https://semaphoreart.net Semaphore Mon, 15 Nov 2021 13:47:24 +0000 https://semaphoreart.net en https://semaphoreart.net/About-1 Mon, 15 Nov 2021 13:47:24 +0000 Semaphore https://semaphoreart.net/About-1 <img width="1827" height="1579" width_o="1827" height_o="1579" data-src="https://freight.cargo.site/t/original/i/3fb9b823b73907509aab185eb547a7a08bf25984d2be19dd83db5ec13cefc9a4/protest-signs.png" data-mid="194982010" border="0" data-scale="45" src="https://freight.cargo.site/w/1000/i/3fb9b823b73907509aab185eb547a7a08bf25984d2be19dd83db5ec13cefc9a4/protest-signs.png" /> Indigenous Lives Matter: a West Australian resource list ︎ Semaphore was for a time a newsletter, publication and collaborative project by Kelly Fliedner and Melissa McGrath. There have been many contributors to this project including Emma Buswell, Christina Chau, Alana Hunt, Gemma Weston and Robert Wood who made up our editorial committee from 2019 to 2021. &nbsp; As writers, curators and creative producers, we focued on the role that writing played in the presentation and consideration of artworks and art practices from Western Australia. Semaphore worked with writers and artists to publish individual and collective opinions, reviews, commentary and creative responses to art; with a particular interest in writing that reflects upon border cultural themes and issues, as well as the formal structures of writing itself — what writing can be, and what it can offer visual art. We wanted to create a space where people could experiment with discursive responses ranging from contemporary and art historical analysis, to fictocriticism, poetry and prose.Although Semaphore is no longer publishing there is forever the possibiliy of its reignition. It lingers on in idle plans and in a way cannot be let go of.We are still interested in writing that creates conversation. How do we engage with art critically and creatively, avoid didacticism, grapple with ideas and uncertainty, and speak through dynamic subjectivities? How can we do this through conversation? How do we commune with each other? What is conversation as opposed to discourse, as opposed to speech-acts, as opposed to monologue, as opposed to dialogue, as opposed to narrative, as opposed to poetry?Contact us here.&nbsp; © Semaphore 2023. All content appearing on this website is the property of Semaphore and each acknowledged author. Please do not reproduce anything without permission.&nbsp; https://semaphoreart.net/Indigenous-Lives-Matter-Resource-List Thu, 11 Jun 2020 01:33:08 +0000 Semaphore https://semaphoreart.net/Indigenous-Lives-Matter-Resource-List &nbsp;Indigenous Lives Matter: a West Australian resource list <img width="1827" height="1579" width_o="1827" height_o="1579" data-src="https://freight.cargo.site/t/original/i/3fb9b823b73907509aab185eb547a7a08bf25984d2be19dd83db5ec13cefc9a4/protest-signs.png" data-mid="74308593" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/3fb9b823b73907509aab185eb547a7a08bf25984d2be19dd83db5ec13cefc9a4/protest-signs.png" /> Semaphore stands in solidarity with Indigenous people, especially traditional owners in what is called Western Australia and the Whadjuk Noongar people of Boorloo boodjar where this journal is made. We respect their culture, their custodianship and their continuing contribution to our community. This resource list was originally gathered in 2020, within the context of international and national Bla(c)k Lives Matter protests, the ongoing deaths in custardy crisis, and the emerging Covid-19 pandemic. It felt then, as it does now, more important than an acknowledgement, and perhaps it always should have. Now in 2023, after the devestating result of the Voice referedum we again return.&nbsp;As we continue to work toward decarceration, truth-telling, treaty and asserting the rights of Indigenous people here, we think it is important to share this resource list again. We hope it can be of value for our community to educate ourselves, to provide resources that help make change, and continue to act as allies in the fight for justice and healing. This means recognising that Indigenous people are leaders and that we learn the most when we are open and engaged. We believe that the system must change, and there is a lot of work to do in advocating for a better city and state. Please read broadly, seek out organisations and events, make a donation, come to a protest, write a letter, and provide sustained support for Indigenous people because Indigenous Lives Matter. As we continue to research, this list will be updated. Please contact us via semaphore.wa.art@gmail.com to suggest additions or corrections. Last updated: 27 October 2023. Learn Books by Indigenous writers: My Place by Sally Morgan Kangkushot by Jolly Read and Peter Coppin Kurlumarniny by Monty Hale True Country by Kim Scott John Pat and Other Poems by Jack Davis Long Time Now by Alf Taylor Terror Nullius by Claire Coleman It’s Still In My Heart, This Is My Country: The Single Noongar Claim History by South West Aboriginal Land and Sea Council A Story To Tell by Laurel Nannup Dwoort Baal Kart by Kim Scott, Russell Nelly and the Wirlomin Noongar Language and Stories Project&nbsp;Too Many Tears: an autobiographical account of stolen generations by Heather Vincenti and Deborah Dickman Books by non-Indigenous writers:On Red Earth Walking by Anne Scrimgeour 'Broome' Chapter in North of Capricorn by Henry Reynolds How the West Was Lost by Don McLeod Dancing in the Shadows by Anna Haebich Articles: ‘The battle for Aboriginal heritage on Perth’s foreshore 30 years on’ by Nick Everett. Red Flag, 21 January, 2019. ‘Matargarup, home to the homeless – a safe space – take heed City of Perth Councillors’ by&nbsp; Gerry Georgato. The Stringer Independent News, 11 April, 2015. ‘Aboriginal protesters return to Heirisson Island for “refugee camp”’ by Heather McNeill. WA Today, 21 January, 2016.‘“Cooked” to death: Ten years after shocking death in custody, has anything changed?’ by Rangi Hirini. NITV, 31 January, 2018.‘From Karaoke to Noongaroke’ by Anne Haebich and Jim Morrison. Griffith Review, # 44, April 2014. Audio:‘Matagarup Refugee Camp: Aboriginal Elder mark 150 days of protest.’ NITV Radio, 25 July 2015.Noongar Radio&nbsp;100.9FM Moorditj Mag on RTR FM Resources: AIATSIS Map of Indigenous Australia Fine Default Reform Resources (Social Reinvestment WA) Socail Reinvestment WA Submission to Closing the Gap Refresh Process by Australian Government, 2018 The Killing Times: Australian Massacre Map (The Guardian) Deaths Inside: Indigenous Deaths in Custody Database (The Guardian) Carrolup Digital Message Stick (John Curtin Gallery, Curtin University) The Pilbara Aboriginal Strike (Monash University) Indigenous Psychological Services Publications&nbsp;Pathways to Justice-Inquiry into the Incarceration Rate of Aboriginal and Torres Strait Islander Peoples by Australian Law Reform Commission, 2018Rob Riley Memorial Lecture by Mick Gooda, 2015 &nbsp; Video: How the West was Lost (1987) [Paywall - via Vimeo On Demand]Aboriginal Mental Health and Suicide Prevention - Dr Tracey Westermam (2010)&nbsp;&nbsp;Confessions of a Headhunter (2000) [Accessible via Kanopy membership - sign up for free via your local library]CULTURALLY SIGNIFICANT PLACES DESTROYED IN EAST KIMBERLEY (2020) - Kimberly Land Council FollowOrganisations:Aboriginal Art Centres Hub WA Aboriginal Legal Service WA Derbarl Yerrigan Health Service Kaartdijin Noongar - Noogar KnowledgeMagabala Books - leading Indigenous publishing house, Broome Noongar Language CentreNyoongar Outreach Services - community-based outreach service, PerthReconciliation WASocial Reinvestment WA Wungening Aboriginal Corporation - culturally secure, confidential and free of charge services to Aboriginal people in the Perth metropolitan area.Yirra Yaakin Theatre Company - Austrlaia’s biggest Indigenous-led theatre company, PerthYokai - support social and emotional wellbeing of WA individuals and families adversely affected by The Stolen Generation. Projects:Boorloo Justice - grass-root community led organisation run by First Nations and POC youth that are campaigning the Black Lives Matter Movement in Western Australia. Wirlomin - Noongar Language and Stories Project Woylie - Aboriginal Story Telling Project PayThis list includes national chraitites and organisations.