3K, conversationalist who represents them self and others, born Melbourne/Narrm 1980c.e, lives World.
Iliass Saoud was born in Halba, Lebanon in 1960 as the sixth of eight children of Wakim and Nadima Saoud. Escaping the Lebanese Civil War in 1977, Iliass migrated to Canada pursued a BA in Mathematics from Dalhouse University in 1982. In 1987 he married Janice Joseph (Fakhry) before settling in Australia to raise his family in 1997, owning a variety of small businesses including the Gaffney Street post office across from the Lincoln Mill’s Centre in Coburg from 2005-2011. Currently, Iliass works part time at a local newsagency and is an avid Bridge player and a dedicated grandfather of one.
Dimitri Troaditis works in the Greek-Australian media. As a poet he has been extensively published in Greece and in Australia in numerous literary journals, websites, blogs and anthologies. He has published six poetry collections and two social history books so far. He has organised poetry readings in Melbourne for years and translates others’ poetry. He runs poetry website To Koskino and was a resident of Coburg for 19 years.
Luisa Lana was born in Australia in 1953. Her mother Nannina had arrived in Australia in 1950 with a 3 month old son, and worked for many years on the sewing room floors and her father Angelo worked on the docks where he helped unionise the Italian workforce. Luisa and her brother were latchkey kids, as they looked after themselves in the morning and ran the ‘Continental’ deli in the evenings. Luisa attained a teaching degree, then a postgrad in Social Sciences, and twice studied Italian at The University for Foreigners in Perugia, Italy. Luisa married Luigino Lana, a Venetian migrant who operated a mechanic business in Brunswick for over 30 years. She devoted her life to being an educator and a mother, teaching Italian to English speakers and English to generations of migrants from around the world. Currently Luisa is translating her father's memoirs from Italian to English, and enjoying being a Nonna.
Anabelle Lacroix is a French-Australian curator, writer and radio contributor. Working independently in Paris, she is based at Fondation Fiminco for a year-long residency focused on the politics of sleeplessness (2020). She has a broad practice, and a current interest in experimental practice, working with performance, sound, discourse and publishing. She is a PhD candidate at UNSW Art & Design.
Geoff Robinson is a Melbourne-based artist working on Wurundjeri country. Robinson creates event-based artworks that utilise the temporal qualities of sound and performance and the spatial conditions of physical sites to unravel the durational layers of place. Robinson has presented projects with Titanik, Turku; Bus Projects, Melbourne; Liquid Architecture, Melbourne; and MoKS, Mooste, Estonia. He was awarded the Melbourne Prize for Urban Sculpture 2014 and completed the PhD project Durational Situation at MADA, Monash University, Melbourne, 2018.
Mattin is a cross disciplinary artist working with noise, improvisation and dissonance. His work Social Dissonance was presented at documenta 14 in 2017 in Kassel and Athens.
Elena Biserna is a scholar and independent curator based in Marseille (France), working at the intersection of social, political and public spheres.
Tobi Maier is the director of Lisbon’s Municipal Galleries, and recently presented Mattin’s Expanding Concert (2019–2023) a four year long concert distributed in time and space through different media: 5 public interventions in 5 different galleries in Lisbon, and 5 texts published within the city.
Clare Milledge is an artist and academic, she lives and works between the lands of the Arakwal people in Bundjalung country (Broken Head, Northern NSW) and the lands of the Bidjigal and Gadigal people (Paddington, Sydney). She is a Senior Lecturer at UNSW Art & Design and is represented by STATION gallery.
Alexander Powers is a choreographer, performer and DJ from Naarm. In 2019 they premiered their first full length choreographic work Time Loop at the Melbourne Fringe Festival, receiving the Temperance Hall Award at the Fringe Awards. Under the moniker Female Wizard, they are known internationally for their forward-thinking DJ sets. They’ve performed at Golden Plains, Dark Mofo, Boiler Room, Hybrid Festival and Soft Centre and held a four year residency at Le Fag.
