Spectres CCP Ebook 2014

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Presented by The Centre for Cultural Partnerships, University of Melbourne and Footscray Community Arts Centre
RETHINKING:
ART
COMMUNITY
VALUE
SPECTRES OF
EVALUATION
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Spectres of Evaluation Rethinking: Art/Community/Value
We acknowledge that we are on the traditional lands of the
Boon Wurrung and Wurrundjeri peoples of the Kulin Nation.
We offer our respects to the Elders of these traditional
lands and, through the Elders, to all Aboriginal and Torres
Strait Islander peoples.
eBOOK
To minimize paper use and resources that have negative environmental impacts this conference program is
available in the following electronic formats: eBOOK, PDF. Where possible, use your device and think twice
about printing.
SCHEDULES AND MAPS
Hardcopy schedules and maps will be available from the registration station. No need for you to print them
- we will have the most up to date version.
PHONES
Keep your phones on (but your ring tones off)! We will be live tweeting throughout the two-day conference.
Join the conversation!
Twitter: @CCP_art, @footscray, #CCPSpectres
Facebook: @centreforculturalpartnerships, @FCAC #CCPSpectres
Instagram: @footscray arts, with #CCPSpectres
WIFI
Free wi access in the Warehouse foyer and Performance Space Password: fcacwi
RECORDING
Recording of the keynote presentations will take place during the mornings on 6 & 7 February and
intermittently throughout the conference. Prefer not to be lmed? Please alert a volunteer at the
registration station.
TIMEKEEPING
To keep conversations moving, please follow the schedule. Some venues have limited space. To avoid
missing out, try to get to your preferred presentation early.
KEEP IN TOUCH
Contact emails of registered delegates will be made available at the conference event.
LOGISTICS
Welcome from conference hosts
Introduction / welcome from producers
Program schedule
Keynote speakers
Research partners
Abstracts; curated papers, panels and workshops
Social program - Footscray, you might like it!
Artistic program - Artwork and exchanges
Presenter bios
Sponsors and volunteers
TABLE OF
CONTENTS
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70
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116
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HERO SHOT FROM
WEBSITE
OUR COMMITMENT TO ACCESS
Conference organisers are committed to Universal Access,
making Spectres of Evaluation a conference that is accessible
for all delegates. The following information and services are
provided to ensure everyones experience is a great one.
BOOKING/REGISTRATION
If you require any assistance with registration
please contact us on Tel: +61 3 9362 8874 or
email robert.ball@unimelb.edu.au
Please tell us if you have access
requirements so we can contact you to
assist you to pre-book into concurrent
sessions (some have limited numbers).
Discounted access is available to the
conference for carers accompanying
a person with a disability.
GETTING AROUND THE CONFERENCE
The conference venue has been
re-orientated to ensure that all delegates
use the accessible entrances and exits.
Some entrances and exits will be retrotted
with ramps that meet Australian Standards.
A map of the venue will be available
estimating travel times for you to move
between presentations and where to sit if you
use a mobility device. This map also lists less
accessible routes including gravel and stairs.
Rest areas are provided throughout
the conference venue in case you need
a short break.
Clearly identiable accessible toilets are
located inside the main building.
The conference website provides information
about public transport to the conference
venue, and the most accessible way to get to
the Conference from the nearest train station
or bus stop.
MARKETING/COMMUNICATION
The conference program is available in
digital formats, so that people who use
technology to assist them to read, can
access all information.
All speakers are encouraged to use plain
English in their presentations and to
dene specialist terms and concepts that
may be used.
ACCESS SERVICES
We will provide Live Captioning during the
keynote presentations (Thursday and Friday
morning from 10:00am 12:45pm).
Audio Description and Live Captioning
will be available during The Other Film
Festival Screening (Thursday night from
8:00pm 9:30pm).
A Hearing Loop is available to use in the
Performance Space.
Auslan Interpreters can be available at
break times and during concurrent sessions.
You must book this service in advance by
contacting robert.ball@unimelb.edu.au.
Anything else? Just ask. You are the best person
to tell us what you need and well do our best
to help! Our staff and volunteers are working to
ensure you have the best experience possible.
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WELCOME
This event is part of a
three-year research project
examining the evaluation
of community-based arts
practice funded by the
Australian Research Council.
The researchers are myself and Research
Fellow Dr Marnie Badham from the Centre
for Cultural Partnerships, Faculty of the
VCA and MCM, University of Melbourne,
Professor Martin Mulligan (RMIT University)
and Frank Panucci (Director, Community
Partnerships, Australia Council for the Arts).
We have also worked with four research partners:
Change Media, CuriousWorks, the tiffaney bishop
Collective (tbC) and The Other Film Festival. Finally,
the conference is a partnership with Footscray
Community Arts Centre, which this year celebrates
40 years of leading community arts practice.
Over the last two years, the project has looked
at a wide range of approaches to evaluation and
interviewed the many different stakeholders
who have an interest in how community-based
arts are evaluated: artists, funders, academics
and researchers, policy makers, professional
evaluators and consultants and project
participants. In doing so, it has traversed the
complex terrain of evaluation, fertile ground
for considering both the technical mechanisms
of cultural measurement and the broader
debates about cultural value, a domain in
which community-based practice has often
contested the idea of singular, narrowly-
dened or pre-dened ideas. We have also
considered the distinctions between different
understandings of evaluation: as means of
advocacy, accountability or administration or as
a process that could fully register noble failures,
forms of harm or new modes of aesthetics.
However, solving the technical operations of
evaluation wont remove the broader political and
philosophical questions: evaluation can never be
an alternative to politics.
We are hoping for some lively discussion and we
hope you nd Spectres stimulating and relevant
to your own interests.
Dr Lachlan MacDowall
Head, Centre for Cultural Partnerships, Faculty of the VCA
and MCM, University of Melbourne
Welcome to Spectres of Evaluation!
We acknowledge that we
are on the traditional lands
of the Boon Wurrung and
Wurrundjeri peoples of the
Kulin Nation. We offer our
respects to the Elders of
these traditional lands and,
through the Elders, to all
Aboriginal and Torres Strait
Islander peoples.
We are excited to present Spectres
of Evaluation in partnership with the
Centre for Cultural Partnerships here
on the beautiful grounds of Footscray
Community Arts Centre (FCAC) in our
40th Anniversary year. Its going to be
an exciting two days overowing with
opportunities for critical conversations,
critique, innovative concepts, diverse
ideas and potential collaborations.
Although we have been working with communities
for the past 40 years, measuring the cultural value
of a place like FCAC is fraught with complexity.
Our work is never purely numbers, nor is it
purely qualitative. How do we, as a sector, as
practitioners, as artists, strike a balance for
expressing and promoting the value of the work we
do? We know, mostly anecdotally, that we have an
impact which is often long term and yet, we dont
always have the concrete evidence to support this.
So, why is Spectres of Evaluation important to
FCAC and our communities? How do we gauge the
impact (socially, culturally, creatively, politically,
emotionally) of the work we do?
As community-engaged practitioners, it has
been complex and difcult to have honest and
informed conversations about evaluation and
the measurement of cultural value. We have
tried social and economic return on investment
frameworks but do they really capture what we do
and what the social benets are for communities,
for Australia?
How do you measure the impact
of a project, immediately, within
four weeks of the project ending or
even year post completion?
How does it change? How can the social impact be
pinpointed to a particular project?
I encourage you to engage critically and
generously, to dive deeply into the debates of this
conference and see how we can participate in the
analysis of value, values and evaluation with an
aim for our practices to best work for those that
we engage with. I hope you take inspirations away
with you, back to your day to day, and use them to
support and promote the value of what you do.
I welcome you to Footscray Community Arts Centre
on the banks of the Maribyrnong River and wish
you a fabulous Spectres of Evaluation. I look
forward to meeting you and hearing your thoughts,
conversations and contributions.
Jade Lillie
Director &CEO, Footscray Community Arts Centre
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conversations between 70 of these thinkers
ranging from: the role of the artist in society, to
the potential for harm in community-based arts,
to actor-network methodologies, to practical
ways to communicate value.
Designing the conference program, it was
important to include the artists and practitioners
voices in the conversation with theorists, but
also to include artworks as another form of
knowledge. An integrated artistic program
features the works of our research partners:
Change Media, CuriousWorks, The Other Film
Festival, and the tiffaney bishop Collective as
gallery installations, performances, workshops,
presentations, and lm screenings. An additional
Call for Artists drew in more than 40 expressions
of interest, with ten artworks presented
throughout the conference. These artworks are
curated across the two venues, the Incinerator
Gallery and the Roslyn Smorgon Gallery (FCAC),
as well as the surrounding grounds as art
interventions and performances.
In addition, we are engaging
a number of creative
people to document, evaluate
and interpret the conference
to help us make meaning of these
critical discussions.
Watch out for tweets and creative onsite
evaluation interventions throughout the
conference. Finally, we wish to thank all of the
people and organisations that have helped
make Spectres come to life, in particular, our
conference committee: Isabel FitzGerald, Richard
Ennis, Jim Rimmer, Tania Canas, Jade Lillie,
Susan Dasya and Dr Lachlan MacDowall.
We hope you enjoy Spectres!
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Dr Mar ni e Badham and Rober t Bal l ,
Conf er ence Pr oducer s
PROGRAM
INTRODUCTION
On behalf of our conference committee at the Centre for
Cultural Partnerships (CCP) and Footscray Community
Arts (FCAC), we offer you a warm welcome to Spectres of
Evaluation rethinking: art/ community/ value.
As an extension of our research program
at CCP, Spectres offers a range of ideas
presented by local and international speakers
through diverse and creative formats. It is our
intent to deepen your thinking about value
and values in community-based arts.
The conference takes place at a signicant site
in Melbourne on the banks of the Maribyrnong
River. Informed by the history of Melbournes
west - which includes stories of migration, labour
struggles and womens movements, FCAC is
a leading Australian centre for contemporary
arts, community engagement, and cultural
development. 2014 marks FCACs 40th year
supporting local communities through arts
engagement and the continuation of some
important conversations: indigenous leadership,
cultural diversity, social inclusion and support
for emerging artists. The conference opens
with a Smoking Ceremony in the beautiful
amphitheatre with Aunty Carolyn Briggs,
Boon Wurrung Elder and a number of FCACs
resident artists are featured including Emerging
Cultural Leaders program and the Contemporary
Pacic Arts Festival.
Four international keynote
speakers kick off the
conversations.
Ted Purves (USA) explores social forms in art
making in relation to evaluation, Sophie Hope
(UK) considers the role of emotional labour
in critical evaluation, Tania Bruguera (CUBA/
USA) speaks of the value and usefulness in
her political art, while Will Garrett-Petts (CAN)
considers the rhetoric of the project. Through
an international Call for Papers, Spectres
attracted more than 100 abstracts from scholars
and artists from eight countries. We have curated
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PROGRAM
SCHEDULE
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Performance Space Measuring legacy: How can art transform your town?
Chair: Esther Anatolitis
Panel members: Natalie Fisher & project participants
Enzas Studio Art-making turned stakeholder management Chair: Amy Spiers
Panel members: Lara Thoms, Gabrielle de Vietri, Jason Maling and Jess Olivieri
Marios Studio Networks and frameworks in evaluation Chair: Joanna Winchester
Presenters: Gretchen Ennis, Jane Tonkin, Chistina Davies and Asher Warren
JK Meeting Room Labour, value and the role of the artist Chair: Michael Volkerling
Presenters: Mark Stevenson, Gretchen Coombs, Courtney Coombs and
Duncan McKay
Incinerator Gallery
*Bus to gallery
Artworks and Exchanges artist panel (1) Chair: Richard Ennis
Presenters: Monte Masi, Georgina Lee, David Brazier and Kelda Free
Online pre-booking required
Basement Theatre Footscray calling: local perspectives on evaluation Chair: Jade Lillie
Presenters: James Hullick, Benjamin Cittadini and Liss Gabb
Art Studio A holistic model of outcome evaluation for arts engagement
Presenter: Kim Dunphy
Outside/Verandah Lets play ping pong and talk about evaluation theory
Presenter: Lauren Siegmann
Art Studio My point of view photovoice Presenter: Pip Chandler
Outside/Verandah Lets play ping pong and talk about evaluation theory
Presenter: Lauren Siegmann
Roslyn Smorgon Gallery Floor Talk Random Methodologies, Tiffaney Bishop COLLECTIVE
Basement Theatre Is it Two Sides of a Coin or Completely Different Currency?