&nbsp; Donate to Charities / Fundraisers: Aboriginal Legal Services WA Derbarl Yerrigan Health Service Keep Wongutha Birni Aboriginal Coorporation Alive Moorditj Koolangka Fundraiser (Edmund Rice Centre WA) Social Reinvestment WA&nbsp;Noongar Outreach Services Inc. Fundraiser Buy Artwork / Literature: Magabala Books Many Regional Aboriginal Arts Centres have online sales capacities for artworks and other products—see AACHWA’s website for more details. These organisations have been particularly affected by the COVD-19 gathering restrictions cancelling significant markets for 2020. Birriliburu Artists/ Tjukurba Gallery Martumili artists Papulankutja Artists Nagula Jarndu Designs Mowanjum Aboriginal Art &amp; Culture Centre Tjanpi Desert Weavers Tjarlirli Art Warakurna Artists Waringarri Aboriginal Arts Winda Barna Art Centre Yamaji Art Yinjaa-Barni Art Mankaja Arts Resource Agency Maruku Arts Spinifex Hill Studios Warlayirti Artists Warmun Art CentreLobbyLetters: Note: Find contact details on the WA Parliament website for Members of the WA Legislative Council and Legislative Assembly.&nbsp; Find contact details on the Australian Parliament House website for Federal Members of House of Representatives and Senate. Notes for witing a letter to the WA Government re: Garnkiny Not Granite campaign Letter to WA Legislative Council Members re: Fines, Penalties and Infringement Notices Enforcement Amendment Bill 2019 - royal ascent given 19 June 2020. Protests:Black Lives Matter Perth: Youth March for Justice: 12PM Saturday 4 July, Supreme Court Gardens - Riverside Drive, Perth Black Lives Matter/ Indigenous Lives Matter protest: 12PM Saturday 13 June, Langley Park - Riverside Drive, Perth Saying Their Names, Fremantle protest: Saturday 13 June, Canning Highway, Fremantle Protest the Destruction of Sacred Aboriginal Lands: 1PM Tuesday 8 June, Central Park - 777&nbsp; Hay Street, PerthPetitions: #raisetheage petition to raise the age of criminal responsibility to 14 years in line with UN reccomendationsGarnkiny and Goorlabal NOT Granite! petition regarding the destruction of Gija Country by Kimberly Granite Holdings https://semaphoreart.net/Arts-Writing-Group Fri, 02 Oct 2020 04:02:25 +0000 Semaphore https://semaphoreart.net/Arts-Writing-Group Arts Writing Group The Arts Writing Group was first initiated in 2019 for the 2020 Perth Festival. This collaboration between the Festival and Semaphore aims to think through and experiment with what ‘art writing’ is, and what it might offer art and all its various audiences. Read on for more about the Group and an archive of our work published on Semaphore.&nbsp; The Arts Writing Group is back in 2021!This second iteration of the Arts Writing Group includes Amanda Bell, Bec Bowman, Emilia Galatis, Rebecca Persic, Ned Reilly, Bahar Sayed and Andrew Varano. Working closely with Perth Festival staff, artists, writers and Semaphore editors Kelly Fliedner and Melissa McGrath, the Arts Writing Group will reflect on the role of writing in response to and in conversation with artworks from the Festival. By examining formal structures and modes of writing about art, participants will be supported to produce textual responses to the 2021 Perth Festival program which range in focus and form. The Arts Writing Group will encompass a series of structured workshops on writing about art during the 2021 Perth Festival. The group will make visits to and participate in events and exhibitions included in the Perth Festival Visual Arts Program, with the view of developing responses to these Festival offerings. Work produced through the Arts Writing Group will be published during and following the festival period via Semaphore. Read more about the Arts Writing Group on the Perth Festival website.&nbsp; 2020 This first Arts Writing Group included Mayma Awaida, Sam Beard, Paul Boyé, Christina Chau, Kelly Fliedner, Taylor Reudavey, Tony Sarre, Jenny Scott and Gemma Weston. What is the Art Writing Group? 14 January 2020 Kelly Fliedner The Art Writing Group was initiated to think through and experiment with what ‘art writing’ is, and what it might offer art and all its various audiences. From our first meeting and discussion in 2019, it was clear that the Art Writing Group shared a desire to experiment with writing to thoroughly and thoughtfully engage with audiences in new and challenging ways. Art writing can be educational; it informs and articulates; it creates a narrative and is a worthwhile object in its own right; it provokes people to learn and it is often challenging and rewarding. Understanding that often the ‘art world’ can speak in its own language, we’re interested in creating access in intersecting and diverse ways. How do we bring multiple, varied and different perspectives to art and make welcome those not necessarily fluent in that language? In a simple sense, art writing is writing ‘about' art, it conveys meaning and it involves and invites an audience in/to the world of the artist and the art object. But what else can it do? What does a writer do if released from the obligation to explain and assess the work of art? What might they do if permitted to respond from poetic, conceptual and imaginative writing positions? How does this work against literary and academic conventions and orthodoxies? How do we engage with art critically and creatively, avoid didacticism, grapple with ideas and uncertainly, and speak through dynamic subjectivities? How can we nurture practices that entwine individual and collective responses? How do we work with each other? How can we create collectives and be in solidarity with others? How can we self-organise and work outside of establishments? How best can we spend our time and energy? How does this space (this space of the Perth Festival, or the Arts Writing Group) mimic or undermine the networks of transaction within the broader context of Boorloo / Perth / Western Australia / Australia? How are we as a group located here? What are our responsibilities to this place and to each other?&nbsp; How can we do this through conversation? How is conversation collectively organised between subjects and across time? How do we commune with each other? How do we make writing for audiences and for each other that resists the fetish to make them new? How do we look at old forms and retrofit them? What is conversation as opposed to discourse, as opposed to speech-acts, as opposed to monologue, as opposed to dialogue, as opposed to narrative, as opposed to poetry? What then is art writing? Instead of fixing art to a specific meaning, perhaps art writing can be propositional. Perhaps it can be with, for, of, or from art. We are interested in writing that creates conversation; that engages critically with the world and the spaces, contexts, platforms it inhabits. This is a place for experimentation, a place to practice, be awkward, be humbled. A place to take risks and have fun.&nbsp; Objectivity &amp; Language:the power of empathy in audio description<img width="1566" height="738" width_o="1566" height_o="738" data-src="https://freight.cargo.site/t/original/i/ed1e094a4bb85f6c0da99dca50e08a3051bf8f2ebf5b465a07dd82afe2e72fbd/Post-office_wo-text.png" data-mid="84369262" border="0" data-scale="59" src="https://freight.cargo.site/w/1000/i/ed1e094a4bb85f6c0da99dca50e08a3051bf8f2ebf5b465a07dd82afe2e72fbd/Post-office_wo-text.png" /> 29 February 2020Mayma Awaida and Tony SarreA conversation about audio description and John Prince Siddon‘s exhibition All Mixed Up at Fremantle Arts Centre Listen (or read the transcript) here... The ring is an object of ritual<img width="1425" height="1088" width_o="1425" height_o="1088" data-src="https://freight.cargo.site/t/original/i/841a697424a9ec96e2beae7e30f59912b274b44aefbc1c1ce09ef24922975291/glove.png" data-mid="84369991" border="0" data-scale="56" src="https://freight.cargo.site/w/1000/i/841a697424a9ec96e2beae7e30f59912b274b44aefbc1c1ce09ef24922975291/glove.png" /> 12 April 2020A response by Paul Boyé to The Long Kiss Goodbye, an exhibition curated by Gemma Weston featuring Sarah Contos, Penny Coss, Iain Dean, Brent Harris, Clare Peake, and Michele Elliot with Tender Funerals at Lawrence Wilson Art Gallery Read here... Suburban displacement, suburban estrangement: where are the people? <img width="1906" height="1412" width_o="1906" height_o="1412" data-src="https://freight.cargo.site/t/original/i/defef7b577c05e97e6356bd019c4a01e6c0a5ee670e6674100c93e1b920c318e/Melissas-keys-for-semaphore-copy-crop.png" data-mid="84370083" border="0" data-scale="55" src="https://freight.cargo.site/w/1000/i/defef7b577c05e97e6356bd019c4a01e6c0a5ee670e6674100c93e1b920c318e/Melissas-keys-for-semaphore-copy-crop.png" /> 31 May 2020Correspondence between Christina Chau and Kelly Fliedner