The Gas Imaginary artist talk, Institute for Modern Art, Brisbane

The IMA’s current exhibition Frontier Imaginaries: No Longer at Ease features two collaborative drawing series’ from my ongoing project The Gas Imaginary (2011-). On May 26, 2016 at 18:00, I will discuss this project in more detail in a free lecture at the IMA.

The first series—The Gas Imaginary (2014)—traces the difference between the modernist imagination of underground mining versus contemporary fracking regimes. The second series—Gladstone, Post-pastoral (2016)— has been commissioned for the Brisbane launch of Frontier Imaginaries. It gives a deep time and horizontal social image to the privatised drama of approvals surrounding the expansion of the port of Gladstone into a gas export hub for Queensland.

Despite traversing World Heritage Protected and UNESCO-listed terrain, the LNG developments and dredging were made possible through legal innovations and special economic zonings. Environmental Impact Assessments of the infrastructure itself have since been proven to have lacked ‘critical information’ on groundwater and well locations, while the process of approval has been subjected to a 2015 Federal Senate Inquiry. 

Both series have been produced in collaboration with PALACE architects (Valle Medina and Ben Reynolds) and artist Rodrigo Hernandez.

Born in Gladstone and based in Berlin, Rachel O’Reilly is a poet, critic, independent curator and researcher. Her work explores relationships between art and situated cultural practice, media and psychoanalysis, aesthetic philosophy and political economy. From 2004-08 she was a curator of film, video and new media at the Gallery of Modern Art, Brisbane. She has a background in comparative literature, and a Master (Cum Laude) in Media and Culture from the University of Amsterdam. Rachel is part of the How to Do Things With Theory program at the Dutch Art Institute. From 2013-14 she was a researcher in residence of the Jan van Eyck Academie, NL. Her critical writing has been published by Cambridge Scholars Press, MIT Press, and Postcolonial Studies and in collaborative criticism e-books by the V2 Institute for Unstable Media, Rotterdam.

Website: The Gas Imaginary talk

Pre-figures of Divestment in Feminist Cinemas of Extraction seminar

On Tuesday May 24, 6-8pm, I will give my seminar: “Pre-figures of Divestment in Feminist Cinemas of Extraction” at the National Institute for Experimental Arts (NIEA)

It is presented for the seminar series “Precarity//Futurity//Aesthetics”, co-convened by Jennifer Biddle, Anna Munster and Veronica Tello, at the Elywn Lynn Conference Centre (near the UNSW A&D library).

Contemporary mine production involves high salaried contractors negotiating ‘unconventional’ extractive regimes via increasingly privatized, post-democratic licensing and labour agreements, at the anthropocenic limits of land use. In the settler-colony especially, the image of mining labour, once key for dramatizing production (and anti-production, in strike) has been mobilized within the New Economy in ways that fundamentally disturb the figure-ground relations of citizenship through which the mine worker dialectically achieved its value in the first place.

Rachel O’Reilly’s visit to NIEA, UNSW A&D, coincides with the presentation of two series of drawings from her larger research project, The Gas Imaginary (2011-) as part of Frontier Imaginaries, currently at IMA/QUT.

Working through the difference of the contemporary mode of primitive accumulation of the mining contract, this talk draws on an earlier generation of feminist filmmakers’ im-proper and clinamen-like engendering of industry forms and formal ‘movement’, between labour and nature, to substantiate a contemporary aesthetic theory of divestment.

——-
Credits:
1. Sandra Lahaire, Uranium Hex, 1987
2. Susan Wallace-Babb in oxygen mask, Winnsboro, Texas, Sept. 12, 2011. (Erin Trieb for ProPublica)

The Gas Imaginary, in Frontier Imaginaries, The Institute of Modern Art, Brisbane (AU)

The Institute of Modern Art and QUT Art Museum present the launch edition of roaming art platform Frontier Imaginaries across two exhibitions: No Longer at Ease (IMA) and The Life of Lines (QUT Art Museum), and takes place between 14. May and 9. July, 2016.
Frontier Imaginaries is founded by QUT Alumnus Vivian Ziherl through the IMA Curatorial Fellowship.I was commissioned to make a new piece, The Gas Imaginary, for IMA’s No Longer at Ease show in collaboration with PA/LA/CE Architects Valle Medina and Benjamin Reynolds (Switzerland, United Kingdom) and artist Rodrigo Hernandez (Mexico).

Across the IMA and QUT Art Museum, local and international artists address the role of the frontier within the global era through works ranging from an oyster shell installation to monumental history paintings and multi-channel video. Linking both galleries together will be a specially commissioned exhibition design by award-winning Brisbane architects Kevin O’Brien and Claire Humphreys. This design will include an ‘assembly point’ conceived to host reading groups, community meetings, workshops, and artist talks.

No Longer at Ease at the IMA presents new commissions by Alice Creischer (Germany); Gordon Hookey (Waanyi/Australia); Rachel O’Reilly (Australia; Germany), in collaboration with PA/LA/CE Architects Valle Medina and Benjamin Reynolds (Switzerland, United Kingdom), and artist Rodrigo Hernandez (Mexico); alongside works by Juan Davila (Chile/Australia); Demian DinéYahzi’ (Diné/United Sates of America), Bonita Ely (Australia); Tshibumba Kanda Matulu (Zaire/Congo); Ryan Presley (Marri Ngarr/Australia); and Wendelien van Oldenborgh (Netherlands). These are joined by a presentation of Virtual Meanjin by the Virtual Songlines project, and a curated selection of materials from the North Stradbroke Island Historical Museum.

The Life of Lines at QUT Art Museum includes new commissions by Megan Cope (Qandamooka/Australia); Ho Rui An (Singapore); and Tom Nicholson (Australia); as well as works by DAAR (Palestine); the Karrabing Film Collective (Karrabing/Australia); Elizabeth A. Povinelli (United States); and Sawangwongse Yawnghwe (Myanmar/Canada). Also on display is a selection of archival real estate posters from the collection of the John Oxley Library; the film The Changing Face of Australia produced by the Shell Film Unit Australia in 1970; and a selection of photography documenting the installation of the Shell Oil Refinery in Geelong circa 1953-1958 by legendary fashion photographer Helmut Newton.

Further information on the exhibitions: Frontier Imaginaries