Chair: Lenine Bourke
Panel members: Alex Kelly, Bong Ramilo and Scotia Monkivitch
Performance Space Gifts, exchange and reciprocity in artmaking Chair: Ted Purves
Presenters: Judith Marcuse, Joanna Winchester and Bo Svoronos
Enzas Studio Community arts and the potential for harm Chair: Sophie Hope
Presenters: Amy Spiers, Cathy Horsley, Carl Kuddell
and Jennifer Lyons-Reid
Marios Studio Local voices Chair: Emma Blomkamp
Presenters: Alison Baker, Charlotte Hilder, Timmah Ball and Bronwyn Coate
JK Meeting Room Artists, researchers, and subjectivity Chair: Gemma-Rose Turnbull
Presenters: Becky Nevin Berger, Maria Miranda and Lucas Ihlein
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AFTERNOON
AFTERNOON
LUNCH
AFTERNOON
DINNER
EVENING
CURATED PAPERS
CURATED PAPERS
WORKSHOPS
PANELS
ARTISTIC PROGRAMS
PANELS
WORKSHOPS
THURSDAY
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8:30 AM 9:30 AM Smoking Ceremony: Uncle Larry Walsh and Registration
9:30 AM 10:00 AM Welcome to Country: Aunty Carolyn Briggs
Opening Remarks: Lachlan MacDowall, Head, Centre for Cultural
Partnerships, University of Melbourne
Performance Space
10:30 AM 11:15AM
Keynote Presentation 1: The Occupation of the World
Ted Purves, Associate Professor of Fine Arts, California College
of the Arts, USA
11:15 AM 12:00 PM Keynote Presentation 2: Behind the happy faces Sophie Hope
Lecturer in Arts Management, Birkbeck, University of London, UK
12:00 PM - 12:10 PM Performance: Grace Vanilau
12:10 PM - 12:50 PM Panel discussion: with Lachlan MacDowall, Ted Purves and Sophie Hope
12:50 PM - 1.00 PM Exchange rate: Bourdieux, a conference currency of social capital
Zachary Gough, Artist, CAN/USA
7:00 PM - 7:30 PM
Roslyn Smorgon Gallery
River Walk Knit HOPE, Kate Just
7:30 PM
Roslyn Smorgon Gallery
Exhibition Opening
Artworks and Exchanges exhibition
8:00 PM - 9:30 PM
Performance Space
Film Screening The Other Film Festival Presents...(fully accessible
screening & discussion open to the public) Online pre-booking required
8:00 PM & 9:30 PM
Enzas Studio
Performance The Other Journey, CuriousWorks
8:00 PM - 10:00 PM
Amphitheatre
Safari Cinema Moses Iten and Martin Hadley
CONCURRENT SESSION 1
Dinner BBQ, cash bar, and entertainment on the lawn
CONCURRENT SESSION 1 (cont)
2:00 PM 3:30 PM
1:00 PM 2:00 PM
5:30 PM 7:30 PM
4:00 PM 5:30 PM
ARTISTIC PROGRAMS
2:00 PM 3:30 PM
Lunch on the lawn and artistic program activities
1 :00 PM
Basement Theatre

Film Screening Meet + Eat Princess & the Bird and Facilitated Lunch,
CuriousWorks Online pre-booking required
BREAK 3:30 4:00 PM * Bus to Incinerator Gallery meet in carpark
Afternoon break and artistic program
Thursday 6 February 2014
KEYNOTES
*outside back lawn towards the river
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Performance Space Bodies in space - performing aesthetics Chair: John Willis
Panel members: Penny Baron, Jacob Boehme and Marcia Ferguson
Enzas Studio Valuing diversity: the multicultural challenge to arts policy and practice
Chair: Danielle Wyatt
Panel members: Rimi Khan, Audrey Yue and Judy Morton
JK Meeting Room Five perspectives on the value and challenges Chair: Deborah Warr
Panel members: Bec Olsen, Rob Ball and project participants
Performance Space Journeys within the journey - evaluating festivals
Chair: Bo Svoronos
Panel members: Ros Derrett and Peter Phipps
Enzas Studio Evaluating resilience and change in community-based arts practice
Chair: Mary Ann Hunter
Panel members: Michelle LeBaron and Lenine Bourke
Marios Studio The unruly artist Chair: Frank Panucci
Presenters: Camilla Mhring Reestorff, Eser Selen and Sarah Rodigari
JK Meeting Room Creative enterprise, creating infrastructures Chair: Tiffaney Bishop
Presenters: Grace McQuilten, Bryad Yyelland, Rhys Himsworth and
Cathy Hunt
Basement Theatre Art and collaboration in cultural communities
Chair: Martin Mulligan
Presenters: Ferdiansyah Thajib, Polly Stupples, Sana Balai
and Grace Vanilau
Riverboat Valuing creative communities Chair: Jim Rimmer
Presenters: Ricci-Jane Adams, Tim Barlow, and Liza McCosh
MORNING
AFTERNOON
AFTERNOON
AFTERNOON
EVENING
PANELS
CURATED PAPERS
PANELS
9:00 AM 10:00 AM Registration continues
Performance Space
10:00 AM 10:30 AM
Opening Remarks: Jade Lillie CEO of Footscray Community Arts Centre
and Frank Panucci Director, Community Partnerships, Australia Council
for the Arts
10:30 AM 11:30 AM Keynote Presentation 3: The rhetoric of the project Will Garrett-Petts,
Professor of English and Associate Vice-President of Research and
Graduate Studies at Thompson Rivers University, CAN
11:30 AM - 12:00 PM Keynote Presentation 4: Tania Bruguera, Interdisciplinary artist, CUBA/
USA , Video interview with Marnie Badham
12:30 PM - 1:00 PM Panel discussion: Chair: Marnie Badham
Presenters: Shakthi Sivanathan, Jade Lillie, Ferdiansyah Thajib
5:30 PM Wrap up in the performance space and bar open
Spoken Word Response Alia Gabres
8:00 PM & 9:30 PM
Enzas Studio
Performance The Other Journey, CuriousWorks
2:00 PM 3:30 PM
4:00 PM 5:30 PM
ARTISTIC PROGRAMS
2:00 PM 3:30 PM
Roslyn Smorgon Gallery Artworks and Exchanges artist panel (2) Chair: Marnie Badham
Kate Just, Ronch Willner and Tunni Kraus, Auckland Old Folks Association,
Peter Burke and Louise Lavarack
Basement Theatre Measuring social impact: investments and returns Chair: John Smithies
Presenters: Peter Wright, Michael Volkerling, Emma Blomkamp and
Syaatudina Saja
Riverboat Creative industries and the ethnographic lens Chair: Gretchen Coombs
Presenter: Tracey Williams, Sherene Idriss, Sally Webster and Greg Giannis
Marios Studio Glorious Failures mega-swap-meet workshop
Presenter: Change Media
WORKSHOPS
CURATED PAPERS
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ARTISTIC PROGRAMS
1 :00 PM
Basement Theatre

Film Screening Meet + Eat Dust & Dreams and Facilitated Lunch,
CuriousWorks Online pre-booking required
Friday 7 February 2014
LUNCH 1:00 PM 2:00 PM
Lunch on the lawn and artistic program activities
BREAK 3:30 4:00 PM
Afternoon break and artistic program
KEYNOTES
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ABSTRACT
The persistent haunting of the artists
world by spectres of evaluation
can be framed by the tenacity of
a series of questions. What, exactly, is a
socially-based artwork? Where does it
stop? When is it no longer art? When does
it become just the same as gallery art?
If there is such a thing as a
sociallybased artwork, does
this work actually interact with the
world, with society?
Can it claim a collaborative relationship with the
public realm at the same time it strives to be seen
as the work of a single person or team? Given
the possibility that it can interact with the world,
how, if at all, might it change things?
It's possible that the answer to some of these
questions might not be found not through the
construction of new theory, and instead can
be framed through the more axiomatic notion
of social form. As such, this talk will present
an array of artworks that manifested as very
specic forms, such as postcards, magazine
advertisements, games, or shops with an eye
towards understanding how the occupation
of such forms gave these works agency in the
world. In such cases, the works form provides
an invaluable clue as to how these works of art
operated within the world, what meanings they
generated, and what relations they engendered
with their various publics.
This consideration of social form is aided by an
array of cultural theories, ranging from the 19th
century formulation of the existence of social
forms put forth by Georg Simmel to the more
recent writings of Charles Taylor on the power
of social imaginaries, each of which contributes
to a re-estimation of the potential for artistic
practice, and expands the possibilities for social
engagements through the agency of art.
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He produces socially-based projects in collaboration with
Susanne Cockrell under the umbrella name of Fieldfaring
www.eldfaring.org. Their most recent project, The Red
Bank Pawpaw Circle, a large public planting project, was
completed in Cincinnati, Ohio in Fall 2012.
Ted was the founder of the MFA concentration in Social
Practice at California College of the Arts in 2005, and
is currently the Chair of the MFA Fine Arts Program. His
book, What We Want is Free: Generositywecent Art, was
published by SUNY Press in 2005. An expanded edition-
What We Want Is Free: Critical Exchanges in Recent Art,
co-edited with Shane Aslan Selzer, will be published by SUNY
Press in early 2014.
www.cca.edu/academics/faculty/tpurves
TED PURVES
THE OCCUPATION
OF THE WORLD:
ART, SOCI AL FORMS,
AND THE WORLD- AT- LARGE
USA
Ted Purves is a writer and artist
based in Berkeley, California.
His public projects and writings
are centered on investigating
the practice of art in the world,
particularly as it addresses issues
of localism and power, systems of
exchange, and critical occupations
of social forms.
TED PURVES
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ABSTRACT

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This presentation takes as its starting
point the notion that community-engaged
arts practice is a profession involving a
certain amount of emotional labour.
Artists, participants, facilitators and others
involved in the process perform certain
contagious emotions that cross-contaminate.
There might be pressures and expectations
for a project and the people involved to
demonstrate empathy, diplomacy, enthusiasm
and commitment; success might be measured
in terms of the amount of happy people at the
end of a project. But do these performances of
participation and the management of emotions
mean we are less able to be critical? Does the
pressure to maintain a positive attitude and feel-
good approach to improving well-being, distract
or prevent us from revealing the cracks in the
smiles and the realization that things might not
be as they seem?
I want to consider the potential role for critical
evaluation in acknowledging the performative
aspects of the job and the implications of tapping
into other, submerged emotional states. What
forms of anger, hatred, boredom, jealousy and
misery, for example, might be experienced
before, during and after engaging with
community-engaged arts practice?
Affective work is about producing
certain emotions in other people,
but what if we question the
assumptions about how art or
engagement should make us feel?
The criteria we bring to measure, evaluate,
assess and review community-engaged arts
practices are diverse, contradictory and complex.
There is a risk we perpetuate entrenched views
and values rather than nd ways to challenge
and unhinge the expectations we have of each
other and situations we are in. By drawing
attention to the emotional labour that is
performed as part of the community art process,
we can perhaps nd new ways to engage
critically with the practice.
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Sophie teaches and facilitates workshops dealing
with issues of public art, the politics of economics of
socially-engaged art and curating as critical practice and
has recently completed her PhD: Participating in the Wrong
Way? Practice Based Research into Cultural Democracy
and the Commissioning of Art to Effect Change at
Birkbeck, University of London, where she currently works
as a lecturer in Arts Policy and Management.
http://sophiehope.org.uk/
DR SOPHIE HOPE
BEHIND THE
HAPPY FACES:
HOW DOES THE EMOTI ONAL
LABOUR OF COMMUNI TY- ENGAGED
ARTS PRACTI CE I NHI BI T CRI TI CAL
APPROACHES TO EVALUATI ON?
UK
Through her practice-based
research, Sophie Hope inspects
the uncertain relationships
between art and society.
This involves establishing how to
declare politics through practice,
thinking what it means to be paid
to be critical in evaluation and
devising tactics to question notions
of participation.
DR SOPHIE HOPE
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ABSTRACT
In Perform or Else, published in 2001,
discourse theorist and social critic Jon
McKenzie introduced a fascinating
proposition, which he framed as a challenge
linking the performances of artists and
activists to those of workers and executives.
The grammar of performance and performativity,
he argues, has become so ubiquitous in North
American society that it now goes unnoticed,
an unacknowledged and largely unchallenged
set of assumptions informing the way we talk,
write, and act. What Herbert Marcuse called the
Performance Principle (an economic imperative
identied in the mid-1950s) was simultaneously
embraced by industry and the arts, producing
a sometimes troubling coincidence of terms,
actions and motives. Performance was in the air,
but so much so that it quickly became invisible.
McKenzie challenges us to parse out the
competing discourses, concepts and practices,
and work out a general theory of performance.
Its my contention that the increasingly
ubiquitous use of the word project among
artists speaks to McKenzies proposition:
Together with Dr. Lisa Cooke (an anthropologist),
the United Way, the Steelworkers, and ASK
Wellness (the Aids Society of Kamloops), I
have been documenting a public showers
initiative from its inception to the openingand
now its impact (which includes both a video
documentary weve produced and a related art
exhibition on The Art of Giving and Receiving).
As part of this research, weve
been worrying the notion of The
Rhetoric of the Project, ...
...exploring how projects and project
management are variously dened by the trades
volunteers (Steelworkers Local 7619), the union
management, and artists (especially community-
based artists). This presentation will explore
project rhetoric and practice, and how the
sense of an ending informs that rhetorichow
workers contributing to the shower project echo
the practices of those community-engaged
artists who speak of their art projects as
opportunities for intense but often short-term
involvement (and here Im thinking of those for
whom local issues and interactions become the
occasion or material for art-making, soon to
become the objects of art, important that is at the
moments of creation and artistic production
important to the projectbut something left
behind once the artwork has been completed).