in response to Ian Strange’s Suburban Interventions 2008 – 2020John Curtin Gallery Read here... — The Arts Writing Group is presented in association with Perth Festival and supported by Visual Arts Program Partner Wesfarmer. https://semaphoreart.net/Archive-list Fri, 02 Oct 2020 06:25:04 +0000 Semaphore https://semaphoreart.net/Archive-list Archive LIST VIEW | ICON VIEW | TAG VIEW #38 — The Holy Grail — 24 October 2020 — A response by Danni McGrath to White Line Fever by Matt Aitken and Lyndon Blue&nbsp;— Next Wave Festival #37 NOLLA MARA&nbsp;— 08 October 2020&nbsp;— Reflections on Nollamara by Matt Aitken to celebrate a new mural by Seantelle Walsh and Sioux Tempestt&nbsp; #36 — Perth Elections — 27 September 2020 — Some thoughts on the City of Perth 2020 Elections by Kelly Fliedner #35 — Judging Cossack — 16 September 2020 — A dispatch from the Cossack Art Awards by Sharmila Wood#34 — Noongar Country —&nbsp;10 September 2020 — A selection of works and texts by Amanda Bell, Arthur Graham Eades, Naomi Grant, Rohin Kickett, Yabini Kickett, Lea Taylor and Stephen Taylor — Bunbury Regional Art Gallery #33 — Your mission if you choose to accept — 04 August 2020 —A response to Every Day Super Hero by Melissa McGrath — Fremantle Arts Centre #32 — Prelude to a conversation — 26 July 2020 — A&nbsp;response by Kelly Fliedner to the work of Peter Tyndall — Art Gallery of Western Australia #31 — All the Violence Within This —&nbsp;19 July 2020 — A response by Robert Wood to the work of Alana Hunt #30 — All at once — 12 July 2020&nbsp;— Some thoughts on re-opening by Melissa McGrath #29 — COMMUNITY, Faces of the&nbsp;—&nbsp;21 June 2020 — Obituaries for Faces of the Community by Ellen Broadhurst, Jack Caddy &amp; Grace Connors, Karl Halliday, Brent Harrison, Shannon Lyons, Harry Price, Jaxon Waterhouse and Gemma Weston #28 — No peace in the statue wars until there is peace in the justice system — 19 June 2020 — A response by Kelly Fliedner to Ted Snell’s ‘Can we have peace in the statue wars?’ in The West Australian, 16 June 2020 #27 — A month of leap days —&nbsp;14 June 2020 — An object study by Susanna Castleden #26 — Chapter 2: How to Break Up with Your Day Job and Date Your Solo Practice — 07 June 2020 — A reflection on making it at home by Emma Buswell #25 — Suburban displacement, suburban estrangement: where are the people? — 31 May 2020 — Correspondence between Christina Chau and Kelly Fliedner in response to Ian Strange’s Suburban Interventions 2008 – 2020 — John Curtin Gallery, Perth Festival #24 — Chapter 1: Ice Coffee Fortifications and Baking Lasagnes — 24 May 2020 — A reflection on making it at home by Emma Buswell #23 — I Feel A Song Coming On —&nbsp;17 May, 2020 — A response by Ben Rodin to PREPPERS — Fremantle Arts Centre #22 — Drinks with mates —&nbsp;03 May 2020 — A selection of coasters with accompanying text by Kelly Fliedner and Robert Wood #21 — From the D’cruzs —&nbsp;26 April 2020 — Nisha D’cruz and Rushil D’cruz — A response to Kaseh Ibu, an exhibition with Maimunah Abdullah, Rabiah Letizia, Abdul-Karim Abdullah, Abdul-Rahman Abdullah and Abdul Abdullah — Cool Change Contemporary #20 —&nbsp;Under Confinement —&nbsp;19 April 2020 — A curator’s tour of Dwellings by Jess Boyce and Miranda Johnson — The Lobby #19 —&nbsp;The ring is an object of ritual —&nbsp;12 April 2020 — A response by Paul Boyé to The Long Kiss Goodbye, an exhibition curated by Gemma Weston featuring Sarah Contos, Penny Coss, Iain Dean, Brent Harris, Clare Peake, and Michele Elliot with Tender Funerals — Lawrence Wilson Art Gallery, Perth Festival #18 —&nbsp;On Affection: A letter to my high school crush —&nbsp;5 April 2020 — A love letter with text and illustrations by Amber Norrish #17 — &nbsp;An Open Letter, regarding the Australia Council for the Arts’ Four Year Funding For Organisations —&nbsp;04 April 2020 — Semaphore editorial committee — Christina Chau, Kelly Fliedner, Alana Hunt, Melissa McGrath and Gemma Weston #16 — By The Sea —&nbsp;18 March 202 — A response to Sculpture by the sea by Kelly Fliedner — Cottesloe Beach&nbsp; #15 —&nbsp;At The Beach —&nbsp;13 March 2020 — A response to Surf Report and Saturday Slow Down by Melissa McGrath — Pig Melon #14 —&nbsp;Objectivity &amp; Language: the power of empathy in audio description —&nbsp;29 February 2020 — Mayma Awaida and Tony Sarre — A conversation about audio description and John Prince Siddon‘s exhibition All Mixed Up — Fremantle Arts Centre #13 —&nbsp;Don’t Stare at the Sun / for Too Long —&nbsp;23 February 2020 — Anna Dunnill on Amy Perejuan-Capone — Pakenham Street Art Space, ARTSOURCE Old Customs House #12 —&nbsp;All Mixed Up —&nbsp;18 February 2020 — A response to John Prince Siddon‘s exhibition All Mixed Up by Darren Jorgensen — Fremantle Arts Centre #11 — WA/ Wait Awhile —&nbsp;09 February 2020 — An image study by Danni McGrath #10 —&nbsp;Annihilation then Vacation —&nbsp;04 December 2019 — A response to Jessee Lee Johns’ South Mole Resort by Jess Day — Fremantle Biennale, Derbarl Yerrigan #9 — Suburbs —&nbsp;24 November 2019 — Hayley Megan French in correspondence with Robert Wood — The Border Line,&nbsp;Miriwoong country #8 —&nbsp;In the presence of water —18 November 2019 — A conversation with Daniel Jan Martin by Mike Bianco #7 —&nbsp;Pretty Beach —&nbsp;11 November 2019 — An image study by Abdul-Rahman Abdullah #6 —&nbsp;Swan River Colony —&nbsp;7 November 2019 — A response to the work of Abdul-Rahman Abdullah and echoes of the Swan River Colony by Robert Wood #5 —&nbsp;HERE&amp;NOW19: Material Culture —&nbsp;27 October 2019 — A response by Emma Buswell to HERE&amp;NOW19: Material Culture — Lawrence Wilson Art Gallery #4 — PDA —&nbsp;20 October 2019 — A response to Jac Ball’s PDA by Melissa McGrath — Turner Galleries #3 — Premonition —&nbsp;11 October 2019 — An image study by Gemma Weston #2 — Trying to find comfort in an uncomfortable chair — 06 October 2019 — A response by Kelly Fliedner to Trying to find comfort in an uncomfortable chair, an exhibition by Agatha Gothe-Snape with the Cruthers Collection of Women’s Art — PICA #1 — Five Short Blasts — 27 September 2019 — A collection of reflections by Christina Chau, Kelly Fliedner, Cassie Lynch, Melissa McGrath and Katherine Wilkinson to&nbsp;Five Short Blasts — Perth Festival, Derbarl Yerrigan https://semaphoreart.net/Archive-icons Sat, 17 Aug 2019 12:55:30 +0000 Semaphore https://semaphoreart.net/Archive-icons Archive LIST VIEW | ICON VIEW | TAG VIEW https://semaphoreart.net/Archive-tags Sat, 03 Oct 2020 21:06:10 +0000 Semaphore https://semaphoreart.net/Archive-tags Archive LIST VIEW | ICON VIEW | TAG VIEW BY DATE&nbsp; October 2020 September 2020 August 2020 July 2020 June 2020 May 2020 April 2020 March 2020 February 2020 December 2019 November 2019 October 2019 September 2019 BY CONTRIBUTOR Abdul-Rahman Abdullah Matt Aitken Mayma Awaida Amanda Bell Mike Bianco Ellen Broadhurst Jess Boyce Paul Boyé Emma Buswell Jack Caddy Susanna Castleden Christina Chau Grace ConnorsNisha D’cruz Rushil D’cruz Jess Day Anna Dunnill Arthur Graham Eades Kelly Fliedner Naomi Grant Alana Hunt Hayley Megan French Karl Halliday Brent Harrison Rohin Kickett Yabini Kickett Daniel Jan Martin Miranda Johnson Darren Jorgensen Cassie Lynch Shannon LyonsDanni McGrath Melissa McGrath Amber Norrish Harry Price Ben Rodin Tony Sarre Lea Taylor Stephen Taylor Jaxon Waterhouse Gemma Weston Katherine Wilkinson Robert Wood Sharmila Wood BY LOCATION Art Gallery of Western Australia ARTSOURCE Old Customs House Bunbury Regional Art Gallery Cool Change Contemporary Curtin University Derbarl Yerrigan Fremantle Arts Centre Fremantle Biennale The Lobby Miriwoong country Nollamara Pakenham Street Art Space Perth Festival Perth Institute of Contemporary Art Pig Melon Turner Galleries University of Western Australia https://semaphoreart.net/The-Holy-Grail Fri, 23 Oct 2020 09:54:58 +0000 Semaphore https://semaphoreart.net/The-Holy-Grail The Holy Grail <img width="2160" height="1494" width_o="2160" height_o="1494" data-src="https://freight.cargo.site/t/original/i/e9bedcfe0cc22ef2110b8eb656206b0d6b85579b95544c5230a8d1ab92101c0d/chalice_1_1.png" data-mid="86524234" border="0" data-scale="82" src="https://freight.cargo.site/w/1000/i/e9bedcfe0cc22ef2110b8eb656206b0d6b85579b95544c5230a8d1ab92101c0d/chalice_1_1.png" /> 24 October 2020A response by Danni McGrath to White Line Fever by Matt Aitken and Lyndon Blue Next Wave Festival I have two stories that demonstrate the fact that, while I pretend to know things about footy, I actually have no fucking clue. Both of which strangely revolve around the Geelong Cats. It’s 2016 and I’m visiting Naarm/Melbourne for the Sticky Institute zine fair. Kanye West’s The Life of Pablo is supposed to be released today and Ben, Alex, Chantal and I have decided we’re going to meet up and listen to it in the car while driving to Geelong and back for the hell of it. Kanye ends up delaying the release by a few days in maybe-a-media-stunt, maybe-a-hint-of-erratic-behaviour-to-come, so we end up listening to his back catalogue instead. Ben says we’ll turn around at the cattery and the whole way there I’m thinking to myself ‘oh yeah, the cattery? I guess this is like the kennel zone in Canning Vale, a good place to turn around before you actually get into the busy part of town?’