Jacky Redgate, True Romance, 1980. Digitised from Super 8mm film, 2:45 mins. Courtesy of the artist, ARC ONE Gallery, Melbourne and Gallery Sally Dan-Cuthbert, Sydney.
Excerpt from Editorial - Experimental Art: Rattling the Archive:
Experimental art of the past rattles the archive — rejection of the status quo is hard to collect. Its traces rest uneasily in libraries, social history ephemera files and universities, where they mingle intractably with protests and events. Sounds reverberate in memory, while artist-made publications circulate through many hands. Recorded on all manner of now decaying media, such artworks inevitably become digital copies, their not-quite-art-object status becomes hazier still.
This issue of Artlink does not attempt to discipline these local histories of ephemeral and conceptual art practices, now approaching the half-century mark. Rather, it offers open-ended discussions of experimental art, troubling history-making and re-setting future-making: feeling forward with sensitive antennae.
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EXPERIMENTAL ART: Rattling the Archive forms an extended, unruly reader for my curatorial projects Anarchive: knowledge follows form (at Flinders University Museum of Art) and Anarchive: Gut-feeling (at Adelaide Contemporary Experimental, ACE) in conversation with my research into women’s experimental art in South Australia and its absence in the archives.
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In May, a selection will be screened at ACE alongside Jacky Redgate’s film, both exhibited for the first time since their making: the unfinished histories of experimental art prompt ongoing digestion.