I will be arguing that project completion brings a
shared sense of an ending and a felt sense that
the work should speak for itself.
His recent books and catalogues include Imaging Place,
Artists Statements and the Nature of Artistic Inquiry, The
Small Cities Book: On the Cultural Future of Small Cities,
and PhotoGraphic Encounters: The Edges and Edginess
of Reading Prose Pictures and Visual Fictions. Hes
currently engaged in exploring questions of cultural capital,
community mapping, and the artistic animation of small
cities. Forthcoming book publications include Whose Culture
is It, Anyway? and Cultural Mapping as Cultural Inquiry
http://www.tru.ca/faculty/petts/index.html
PROFESSOR W.F.
GARRETT-PETTS
THE RHETORIC
OF THE PROJECT:
ART AT WORK AND
WORKERS AS ARTI STS
ABSTRACT
CAN
Will Garrett-Petts is Professor
of English and Associate
Vice-President of Research
and Graduate Studies at
Thompson Rivers University.
He is former Research
Director of the Small Cities
Community-University Research
Alliancea national research
program exploring the cultural
future of smaller communities.
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ABSTRACT
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This presentation explores Arte til as
an artistic movement; it means not only
the benecial things that art can produce,
or the concrete benecial outcomes for
its users, but it means art as a tool for
social change.
Arte til is transforming affection into
effectiveness. Arte til has no relationship with
a view falsely seeing what is good in everything;
it rather believes in the possibility of the
people to grow.
All art is useful, yes, but the
usefulness we are talking about is
the immersion of art directly into
society with all our resources.
It has been too long since we have made the
gesture of the French Revolution the epitome
of the democratization of art. We do not have
to enter the Louvre or the castles, we have
to enter peoples houses, peoples lives, this
is where useful art is. We should not care for
how many people are going to museums (and I
know sometimes they count even when they only
come to use the restroom). We need to focus
on the quality of the exchange between art and
its audience.
Artists doing social art are not shamans,
magicians, healers, saints or mommies. They
are nearer to teachers, negotiators, behaviour
builders and social structures. Arte til
functions directly with/in reality. Arte til has
a different society in mind. Arte til is a form of
practicing social art. It is a socially consistent
(artistic) material which functions as an entry
point for the audience. With excessive frequency
we hear about the barrier existing between the
work of art and the non-informed audience for
which access to the work is impossible. Arte til
is not something new. It may have not be called
that, it may not have had been mainstream in the
art world, but it is a practice that somehow has
become a natural path for artists dealing with
political art and social issues.
REFLECTIONS
ON ARTE TIL:
ART AS A TOOL
FOR SOCI AL CHANGE
Her long-term projects have been intensive interventions on
the institutional structure of collective memory, education
and politics. To dene her practice she uses the terms arte
de conducta (Conduct/Behavior Art), Arte til (Useful Art),
political timing specic and aest ethics. She is currently
working on the political representation of migrants through
her long-term project Immigrant Movement International.
www.taniabruguera.com
Tania Bruguera is a leading
political and performance artist
researching ways in which Art
applies to everyday political life
by transforming social affect into
political effectiveness.
TANIA BRUGUERA
VIDEO
FORMAT CHANGE: Due to a schedule conict, the artist can
not be present. She sends her apologies, Marnie Badham has
video interviewed Tania Bruguera to be a part of the event.
Tanias video is now coupled with a panel discussion
including Ferdiansyah Thajib(Kunci, Indonesia), Shakthi
Sivanathan(CuriousWorks, Sydney), and Jade Lillie
(Footscray Community Arts Centre, Melbourne).
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TIFFANEY BISHOP
COLLECTIVE (tbC)
www.tiffaneybishopcollective.com
tiffaney bishop COLLECTIVE (tbC) is an artist-run initiative
that offers young people a studio environment to locate their
arts practice in and to launch creative careers from. The
program provides artists with space, materials, mentoring and
opportunities to participate in and lead collaborative art projects.
tbC engages resident artists in local, national and even international artistic experiences and
has become an important cultural centre in Belgrave, Victoria for youth and for the community in
general. tbC is not a hang out; its taken quite seriously by the young artists as a creative lab for the
development of artistic careers.
tbC is a provocative arts model that engages young people and established artists in ambitious and
experimental cross-disciplinary practices. tbC proposes a new status for young artists, offering them
opportunities to engage with dominant culture and a new aesthetic for community-based art, one that
actively contests the historical divide between community and contemporary arts practice - a divide
that often pits the insider and outsider artist and the gallery and community against each other. This
contested line between community and contemporary art and the desire to be taken seriously inspires
and drives the groups practice and outcomes.
ART INSTALLATION
Random Methodologies
Random Methodologies is a creative
studio laboratory that intends to engage
the audience in ways that challenge
traditional relationships in viewing and
consumption of art.
Mentored by Tiffaney Bishop, young tbC artists in
residence will facilitate participatory arts making
through aesthetic, interactive and game concepts
accompanied by two dimensional artworks.
As a dialogic artwork, Random Methodologies
confronts artistic conventions and tensions head
on and demands the audience take tbCs mode
of art making seriously. The artists, the work,
and the gallery space connect in a way that
illuminates and challenges our perception about
what art is, where it is made and who can make
it. Presenting tbC as a working studio within the
gallery context, Random Methodologies invites
the audience to engage in critical conversations
about its community-based contemporary art
practice, by opening up a dialogue between
practitioners, experts and audiences about how
we present, evaluate and value this mode of
practice and its artistic outcomes.
Artist oor talk Random Methodologies
THURSDAY FEB 6 | 2:00 PM 3:30 PM
RESEARCH PARTNERS
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Ar t i ns t al l at i ons ,
i nt er vent i ons & s cr eeni ngs
ongoing in the gallery
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The Other Journey
The movement of refugees and immigrants
across the world is usually relayed through
statistics, news bites, policy and campaign.
Through these channels, public responses
generally alternate between scorn and pity.
The Other Journey relays instead the intimacy,
dignity and compromise that surrounds the
individuals decision to ee - and the courage, risk
and transformation it takes to belong again to a
new community.
Audiences hear verbatim stories of three people
who ed war in Sri Lanka to rebuild their lives in
Australia. The way they tell their stories, its very
informal, intimate, reective its like being in the
living room of a long-lost friend and going through
a bottle of whiskey as you swap life stories into the
early morning. The Other Journey is not about the
how, when or what of leaving one place and settling
in another. Its about the why: the emotional and
psychological journey of resettlement. How does a
person come to terms with the decisions they made
not only about their own future, but that of their
children, and their wider community? How do they
come to accept the unforeseen consequences of
their decisions?
We like to think of The Other Journey as an arts
adventure. The multi-sensory and interactive
environment built around the audio journey invites
the audience to fully immerse themselves in the
work and consider the stories not from their own
perspective - but that of the communitys.
The Other Journey is just one part of The Lanka
Project, a long-term creative collaboration
between CuriousWorks and members of Sydneys
Sri-Lankan Australian community. You can learn
more about the broader initiative, which brings
together professional arts and social change
outcomes at http://lankaproject.net.
CURIOUSWORKS
www.curiousworks.com.au
Meet+Eat
Through a stunning collection of beautifully
crafted and intimate lms made with the community,
lm project Meet+Eat by CuriousWorks, encourages
a deep and personal conversation about diversity in
our communities.
Each episode in the series uses the act of sharing a meal as a
way of getting people from different walks of life to sit down
and have a yarn. Meet+Eat reminds us that we dont know the
stories behind many of the people we come into contact with: we
may exchange words with them in a staff meeting; in the sports
dressing room or across the backyard fence. But without knowing
the whole story, we form our own assumptions about who they
are and what they think.
Its only when were invited into someones home - to share
a meal with them that we are able to get a fuller picture of a
person. That exchange of stories between two people who
might otherwise have never dined together is what Meet+Eat
is all about. The lms visit issues of immigration, displacement,
identity, inter-cultural and inter-generational exchange, personal
history, cooking, eating and new friendship.
In line with CuriousWorks holistic community cultural
development model, Meet+Eat has a strong learning component.
A number of Cultural Leaders from the community, those
participants who are passionate about diversity and have
displayed a genuine interest in a career in media & the arts,
are selected to work closely with the professional crew on the
production of Meet+Eat. CuriousWorks project implementation
evaluation framework has been trialed on the Meet+Eat project.
The framework aims to capture the depth of the project by
measuring the creation of cultural capital in the community
through CuriousWorks project cycles and linking this into the
overarching long-term goals of the company.
THURSDAYS SCREENING:
Helen + Maria -
Princess & the Bird
Pre video talk by
Emma Macey, Director and
Creative Producer
The key focus to Maria's and
Helens story is a narrative
between two families who
immigrated to Australia
54 years apart. One, a
Greek family who arrived
in the 1960's to escape the
occupation of their island
village by the Italian army and
the other, a Samoan Princess
who was sent away from
her tribe as a child to nd
a better life. What surfaces
is a rich and colourful
exchange of two cultures and
a heartfelt comparison of the
immigration experience.
FRIDAYS SCREENING:
Marcello + Shane
Dust & Dreams
Pre video talk by Shakthi
Sivanathan, Meet+Eat Series
Director
Marcello & Shane, two
dedicated truck drivers from
Western Sydney, share their
stories of balancing work,
family life and their personal
passions. A story of diesel
and obsession.
CuriousWorks sets out to subtly reshape the systems of
cultural production in Australia, for the benet of all Australians.
Our work is always about instigating a more diverse, more
accessible, more imaginative arts and media scene in our home
country: the re-telling and re-creating of our national story!
CuriousWorks exists to identify, connect and build cutting-edge arts and media capacity in a new
generation of storytellers: storytellers that hail from Australias most marginalised places. Our process
empowers and brings long-term positive change to the lives of our storytellers and their communities,
by enabling them to tell their own stories: powerfully and sustainably.
PERFORMANCE
FILM SCREENING & LUNCH
CURIOUSWORKS
Enzas Studio THUR FEB 6 & FRI FEB 7 | 8:00 PM & 9:30 PM SESSIONS
Basement Theatre THUR FEB 6 & FRI FEB 7 | 1:00 PM
The Princess & t he Bird, Film still from Meet+Eat episode, 2013
The Ot her Journey. Parramasala, 2011. Photo by
Guido Gonzalez.
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THE OTHER
FILM FESTIVAL
www.otherlmfestival.com
The Other Film Festival is Australias only international
disability lm festival. The festival showcases contemporary
Australian and international cinema produced by, with or
about people with a disability. The festival celebrates the
lived experience of disability.
The festival prioritises meeting everyones access requirements so that everyone who attends
the festival can enjoy the experiences on offer. In 2012, the festival delivered a suite of professional
development master classes for actors and lm practitioners with a disability. The festival is committed
to the inclusion of people with a disability in the full cultural life of the community.
The Other Film
Festival Presents
The Other Film Festival presents a selection of
some of the best contemporary Australian and
international short lms concerned with the lived
experience of disability. All lms will be captioned and
audio described. The introduction and post-screening
discussion will be Auslan interpreted.
The session will be introduced by the festivals director, Rick
Randall. The 60 minute screening lms will be followed by a
20 minute discussion.
The Other Film Festival is produced and presented by Arts
Access Victoria, the states leading arts and disability
organisation with 40 years experience managing community
cultural development projects. The organisation pursues an
agenda of inclusion and participation in the arts for people
with a disability.
The festival acknowledges the obligations arising from the
Disability Discrimination Act, the National Arts and Disability
Strategy and the United Nations Declaration on the Rights of
Persons with Disability.
The Other Film Festival is supported by the City of Melbourne,
Screen Australia and Film Victoria.
PROGRAM
DEAF MUGGER
William Mager, 2010, 2 min,
Comedy, UK
A Deaf mugger, a reluctant
interpreter and a very
confused victim.
AUSTISTIC DISSONANCE
Eric Bent, 4 min, Animation,
Canada
A young animators confusing
experiences of growing up
with autism.
BEAUTIFUL
Genevieve Clay-Smith, 2010,
13 min, Drama, Australia
Two people with intellectual
disabilities navigate new
challenges when their
relationship is suddenly
on display.
10:4
Guy Natanel, 2011, 6 min,
Documentary, UK
Exploring one mans blindness
through the textures and
sounds that surround him.
SUNNY BOY
Jane Gull, 2011, 12 min,
Drama, UK
Danny has a rare, photo-
sensitive skin condition but
he risks everything to be a
regular teenager.
JUST BE FRANK
Elise Bialylew, 2010, 15 min,
Documentary Australia
Blind jazz singer, Frank Senior,
adjusts to his new dog on the
busy streets of New York.
FILM SCREENING & TALK THE OTHER FIM FESTIVAL Performance Space THUR FEB 6 | 8:00 PM 9:30 PM
Deaf Mugger, film still, 2010, William Mager
Just be Frank, film still, 2010, Elise Bialylew
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CHANGE MEDIA
www.changemedia.net.au
Artistic director Jennifer Lyons-Reid and creative producer
Carl Kuddell are Change Media's co-founders and key artists.
Working with a team of artists, they are a national digital media
arts initiative, focusing on disruptive innovation, critical literacy in
digital media, and social change through co-creative storytelling.