. Then we rock up to the football stadium, the Geelong Cats’ home ground and I whisper to Chantal ‘oh right, this is The Cattery, I spent the whole trip trying to work out what the fuck they meant’ and she’s like ‘don’t tell Ben, they’ll leave you here!’ It’s a few months back and I live in Naarm/Melbourne now. We’re in the middle of the first lockdown and Next Wave Festival has pivoted to online. The first round of Matt Aitken and Lyndon Blue’s occult-ish reimagining of the AFL, White Line Fever, is streaming via Zoom and I’ve woken up just before midday in time to catch it. Matt is set up on the boundary of a suburban footy oval somewhere in the northern suburbs of Boorloo/Perth, and Lyndon is broadcasting from a fully decked-out room of their share house about 15 minutes down Sydney Road from me. There’s probably about 30 people in this Zoom and most of them have their cameras on so I can see into their houses too. I’m making pancakes and I’m not used to the weird mediated intimacy of Zoom yet, so I leave the camera off. It’s on speaker view so the screen keeps flicking between Matt on the sunny oval somewhere in Nollamara or Mirrabooka and Lyndon’s footy-scarf-draped Brunswick bedroom. They’re leading us through this hectic football magick ritual, and we’re all called on to repeat the incantation ‘ABLETT KARDINYA’ which suddenly transports us into the living room, kitchen, bedroom or back yard of whoever is yelling loud enough to draw the attention of the Zoom audio sensors. Say it out loud, ABLETT KARDINYA, it’s the White Line Fever abracadabra. I think it’s hilarious because you know, Gary Ablett is this mythical multi-generational figure in the AFL and Kardinya is a suburb south of the river in Boorloo/Perth where you would absolutely find a wide sunny footy oval like the one Matt’s on now, filled with kids playing Auskick on the weekend. I feel special, like I get a joke that not many people would understand, even the footy mad Victorians on this Zoom who wouldn’t have a clue where Kardinya is. Until a couple of weeks later when I realise that the Geelong Cats’ home ground, the aforementioned Cattery, is actually called Kardinia Park and of course that makes sense because both Gary Ablett Snr and Jnr played for the Cats, and in fact it was me who spectacularly did not get the joke. — Here are some things I definitely do know about footy: Dad’s really into it. As a tiny child, the couch where he’s watching the Eagles game is neither the best place to have a midday nap, nor the best time to learn the rules of the game. This is because he’s gonna be fidgeting and whooping and jumping up when something goes really well or really badly which is most of the time, and not exactly conducive to either snoozing or sharing knowledge. There’s nothing quite like learning how to do a drop punt on the run, especially when you get the bit where you raise your left arm for balance and think ‘wow I must look like one of those guys on the Weetbix footy cards’. Meeting Ben Cousins at Mitre 10 when he’s a rookie and you’re like six years old is weirdly going to impress itself in your mind. Ten years later, when he falls into a very public downward spiral it’s going to feel strangely, personally, sad, like he’s your actual cousin or something. Even though you still don’t fully understand all the rules or have much of an idea of who is playing anymore, there’s this register you can slip into whenever someone starts talking about footy. — The register looks like this: you’re talking with your mate/co-worker/dad/sister/uncle and the topic turns to the upcoming or just-passed Eagles game and you kinda drop your shoulders and your words become wider. Like the words have to stretch across the Nullabor that the Eagles traverse every second weekend - unlike those weak-as-piss Victorian teams. Dissing Victorians is a major feature of this register that, along with a measured sense of confidence in your limited understanding of the actual game and surrounding culture, will put you in good stead to navigate the exchange. I think it’s important to note here that adopting this register doesn’t mean ‘faking it’, it’s more like meeting half way. I didn’t understand all the references in White Line Fever, but the ones I did (Denis Paganism, lol) created a way in to the work and thus into the community that Matt and Lyndon have formed around it. ‘Community’ is a slippery term that I think can be misused albeit with good intentions. While it makes sense for a community to be defined by the characteristics its members share, this can slip into essentialism pretty quickly. A concept of community that I vibe with more comes from Jean-Luc Nancy: that there is ‘no common being, no substance, no essence, no common identity, but that there is being in common’.1 This being is the verb form: the things we do in common, rather than the things we are. I’m trying to locate where White Line Fever fits into the broader footy community (though perhaps there is not any one footy community) and I think the best way is in meme format: Broke: FOOTY! DRINK BEERS, EAT MEAT PIES, WATCH THE GAME WITH THE BOYS! Woke: The AFL reinforces all the worst aspects of capitalism, therefore I cannot engage with it. Bespoke: While football culture contains many problematic aspects that need to be addressed, the diverse social bonds formed through this shared activity are immensely significant and should be valued and nurtured. White Line Fever is firmly in the ‘bespoke’ category: critical of the meathead approach to footy, but not throwing the baby out with the Gatorade shower. One of my favourite White Line Fever moments was an Instagram exchange back in September 2019, while the work was still in development. A few days before the West Coast Eagles vs Essendon elimination final @whitelinefever666 posted a photograph depicting an array of birds of prey accompanied by a caption in Latin. The official Eagles profile and an Essendon fan profile, @essendonfc20, were tagged in the post, to which the latter responded ‘why tf did you tag me’. @whitelinefever666 replied, again in Latin, which further incensed @essendonfc20 to pretty hilarious effect, which was ultimately multiplied by the fact that the Eagles went on to slaughter Essendon 116 to 61. The thinking fan’s troll. — Is it cruel to wind up normie footy fans in Latin? Maybe. But winding up the opposition is all part of the game. I think it also points to an aspect of community that can be uncomfortable to discuss; that the flip side of belonging is excluding. An accusation of exclusivity is generally considered damaging, something a welcoming community would want to avoid. But I don’t think it’s that black and white. Limiting membership to those who share the requisite ‘being in common’ can also be seen as a protective or generative act. Trolling in Latin could be viewed as a kind of steganography, a practice that artist and researcher Amy Suo Wu describes as ‘the art and science of embedding secret messages within openly accessible information in such a way that the presence of a secret message is hidden.’2 While steganography is perhaps more commonly associated with visual and tactile forms such as invisible inks and visual codes, Wu suggests that linguistic tactics also contribute to the shared language of a community and that ‘what these in-group, collectively developed codes share is the function of strengthening community bonds, while also excluding outsiders or shielding members from oppression.’3 To be a member of a community you need to share the language used, but you don’t necessarily have to be fully fluent. I’m studying Auslan and when we do receptive activities in class (like comprehension, but visual) our teacher encourages us to ‘catch’ parts of the sentences that we