Zoe Scoglio’s (often collaborative) practice explores the space of art as a site of study and sociality to engage the radical imagination towards alternative ways of being, knowing and relating. Current research takes critical and collective somatic approaches towards response-ability in these times of ecological collapse, within settler colonial conditions. Past projects have taken place within varied contexts, on top of mountains and under full moons, as large collective choreographies and intimate encounters.
Tricky Walsh is a non-binary artist working in New Norfolk, Tasmania, who works both collaboratively and in a solo capacity. Their projects focus on both spatial and communication concerns in an increasingly speculative manner and while they use a diversity of media (architecture, painting, drawing, sculpture, installation, sound, film, comics, radio) it is foremost the concept at hand that determines which form of material experimentation occurs within these broader themes.
Kengné Téguia is a Black Deaf HIV+ cyborg artist, who works with sound deafinitely. #TheBLACKRevolutionwillbeDEAFinitelyLoud
Angela Goh is a dancer and choreographer. Her work poses possibilities for disruption and transformation inside the aesthetics and conditions of technocapitalism, planetarity, and the post-anthropocene. She lives and works in Sydney, and has toured her work across Australia, Europe, the UK, the USA and Asia. She received the 2020 Keir Choreographic Award and the inaugural Sydney Dance Company Beyond the Studio Fellowship 2020-21.
Jannah Quill’s deconstructive exploration of electronic instruments and technologies manifests in sound production and experimental audio-visual performance and installation. Cracked electronics wrangle with club beats; modified solar panels sonify pulsing frequencies of light. Central to Intervention Blue is the relationship of circadian rhythms and artificial screen light; it’s an experiment in re-syncing screen time with our biological rest patterns and mapping a global sonic signature of light and time.
Tom Smith is a Melbourne-based artist, musician and researcher whose work combines video assemblages, experimental performance, speculative fiction, electronic music, websites and critical writing. Tom’s work is concerned with the politics and poetics of computational systems, the contradictions of creative economies, generic digital aesthetics and music as a mode of critical inquiry. Tom is also one half of music production duo Utility, and runs an independent record label called Sumactrac with Jarred Beeler (DJ Plead) and Jon Watts.
Pris Roos grew up in Rhenen, the Netherlands. Her family migrated from Bogor, Indonesia, to start their own toko in the Netherlands. Toko is the Indonesian word for shop, and they sell non-Western food (products). Roos grew up in the toko, a space of being together, and full of colours, smells, food, stories and images of immigrants. The toko is a source of inspiration for her artistic practices. Stories that are normally not heard find their way in her works. Roos makes portraits of immigrants that she meets in the toko, on the streets or in her surroundings of the South of Rotterdam. She visits them at home or invites them to her atelier. The stories are translated into painted portraits, videos, installations and spoken word performances.
Winnie Dunn is a Tongan-Australian writer and arts worker from Mt Druitt. She is the general manager of Sweatshop: Western Sydney Literacy Movement and holds a Bachelor of Arts degree from Western Sydney University. Winnie’s work has been published in the HuffPost Australia, The Saturday Paper, Griffith Review, Meanjin Quarterly, SBS Voices and Cordite. She is the editor of several anthologies including Sweatshop Women, The Big Black Thing and Bent Not Broken. Winnie is currently completing her debut novel as the recipient of a 2019 CAL Ignite Grant.
Jon Watts is a Melbourne/Naarm based musician, designer, 3D artist and animator. His music has been released through cult labels SUMAC and Butter Sessions, and he is currently Senior Multimedia Installer at the National Gallery of Victoria.
Jason De Santolo (Garrwa and Barunggam) is a researcher & creative producer based in the School of Design, University of Technology Sydney, Australia. He has worked with his own communities as an activist and advocate using film and performance, protest and education to bring attention to injustices and design solutions using Indigenous knowledge.
Kynan Tan is an artist interested in the relations and conditions of computational systems, with a focus on data, algorithm, networks, materiality, control, and affect. These areas are explored using computer-generated artworks that take the form of simulations, video, sound, 3d prints, text, code, and generative algorithms.