In the last 2 decades Change Media has worked in community arts, broadcast media, live art, and
delivered hundreds of digital media workshops with thousands of participants across Australia, receiving
awards across the globe for our work. Their recent strategic advisory work includes investigations into
story theft, equity and harm in community arts. They are joined by Ammon Beyerle and Michelle Emma
James from herestudio for this event.
ART INTERVENTION
WORKSHOP
Presented by Jennifer Lyons-Reid
and Carl Kuddell, Change Media
Glorious Failures is a mega-swap-meet
90-minute creative and interactive
workshop. Build your own typology of harm
and join Change Media to workshop the
meta-level of establishing a harm typology
for a renewed debate on value in CACD.
Critical literacy is an essential tool for CACD
practice in a colonial context. How can we name
key values of our sector, without jeopardising
our standing in the sector? What really informs
our narratives, beyond spin and funding speak?
This Typology of Harm is Change Media's artistic
response to a set of questions we posed after
years of highly successful glorious failures.
We focus on transparency and equity in our work
as artists negative only in as much as negative
space helps us to shape our understanding of
that which we struggle to see.
During the workshop, The Department for Critical
Illiteracy will launch its prototype Typology
of Harm in CACD. After an introduction of the
methodology, participants can play out different
negative value scenarios and develop their own
typology of harm, to map out their own experience
of harm, by using a unique set of N.I.C.E. cards
[Negative Indicators Commonly Experienced].
We will introduce a range of tools and satirical
archetypes based on identied negative values
and behavior patterns, to open up a dialogue on
the issues of harm and risk. Our method aims
to strengthen critical literacy across the sector
to support stakeholders to engage on a deep
level with problems of power, interdependency,
privilege and commodication across the sector.
Glorious failures
The elephant strikes back
The elephant strikes back is a Change
Media initiative, supported by the
Department for Critical Illiteracy. The
Department invites you to take part in a
swap-meet investigation to build your own
typology of harm in Community Arts and
Cultural Development (CACD).
This cross-media artwork includes:
Video presentations during lm screenings
and as part of video installation loop. A series
of Department of Critical Illiteracy (DCI) videos
offering advise on risk adversity and harm
reduction for CACD stakeholders.
Art installation, introducing the prototype
Typology of Harm with NICE [Negative
Indicators Commonly Experienced] cards,
interactive sculpture display and series of wall
posters. The artwork will feature a selection
of risk/harm archetypes combined with
strategy scenarios, rules for the gameplay and
collectable trading cards in your lanyards.
Collect, play and swap your NICE cards at
the conference - in fact, collect them all, and
be the rst to win! Conditions apply. At the
Glorious Failures workshop, participants will
have an opportunity to be the rst to play with
the full deck of NICE cards and build their own
typology of harm in CACD.
Live art interventions with DCI representatives:
Test your CACD skills; get pre-approved by the
Department for Critical Illiteracy and get ready
for business in a fully commodied sector. The
intervention may feature cardboard pop-up
display, bridge the gap challenges and the
latest tips on how to conceptualize your work
to suit funding requirements.
CHANGE MEDIA
Typology of Harm, NICE card prototype, 2013, Change Media
Mario's Studio FRI FEB 7 | 2:00 PM 3:30 PM
ongoing in the gallery
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Cur at ed paper s , panel s
& wor ks hops
ABSTRACTS
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Measure for measure: how gift economy allows us to play by our own rules
Presenter: Dr Joanna Winchester
Community arts have the potential to develop and sustain relationships between artists and participants,
which can create the desire for individuals to connect with communities. In an environment of diminishing
arts funding, arts practitioners and supporters have placed an increasing emphasis on developing
evaluation strategies that provide evidence for the social, cultural and economic impact of community
arts. Most current evaluation strategies, however, do not adequately capture the various impacts, from
the potential for long-term change for individuals to the level of training received by participants, and the
diversity of career trajectories that open up. There is an urgent need for practitioners to be able to promote
the effectiveness of community arts without compromising or overly simplifying what is a complex practice.
By applying the theoretical framework of gift exchange to community arts practitioners creative process,
I argue that there is a need to refocus attention on the relationship and reciprocity between artist and
participant. In order to develop evaluation strategies aligned to the values of community arts practitioners,
this relationship must be acknowledged as integral to the creative process in community arts, and therefore
essential to the assessment of the social and artistic outcomes. Three community arts organisations from
Western Sydney, NSW will provide the context for this discussion.
Art for social change, a ve-year national study in Canada
Presenter: Judith Marcuse
Judith Marcuse is leading a large national team of scholars, artist/practitioners and community-based
organizations to investigate and nurture the eld of art for social change in Canada. This is the rst study
of its kind in the country with six universities, nine lead researcher/artists and 38 collaborating individuals
and organizations.
In addition to providing annotated mapping and literature reviews, The ASC! Project focuses on three main
areas in the eld: teaching and learning; evaluation; and building capacity for partnerships. The Projects
ambitious agenda includes building new, inclusive and national networks; supporting a new cohort of
scholars and practitioners, providing a moveable annual Summer Institute and creating an online, open
source Canadian textbook, the rst one in the country. Field studies include projects in social circus with
Cirque du Soleils Cirque du Monde, a project partner, and ASC-facilitated, cross-sector dialogues on the
wellbeing of seniors in partnership with the Arts Health Network.
Dr. Marcuse will describe the challenges and delights of this project and engage in conversation to tease out
areas of common concern, using arts-based facilitation as part of the dialogic process.
Reciprocity is not an alternative system of value
Presenter: Dr. Bo J Svoronos
Reciprocity is an expected part of our social worlds. It can often present itself as a simple interpersonal
or communal occurrence in a given circumstance. Although in many instances reciprocity can become
increasingly complex with our attempts to describe or critically understand it. Over time a breadth of views
and terms have been associated with the act of reciprocity such as cooperation, tit-for-tat or gift exchange,
and rules assigned to it including the golden, silver or platinum rule. Likewise, reciprocity is attributed
across a diverse eld of interests from anthropology, engineering, international affairs and photography.
But what is reciprocity? How is it supposed to work and whats in it for you?
In relation to community-based arts, reciprocity can be witnessed amongst the many layers of the
practice itself. It is suggested throughout the paper that reciprocitys essence is a series of continued and
willing circulations from mutual exchanges, whether initiated or responsive, between parties. From these
observations the abstractions of reciprocal exchange denes what form it may take, becoming more than
a simplied version of give and take. Based heavily in trust, reciprocity therefore is open to manipulation
whether intentional or not that can affect relationships. As thoughts and feelings of indebtedness or
obligation between parties develops over time, so too do norms of engagement which have the potential to
create meaningful bonds.
This paper presents a theoretical model of reciprocity informed by community arts practice and discusses
how its different approaches may be transferred or reected upon. The paper will begin with an overview of
reciprocitys multiple contexts and meanings. It will lead into some of the prompts that guided the papers
course, concluding with a theoretical framework outlining the various stages, elements and scalable
circulations that may inuence interpersonal encounters and beyond.
PERFORMANCE SPACE
PERFORMANCE SPACE
OUTSIDE BACK LAWN
PERFORMANCE SPACE
CURATED PAPERS
KEYNOTES
MORNING
CURATED PAPERS
GIFTS EXCHANGE AND RECIPROCITY IN ARTMAKING
2:00 PM 3:30 PM
10:30 AM 1:00 PM
THURSDAY 6 FEB
2:00 PM 3:30 PM
Chair: Ted Purves
Keynote Presentation 1: Ted Purves
Keynote Presentation 2: Sophie Hope
Performance: Grace Vanilau
Panel discussion: Lachlan MacDowall, Ted Purves and Sophie Hope
Artwork Presentation: Zachary Gough
8:30 9:30 AM Smoking Ceremony: Uncle Larry Walsh and Registration
9:30 10:00 AM Welcome to Country: Aunty Carolyn Briggs and Opening Remarks: Lachlan MacDowall
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2:00 PM 3:30 PM
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2:00 PM 3:30 PM CURATED PAPERS CURATED PAPERS ENZAS STUDIO
Chair: Sophie Hope
COMMUNITY ARTS AND THE POTENTIAL FOR HARM
ENZAS STUDIO
Have love without the risk The risk-averse in participatory art
Presenter: Amy Spiers
There is a considerable degree of handwringing in the eld of sociallyengaged art, so that even the most
gentle and cautious forms of participation can come under erce ethical scrutiny from well-meaning critics
and audiences. Socially-engaged artists often fear troubling people who participate in art, dreading that
they might exploit, expose or misrepresent their subjects. As a result, many artists actively try to mitigate
risk, employing strategies that will protect their subjects from uncomfortable scrutiny going even as far as
censoring their own work, or abandoning participatory engagement altogether, to avoid causing any harm.
Often touted are correct models for engaging participants, advocated by artists who are quick to
condemn those projects that wander into murky territory. While it is certain that involving people in
any type of artwork, whether it is good-intentioned or deliberately unsettling, conjures up all kinds of
potential for hazards and tensions, this paper argues that this desire to police artworks is misguided and
unproductive. It will be suggested that it overshadows other pressing concerns. For instance, why have we
become so risk-averse and overprotective? And what possibilities are closed down when our engagements
with people are delimited by a rigid application of ethical judgment?
Via a discussion of Lonely Hearts, an art project made with the participation of online daters that I created
in collaboration with artist Lara Thoms in 2012, I will elaborate how a thematisation of risk might be worthy
territory for participatory art. Rather than make work only when all potential for risk is allayed (as if such
a situation were possible), artists might test the limits of sociability in participatory artworks in order to
provoke questions about the present social order.
Public displays of affection or how stopped worrying and learned to love the consent process
Presenter: Cathy Horsley
The City of Port Phillip has been proud to support arts and disability for over twenty years. Throughout that
time there have been an extraordinary number of hits. This paper covers one of the misses. Its a story
about consent, release, privacy and art made in collaboration with people with disability.
The management of Fog Theatre transitioned to The City of Port Phillip in the early 1990s. Under the
Artistic Direction of exceptional theatre makers Kate Sulan and David Wells Fog has achieved extraordinary
outcomes. Fog presents high quality art works made with care precision, risk and affection. However there is
one major piece of Fog Theatre work that will never be seen. Moishes Warm Up is a lm by Fog Theatre and
Eugene Schlusser, made in 2005. Taking over a year to complete and costing in excess of $35,000, Moishes
Warm Up was screened once and never again. The projects consent and release process was awed.
This presentation will explore the circumstances which lead to the making of the lm, lack of informed
consent and what the City of Port Phillip and the sector have learned from what can only be described as
a fail of proper process. The presentation will go on to outline how six years after the failure of Moishes
Warm Up the City of Port Phillip produced the largest ever all abilities performance event The Rawcus
Flash mob. The Rawcus Flash mob project included a consent and release project on a scale never before
undertaken. Over 400 people with and without disabilities descended on Federation Square in the center of
Melbourne to perform a ash mob, be lmed and have the lm shown on YouTube. The lm currently enjoys
over 25,000 views. All of this with proper informed consent. This paper will explore that journey.
Mammoths and other difcult topics
Presenters: Jennifer Lyons-Reid and Carl Kuddell, Change Media
As gatekeepers and trend makers what are we not hearing, not seeing? Who is not in the room?
Lets welcome the elephant: What is the value of evaluation especially for the artists? Where do we place
ourselves in the spectacle of evaluation? Who evaluates the evaluators?
With all the tools we explore at this forum, how do we achieve a re-connection between artists,
participants, audience, funders and researchers, without feeding into oppressive tactics? What happens
between the nodes of the connected social networks? Historically, the majority of the worlds population
never trends well... Will more data and better algorithms provide us with better means to make better art
and be more effective at what? What is our shared horizon, what are our dreams, our narratives to shape
the lenses for network analysis?
Are narratives still important or are we entering the age of participation over story? How can we
generate hope AND income? How do we disconnect from story theft and colonization, which are built into
the very fabric of our social market interfaces and data harvest machinery? How can we create practical
solidarity, in an agile, exible way, so that evaluation can feed into art praxis and build trust, versus
fear-driven compliance? How do we link our work to self-determination, without succumbing to identity
politics often driven by fear and belonging within a culture of lack? How do we build critical literacy into our
submission, work and evaluation cycles? We all evaluate and critically reect on our projects constantly, so
how can we share these mostly internal processes, so that the sector gains strength and artists take part
in the power of inuence?
This presentation is accompanied by a series of Department of Critical Illiteracy videos exploring the
Typology of Harm in arts and culture.
Image: Surveil t he Surveillance Benjamin Cittadini
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CURATED PAPERS CURATED PAPERS
MARIOS STUDIO
LOCAL VOICES
Chair: Emma Blomkamp
LOCAL VOICES
MARIOS STUDIO 2:00 PM 3:30 PM 2:00 PM 3:30 PM
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Creative communities and housing affordability: a literal case of rent seeking
Presenter: Bronwyn Coate
Using statistical data collected from the most recent population census in 2011 (ABS,2012), this paper
looks at the concentration of arts-related employment across local government areas (LGAs) in Australia.