understand and build our comprehension from there, rather than trying to fully grasp every single sign. It’s the same when talking with someone about footy, or contemporary art. You might not understand every reference but if you catch on to the bits you do know, like hating on Eddie McGuire or describing the formal characteristics of an artwork, you can build from there. I can’t read Latin but its use in the Instagram post signified to me both a thematic link to occult literature and a puzzle to solve that would grant me access to the White Line Fever community if I could be bothered to copy the text into Google Translate. White Line Fever takes the assertion that footy is ‘more than a game’, to reveal its spiritual and ritualistic aspects. White Australia likes to see itself as a secular society, despite the fact that this is clearly not the case: from the tens of thousands of years of ongoing Aboriginal and Torres Strait Islander spiritual connection to and custodianship of this land; to the existence of contemporary multicultural religious communities; and of course our current evangelical Christian Prime Minister. In the mainstream, footy is associated with stoic masculine rationality, not emotional feminine spirituality. But fuck, if footy isn’t actually one of the most emotional communal experiences we have, I don’t know what is. The catharsis of the grand final broadcast is something we don’t see in other aspects of public life. I don’t think the mainstream has worked out how to deal with the feeling of footy (or the feeling of being alive, for that matter). But I do think that White Line Fever’s use of occult-ish ritual and play goes some way towards providing a framework for understanding why we do the (footy) things we do. The project website is a trove of videos, writing and ephemera that bring footy rituals to the fore. The ‘Pagan Pigskin Luna Calendar’, a combination lunar calendar/2020 AFL fixture, shows how footy is as concerned with seasonal changes and portentous dates&nbsp;as any self respecting pagan (see: One Day in September). A video featuring footage of the 1996 Waverley Park blackout during a St Kilda vs Essendon game soundtracked by haunting strings, sees fans lighting fires and stealing goal posts — it is the goddamn witchiest thing I’ve seen in a long time. Pointing out footy’s ritualistic turns calls its stoic masculine image into question. I think it goes the other way too - the mainstream significance of footy lends legitimacy to ritualistic practices when you realise they’re kinda the same thing. The White Line Fever version of footy is more playful, more crafty (in the creative and the witchy sense) and more queer than the meathead version of footy that I’ve felt alienated from, and I’d quite like to learn how to do a proper drop punt again. White Line Fever by Matt Aitken and Lyndon Blue was commissioned for the Next Wave Festival 2020: A Government of Artists, scheduled to take place in Melbourne 15 - 31 May, 2020; but re-formed in response to health directives to an online broadcast and marketplace ASSEMBLE! 22 - 31 May 2020. References: 1 Gibson, K. 1999. “Community economies: economic politics outside the binary frame.” Paper presented at the Rethinking Economy Conference, ANU, August 1999. Community Economies Institute, https://www.communityeconomies.org/publications/conference-papers/community-economies-economic-politics-outside-binary-framePrimary source: Nancy, J. L. “Of Being in Common.” In Miami Collective (ed.), Community at Loose Ends. University of Minnesota Press. pp. 1-12 (1991) 2 Wu, A. S. 2019. A Cookbook of Invisible Writing. Eindhoven: Onomatopee. 3 Ibid https://semaphoreart.net/NOLLA-MARA Tue, 06 Oct 2020 22:39:22 +0000 Semaphore https://semaphoreart.net/NOLLA-MARA NOLLA MARA<img width="2160" height="1072" width_o="2160" height_o="1072" data-src="https://freight.cargo.site/t/original/i/bf301c3c3ee11eacdd82a1eb7a1b581a0c703e8ab4a2655afdee5a5aa6104c42/football-with-box.png" data-mid="84824749" border="0" data-scale="81" src="https://freight.cargo.site/w/1000/i/bf301c3c3ee11eacdd82a1eb7a1b581a0c703e8ab4a2655afdee5a5aa6104c42/football-with-box.png" /> 7 October 2020Reflections on Nollamara by Matt Aitken to celebrate a new mural by Seantelle Walsh and Sioux Tempestt&nbsp; <img width="3264" height="2448" width_o="3264" height_o="2448" data-src="https://freight.cargo.site/t/original/i/38ddf11d64646014b6fab04075ba5bcc30177a15bb04584543c905d32b86a162/120570669_827307661411087_6821407180240743156_n.jpg" data-mid="84824742" border="0" src="https://freight.cargo.site/w/1000/i/38ddf11d64646014b6fab04075ba5bcc30177a15bb04584543c905d32b86a162/120570669_827307661411087_6821407180240743156_n.jpg" /> <img width="3264" height="2448" width_o="3264" height_o="2448" data-src="https://freight.cargo.site/t/original/i/fe922b5c65a334dd25bfdec2a0243b3a8561fe47fd10ab36a10d88da4b876545/120766864_2728998090703814_8043751472991716655_n.jpg" data-mid="84824748" border="0" src="https://freight.cargo.site/w/1000/i/fe922b5c65a334dd25bfdec2a0243b3a8561fe47fd10ab36a10d88da4b876545/120766864_2728998090703814_8043751472991716655_n.jpg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/35673348177a1926962bede81d1dbde5f7b193d52895dd2ace59a944eb788053/120651429_2419973184794627_8859424596784407295_n.jpg" data-mid="84824743" border="0" src="https://freight.cargo.site/w/1000/i/35673348177a1926962bede81d1dbde5f7b193d52895dd2ace59a944eb788053/120651429_2419973184794627_8859424596784407295_n.jpg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/bb2433f53281c4cc781b4452e639fb21a54e88339f33aa3b659dd2b99af11b4c/120657794_2411982459105938_2069304489358391104_n.jpg" data-mid="84824744" border="0" src="https://freight.cargo.site/w/1000/i/bb2433f53281c4cc781b4452e639fb21a54e88339f33aa3b659dd2b99af11b4c/120657794_2411982459105938_2069304489358391104_n.jpg" /> <img width="3264" height="2448" width_o="3264" height_o="2448" data-src="https://freight.cargo.site/t/original/i/0b4cb5f047d287e04e18af77d53fca7891d5de768f2aa1d66408766858fca67f/120672925_343322893631425_3012052555270112759_n.jpg" data-mid="84824747" border="0" src="https://freight.cargo.site/w/1000/i/0b4cb5f047d287e04e18af77d53fca7891d5de768f2aa1d66408766858fca67f/120672925_343322893631425_3012052555270112759_n.jpg" /> <img width="3264" height="2448" width_o="3264" height_o="2448" data-src="https://freight.cargo.site/t/original/i/a0ad08d0117817a0347405072f1839f52478c9c166e77b4332aee9e50b20dc32/120665000_1066062140494481_2744621126436068412_n.jpg" data-mid="84824746" border="0" src="https://freight.cargo.site/w/1000/i/a0ad08d0117817a0347405072f1839f52478c9c166e77b4332aee9e50b20dc32/120665000_1066062140494481_2744621126436068412_n.jpg" /> <img width="2448" height="3264" width_o="2448" height_o="3264" data-src="https://freight.cargo.site/t/original/i/7014d856961d0c9c1b7fea57a458174be6b7fe9f7ada30d62b57110fa9de3593/120659650_1115108525571207_2604876759992900231_n.jpg" data-mid="84824745" border="0" src="https://freight.cargo.site/w/1000/i/7014d856961d0c9c1b7fea57a458174be6b7fe9f7ada30d62b57110fa9de3593/120659650_1115108525571207_2604876759992900231_n.jpg" /> [ALT TEXT] An eight by three metre mural has been painted on the recently renovated change rooms at Des Penman Reserve in Nollamara. The mural was a collaboration between Sioux Tempestt and Noongar artist Seantelle Walsh. The design spells out NOLLA MARA in three metre tall letters, with the NOLLA panel on one side of the change rooms and MARA on the other. A series of photographs of this pavilion plays in a slide show. Some photos depict the mural from a distance, including the pavilion itself, others are closer and depict the painting’s detail. The painting is predominantly blue, with thick white lines illustrating a landscape with different animals such as a kangaroo, an eagle, a bee, and various plants including a kangaroo paw. Weaving its way through the mural is a giant rainbow coloured snake, the Wagyl. One of the images shows the signatures of Seantelle Walsh and Sioux Tempestt. Some of the images show Matt, a 30 year old man in front of the mural with his baby strapped to his chest, and others show Mei Swan Lim, wearing a puffy orange and blue jacket. —&nbsp;Mei Swan and I have been living in the Nollamara area for a couple of years. I met Seantelle once a few years ago. I love this new work at Des Penman, and I love our new neighbourhood, so wanted to pen a few thoughts about this place.😱 Nollamara means black kangaroo paw according to the City of Stirling. But, the Primary School, Bowls Club and Seniors Centre all have red and green kangaroo paw logos. I haven’t asked any Elders about the colour bit yet. 