Thoughts on Extraterritoriality

X-it by Ted Colless

For the three or four years I attended the VCA I had little to do with Colless, the occasional lecture while completing the Graduate Certificate in Art before the Master degree. Reading his introduction to Art & Australia Volume 1 I found some genuinely interesting and new conceptual ways of dealing with what i think of as Gramsci’s problem, the old has ended but the new cannot be born, and in that interregnum a whole lot of monstrosities appear. Edward drills down into the details of these horrors, with descriptions of the unreachable, indescribable places (my words) ‘modern capitalism’ makes for exclusion, interrogation, imprisonment, and even a fear of others so deep it is a kind of leprosy. A rot.

The border and the fence are described as a place where x assemble. X is not only the refugee but also any entity that doesn’t belong. He then formulates a mathematical equation for the things all falling apart. He is not gripped by y Marxist need to break down the borders, to be out there visibly demanding not/this. But as a description of the world we now inhabit never before experienced quite like this, i have seldom seen better.


Photography takes a whole new meaning as a cushion, it supports, is sat on, looked at in a context of a home, looked down on,  or in an outside setting. I see the world in its surprises the light through the distance, the surprise of the new growth on the old log, my drawings reinterpreted, close=ups distorted and colour made ever so much more lush. I am a photographer, painter and installation artist, but these cushions extend my pallet of expression.


Kader Attia

“I was fascinated by how in traditional societies, not only Africa, but also Japan and the west before modernity, when a broken object was repaired, the repair process always kept the trace of the injury,” he explains when we meet in a cluttered, book-filled corner of his studio in Berlin, the city he has lived in since 2010. But while traditional societies repair objects to give them a new life, often incorporating elements of European culture in the process — he shows me a Berber necklace dotted with French francs — the western approach is to discard objects that are damaged, valuing only originals in pristine condition. For Attia, repair has become a metaphor for cultural reappropriation, and resistance.


My entry: Installation: Always protest (when injustice is there)

Moreland Summer Show: Noel Counihan Commemorative Award

Moreland Summer Show: Noel Counihan Commemorative Award

The Counihan Gallery In Brunswick’s annual Moreland Summer Show.


Friday 10 November – Saturday 9 December



Opening: Thursday 9 November, 6 – 8 pm

The Counihan Gallery In Brunswick is pleased to announce the inaugural Noel Counihan Commemorative Art Award exhibition.

To be awarded annually, the Noel Counihan Commemorative Award will recognise an outstanding contemporary artwork by an artist who engages with social, political, cultural or environmental subjects.

This year’s theme is PEOPLE – POLITICS – PROTEST.

The 2017 prize is a tailored Professional Development package to the value of $3000. The winner will be announced at the opening of the exhibition on Thursday 9 November.