Not surprisingly LGAs within close proximity to capital city centres reveal high levels of arts-related
employment. There is also a further clustering of those engaged in arts related activity across smaller
centres located in regional areas that are generally within reasonable proximity to major capital city
centres. As well as looking at the geographic distribution of those involved in arts related employment
the paper also considers questions around housing affordability. Evidence is found that expenditure on
housing is typically higher in LGAs that have a relatively high proportion of those engaged in the arts. Given
further evidence that the average incomes earned by those employed in arts is less compared to many
other professions, particularly professions involving tertiary education and training, it is argued that artists
are undervalued in economic terms due to the positive externalities that arise from the presence of artists
within a community. The ndings around housing affordability hold across both urban and regional centres
and raise questions around urban regeneration and gentrication that is led by the arts, but which show it
can be a victim of its own success, if ultimately higher priced housing drives artists out of the communities
in which they have been instrumental in shaping and making vibrant and desirable in the rst place.
More than free paint
Presenters: Alison Baker and Charlotte Hilder
Central to the wellbeing of our communities are the concepts of citizenship and civic participation, which
often reect broader issues of inequality, bringing into light questions about whose voices are heard and
whose are suppressed? In the eld of community psychology, Rappaport (1995) has noted that community
arts are about claiming ones right to tell existing stories about self and community (p.329). Grafti, is
a contested art form and the public discourse and representations about young people who engage in
this art have been dominated by stories of criminality, vandalism and youth subculture. Using activity
settings theory as a conceptual framework, this evaluation research focuses on the ways in which a local
community arts program serves as a site for the development of young peoples civic identity, belonging and
future aspirations. Using a number of data gathering techniques, including participatory visual research
methods, this work (re)presents young grafti artists who are navigating their communities through
a council-led public art diversion program. Precariously positioned between societal institutions and
processes, these disengaged young people highlight the importance of alternative arts spaces as places
that offer opportunities for social cohesion, connection and agency. We discuss the challenges of doing
democratized research that is often bounded by institutional and practical constraints.
Can a local government produced and funded lm festival enact social change in
a community experiencing diverse challenges?
Presenter: Timmah Ball
The presentation will address the issues and opportunities of running a local government produced
lm festival in a community experiencing socioeconomic challenges. It will argue that the arts have an
important role and need in these communities. The City of Greater Dandenong is the most ethnically
diverse municipality in Victoria; approximately 60% of residents are born overseas from over 150 different
birthplaces. The Greater Dandenong Film Festival was initiated as a way for culturally and linguistically
diverse communities and the wider public to come together, share stories and bridge the gap of perceived
differences. The annual event takes place during Cultural Diversity Week at Readings Cinemas Dandenong
where a program of short lms is screened followed by a panel discussion.
The lm festival has generated positive interest from the community; however, evaluation of the rst
event raises questions around the best way for the festival to develop and grow. The following key
questions have emerged:
How do we engage, encourage and support a community to make lms when many have not been
exposed to an arts education and are experiencing a range of challenges such as language barriers,
unemployment and cycles of disadvantage?
How do you evaluate the role and impact of a lm festival where tangible outcomes are not always clear?
Film has the capacity to express views and opinions in a profound way. A key opportunity for
the lm festival will be to ensure that communities who are often misunderstood are heard in an
authentic way. What are the best ways to use this as an evaluation tool which can then justify the
need for future lm festivals?
The presentation will open discussion around strategies to justify money and resources towards lm-based
interventions in disadvantaged communities when other signicant needs such as housing, employment,
social support and education often take priority.
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2:00 PM 3:30 PM
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CURATED PAPERS
Image: Exhibition supporters group, Monte Masi
2:00 PM 3:30 PM CURATED PAPERS
ARTISTS, RESEARCHERS, AND SUBJECTIVITY
JK MEETING ROOM
Chair: Gemma-Rose Turnbull
ARTISTS, RESEARCHERS, AND SUBJECTIVITY
JK MEETING ROOM
Privileging creative arts desires through aesthetic, subjectivity-based practice
Presenter: Becky Nevin Berger
As a community arts practitioner the aims of my practice must nd synchrony with those of my project
partners. These other aims often draw from community development staples of increased wellbeing,
participation and inclusion, strengthened networks and engagement, and educational learning outcomes
like skills and knowledge enrichment and acquisition, personal and social development. In parallel to this,
I facilitate from the basis of the model of aesthetic subjectivity which posits the subject as an embodied
consciousness embedded in, emergent from and extending through its environment. Observing my own
intimate studio practice, my community and participatory arts practice and reviewing the work of other
artists and theorists has revealed how engagement in creative practice enables a greater sense of ones
inner world and its interaction with ones outer life. My continued development of the aesthetic subjectivity
framework has grown my condence in the extent to which creative practice desires converge with
community development and educational learning outcomes to support individuals in their ability to author
positive action in their own bodies, lives and communities.
Over time I have witnessed that creative arts aims and outcomes are not always understood or valued by my
project partners. In this paper I will draw from theoretical research and practice-led experience to articulate
key values and processes operating within my aesthetic subjectivity based community arts practice.
Among others I draw on ideas from John Dewey, Richard Shusterman and Michel Foucault, neuroscience
and evolutionary psychology to hone this ecological notion of embodiment and to argue that creative and
aesthetic practice provide specic means to engage with it. I will contend that privileging the creative arts
desires of a project, developed in a process of collaborative consultation with key partners, often yields
outcomes congruent with, and able to enrich, broader community development and educational aims.
At home with art
Presenter: Maria Miranda
Today artists have begun to open their garages, living rooms and backyards to show their own work as
well as others. These spaces create an informal project space where people can engage with the artist
in the midst of the work. Its about grown-up play and serious engagement. The projects can be informal
or unnished. The events can be backyard parties including barbeques and sausage sizzles. The audience
can be all ages and backgrounds. Many of these home-based art galleries and initiatives are located in
the suburbs or regional places, rather than inner-city precincts, which gives them a strong connection
to local audiences, like family, neighbours or passers-by. Their location and lack of ofcial funding or
perhaps recognition by spectres of evaluation raise several questions. Are they a new form of ARI based
on a gift economy? Are they socially-engaged? Are they a new form of community-based art, with the
community now consisting of a small, local network of friends and neighbours? Do they disrupt or overturn
practices of institutional evaluation that have come to the fore in our metrics-based audit culture?
These home-based art events seem to fall somewhere between the traditional artist-run initiative
and traditional community-based art. They have the feel of a grass-roots movement, turning away from
the traditional avenues and sites of art, like the white cube gallery and other public institutions, with a
determined DIY attitude. In my paper I will present several national and international examples of home-
based art, framing their emergence within a Dewey notion of art as experience in order to understand
this recent phenomenon. I will ask, can artists take back the role of the evaluator, and open up art for
ordinary people who just happen to be artists, and who just happen to live outside the inner-city hub?
In search of art's endogenous disciplinary values
Presenter: Lucas Ihlein
In her book This is not Art: Activism and Other Not-Art (2013), artist Alana Jelinek suggests that the
rise of socially engaged art practice is part of a trend towards the neoliberal colonisation of culture
generally. She writes: The artworld has lost a way of articulating the value of what we do and art is
now understood either directly in market terms, or indirectly in other neoliberal terms, as a measurable
instrument for the ameliorisation of social ills as dened or at least sanctioned by government.
As a way out of this impasse, Jelinek proposes a return to disciplinarity. She calls for art to cease
appealing to external criteria for judgement (such as social efcacy, state funding or market success).
Jelinek proposes that we begin to use endogenous disciplinary values - in other words, criteria specic to
arts own history of practice, as a way of judging the quality of what we do as artists.
But given arts long history of cross-breeding with other disciplinary practices, what could such
discipline-specic values actually look like? Could we even agree on a common set of endogenous
disciplinary values, in a discipline inherently shaped by exogenous forces?
This paper examines Jelineks provocation in light of two case studies from my own history of socially
engaged art practice: Environmental Audit (2010) at the Museum of Contemporary Art, and Tending
(2010-11), at Sydney College of the Arts. While the particular approach to socially engaged artmaking I
have been developing over the past decade does create a layer of examinable evidence, such projects
are still endishly difcult to evaluate. I argue for a nuanced version of Jelineks endogeneity which
resists the need for pragmatic social utility, while at the same time acknowledging arts desire to reach
beyond itself into the real world.
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2:00 PM 3:30 PM 2:00 PM 3:30 PM
2:00 PM 3:30 PM
2:00 PM 3:30 PM
Chair: Lenine Bourke
IS IT TWO SIDES OF A COIN OR COMPLETELY DIFFERENT CURRENCY?
BASEMENT THEATRE ART STUDIO
OUTSIDE/VERANDAH
ROSLYN SMORGON GALLERY
PANELS WORKSHOP
WORKSHOP
ARTISTIC PROGRAM
Panel members: Alex Kelly, Bong Romillo and Scotia Monkivitch
Think 2014 (not back in a past era but right now) and ask yourself these questions - Do the arts
create social movements? Do artists inuence policy? Do cultural initiatives provide infrastructure
in our communities? Do artists understand how to create a change making campaign? Do artists
collaborate with community organisers? Do we understand both sides of the coin or do we trade in
different currencies?
This incredibly intelligent and good-looking panel will tackle some of these questions within their own
work. Chaired by Lenine Bourke, she will invite Alex Kelly, Bong Ramilo and Scotia Monkivitch to unpack
the ways in which their arts and cultural practices intersect with non-arts based outcomes. All three artists
take their work to new levels by ensuring the quality of their cultural practice is paramount, while also
creating campaigns of social change within the scope of their cultural practice. Each panelist will be invited
to outline a recent / current work which, managed to trade in both currencies and articulate the pressure
points and highlights of this work.
My point of view photovoice - participatory workshops
Facilitators: Pip Chandler and Zo Dawkins, Storyscape
This workshop aims to give participants a practical understanding of the technique PhotoVoice, and
how it can be used in evaluation. PhotoVoice is a participatory photography and storytelling tool aimed
at increasing the involvement of marginalised groups in telling their own story and inuencing decisions
that affect their lives. It is a tool that can be used in advocacy, research, planning and monitoring and
evaluation. This workshop will open with an introduction to PhotoVoice and discussion on the power
of symbolic and abstract images when combined with a short personal story from the photographer.
Participants will then be asked to take a series of photos that respond to a particular question.
Participants will then choose their favourite photo and write a short caption/ story about it. In small
groups people will be asked to share their photo and story writing down key themes of stories on cards
showing how PhotoVoice data can be analysed. Each group will be asked to choose a story to share
with the group, and discuss why this story was chosen. The use of PhotoVoice in this workshop allows
participants to see how the technique can be used as an insightful evaluation tool, either to collect
baseline information or to assess the impact of a project or initiative.
Let's play ping pong and talk about evaluation
Facilitator: Lauren Siegmann
In order to have a discussion about the practice of evaluation in arts programming contexts, it is helpful
to have a discussion about the history of evaluation theory and the implications of this theory for
contemporary evaluation practice in the arts community.
It is truly shocking how much talk about evaluation gets chucked about without any reference to the
theoretical traditions of evaluation. Knowing this theoretical history helps you to situate evaluation
within and next to arts programming. More importantly, knowing the rules of evaluation helps you to
break the rules of evaluation in smart, funny, creative, and useful ways.
Lauren is very interested in evaluation theory, the use of humour in evaluation, the democratisation
(sic) of theoretical language, evaluation as artistic practice, and generally just having a good time.
Lauren was inspired by Los Angeles artist John Kilduff and in particular his Los Angeles based public
access T.V. Show Lets Paint, Exercise, And Make Blended Drinks. As a homage to Kilduff, Lauren
will lecture about evaluation theory to the audience whilst playing ping pong against members of the
audience. Audience members will be encouraged to interrupt with their own thoughts and opinions, ask
questions, and challenge the speaker.
Lauren is going to bring a large painting of a tree to the lecture which details the development of
evaluation theory, the evaluation theory tree. This tree will structure of the content of her talk.
Participants will be encouraged to paint their impressions of the workshop onto the tree.
Her discussion about evaluation theory will primarily draw on the work of Alkin and Christies excellent
book Evaluation Roots. She will also draw on the work of Campbell and Cook, Michael Patton, John
Owen, Michael Scriven, and others as deemed necessary and appropriate.
Artist Floor Talk, Random Methodologies
Presenter: Tiffaney Bishop COLLECTIVE
Image: Asylum Records 1, David Brazier and Kelda Free, 2013
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Chair: Joanna Winchester
NETWORKS AND FRAMEWORKS IN EVALUATION
4:00 PM 5:30 PM MARIOS STUDIO
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Untangling the nets: thinking about network analysis in community arts evaluation
Presenters: Dr Gretchen Ennis and Jane Tonkin
In this presentation, we will discuss various ways social network analysis might be used in the evaluation
of community arts work. Social network analysis is a research methodology linked to social network theory
and concepts such as social capital, and can be useful in thinking about various aspects of partnerships and
collaboration. Many different kinds of networks can be mapped out and examined, and this can shed light
on different kinds of relational webs, how they form and are used, and how they might change over time.