🌾 I accidentally joined the Nollaroos footy club reserves this season after 14 seasons off. Got some boots on sale from Jim Kidd and spent a few months trying to remember how to kick straight. 🎾 Barbershop group Perth Harmony Choir practices at the local tennis club; the Gilbert O’Sullivan Society of WA has a big theatre hall next to the bowls club; an old timey rock and roll band plays on Sundays at the RSL; I met a guy called ‘Animal’ there once—great yarns about building tourist houses at Wadjemup (Rotto) in the ‘80s: up early to go fishing, work all day, then the pub, then eat fish for dinner. 🎊 Four elderly women do Tai Chi at Des Penman. Today two of them are in matching maroon velour tracksuits. It’s a beautiful sight—them in slow movement in front of the mural since the renos just finished and the fences have come down. 🌷 Charlie and Marie next door told us all the goss on our street when we moved in. Born storytellers and incredibly kind, their time in Katanning and Albany sounded so beautiful. Re: goss. A skinny teenager squeezed into our house through the doggy door and stole a laptop once, but not too much drama other than that. Just some scruffy characters who woudn‘t bother you. 🤠 Characters at Nollaroos; Pistol Pete (umpire, plays for the old boys teams, short surfer kinda vibe); Rene Dingo (Ernie’s cousin or nephew, always embracing newcomers, I love his inspirational quotes on FB); and, Des Headland Snr (was wearing a cowboy hat, big belt buckle and boots when I first met him, he came up at quarter time &amp; told me to pull my socks down, wise fella). 👽 Mysterious park regulars: old fella who drives laps of Des Penman in his motorised scooter with a heap of WCE flags; spirited teen who dances around the park with her headphones super loud jumping up and down heaps. Sorry this is kinda weird, but it just felt nice to frame the work in a wider social context. Come check it out, bring your dog, get curry puffs from Aunty Christine at Far East cafe then go to Little Nolla, then Kakoulas, then move here, join the footy club (women’s team is A grade now!) and see it for yourself 💗 — The Des Penman Sporting Pavilion Mural at 11 Lemana Rd, Nollamara is by Seantelle Walsh and Sioux Tempestt. Images here by Matt Aitken and Mei Swan Lim. https://semaphoreart.net/Perth-Elections Sun, 27 Sep 2020 02:42:43 +0000 Semaphore https://semaphoreart.net/Perth-Elections Perth Elections <img width="1564" height="560" width_o="1564" height_o="560" data-src="https://freight.cargo.site/t/original/i/c4d204f0337dd83e282293454f7461f23cb72f77c56ce04bfc5930bb733130af/Asset-50.png" data-mid="84523777" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/c4d204f0337dd83e282293454f7461f23cb72f77c56ce04bfc5930bb733130af/Asset-50.png" /> 27 September 2020Some thoughts on the City of Perth 2020 Elections by Kelly Fliedner &nbsp; <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/6d8845251909bdfb120d5727c3b40764afa114a005050e2cad580e5a6b2729ba/0B161CFC-D7C2-4E90-97D6-64514D3A6391.JPG" data-mid="83864596" border="0" 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data-src="https://freight.cargo.site/t/original/i/f1b34ea29729414fbafb2b94ac90d341f4a6c22209f44738fda29c88ca0b19f2/F01AF197-5451-4149-B664-2FB35E67800A.JPG" data-mid="83864620" border="0" src="https://freight.cargo.site/w/1000/i/f1b34ea29729414fbafb2b94ac90d341f4a6c22209f44738fda29c88ca0b19f2/F01AF197-5451-4149-B664-2FB35E67800A.JPG" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/23e6fb658f6ac99994b26492af98317291425346e3a28af4ff8ce00ef61a5c34/F6A2CC97-3A27-49D7-BF72-A6D975301E89-A70053D1-E850-453E-9985-23343D9E6DD1.JPG" data-mid="83864621" border="0" src="https://freight.cargo.site/w/1000/i/23e6fb658f6ac99994b26492af98317291425346e3a28af4ff8ce00ef61a5c34/F6A2CC97-3A27-49D7-BF72-A6D975301E89-A70053D1-E850-453E-9985-23343D9E6DD1.JPG" /> <img width="1575" height="2100" width_o="1575" height_o="2100" data-src="https://freight.cargo.site/t/original/i/5ffef5468b40e6a580cd58f7e76e170c3281b96c489529eb3642a4542afe3383/F3011084-CEFE-4EC0-A21F-8D24D10CAADC.jpg" data-mid="83864622" border="0" src="https://freight.cargo.site/w/1000/i/5ffef5468b40e6a580cd58f7e76e170c3281b96c489529eb3642a4542afe3383/F3011084-CEFE-4EC0-A21F-8D24D10CAADC.jpg" /> Semaphore is edited from Whadjuk country in the city of Boorloo. We recognise the traditional owners of this place and acknowledge that sovereignty was never ceded. And yet, the infrastructure of the settler colonial state informs and inflects our own current reflections on art, and ongoing political questions matter to the daily lives of everyone here. In Semaphore we consider a range of perspectives, be they white settler or not, amateur or professional, urban or regional. What we appreciate most is the ability to be in conversation with what this place might be, and how to make it better for all. That is why we continue to write about a plethora of art; why we published our resource list for Indigenous Lives Matter; and, why we think there can be no peace in the statue wars until there is peace in the justice system. This is why we also recognise that we want systemic change even as we vote on elected representatives, follow road signs and local laws, and make our way as best we can through the messy quotidian reality of living here. This week, in thinking about very local concerns, we turn our attention to politics once again. Politics matters to art because it determines the funding, imagines the conditions, informs the materials and people, and continues to operate next to, and sometimes in conflict with, artists themselves. That is why we are paying attention to the local elections for the City of Perth Council. Informed readers will know that the Council has been in hibernation, having been without councillors since 2018. This was owing to misconduct in previous administrations, which resulted in State Government intervention. Now there are elections, including for Lord Mayor. For the first time in a long time it feels like voters actually care. This might be because the stakes are high, as the city itself embraces generational change—a new museum, a planned university campus, ongoing redevelopment, population growth, and a relative safe haven for residence and businesses alike during a global pandemic. As residents of the City, we have been inundated with campaign material, including flyers, leaflets, business cards, yard signs, and the occasional door knock, and meet and greet. Across the board there is recognition that systemic change is needed and necessary. Prominent candidates for Mayor include sports commentator and mass media populist Basil Zempilas, who is running a law and order campaign, and businesswoman Di Bain, whose agenda is solidly neoliberal and is a political insider with over $100,000 in campaign donations. Semaphore thinks both of them lack the vision to become the mayor our city deserves. Surely, we have the desire, imagination and creativity to do more than move on homeless people, to stop ‘anti-social behaviour’, to bring back the WA wave? Surely, we have the ability, resources, potential to do more than simply extract the most profit out of ordinary citizens? Unfortunately, it’s likely that it will be one of these two candidates because of the power in the local establishment. Semaphore wants a type of politics that envisions a truly vibrant, inclusive, meaningful city, where our elected representatives are able to speak with sophistication on arts and culture, where the community is truly engaged and supported, especially our most vulnerable. The answer is not more police. The answer is not more big business. The answer lies in creating the conditions in which people can cultivate meaningful forms of life and do so based on values of equity, justice, healing, fairness, respect. It is not only about an agenda, but about relationships, tone, tenor, values, and feeling. We want a higher politics than is currently offered. We want to see our community led by people who matter. We see the possibility of that in specific candidates even as we are reticent to support anyone for Lord Mayor itself. For that position, we suggest all eligible voters do their own research and come to their own conclusions. I will be voting for Brodie McCulloch who shows intelligence, empathy and collaboration in working to improve the city. He is by no means perfect, but I think he has potential to be a good Lord Mayor at