Snack Syndicate, two rats (Andrew Brooks and Astrid Lorange) living on unceded Wangal land; texts, objects, events, meals, and publics.
Spence Messih is an artist living and working on Gadigal land. Their practice speaks broadly to sites of pressure, power structures, materiality, and language, and more specifically about these things in relation to their own trans experience.
Tom Melick is the co-editor of Slug and part of the Rosa Press Collective and Stolon Press.
Trisha Low is a writer living in the East Bay. She is the author of The Compleat Purge (Kenning Editions, 2013) and Socialist Realism (Emily Books/Coffee House Press, 2019).
‘Conjure up flowers, wind, water, a big rock.’1
On 9 May 2020, an article was published in The Guardian called, ‘The real Lord of the Flies’2 written by a Rutger Bregman, a Dutch Historian. Bregman’s article outlines how six Tongan boys — Tevita (David) Siola’a, Sione Fataua, Luke Veikoso, Fatai (Stephen) Latu, Kolo Fekitoa and Sione Totau (known as Mano) — now men, survived being stranded on the island of ‘Ata for fifteen months through teamwork and innate skill. The boys were eventually ‘saved’ by a White Australian fisherman sailing by, named Peter Warner, who took the boys back to Tonga. In return, Warner asked the Tonga’s King for fishing rights in Tongan waters, a right to run a business on Tongan soil, and for full international film rights on the boys’ story.
All of this is what a White man saw as a ‘fair trade’ for stumbling across stranded youth and doing due diligence by returning them home. Instead, like every White man who comes into contact with land that is not their own, Warner saw this as a chance to gain leverage over the Tongan people and a way to excel his own enterprise. Whether or not these were exactly Warner’s conscious thoughts, there is no doubt that his actions speak to a long history of European colonialism. I use the term colonialism here to identify how White people extended their self-appointed authority over other people and territories. In his article, which quickly went viral, Bregman even outlines Warner’s own colonial history as the son of ‘one of the richest and most powerful men in Australia’ who ran away from his fortunes and sailed to ‘Hong Kong to Stockholm, Shanghai to St Petersburg’ in search of ‘adventure’.
Tourism is a form of colonialism. Many young privileged White people are encouraged by friends and families to ‘find themselves’ by ‘going out and seeing the world’. Although well meaning, this advice is an extension of colonialism because it centres White people’s personal growth as the sole reason to travel uninhibited and uninvited. Colonialism established the West as first-world while almost every nation outside of it has become third-world by comparison.
Therefore, tourism as a form of Eat, Pray, Love3 adventure seeking, has created an abusive relationship where third-world countries have placed their financial dependence on tourism. From gap years to honeymoons, Australia has set up this colonial relationship within the Pacific Islands, particularly with Fiji. With Australia and New Zealand as Fiji’s two biggest sources of international travellers, Fiji has come to rely on tourism to maintain its economy. When Australia and New Zealand established an international travel ban earlier this year, the ABC reported that over 100,000 Fijian employees lost their jobs. The power of colonial tourism and the reliance it maintains of those it subjugates is significant when we consider that ‘around one in nine Fijians work in the tourism industry and it is responsible for more than a third of Fiji’s Gross Domestic Product (GDP).’4
In the recent wake of a global pandemic and thousands of forcibly impoverished Pacific Islanders, all I have to ask is this: if a wave crashes on Liku beach and no tourist is around to hear it, does it make a sound?
Nowhere in his article does Bregman make the connection between Warner’s actions and colonialism. Instead both Warner and Bregman are presented to the reader as testaments to the ‘good and positives in people’ saviours and researchers who just want to bring people together. The long and atrocious history of colonialism in the South Pacific is confined to just one sentence: ‘[‘Ata] had been inhabited once, until one dark day in 1863, when a slave ship appeared on the horizon and sailed off with the natives.’