We will look at how Corrugated Iron Youth Arts are working with the Research Centre for Health and
Wellbeing at Charles Darwin University to explore various network mapping ideas and uses. We explain
what social network analysis is, how Gretchen has used it in the past and how together we are thinking
through its usefulness in evaluating some of the more social outcomes of community arts projects.
Network maps exploring the social connections of youth arts participants and the growth of community
partnerships are presented. Using these as examples, we overview both the potential and the pitfalls of
using network analytic methods for community arts evaluations.
A framework for evaluating the relationship between arts engagement and general
population health
Presenter: Christina Davies
A theoretical framework is of value in the design and analysis of research, and to identify relevant
aims and outcomes when evaluating arts programs. This study aimed to develop an evidence-based
framework pertaining to the relationship between arts engagement (for enjoyment, entertainment or as
a hobby in contrast to therapy) and health in the general population. Members of the general public were
invited to participate in an interview. Of the 98 Western Australian adults (18+ years) who nominated,
a sample of 33 people, representing a range of art forms, modes of engagement and locations, were
randomly selected to take part in a 60 minute, semi-structured interview. Responses were analysed
thematically using NVivo. The resulting framework contained seven primary outcome themes, these
being mental health, social health, economic, art, physical health, knowledge/skills and identity
outcomes. The framework also highlighted enablers and barriers to engagement, possible confounders
and effect-modiers. Mental health outcomes were mentioned almost seven times more frequently,
and social health outcomes ve times more frequently than economic, art, physical health, knowledge/
skill or identity outcomes. Within each theme, subthemes were categorised as relating to the individual
and/or the community. In addition, interviewees credited arts engagement with a number of positive
outcomes that were perceived to improve their health, quality of life, and enrich their life experience.
Although mentioned less frequently, negative and unintended outcomes were also identied. This
framework expands on current knowledge and is useful to researchers, program evaluators, artists and
health professionals interested in understanding the relationship between arts engagement and general
population health.
Image: Exchange rate: Bourdieux, a conference currency of social capital, Zachary Gough
Page 45 Spectres of Evaluation Rethinking: Art/Community/Value
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LABOUR, VALUE AND THE ROLE OF THE ARTIST
JK MEETING ROOM 4:00 PM 5:30 PM CURATED PAPERS CURATED PAPERS
CURATED PAPERS
Chair: Joanna Winchester
Chair: Michael Volkering
NETWORKS AND FRAMEWORKS IN EVALUATION
LABOUR, VALUE AND THE ROLE OF THE ARTIST
4:00 PM 5:30 PM
4:00 PM 5:30 PM
MARIOS STUDIO
JK MEETING ROOM
Mixed reality and actor network theory : investigating methodologies and frameworks for
participatory practices
Presenter: Asher Warren
As traditional models of criticism, evaluation and aesthetic theory struggle to address new social and
relational forms of art, how can we understand the assemblage of technological, social and artistic
elements in new interactive and participatory practices? Is it possible to develop new aesthetics and
ethics for these practices? Working across disciplinary boundaries, what kind of frameworks and
methodologies can be utilised? In this paper, I will examine mixed reality (Benford & Giannachi 2010)
and actor-network theory as a theoretical framework and a methodological process, respectively, with
the potential to allow new insight into these emerging practices. Addressing the social turn, actor-
network theory (ANT) is a sociological methodology, focusing on tracing agency through a network.
This paper will investigate the possibility of using ANT to observe participatory practice, tracing agency
between humans, technologies, objects and places. Alongside this methodology, the framework of mixed
reality will also be examined as a theoretical tool to overcome the problematic binary between actual
and virtual. With a continuum of vectors, it allows for the different trajectories of participants, and
pays close attention to both human and non-human agents (Benford & Giannachi 2010). Together, this
framework and methodology may allow a descriptive formal case study, that incorporates the social. The
tracing of agencies has the potential to locate relational forms (Bourriaud 2002) or, as Claire Bishop
suggests (2012), if the authenticity of art has been outsourced to participants. It may allow us to locate,
as Jacques Rancire proposes, some third thing between artists and audiences, that emancipates
participants with aesthetic efcacy (Rancire 2009:63).
Future art human
Presenter: Mark Stevenson
This paper will consider how art and artists may be understood to enact the miracle of giving or
producing more while paradoxically taking less, and how what art in that way teaches us may be key to
both sustainable human futures and the question of our ongoing humanness, resisting market levelling
and planetary depletion at a time when anyone can be and everyone wants to be an artist. I also wonder
if this contribution from the side of art is related to other intuitions we have about it, such as its essential
role in questioning and thinking humanness, responsibility and hope.
My two guides in these considerations will be George Batailles The Accursed Share and Giorgio
Agambens Highest Poverty: Monastic Rules and Form-of-Life. What is the meaning of art, architecture,
music, painting or poetry if not the anticipation of a suspended, wonder-struck moment, a miraculous
moment?... Man does not live by bread alone is a truth that sticks in the mind; if there is a truth that
counts before others, it must be this one, says Bataille. As Agamben sets out on his meditation on
altissima paupertas and a theory of use he suggests that the monastery is perhaps the rst place in
which life itself and not only the ascetic techniques that form and regulate it was presented as an
art. This analogy, he immediately adds, must not be understood in the sense of an aestheticization
of existence, but rather in the sense that Michel Foucault seemed to have in mind in his last writings,
namely a denition of life itself in relation to a never-ending practice.
Agambens advocacy for use over ownership, form-of-life over alienation, is both close to Batailles
concern with labour and consumption and close to challenges we shall all face in a resource poor future.
The price is right? Balancing the costs of an art practice
Presenter: Duncan McKay
For centuries the role of artists was to provide goods and services for patrons and clients, whether
secular or religious, much like any other artisan or craftsperson. At the root of this exchange were basic
economic considerations such as the scale of the work and the cost of materials, with patrons purses
often profoundly inuencing the composition and pigments employed. On one level, little has changed
in the contemporary world, as artists are still constrained by their access to funds, materials and
opportunities as metered out by public, corporate and private patrons. What has changed signicantly,
however, is the vast range of values that art is seen to deliver beyond the didactic, promotional,
ceremonial and documentary purposes to which it had previously been put.
Today art is a public good, said to provide benets for the health and wellbeing of communities, to make
tangible contributions to GDP and to serve as a marker for highly evolved and free (and afuent)
societies by virtue of the liberties that contemporary art takes in form, content and contexts. These
grand outputs, however, are much more difcult to put a price on when individual artists are negotiating
the value of their time, products and services. In this paper I propose to highlight a range of costs that
impact on artists professional practices, based on the ndings of my PhD research on visual artists
living and working in Western Australia. By focusing on the multidimensionality of these costs I will show
the great complexity of putting a price on artists time and production. This will make clear some of the
particular challenges that artists face in justifying and legitimating themselves as workers and cultural
producers in the various markets within which they operate.
Evaluating cultural development: lessons from anthroplogical theory
Presenters: Gretchen Coombs and Courtney Coombs
There has been a resurgence in feminist practice, both artistic and curatorial, over the last ve to ten
years, and it only seems to be growing in popularity. The issues are different, however, and so is the
feminism. While we must look to the past to understand the present, the recent shift in Australias
political climate mandates a reassertion of the value and efcacy of feminist art practices. This paper
will briey trace the legacy of feminist practices that consider food and exchange; that is, art projects
that have entertained the idea of women, food and exchange. We will use as current case studies the
Brisbane-based art collective, Levels works entitled Food for Thought, which: embraces the notion that
a revolution can start at the dinner table and We need to talk, and extension of this project that moves
the discussion outside, in a picnic format. These projects have run from 2011 in various Australian cities
as well as in Tokyo, Japan and will culminate with a picnic on the grass in the Museum of Contemporary
Art, Sydney.
CURATED PAPERS
CURATED PAPERS
4:00 PM 5:30 PM 4:00 PM 5:30 PM
4:00 PM 5:30 PM
BASEMENT THEATRE
FOOTSCRAY CALLING: LOCAL PERSPECTIVES ON EVALUATION
CURATED PAPERS
Chair: Jade Lillie
Chair: Richard Ennis
FOOTSCRAY CALLING: LOCAL PERSPECTIVES ON EVALUATION
ARTWORKS AND EXCHANGES ARTIST PANEL (1)
BASEMENT THEATRE
INCINERATOR GALLERY
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Minotaurs in the Sono Ecosystem
Presenter: James Hullick
This paper discusses how the arts minotaur the hybrid sonic artist/researcher contributes to their
sonic ecosystems. Following on from papers published by the author in Open Space (New York), this new
paper is written partly academically and partly in the poetic style. In particular the author addresses the
challenge of evaluation in the often non-rational and subjective landscapes of his cutting-edge sonic arts
and community practice. The paper outlines strategies for the interplay between contemporary music/
sonic art discourse, and methodologies associated with the scientic research into the functionality of
ecosystems. Here the phrase ecosystem is used instead of the word community. Some of the authors
artistic practice might be framed as community arts practice, but the author seeks to further the
epistemology of the community arts discussion be rethinking it in terms of ecological behaviours and
structures. Constructs around community art tend to be rigid and immobile, whereas ecological thinking
contextualizes ecologies as uid and dynamic behavioural systems. Community arts projects are uid
and evolving in nature and it would seem that ecological thinking is better able to articulate the nature of
these projects than traditional community arts theory, as purported in journals such as the International
Journal of Community Music. Modes of evaluation and creative development are thus placed into a
construct where art, and sonic art in particular, are considered as part of the unfolding evolution of
nature and the Homo sapiens trajectory.
Benchmarked
Presenter: Liss Gabb
Benchmarked seeks to answer the following questions:
Can the process of evaluation serve the art-making in a project?
Can the process of evaluation empower participants with complex needs, and deepen the engagement
between artist facilitators and artist participants?
Benchmarked tracks the process and examines the outcomes of a creative participatory evaluation
of program of arts engagement with young South Sudanese men. The program is called Benchmark
and is run by Barkly Arts Centre, a division of Western Region Health Centre. Benchmark involves a
unique program of cultural outreach in public space, and intensive one-on-one arts projects with artist
participants and established artist/facilitators.
The young men involved in the program carry the burden of troubled pasts having come to Australia from
war-torn countries as children and teenagers. Many are homeless, have chronic alcohol problems, have been
rejected by their families, are ostracized from the broader community, and subsequently many are going
to jail. The art making in Benchmark provides relief from boredom, a vehicle for the expression of opinions
and frustrations, as well as an antidote to the failure of our system to meet the needs of this vulnerable group.
To measure the value of the program Barkly Arts Centre has engaged some of the young men to design
a process of evaluation that culminates in the creation of a video and text work. The process draws on
methodology from a dialogic approach that references the Most Signicant Change technique but
also utilises tools from a Results Based Accountability framework that focuses on a set of participant
outcomes. The participant outcomes are determined through a process of deep listening and discussion
with the young men. The results of the measures collected after a four-month period, form the basis of
the video and text work created.
Presenters: Monte Masi, Georgina Lee, David Brazier and Kelda Free
Footscray everyday: stories of the real and the real story
Presenter: Benjamin Cittadini
There is in Footscray a tendency to promote the real: images of real people with their stories
captioned, expediting the unfathomable tides of everyday life for the appearance of reality. These images
are only the story of reality, not the real story; a projection of the reality they seek to occupy. People and
their everyday rhythmical iterations produce a story of space - a story written by the small adaptations
that individuals make of the dominant realities that precede them; struggling to adjust the world to what
one is rather than conforming to the way things appear to be. The poetry of these spaces resides in the
phatic exchanges between people and the constantly replenishing palimpsest of their everyday practice.
However in the project of urban renewal, art and "cultural capacity building" not only precede the
eventual incapacitating of culture by commercial development, but are often used as instruments of their
own incapacitation.
Over 12 months in 2012/13, a series of anonymous surveys on drugs, disgust, dreams, friends, enemies,
money, cafe culture and fear were conducted in person in various locations around the Footscray CAD.
Concurrently, people were invited to contribute anonymously to a series of books via drop boxes in the
Footscray Library with the titles: Forgotten names and familiar faces, Redundancy, Inscrutable pleasures,
Skeptics, Disagreeable odours, Improbable places, Farewells and Fearsome beauty. The intention of this
process is both to interrogate the credibility of community engagement surveys as a means of verifying
public opinion, and to explore a creative adaptation of this process that better inheres to the production
of social spaces as well providing a story of place that maintains the mystery of its reality.
This paper presents some of the outcomes of my PhD research titled: Wasted Space: performance,
public space, urban renewal and identity in Footscray.
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4:00 PM 5:30 PM
4:00 PM 5:30 PM
Chair: Esther Anatolitis
Chair: Amy Spiers
MEASURING LEGACY: HOW CAN ART TRANSFORM YOUR TOWN?