this time. We will, however, endorse one candidate for council—Claire Trolio. Claire is an independent arts writer and small business owner who knows and understands the arts in all its diversity. As one of the few candidates to recognise First Nations sovereignty, Claire understands the vital role that the arts play in the city, especially for Aboriginal people. She also acknowledges that organisations like artist-run-initiatives like Cool Change Contemporary and Paper Mountain are important to the arts ecosystem and the life of the city. They matter to the community as much as large state based institutions; and, Claire is cognisant of the challenges facing independent artists and arts workers that are trying to make a living from their practices. Out of all the candidates, she best represents our industry interests and can also lead on intersectional issues like identity and environment. Quite simply, Claire speaks our language and we hope, for the sake of Perth’s arts world, that she is elected. She can also be a voice for people that are shut out from the Zempilas-Bain political axis with a perspective that is balanced, down-to-earth, and truly local. If you are voting, vote for her because everyone will benefit from a more creative, vibrant and community minded city. Semaphore will be awaiting the results of this election keenly. Without polling data and without compulsory voting, the results are uncertain. There is an attraction in not knowing; but we hope that whatever the outcome, this growing city becomes a more welcoming place for everyone. Simply, renaming the City, like Albany/Kinjarling proposes to do, might be the first step in the right direction so that the next election becomes that of the Boorloo City Council on Whadjuk country. The new Lord Mayor and Council have to be able to encourage the best of us as artists, arts workers and citizens while also moving towards decolonisation, non-violence, and new possibilities. Those might be utopian dreams but it is not beyond us to have high expectations in light of our own imaginations. — Further information about all the candidates for both Lord Mayor and Council can be found on the City of Perth’s 2020 Elections page. This week’s Semaphore illustration is of the Perth City Key designed by&nbsp;Alister Yiap and given to Kerry Stokes by Lord Mayor Lisa Scaffidi in 2014. <img width="2808" height="3744" width_o="2808" height_o="3744" data-src="https://freight.cargo.site/t/original/i/9af27df3506de8bac47a3d7069c50b23bc11bf45c4861f0ed33ae68bc5e5ea02/71D981D0-DD66-412B-BAF6-1386F407AAA7-F30FA026-9139-472E-B883-08BBD01E5384.JPG" data-mid="83864607" border="0" data-scale="41" src="https://freight.cargo.site/w/1000/i/9af27df3506de8bac47a3d7069c50b23bc11bf45c4861f0ed33ae68bc5e5ea02/71D981D0-DD66-412B-BAF6-1386F407AAA7-F30FA026-9139-472E-B883-08BBD01E5384.JPG" /> https://semaphoreart.net/Judging-Cossack Mon, 07 Sep 2020 12:43:25 +0000 Semaphore https://semaphoreart.net/Judging-Cossack Judging Cossack <img width="2161" height="1486" width_o="2161" height_o="1486" data-src="https://freight.cargo.site/t/original/i/4b0519c31f7f66e84ec35e6cea997dc4c1e10e9bbadba6b0906f0871befd686e/pearl-shell.png" data-mid="82055239" border="0" data-scale="68" src="https://freight.cargo.site/w/1000/i/4b0519c31f7f66e84ec35e6cea997dc4c1e10e9bbadba6b0906f0871befd686e/pearl-shell.png" /> 16 September 2020A dispatch from the Cossack Art Awards by Sharmila Wood A traditional owner told me that she never visits Cossack at night because of ghosts and spirits. They sweep through the abandoned pearling town after dark and drown it in sorrow and despair. A search of the archive soon reveals accounts of Aboriginal men, women and children who were enslaved to work as pearl divers. This&nbsp; practice of ‘blackbirding’ is well documented and involved the capture of Aboriginal people for forced labor. In Tien Tsin Harbour, just near Cossack, this practice included Asian people, some of whom were also indentured from Malaysia, Indonesia, Singapore, Brunei and southern Thailand, but all known collectively as ‘Malays. Eighty luggers operated here at Cossack in the 1870s during a time where mother-of-pearl was considered fashionable as inlay in accessories, instruments, furniture and home-wares. By 1895 nearly 1000 Malays and 500 Aboriginal people were forced to work in the industry. However, it was not only work. There are records of Asian cultural celebrations including dragon parades; and rituals for mourning, such as the annual ceremony held at the Japanese cemetery where food and drink was left for the departed spirits and small boats laden with food were set adrift and floated out to sea. There are little offerings to the spirits reconcile their suffering, hardship and loss. Today, a group of heritage-listed stone buildings have stubbornly survived through devastating cyclones that regularly lash the northwest coastline.&nbsp; This year I was invited to judge the Cossack Art Awards, an annual art event managed by the Town of Karratha, which usually has twelve acquisitive awards valued at over $100,000. The uncertainty around COVID-19 led to entries being restricted to artists from the Pilbara with six categories and only 150 paintings. The eccentric but democratic process allows artwork to be entered on a first come, first served basis. Often the Bond Store and its adjacent Telegraph and Post Building are hung floor to ceiling in a salon style presentation. Fewer entries allow for space around the works and make it a more pleasing experience than normal. This year, the Town of Karratha was able to commission a virtual experience featuring a 360-degree interaction with the artworks on display, and so the exhibition is accessible to anyone with a working internet connection. Nicholas Werritt was the winner of this year’s Open Painting Theme with his landscape Horseshoe Gorge that invites the viewer to meander down the creek and explore the gorge captured in subtle shade of purple common to the Pilbara but often overlooked for more obvious reds and oranges; architect Jenni Hurley won the Portrait Prize with her whimsical and playful Pearl shell tiara that gestures to the still important pearling industry; while sixteen-year-old artist Simona Krstic won the Emerging Young Artist for Gag, which conveys ideas of repression, desperation and anxiety by hinting at unseen and terrifying things. Art activity as a professional and commercial practice did not flourish in the Pilbara until the early 2000s but is now an intrinsic part of cultural life and contemporary culture, radiating from key Aboriginal art centres—Martumilli in Newman, Spinifex Hill Studios in Port Hedland, and an art cluster in Roebourne. There are a small number of artists working independently in the towns of Tom Price and Onslow, and, it is the region’s art centres that create the environment for arts practice to thrive. In the last twenty years, they have become and remain the nucleus for creative production. Whilst aesthetic distinctions across the Pilbara were on display, there are affinities between disparate groups because of themes, concerns and histories stemming from the experience of colonisation and the impact of industry on Country and culture. When I first encountered the Pilbara, Gabrielle Sullivan was working with Martu artists and had ignited a potent energy that continues to emanate from the desert communities of Parnpajinya (Newman), Jigalong, Parnngurr, Punmu, Kunawarritji,and Irrungadji. Today, Martumili occupy an important place in the national Aboriginal art story and are housed in a large, architectural award winning art centre and gallery space which is a base for their services, spanning out across large swathes of the desert. In contrast, there has been consistent artistic activity in Roebourne for nearly two decades, and its artists still have no dedicated facility. Despite operating from cramped, uninsulated spaces and offices functioning as make-shift studios, artists and spaces such as Yinjaa Barni, Cheeditha Art Group, Juluwarlu and Roebourne Art Group have continued to support artists in their practice. In nearby Port Headland, the Spinifex Hill artists are a collective of Kariyarra, Banyjima, Nyiyparli, Yindjibarndi, Noongar, and Ngarla artists whose practice is informed by the culture of a large regional mining town where people live for work, family, education, health or as an impact of dispossession. The variety of people also reflects Port Hedland’s geographic location at the intersection of desert, central and coastal Pilbara communities and is a type of Indigenous cosmopolitanism that can be lost without grassroots knowledge. With this in mind, it might be unsurprising that artwork is highly individualised, which represents the mixed backgrounds of artists and ranges from representations of Country and Dreaming stories, and extends to quirky, humorous and playful scenes of daily life, reflections of inner worlds, and personal narratives. That is all important backstory to the Cossack Art Awards, whose overall winner was Allery Sandy. She is one of Yinjaa Barni’s most senior artists, and her piece Marni is representative of her practice featuring methodical, and exquisitely detailed paintings with layers of alternating colour, lines, dots, and dashes, using sponge, brush, and skewer to create light, repeating patterns, and forms that dance across the canvas, swirling together into jeweled impressionistic tones.