When we finally get a second-hand account of Fatai (Stephen) speaking, he is depicted as ‘naked’ with shoulder length hair, as a ‘wild creature that leaped from the cliffside and plunged into the water’ and the utter surprise felt when Fatai (Stephen) spoke ‘perfect English’. This is all recounted without once acknowledging that Tonga has had 99-98% literacy rates since it was first documented and maintains English as a major subject course from primary school.5
Bregman’s article, which ends on his own personal interactions with Warner, is a testament to what anthropologist Ghassan Hage argues as the fantasy of White supremacy6. This fantasy dictates that White people centre themselves in stories, lands, and interactions that are not their own because they have deluded themselves into their own self-appointed good. The idea of ‘good’ is a dangerous one, especially when White men like Bregman is defining it in his new book: Humankind: A Hopeful History7. The whole of humankind cannot be relegated to just seeing the good in everybody because it negates the accountability and responsibility required to address the crises happening in our world, from colonialism to the climate. I believe any White person who thinks otherwise is living in a dangerous fantasy that benefits only their feelings, at the expense of the lived trauma of Indigenous people, African people, Arab people, Asian people — all of us who are racially minoritised.
An Arab-Australian Muslim poet was the first to send me Bregman’s article the morning it dropped. ‘Aye Moana, have you seen this?’ he texted me. ‘Tfeh.’ I laughed, in text reply, but I also remember rolling my eyes, growing tired of the Disney princess jokes I was bound to keep hearing that day since I’m usually the only Tongan people know. But, as I watched the story of Tevita, Sione, Luke, Fatai, Kolo and Mano become viral, I felt as if my hot skin and clenched jaw would rise just that 1.5 degree and drown me completely. Why are Tongans only ever on mainstream news when we are being homophobic8 when we are being indentured into slave labour9, or when we are left stranded waiting for a White man to save us?
Tongans are not ‘the real Lord of the Flies’. Our stories are not meant solely for comparison to Western fiction. We are already real because we exist, and our stories are so uniquely our own that they can have no comparison.
Every time the gum leaves rustle on my walk by Plummo Beach, all my muscles tense as if being shoved into a can of corned beef. From August to November, I’m always waiting for the swoop from a magpie, the sharp flick of feathers like scrunched paper, warning for me to get lost kient. True. My ancestors are from Tonga. What business do I got being on Dharug land? None. But I’m here anyway, through the blood of my grandmother, which she has shed across three generations as her penitence for agreeing to an arranged marriage with a White man.
‘Stranded’ is a loaded word, especially when spoken by or about people from various islands in the Pacific. The Oxford English Dictionary defines ‘stranded’ as ‘left without the means to move from somewhere.’11 I think of the act of colonisation as a means of creating stranded strands of people. Where we are forced to migrate from our homes that eventually become only a feeble and fictional version of themselves in our minds and in the minds of the generations who follow us. War, poverty, famine, climate catastrophe, colonisation, industrialisation — all things that come into a homeland and forcibly remove a people and eventually an entire nation.
When colonisation began in the South Pacific, White people sailed to our shores uninvited and preached of a loving God with blond hair and blue eyes. The islands throughout the Pacific Ocean were considered stranded pieces of land filled with fresh fruit and naked noble savages. It wasn’t until our current century that Tongan anthropologist and novelist Epeli Hau‘ofa identified that the islands, and the people who had cultivated and cared for them for thousands of years, are connected. ‘Our roots, our origins, are embedded in the sea […] the sea is our most powerful metaphor, the ocean is in us.’12
But grandfather Hau‘ofa also holds us into account for perpetuating the myth of exotic primitivism that was fed to us by our colonisers. Hau‘ofa writes that ‘in a number of Pacific societies people still divide their history into two parts: the era of darkness associated with savagery and barbarism, and the era of light and civilisation ushered in by Christianity.’
We are mixed-race but we never say we are White. We say, ‘I am Tongan’ because our brown skin and mahana hair is what everyone sees first. It is what everyone sees first when we ask them to take our soy coffee frappuccino order at the Mounty Starbucks and they ask, ‘What are you?’ over the wail of police sirens. We never reply, ‘I am Irish and English.’ even though that’s the element that makes us mixed-race, even though we think that would be mad funny. We actually reply, ‘I’m Tongan.’ and feel our smile open like a cut when they remark over grounded coffee, ‘Really! You looked more Asian to me. Maybe coz of how skinny you are.’
