CONTEMPORARY VISUAL ART CULTURE BROADSHEET VOLUME 36 NO 2
www.cacsa.org.au
The Contemporary Art Centre of South Australia (CACSA), is one of Australia’s leading contemporary visual art spaces presenting an annual program of commissioned national and international projects, lecture series and symposia; and publisher, with artist monographs, anthologies and especially CONTEMPORARY VISUAL ART+CULTURE Broadsheet magazine–with the view to promote and develop contemporary visual art practice, critical analysis, debate and writing in the Australasian and Southeast Asian region.
CONTEMPORARY VISUAL ART+CULTURE Broadsheet magazine has established in recent years a major regional profile, further determining its ongoing commitment to the publication and dissemination of contemporary cultural critical analysis and debate.
In 2005, Broadsheet was launched at the Palazzo Gritti by Greg Burke, New Zealand Commissioner for 51st Venice Biennale (then Director of the Govett-Brewster Art Gallery, New Plymouth). Broadsheet has also been launched at the 2004 and 2006 Biennales of Sydney, and the 2006 Singapore Biennale (as the sole international magazine Media Partner). The current issue Broadsheet volume 36 number 2 was presented at the Australian Pavilion, Il Giardini, 52nd Venice Biennale Vernissage.
In keeping with Broadsheet’s acute scrutiny of national and international art events and regional cultural developments, editor Alan Cruickshank presents an analysis of documenta 12′s magazine project and its relationship with the Asian and Australasian region in “Australia Too Far Away”; while three feature texts look at this year’s Australian representative artists at the 52nd Venice Biennale, Daniel von Sturmer, Susan Norrie and Callum Morton–the largest Australian contingent ever at Venice, with Rosemary Laing, Shaun Gladwell and Christian Capurro also in Robert Storrs exhibition, Think With the Senses–Feel the Mind: Art in the Present Tense.
In conjunction with Singapore’s FOCAS (Forum on Contemporary Art & Society) collaboration with the documenta 12 magazines project, Broadsheet reproduces two texts from FOCAS 6-Regional Animalities by academic Kevin Chua and artist Ho Tzu Nyen investigating the ‘role’ of tigers in Malaysian/Singaporean cultural history. This collaboration complements Broadsheet’s presentation of two ‘parallel’ texts taken from the Visual Animals Symposium held in Adelaide in April– a reading of Darwin’s and Kant’s very different theories of taste in conjunction with the current interest in the role of nature in art, in “Against the Grain: Towards a Natural History of Art and Taste” by Ian McLean and “For Art: Against Aesthetics” by Donald Brook, his lament concerning the reparative effort being made by some art-theorists to restore beauty to trans-historical centrality.
Plus: Mercedes Vicente looks at the ‘strategic position’ in the world of biennales of the 3rd Auckland Triennial: Turbulence; Robert Cook articulates Singaporean/Australian artist and newly appointed Singapore Biennale curator Matthew Ngui’s two decade survey Points of View at Sydney’s Museum of Contemporary Art; Natasha Conland with “The Oedipus Compost” looks at David Hatcher’s recent work and residency at Govett-Brewster Art Gallery, New Zealand; Alex Gawronksi analyses the Australian political and cultural landscape and its use and abuse of the “politically correct”; and Alan Cruickshank further presents an interpretation of the ‘dysfunctional marriage’ of Australia-Southeast Asian cultural and political relations in “Cultural Faultlines”, the title of an anthology published this year by the Contemporary Art Centre of South Australia with texts by Indonesian poet and cultural critic Goenawan Mohamad, Malaysian historian and academic Sumit Mandal, and Australian cultural commentators Rex Butler, Yao Souchou and David McNeill (edited by Lee Weng Choy, Artistic Co-director The Substation, Singapore and Alan Cruickshank).
Visit Broadsheet online at www.cacsa.org.au
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