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“The year I stopped making art was the year I became a single parent. It was 1622, I got enslaved and was taken by force to North America to work in a field. It was 2003 and I had to travel to another country to get an abortion. The year I stopped making art was 1997. When I had to save thousands for my tritherapy and to provide for my mother who had just lost her job.”
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“The year I stopped making art was the year I became a single parent. It was 1622, I got enslaved and was taken by force to North America to work in a field. It was 2003 and I had to travel to another country to get an abortion. The year I stopped making art was 1997. When I had to save thousands for my tritherapy and to provide for my mother who had just lost her job.”
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“Documents obtained by the ABC under freedom of information laws reveal the Bega project was overlooked in favour of an $8 million investment to help build the Mackay Park Aquatic, Arts and Cultural Centre in nearby Batemans Bay.”
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Armadillos have terrible eyesight and can’t run very fast, whereas we humans move too quickly and have terrible foresight.
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“UNESCO sheds light on the current advances and challenges in the legal protection of artistic freedom, the protection of the social and economic rights of artists and cultural professionals, and the monitoring of artistic freedom.”
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“What is it about Australians that leads us to chronically undervalue our arts and culture? It has not always been so, but in recent decades, we have seen diminishing funding, dwindling federal and state support, a slackening of interest among our decision makers, and a sense almost of apathy about one of the most vital sectors of our society and economy.”
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“Sydney Festival Director, and Noonuccal Nuugi man Wesley Enoch is a provocative commentator on cultural leadership. He believes artists should be more vigorously involved in politics and community. In this interview, recorded as part of UNSW Art and Design’s lecture series on Cultural Leadership, Enoch addresses the practical and aesthetic forms of leadership required during the COVID-19 crisis, and how the pandemic may change the way art is valued and experienced long term. “
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Ursula Biemann
Switzerland / 2014 / 32′
Forest Law is a collaborative video project with Paulo Tavares on the cosmopolitics of Amazonia. It draws on research carried out in the oil-and-mining frontier in the Ecuadorian Amazon— one of the most biodiverse and mineral-rich regions on Earth, currently under pressure from the massive expansion of extraction activities. At the heart of Forest Law is a series of landmark legal cases that bring the forest to court and plead for the rights of nature. The artist talk will focus on one particularly paradigmatic trial that has recently been won by the indigenous people of Sarayuku based on their cosmology of the living forest.
“COVID-19 has left Australia’s theatres, galleries and rehearsal rooms shuttered and its arts community reeling. But the unfortunately timed announcement of the Australia Council’s four-year funding cycle in April has shown just how this already underfunded sector is being pushed to the brink. “
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“Carriageworks, the cultural centre based in the historic Eveleigh rail yards, has become Sydney’s first major arts company to call in administrators as the coronavirus pandemic wreaks havoc across the industry.”
Is @ScottMorrisonMP going to go down in history as the Prime Minister who allowed Australia’s internationally respected arts sector to die on his watch? https://t.co/86wLhyuK7m
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“‘I think on a macro level this could be the right opportunity to ask yourself some of those questions – what other forms of assembly are there? Can we replace embodied presence, particularly in our art forms? How do we engage with the artist? How do we support them? How does art reach the audience? And does it make the right connection in the right moment in time?”
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“After the thousands of words I’ve written on this topic, I feel that I don’t have anything new to say. Right now, in the shadow of COVID-19, it feels both too early and too late. In a profession that has always been characterised by uncertainty, I have never felt less certain about anything.”
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“Arguments for Australian culture often focus on what it should say to demonstrate its worth. Rarely considered is the government’s capacity to listen, or the extent to which it is able to meaningfully interpret the truckloads of evidence put to it. The sector can present all the data it likes. In the end, the government has to choose which to accept and act on. For this, it needs its own cogent idea of culture.”
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“Berlin-based artist and writer Sumugan Sivanesan is concerned with how a focus on collective organisation at the recent Dhaka Art Summit, Bangladesh, belies how power is enacted and distributed in such major contemporary art events.”
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“Reset Reading Group will run for three months with a new catalyst for discussion provided every fortnight. The readings will be collected on the Commons Social Change Library and emailed out to everyone who registers.”
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