When we are mixed-race, we reverse a societal norm that centres Whiteness. Instead, we push our White ancestry to the margin, offering instead our ethnic centre, only for it to become erased. In this way, we prefer erasure. This is because we know that to say we are White would somehow justify the wounds of trauma that makes our entire skin lightened like a scar in the sun.
Is diaspora just another word for stranded?
For Dr Jumana Bayeh, author of The Literature of the Lebanese Diaspora13, diaspora means a community of people who have migrated to various places outside of a supposed homeland. The migration itself is not necessarily focused on a right of return, much like the Zionist definition of diaspora, but rather of understanding how we fit into the lands we have settled on (chosen or otherwise) and how the homeland changes from our new point of view.
The closest body of water I ever grew up around was a polluted pond sometimes called Plummo Beach — a nickname us Westies have given to Plumpton Park to articulate our frustration at living so far away from the coast. Plummo Beach was filled with dumped Woolies trolleys, trash from stormwater runoff and once, a dead body. All of this was a far cry from the sandy shores, stunning sunlight and wavy waters of salt so enmeshed in the colonial Australian psyche. The pain this colonial stereotype causes for Pasifika Australians was put stunningly in OneFour’s latest single ‘Home and Away’, in which they rap:
Out here we at war with the cops like Brax / But this ain’t Home and Away / I didn’t grow up ‘round all those beaches / But I still got bros at the Bay / Pull up bang spray, do dat do dat gang gang.14
Here, OneFour make a direct link to the endless stream of White faces we see on TV to the stream of endless Brown faces we see inside Australian prisons. Prisons, like in Victoria, where 14% of incarcerated people are of Pacific descent despite only making up 1% of the population15. In their track, OneFour reiterate that this is not a coincidence, that they too were raised in a Bay, just one made of concrete instead of sand. Their single is a testament to the harm caused by being forced to the margins of the Australian stereotype — which is often white-skinned, blonde-headed and blue-eyed beach goers. Are not us third-generation Pasifikas Australian too?
Despite the White-centering, I feel connected to Tevita, Sione, Luke, Fatai, Kolo and Mano in Bregman’s article, simply because they are Tongan like my nana and to an extent like me. They knew what it meant to be stranded, albeit in a literal way, just like I have in a metaphorical way. This is what I wish White people would think about when they try to step outside of themselves. The stories from our ancestral lands are the anchors laid down for us diasporic ones, they are sometimes the only thing that tethers us together in our strandedness.
The sea is my most powerful metaphor, it is in me and my ancestors. A White person cannot claim that for their own gain. Besides, I’ve never met one White person who could weave a technically better story about Tonga than a Tongan and that’s on gang gang.
My version of Tonga is haunted by the spirit of grandmother. She taught me that the land of Tongan known as fonua, is in my womb. My dirt-womb is something she gave to me and that I carry it even though I cannot speak my ancestral language and have only visited my ancestral lands as a ‘tourist’. Tonga has only existed as something inside me, like the ocean in Ha‘ofa’s essay, like the fonua-womb my grandmother passed on to me.
Yet, all of these things wash away when I think about my nana’s death. She suffered a heart attack while showering under tropical rainwater caught from the sky in a bucket. If her heart had attacked her in Australia, she probably would still be alive. But — maybe my grandmother knew all that and didn’t care anyway — maybe she too felt less Tongan as her years went by in Western Sydney — maybe she knew that to be Tongan was to return our spirit to our ancestors.
When I first ‘returned’ to Tonga, I tried my best to conjure flowers, wind, water, a big rock. I had just turned 21, the age that Tongans consider one an adult. But what was I ‘returning’ to exactly? Could I return to a country that I was not born in? That my parents were not born in? That my grandmother had left when she was nineteen? I was only able to go ‘back’ to Tonga because my mehikitanga, Lahi, took me as my birthday present. She left her White wife back in Australia for the whole week just for the trip. We travelled from Hina’s Cave filled with fresh water to Maui’s big coral rock and came to rest on the patch of land in Malapo that my grandmother and all the ancestors who came before her were born.