PERFORMANCE SPACE
ART STUDIO
PANEL
WORKSHOP
Panel members: Natalie Fisher and project participants
Across Victoria, ve small towns are each working on a signicant artistic project which aims to create a lasting
legacy of inspiration. The successes of the Small Town Transformations projects in Avoca, Dookie, Natimuk,
Neerim South and Ouyen are premised on a sustained artistic legacy for the entire town. Alongside this,
Regional Arts Victoria is leading an arts advocacy campaign called How can art transform your town? which is
designed to inspire further long-term transformations. Yet transformation itself is a complex concept, made all
the more problematic by its subjective qualities and its implied long-term duration. Further, each of the ve
project groups is pursuing its own unique approaches across artistic leadership, participatory engagement,
communications technologies, community development, and making place. How can transformation be
evaluated? This panel will hear from the project director, independent evaluator and participants. Regional Arts
Victoria presents Small Town Transformations on behalf of the Victorian Government.
Panel members: Lara Thoms, Gabrielle de Vietri, Jason Maling and Jess Olivieri
Artists increasingly are creating work in site-responsive and socially-engaged ways. On the rise, also,
are art organisations who commission artists to create work within and for communities. While this leads
to some exciting new forms of practice and ways for people to engage with art, it also creates competing
desires on projects, with funders, curators, art audiences and community participants all having a stake
in the project not to mention the artist with their own creative intentions.
What possibilities and challenges are encountered when an artist works with a community? Do the artists
intentions become compromised when they create work with non-artist participants? How does an artist
communicate the aims of their work to key stakeholders? How does an artist negotiate the myriad wishes
for a community or place, while making an artwork of aesthetic and social resonance? How does an artist
understand success in these contexts?
The panel will look at how artists satisfy the expectations of funders, communities and the art world, while
working to create sophisticated, transformative and challenging artistic experiences. Artists Gabrielle de
Vietri, Lara Thoms, Jason Maling and Jess Oliveri will draw on their extensive experiences developing and
presenting large-scale participatory art projects.
Gabrielles focus will be her work, Three Teams, a project that developed an Aussie Rules football game
with the community in the Wimmera district of rural Victoria involving three teams playing against each
other simultaneously. http://threeteams.net/
Lara will talk about Ultimate Vision Monuments to Us, a C3West project she made in collaboration with
Hurstville City Council and Westeld Hurstville, Sydney, which sought to question youth visibility within a
suburban shopping centre. http://www.mca.com.au/artists-and-works/external-projects/c3west/ultimate-
vision-monuments-us/
Jason and Jess will talk about their collaboration, with Sarah Rodigari, on League of Resonance,
a project commissioned for the intersection of Flinders Street and Elizabeth Street by the City of Melbourne
in 2010/11.http://www.melbourne.vic.gov.au/AboutMelbourne/ArtsandEvents/ArtsParticipation/Pages/
LeagueOfResonance.aspx
A holistic model of outcome evaluation for arts engagement
Facilitator: Kim Dunphy
This workshop introduces a holistic model of evaluation of outcomes of arts engagement. It is offered
as an effective approach for those seeking to contribute to positive community outcomes through
their work, including local government professionals and arts organisations that have a community
change agenda. This approach addresses several of the most salient challenges faced by evaluators
of arts participation and consumption. Firstly, it eliminates the need for the problematic intrinsic and
instrumental classication of arts outcomes by offering a comprehensive schema of outcomes. Drawing
from holistic models of community development and sustainability offered by Ife (2002) and James
(2012), these dimensions of outcomes are social, cultural, economic, ecological, civic and personal
well-being.
The model also allows for consideration of different perspectives of a range of stakeholders, as
recommended in participatory approaches to development. It also encourages consideration of the
potential for outcomes that are not as expected or desired, across directions of change that include
positive and negative and intended and unintended. The model addresses a further challenge for
qualitative researchers who need to present easily digestible results from large amounts of data. A
pictorial representation of outcomes of arts engagement offers a quantitative perspective on qualitative
data. A brief illustration of the model will be provided using the authors research into arts initiatives in
Australia and Timor-Leste. Workshop participations will then have the opportunity to apply the model to
their own arts programs.
PANEL
ART-MAKING TURNED STAKEHOLDER MANAGEMENT: IS IT POSSIBLE TO PLEASE EVERYBODY AND MAKE
SUCCESSFUL COMMUNITY-ENGAGED ARTWORKS?
ENZAS STUDIO
7:30 PM
8:00 PM 9:30 PM
8:00 PM & 9:30 PM SESSIONS
8:00 PM 10:00 PM
7:00 PM 7:30 PM
PERFORMANCE SPACE
ENZA'S STUDIO
AMPHITHEATRE
ARTISTIC PROGRAM
ARTISTIC PROGRAM
ARTISTIC PROGRAM
ARTISTIC PROGRAM
ARTISTIC PROGRAM
Exhibition Opening Artworks and Exchanges exhibition
Film Screening The Other Film Festival Presents... Online pre-booking required
Performance The Other Journey, CuriousWorks Online pre-booking required
Safari Cinema Moses Iten & Martin Hadley
River Walk Knit HOPE, Kate Just
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1:00 PM 2:00 PM BASEMENT THEATRE ARTISTIC PROGRAM
Film Screening Meet + Eat Dust & Dreams and Facilitated Lunch, CuriousWorks
CURATED PAPERS 2:00 PM 3:30 PM
Chair: Richard Ennis
ARTWORKS AND EXCHANGES ARTIST PANEL (2)
Presenters: Kate Just, Ronch Willner and Tunni Kraus, Auckland Old Folks Association, Peter Burke and
Louise Lavarack
PERFORMANCE SPACE KEYNOTES
MORNING
10:00 AM 12:30 PM
9:00 AM 10:00 AM FRIDAY 7 FEB
Opening Remarks: Jade Lillie and Frank Panucci
Keynote Presentation 3: Will Garrett-Petts
Panel Presentation 4: Tania Bruguera, video interview with Marnie Badham
Panel Discussion: Marnie Badham, Shakthi Sivanathan, Jade Lillie and Ferdiansyah Thajib
Registration continues
BASEMENT THEATRE 2:00 PM 3:30 PM
Chair: John Smithies
MEASURING SOCIAL IMPACT: INVESTMENT AND RETURNS
CURATED PAPERS
Big hART and multi-perspectival value: different aspirations, synergistic impact?
Presenter: Peter Wright
This paper describes research conducted with Big hART, Australias most awarded participatory arts
company. Big hART partners with artists and communities to initiate and conjointly develop projects
that engage and empower participants. The research considered three projects, NGAPARTJI NGAPARTJI
in the Northern Territory, the GOLD project in New South Wales and the LUCKY project in Tasmania in
order to understand the similarities and differences between participant, artist, funder and community
beliefs, motivations, aspirations and their value of resulting arts impact. Semi-structured interviews were
conducted with 29 respondents with eld notes and interviews providing data for the research. The data
were coded thematically and analysed using the constant comparative method of qualitative data analysis.
Big hART projects were found to be a powerful means of connecting the disconnected, changing beliefs
and creating an environment conducive to wanting to engage with others. Overall, context, personal
experience and an individuals biography shaped and inuenced arts related aspirations, attitudes,
opinions and behaviour. Impact was found to have benets that accrued at both the level of the community
and that of the individual. Impact was inuenced by interviewee motivations, perspectives, history and
place and this was key to understanding impact related continuities and discontinuities. Findings should be
considered when arts organisations are pitching projects, looking for funding, trying to recruit participants
and deliver projects.
Image: Cry me a river, Bridget Nicholson, 2010
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BASEMENT THEATRE BASEMENT THEATRE 2:00 PM 3:30 PM 2:00 PM 3:30 PM CURATED PAPERS CURATED PAPERS
Reframing cultural value in community-based arts evaluation: a local government case study
Presenter: Emma Blomkamp
The concept of cultural value and its measurement is a point of tension in arts and cultural policy. Although
many members of the arts community continue to resist the instrumentalisation and measurement of
cultural policy, various theories of government suggest that goal-oriented calculations are inevitable
in policy-making and implementation. These calculations can take many forms, however, and are not
restricted to performance measurement and economic valuation. Drawing on the insights offered by
governmentality studies and interpretive policy analysis, my research explores such calculative practices
in local government approaches to arts programmes and cultural policy. Applying these insights to
a street mural project led by a New Zealand municipality, this paper explores the multiple goals and
values embedded in a community-based arts programme. Drawing on similar research and comparable
case studies from Australian municipalities, I observe a growing interest in outcome indicators in local
government, as well as policy workers use of multiple types of knowledge in a range of formal and informal
evaluation practices. I consequently propose a frame-critical approach to local arts and cultural policy
evaluation that adopts multi-dimensional typologies of cultural value and mixed methods of assessment.
This paper combines insights from theory, policy and practice to reconceptualise problems of meaning
and measurement in governmental approaches to community-based arts. Overcoming the problematic
dichotomy between intrinsic and instrumental value, I outline numerous frames that combine some of the
facts, values, theories and interests embedded in community-based arts programmes in local government
in Australia and New Zealand.
Evaluating cultural development: lessons from anthroplogical theory
Presenter: Michael Volkerling
Over the past ten years, scholars from a variety of elds have attempted to develop a framework which
is appropriate for establishing the value of the outcomes and impacts of arts activities, programs and
policies. Some initiatives have focused on social impact (Belore and Bennett, 2003). Others have
attempted to nd some new economic measure of the value of the arts OBrien (2010). Moore (1995)
attempted to construct an evaluation framework for its activities based on the concept of public value.
Finally, the RAND Corporation has nanced an attempt to construct a framework for the evaluation of the
intrinsic impact of the arts (McCarthy et al, 2004).
However, the authors themselves acknowledge that these attempts have frequently been inconclusive
or remain incomplete. This paper will suggest how this deciency might be corrected. It observes that
since the 1970s, previously stand-alone arts policies have become embedded within a wider cultural
policy framework. It enquires whether an evaluation model might be devised to measure how arts activity
contributes to cultural development, drawing on a series of anthropological concepts which have not
previously been applied in a policy context. It nds that these concepts can be used for developing indices
capable of measuring the contribution of the arts to cultural development; and it demonstrates how these
indices may be connected with a strategy and policy framework which can provide a fresh approach to arts
and cultural policy.
Giving at stake: jatiwangi art factory as case study
Presenter: Syaatudina Saja
The presentation looks at the trajectory of Jatiwangi Art Factory (JaF), an arts collective based in Cirebon,
West Java. Located neither in Bandung, Jakarta nor Yogyakarta, those considered as centers of the arts
in Indonesia, JaF are well known for their role as cultural hub and their artistic production. It set grounds
for artistic co-productions between community members and art creator as a communal work rather than
patron-based practices. JaF has been organizing three annual festivals; Village Video Festival, Ceramic
Music Festival, and Jatiwangi Artist in Residency Festival. Along with these series of festivals, they will
adjust the programs based on any initiatives developed through out the year. For instance, this year JaF will
host an event entitled Festival of the Future as a celebration for their 8th anniversary.
When faced with questions of funding support, members of JaF often jokingly said that they are fully
supported by God. This remark shows JaF certainty on relying everything into the hands of their
community. The gift economy ranging from providing free lodgings and meals to collective construction
of certain artworks by community members, has beensustaining JaF todays activities. Such an economy
however was not something that is traditionally invented due to the communitys recent past as an arena
of competition for more than 300 small scale roof tile industries. The busting local economy after big
businesses took over and the founding of JaF in the last decade have infused new meanings in sharing and
giving into the public culture. This presentation will explore how these increasingly popular buzzwords in
community arts is being reproduced, appropriated and transformed in the everyday context of Jatiwangi.
Jatiwangi art Factory function as the case study for collaborative work and sharing practices, not only in
contemporary art, but also in today post-industrial society in Indonesia.
Image: Cabaret from Ghosting Part 2, The Auckland Old Folks Association (Sean Curham)
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2:00 PM 3:30 PM CURATED PAPERS
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RIVERBOAT 2:00 PM 3:30 PM CURATED PAPERS
CREATIVE INDUSTRIES AND THE ETHNOGRAPHIC LENS
Chair: Gretchen Coombs
CREATIVE INDUSTRIES AND THE ETHNOGRAPHIC LENS
RIVERBOAT
Imagining a kaupapa Mori assessment framework
Presenter: Tracey Williams
Three case studies are utilized as touch points to investigate and consider the possibilities of the
application of an evaluation matrix for community-based creative practice constructed through the
principles of kaupapa Mori. The rationality for such an evaluation model is supplied by Auckland Councils
commitment to meeting its responsibilities under Te Tiriti o Waitangi / the Treaty of Waitangi and its broader
statutory obligations to Mori, within a local government context. The Mori Responsiveness Framework
developed by Auckland Council includes the idea that a Mori world view is essential to understanding the
spiritual essence of Mori, and in particular Mana Whenua (people of the land) as the original inhabitants
of Auckland. The value systems supplied by this world view that are considered as evaluation tools in
relation to the three case studies include mana atua (spiritual authority), Mana Whenua, mana tangata
(individual authority), rangatiratanga (chiey authority), kaitiakitanga (guardianship) and manaakitanga
(hospitality). Situated in different contexts in various South Auckland suburbs, the case studies share
a focus on community-engagement through creative practice, but differ in content, audience-focus and
platforms. Each case study project is hypothetically examined through the lter of the value systems of a
Mori world view to test the real world integration of those values. The outcomes of this experiment are
contrasted with typical measures, differences in interpretations of success depending on the system of
measures. The conclusion focuses on the recognition and future development of the forms, platforms
and structuring of creative projects that would be made possible via the affects of evaluation grounded in
kaupapa Mori principles. The supposition is that the organizational objective for robust relationships with
Mori requires the fostering of Mori value systems not just as a high level aspiration, but instead ingrained
at localized levels within cultural production and its methods of assessment.
