Publication Details Paperback, with Paperback book sleeve, 15cm(w) x 21.5cm(h), 52 pages, 1 folded A3 insert. ISBN: 978-1-875751-21-1
Author and/or Editor name/s Authors: Karina Lester, Lisa Radford, Yhonnie Scarce, Dr David Sequiera, Patrice Sharkey, Azza Zein. Editor: Lisa Radford. Copy Editor: Rayleen Forester
Author and/or Editor bio/s Karina Lester is an Anangu woman from Central Australia and a speaker of Yankunytjatjara language. Karina works closely with regional and remote communities on a diverse range of projects and is also an Anangu Interpreter and Translator.
Lisa Radford is an artist who writes and teaches. She is currently a Lecturer in Painting at the Victorian College of the Arts, The University of Melbourne, and writes for The Saturday Paper.
Yhonnie Scarce is an Australian glass artist, born in Woomera, South Australia, and belongs to the Kokatha and Nukunu peoples.
Dr David Sequira is an artist and researcher. David is currently the Director of Margaret Lawrence Gallery, Victorian College of the Arts, University of Melbourne.
Patrice Sharkey is a curator, writer and arts worker. She is currently the Artistic Director of ACE Open, South Australia’s flagship contemporary art space.
Azza Zein is a visual artist and writer who lives and works in Narrm/Melbourne.
Year of publication 2021
Publisher ACE Open & Person Books, Adelaide
Abstract Designed by Person Books (Tyrone Ormsby and Thomas McCammon), this catalogue and archive has been published to coincide with the exhibition and project ‘The image is not nothing (Concrete Archives)’, which began as fieldwork upon invitation from Yhonnie Scarce to Lisa Radford in 2018 to travel together to sites of memorialisation, nuclear colonisation and genocide. First presented at ACE Open as part of the Adelaide Festival in February 2021 and then at Margaret Lawrence Gallery, University of Melbourne in May 2021.
The catalogue begins with a letter, and is bookended with a post-script. This form is used, because rather than recount history, the exhibition curators were interested in what can be shared between people through the experience of place. Between these two pieces of writing the catalogue presents an array of witness accounts in both written and visual form as a way for traversing a selection of documented histories and the space they occupy; between testimony and image, in physical form.
‘The image is not nothing (Concrete Archives)’ is an ongoing and open archive that explores the ways in which differing kinds of memorials make present overlooked acts of genocide and nuclear trauma.
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