‘We are from the land of a thousand chords,’ Lahi explained, her bright red MATE MA‘A TONGA (Die for Tonga) hat reflecting the sun in fluro tatau patterns. My mehikitanga carried her Tonganess in each fold of her stomach, in each freckle on her pale skin, in her staunch tomboy demeanour complete with cargo shorts. I knew she was channelling something more ancient than Christianity in our blood — androgenous, queer and full of knowledge.
I sat down under a rotted tree by a patch of purple flowers and looked out at a newly constructed brick house that my family had been paying little by little for years. Just to say we retained our land in Malapo. Lahi called out to me as she inspected the front porch made of concrete, ‘You’re sitting in the same spot your nana was born on!’
I felt a swell in my chest at my aunts’ revelation. It was as if these words were whispered to from the thousand chords of my ancestors. But before I could respond, I felt the familiar can corned beef tense of my muscles as a bird swooped me. A parrot with yellow and blue wings and a bright red chest. It puffed its feathers from above me. I shielded my eyes with the crook of my elbow and gapped it. The hot coastal winds came together sharply next to my left ear as the parrot plunged. I ran and ran while its colourful wings rustled in warning above my head: Get lost kient.
Alice Walker, The Color Purple (London: Weidenfeld & Nicholson, 2014), 178. ↩
Rutger Bregman, ‘The real Lord of the Flies: what happened when six boys were shipwrecked for 15 months’ (Surry Hills: The Guardian, 2020). ↩
Elizabeth Gilbert, Eat, Pray, Love (London: Bloomsbury; 2017). ↩
Liam Fox, ‘Fiji proposes “Bula Bubble” to allow Australians to travel during the coronavirus pandemic’ (Ultimo: Australian Broadcasting Association; 2020). ↩
UNESCO, ‘Tonga’ (UNESCO, 2019). ↩
Ghassan Hage, White Nation: Fantasies of White Supremacy in a Multicultural Society (New York: Routledge, 2000). ↩
Rutger Bregman, Humankind: A Hopeful History (London: Bloomsbury, 2020). ↩
SBS News, ‘Israel Folau launches fresh homophobic attacks in church sermon’ (Crows Nest: SBS News; 2020). ↩
Helen Davidson and Carly Earl, ‘The fruit pickers: inside Australia’s seasonal worker program – a photo essay’ (Surry Hills: The Guardian, 2020). ↩
Moana, (United States: Walt Disney Studios Motion Pictures). ↩
‘stranded’, (Oxford University Press: Lexico.com, 2020). ↩
Epeli Hau‘ofa, We Are the Ocean (Honolulu: University of Hawai‘i Press, 2008), 57-58. ↩
Juamana Bayeh, ‘Arab-Australian fiction national stories, transnational connections’ (North Carolina: Mashriq & Mahjar: A Journal of Middle East Migration Studies 4 (2); 2017), 66-96. ↩
ONEFOUR, ‘Home and Away’ (ONEFOUR, 2020), https://www.youtube.com/watch?v=2ivpYPMVaMU&ab_channel=ONEFOUR. ↩
Sean Mantesso, ‘Young Pacific Islanders over-represented in Australian prisons’; Radio Australia: Pacific Beat with Tahlea Aualiitia (Ultimo: Australian Broadcasting Association, 2016). ↩
Winnie Dunn is a Tongan-Australian writer and arts worker from Mt Druitt. She is the general manager of Sweatshop: Western Sydney Literacy Movement and holds a Bachelor of Arts degree from Western Sydney University. Winnie’s work has been published in the HuffPost Australia, The Saturday Paper, Griffith Review, Meanjin Quarterly, SBS Voices and Cordite. She is the editor of several anthologies including Sweatshop Women, The Big Black Thing and Bent Not Broken. Winnie is currently completing her debut novel as the recipient of a 2019 CAL Ignite Grant.