&nbsp; The work appears to slide interchangeably between the minutiae of landscape and the macro view of an aerial perspective, where form dissolves and colours blend. Allery Sandy’s stippled and intricate dots form gradations of colour that symbolise wildflowers blushing and moving across the landscape. The visual motif of seeds and bush plants provide many possibilities for Roebourne artists, who often depict various, seasonal times, bush medicine, and places connected to bush foods. Janice Sandy, the winner of the North West Flora and Fauna category is from the same school of painting as Allery, which is visible in the rhythmic movement created through detail and patterning. The Martumili artist, Corban Clause Williams won Painting by a Pilbara Indigenous Artist for Kaalpa (Kalypa, Canning Stock Route Well 123). This is a tiny jewel of a painting that created a balance of compositional elements—his unusual colour choices could be discordant but there is a feeling of harmony to the overall composition. It is also highly original conveying his own interpretation and imagining of place. Kaalpa is a complex and evocative artwork that explores new realms of representation even as there are recognisable stylistic influences from the older generation of Martumili artists. Corban’s work is like a miniature of the epic collaborative paintings that map the spatial geography of special places and are a distinctive feature of Martumilli artists.&nbsp; These works are painted with the characteristic flare, visionary colour, and uninhibited expressive abstraction.&nbsp; This includes paintings such as Ngayarta Kujarra (Lake Dora, 2009), which was painted on Country by three generations of women. A large field of luminescent white dominates the canvas, emitting an aura of transcendence, which conveys the majestic mysticism of this place. The ‘Painting by a Pilbara Indigenous Artist’ was a highly competitive category and demonstrated the importance of Aboriginal artists and their status as professional painters.&nbsp; The artist Gloria Kelly, who paints with Spinifex Hill Studio, created a highly original and unique work with an explosion of energetic brushstrokes. Kelly, who currently has an exhibition showing in Singapore has developed her own unique visual language and enjoys the movement of paint and creates in quick, energetic and loose brushstrokes. Doreen Chapman’s painting was another stand out work, which showed her typically enchanting depictions of desert life with a blend of figurative, abstract and naïve representation. On the top floor of the Post and Telegraph building an intimate Mr Clifton Mack retrospective entitled Feels Right honoured the artist who began painting at Cossack with the Aboriginal art group Bujee Nhoor Pu and later joined Yinjaa Barni. The ten works on display include Jirda (Increase Site), which depicts a special ritual increase site for the regeneration of plants and is a painting that creates melodic, optical, movement. The painting, Jarmun Lighthouse, depicts the landmark lighthouse built in 1888, which is clearly visible from Cossack. The painting evokes the coastal identity of many people living in the Western Pilbara and I was told Mr Mack’s father worked on the island and in the lighthouse. These works are documents of culture and heritage. Whilst there are many stories that remain untold, events such as the Cossack Art Awards provide an important platform for ensuring the visibility of artists, their work, and their place in the history of the Pilbara. They stand as a testament to the ongoing connection and celebration of life in a region that is unique, remarkable and welcoming when we know how to appreciate the aesthetic bounty that is on offer. With a history that includes trauma, the artists of the Pilbara offer healing through shared cultural events that paint the way forward itself. <img width="3803" height="2127" width_o="3803" height_o="2127" data-src="https://freight.cargo.site/t/original/i/5af464a207e5adec50f98071a96f1168dc696f941cefecf8a91a0495b0283c3b/Former_Post_-_Telegraph_Office.jpg" data-mid="82058462" border="0" src="https://freight.cargo.site/w/1000/i/5af464a207e5adec50f98071a96f1168dc696f941cefecf8a91a0495b0283c3b/Former_Post_-_Telegraph_Office.jpg" /> ^^^&nbsp;Cossack Post &amp; Telegraph Office (now the art gallery). Image sourced from Wikipedia. <img width="2880" height="1800" width_o="2880" height_o="1800" data-src="https://freight.cargo.site/t/original/i/3b62b679d0fdc8a9eac12b69b54b167909e5c37d1abe303b6e199e015ff172ba/Screen-Shot-2020-08-10-at-10.19.04-am.png" data-mid="82059614" border="0" src="https://freight.cargo.site/w/1000/i/3b62b679d0fdc8a9eac12b69b54b167909e5c37d1abe303b6e199e015ff172ba/Screen-Shot-2020-08-10-at-10.19.04-am.png" /> <img width="2880" height="1800" width_o="2880" height_o="1800" data-src="https://freight.cargo.site/t/original/i/a8b55604573ea7aad273f37ff2cd10bfef88067ae3ddffabc3bc69f6bf51a899/Screen-Shot-2020-08-10-at-10.19.28-am.png" data-mid="82059615" border="0" src="https://freight.cargo.site/w/1000/i/a8b55604573ea7aad273f37ff2cd10bfef88067ae3ddffabc3bc69f6bf51a899/Screen-Shot-2020-08-10-at-10.19.28-am.png" /> <img width="2880" height="1800" width_o="2880" height_o="1800" data-src="https://freight.cargo.site/t/original/i/9871e1269eba0947e6ab6465cf5f31392c8d7b40e619c568e845c642209fa816/Screen-Shot-2020-08-10-at-10.20.55-am.png" data-mid="82059616" border="0" src="https://freight.cargo.site/w/1000/i/9871e1269eba0947e6ab6465cf5f31392c8d7b40e619c568e845c642209fa816/Screen-Shot-2020-08-10-at-10.20.55-am.png" /> <img width="2880" height="1800" width_o="2880" height_o="1800" data-src="https://freight.cargo.site/t/original/i/6441f092f5399b88b4ff8a1176231ede9c7966a4da4c160b68ca98bf74e5ef98/Screen-Shot-2020-08-10-at-10.18.25-am.png" data-mid="82059613" border="0" src="https://freight.cargo.site/w/1000/i/6441f092f5399b88b4ff8a1176231ede9c7966a4da4c160b68ca98bf74e5ef98/Screen-Shot-2020-08-10-at-10.18.25-am.png" /> ^^^ Cossack Art Awards 2020 — Virtual tour. Screen grabs sourced August 2020. <img width="517" height="387" width_o="517" height_o="387" data-src="https://freight.cargo.site/t/original/i/af0486fe45c6c67adf665fedadfb2cfa88f852f998952f4feb4996509c664368/3518_SANDY-Allery_Marni_CAA-30_12-07-pm_0.jpg" data-mid="82060296" border="0" src="https://freight.cargo.site/w/517/i/af0486fe45c6c67adf665fedadfb2cfa88f852f998952f4feb4996509c664368/3518_SANDY-Allery_Marni_CAA-30_12-07-pm_0.jpg" />^^^ Allery Sandy, Marni (2020). Cossack Art Awards. <img width="480" height="806" width_o="480" height_o="806" data-src="https://freight.cargo.site/t/original/i/5371c296fd02cba91d968169109a4e47fa07850f62f302ce25ad6c7448cb5a6c/3538_WILLIAMS-Corban-Clause_Kaalpa---Kalypa--Canning-Stock-Route-Well-23_02411-06-am.jpg" data-mid="82060333" border="0" data-scale="38" src="https://freight.cargo.site/w/480/i/5371c296fd02cba91d968169109a4e47fa07850f62f302ce25ad6c7448cb5a6c/3538_WILLIAMS-Corban-Clause_Kaalpa---Kalypa--Canning-Stock-Route-Well-23_02411-06-am.jpg" />^^^ Corban Clause Williams, Kaalpa (Kalypa, Canning Stock Route Well 123) (2020). Cossack Art Awards. <img width="1109" height="2000" width_o="1109" height_o="2000" data-src="https://freight.cargo.site/t/original/i/04b4ff627c52221c67c6b58a04e81d6f93a1cf3cf0dc6b557ac2445002ca6aaf/2988-13-Jarman-Island-Lighthouse-CLIFTON-MACK.jpg" data-mid="82061086" border="0" data-scale="58" src="https://freight.cargo.site/w/1000/i/04b4ff627c52221c67c6b58a04e81d6f93a1cf3cf0dc6b557ac2445002ca6aaf/2988-13-Jarman-Island-Lighthouse-CLIFTON-MACK.jpg" />^^^ Clifton Mack, Jarman Island (Lighthouse). Yinjaa Barni Art. &nbsp; &nbsp;&nbsp;