Understanding the cultural value of a digitally-powered urban project
Presenter: Sally Webster and Greg Giannis
In 2012, Hasan Bakhshi, Director of Creative Industries at NESTA (UK), outlined in his keynote address
at the Culture Count: Measuring Cultural Value forum in Sydney, a decade of debate on how cultural
institutions should measure the worth and impact of their activities, distinguishing between the dominant,
after-the-fact economics of culture model, and an under-represented economic approach to culture
approach that examines cultural value in a more holistic and integrated manner, incorporating a variety of
methods and approaches built into the very design of the activities developed.
Our interdisciplinary team, comprising digital artists, archivists, programmers and specialists in creative
tourism, marketing communications and economic research, is currently developing a project that will
combine the marketing of a Melbourne-based cultural institution, the use of mobile device-powered
crowdsourcing to develop cultural archives, location-based place making, and event-based digital
projection in urban environments. It will cross boundaries between creative tourism (UNESCO, 2006),
screen-based public art (Papastergiadis, 2006), digitally-driven, participatory archival and historical
practice, and urban memory (Crinson, 2005).
As we begin to develop the project we face the challenge of how to effectively build the measurement of the
projects cultural value into its design, given the range of different audiences, approaches, priorities and
outcomes it represents: from public art to preserving cultural heritage to marketing of city memories. This
paper will examine this work-in-progress and the issues we are encountering along the way.
This project is hosted by Victoria Universitys Centre for Cultural Diversity and Wellbeing and represented by:
Dr Stefan Schutt, Research Program Leader Cultural Diversity, Technologies and Creativity, Centre for
Cultural Diversity and Wellbeing.
Greg Giannis, Artist and Educator, College of Arts.
Sally Webster, Senior Lecturer Public Relations and Organisational Communications, College of Arts.
Celeste Young, Collaborative Research Ofcer, Centre for Strategic Economic Studies.
Unseen and unheard: the ethnic minority community arts worker in Australia
Presenter: Sherene Idriss
The creative industries which include work in lm, media, art galleries, music production, as well as
software development and graphic design are attractive vocational pathways for young Australians, as
they are in other Western nations (Ross, 2007). For young people of ethnic minority backgrounds, especially
those from poor families, who work in these elds, there is an interesting and complex relationship between
their roles as artists or creative workers and as representatives of their diasporic communities. We often
study migrant artists through the lens of representation. Academics and policymakers are interested in the
ways that ethnic minority artists capture different or alternative voices within the nation or how their various
art forms speak to their exotic, authentic culture, or the ways that creative expression speaks to broader
issues of multiculturalism (Hall, 1997; Hyder 2004).
Drawing on my broader research that investigates the creative vocational aspirations of Arab-Australian
young men, I examine the life history of one particular community arts worker. This young man, Ali, was a
writer and editor, also teaching creative writing to disadvantaged young people across Sydneys Western
suburbs (a region that is highly multicultural). In analysing his role as an ethnic minority artist, I draw on
Brubakers (2004) theorisation of the ethno-political broker to make a case for the ways that minority
migrants are implicated in the racialization of ethnic subjects, but especially visibly non-white subjects,
throughout the nation. Concentrating specically on Alis life history, I ask; in what ways do the structures of
the creative industries, and Australian multicultural policies more generally, push artists or creative workers
of Arab-Australian backgrounds in to roles where they act as ethnic representatives? Further, in what ways,
and with what aims, are Arab-Australian cultures represented through community art projects?
2:00 PM 3:30 PM
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Chair: John Willis
BODIES IN SPACES PERFORMANCE AESTHETICS
PERFORMANCE SPACE PANELS
Panel members: Penny Baron, Jacob Boehme and Marcia Ferguson
This panel presentation takes examples from contemporary performance practice to explore the sensory
experience of the body in negotiating difference and shared space with a view to beginning to articulate a
performance aesthetic within a community and cultural context.
An aesthetic that recognises embodied knowledge and avoids the duality of mind and body which privileges
the written (or spoken) word opens possibilities for communities to present themselves and contribute to
the wider culture.
Three projects with differing approaches to devising and performing works that engage communities are
used as examples for this exploration: The Democratic Set (Back To Back Theatre, Geelong), PRODUCE
(Born in a Taxi, Melbourne, with CreateAbility, Bendigo), Kingdom [in development] (Phillip Adams
BalletLab, Melbourne)
The panel is chaired by John Willis (CreateAbility) with presenters from Back To Back Theatre (Marcia
Ferguson), Born in a Taxi (Penny Baron) and Phillip Adams BalletLab (Jacob Boehme). After brief
presentations on each of the projects the panel will discuss the signicance of their aesthetic choices.
Some of the concepts that are likely to be discussed include an ethics of movement (Helen Fielding,
Hannah Arendt) where the freedom to move, to perceive and to act allow a community to take up agency,
the idea of the co-production of space (Olafur Eliasson) where performers and audience together
generate meaning and the concept of sharing the world (Lucy Irigaray) where negotiating space is based
in acknowledgement of difference.
2:00 PM 3:30 PM
Chair: Deborah Warr
FIVE PERSPECTIVES ON THE VALUE AND CHALLENGES OF DOING COMMUNITY CULTURAL DEVELOPMENT
IN SETTINGS OF PLACE-BASED SOCIOECONOMIC DISADVANTAGE.
JK MEETING ROOM PANELS
Panel members: Bec Olsen, Rob Ball, Robyn Murphy and residents
This panel presentation discusses the processes and outcomes of a recently completed community cultural
development project that was conducted in a public housing estate in Heidelberg West, Melbourne. We
present the perspectives of the project coordinator and artist, the local council, the researcher who evaluated
the project and a resident at one of the project sites. The Our Voices Our Community project was established
in response to residents concerns about not feeling safe in their neighbourhood and was grounded in
a Community Cultural Development [CCD] model. Arts based activities were vehicles for community
engagement and to produce creative outcomes to transform aspects the physical environments in two
project sites: a housing estate and a shopping centre. The project represented a complex social setting for
a community cultural development project and, from different vantage points, the presenters discuss their
experiences of the project, the positive outcomes that were achieved, the challenges that were encountered
and the potential of creative projects to transform local situations.
Positive outcomes included modelling innovative approaches for community engagement, promoting
community contact and involvement among residents, enhanced physical environments, and improved
communication channels between residents and local service providers. Challenges included navigating
complex and overlapping social support and creative roles in everyday interactions between project workers
and residents, and working in settings of limited local resources. The four presentations will explore
these issues from different vantage points: Bec will discuss the project objectives and outcomes from the
perspective of the City of Banyule, the organisational host for the project; Rob will discuss his experiences
as artist and project coordinator; Deborah will discuss the social context for the project, evaluation methods
and ndings; and a resident will share their experiences of the project and whether it has had any ongoing
impacts in the neighbourhood.
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2:00 PM 3:30 PM
Chair: Danielle Wyatt
VALUING DIVERSITY
ENZAS STUDIO PANELS
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Valuing Diversity: the multicultural challenge to arts policy and practice
Panel members: Rimi Khan, Audrey Yue and Judy Morton
This panel presents some of the ndings from the ve-year Australian Research Council Linkage
grant, Multiculturalism and Governance: Evaluating Arts Policies and Engaging Cultural Citizenship.
The project is a wide-ranging examination of the way arts policies and programs are shaping the terms
for belonging and citizenship for culturally diverse communities in Australia. In collaboration with partner
organisations, City of Whittlesea, Arts Victoria, Victorian Multicultural Commission and the Australia
Council, and combining ethnographic, quantitative and textual analytical methods, the study examines
the formation and implementation of arts policy at three tiers of government, and its impacts upon the
constituents these policies serve. Through these methods the project will develop cultural indicators
and generate best practice models supporting the work of policy professionals, arts organisations and
multicultural advocates.
Since its inception as a policy discourse in the 1970s, multiculturalism has challenged the terms for
valuing and evaluating arts and cultural practices. This challenge goes beyond methods of measurement.
The multicultural imperative to expand cultural participation in the nation to diverse communities and
arts practitioners unsettles the category of art itself and the relationship between representational
practices, participation and national belonging. The panel will present a brief historical account of the
ways in which cultural diversity has challenged cultural policy in Australia. We will address the ways
artists and communities have responded to governmental programs and policies for managing diversity
and also, the ways in which policymakers and institutions have adapted new methods oriented to diverse
arts practitioners and the problems and possibilities posed by their work. Finally, we will discuss how our
project is developing cultural indicators, responsive both to the needs of policymakers and institutions
trying to better articulate the value of cultural diversity, and to artists and communities whose experiences,
aspirations and practices are unevenly reected in current governmental policy discourses.
2:00 PM 3:30 PM BASEMENT THEATRE WORKSHOP
Glorious Failures mega-swap-meet workshop, Change Media Online pre-booking required
Image: Satpula Super Series 2, David Brazier and Kelda Free, 2009
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CURATED PAPERS
Chair: Frank Panucci
MARIOS STUDIO MARIOS STUDIO
THE UNRULY ARTIST THE UNRULY ARTIST
Unruly artivism and ethical codes of participation
Presenter: Camilla Mhring Reestorff
In recent years we have seen a proliferation of participatory art activist artivists practices that do
not profess themselves to the tradition, which Peter Dews and Claire Bishop has coined the ethical
turn (Dews 2002; Bishop 2006, 2012). Thus we are increasingly confronted with participatory artivists
practices that do not understand collaborative projects as synonymous with a critical stance towards
neoliberalism and do not apply ethical criteria. Focusing on the highly controversial Hornsleth Village
Project Uganda (2007), in which the artist made villagers in Uganda take his name in return for household
animals, the paper investigates how the unruly artivist transgresses and radically challenge the
expectation that artivist comply with certain codes for ethical behavior.
In relation to unruly practices, such as the one exhibited by Kristian von Hornsleth, art criticism has
reached an impasse. It is easy simply to dismiss unruly forms of artivism as unethical, disruptive, or
individualistic, and accuse them of reproducing inequality rather than producing collaborative utopian
spaces. However, this paper will suggests new approaches to the study and evaluation of the unruly artivist
or agent provocateur. These suggestions will focus on three main areas. First, unruly artivism cannot
be fully grasped by maintaining that it is played out within the community. Unruly artivism is most often
media-savvy and thus it is mediatised (Hjarvard 2008; Hepp 2013) and shaped in order to obtain media
circulation outside the immediate community. Secondly, unruly artivism cannot be fully grasped through
representational lenses (Ranciere 2010). A part of its functionality is not the models that it produces, but
the affect (Ahmed 2004, Massumi 2009) that it generates in relation both to the participants and the
circulating spectators. Finally, the paper asks if and how unruly artivism can become more than mere
dissent (Hands 2011) and thus exhibit a genuine critical stance.
The value in display and Tino Sehgals works
Presenter: Eser Selen
This paper proposes an analysis of performative value through Tino Seghals works entitled This Situation,
2011 and These Associations, 2012. I aim to examine Seghals art practice utilizing methods of performance
analysis through my experiences of his This Situation 2011 as a performing participant at the Goethe
Intsitut-Ankara, Turkey and These Associations, 2012 as a participant spectator at the Tate Modern,
London UK. I will be elaborating on the ideas of value, work and labor in relation to visual art, and will take
into particular consideration Seghals works as matters of display while physically performing for and
participating in his pieces.
In Seghals works, matters of display can no longer be attributed with a value, as the display is the only
value. The temporality of this value, however, still needs to be examined. His works suggest that value can
only be obtained from a particular work either by being a part of it, there and then, or by hearing about it
after the situation has long been over. Partially this is because Seghal rejects the visual documentation of
his works as an idea or even an option. And yet, through the self-mandated restriction Seghal recharges a
contemporary discourse around the questions of display and value. The documentation of the visual, which
is an exhausted issue of art has long been recognized as evidence of the labor, the work, and the lived
experience. Or, has the issue of debate been more about objecthood which can easily be swept into the art
market rather than a declaration of artistic achievement? Especially when the value of display in Seghals
works, at least, resists objecthood and opens a space to think through the relationship of labor and work,
what then, do his works say about value as a performative?
Empty gesture: complexities of exchange in contemporary art practice
Presenter: Sarah Rodigari
In a culture of production where the call to participate is more or less constant, be it through interactive
technologies, social networking sites, local community groups, governments and councils, museums
displays, or immersive performances, we are frequently being asked to stand up, take part, be active
and belong. Since the advent of the solo performance artist in the 1970s the notion of performance has
continued to evolve beyond the use of the artists own body as the sole medium. The body as gesture has
come to play an increasing role in audience activation through which the relationship between artist and
viewer has grown increasingly complex. The audience is an indispensible participant in the enactment
of art. The saturation of participation both in and out of the art world underlines political philosopher
Giorgio Agambens observation about the contemporary period: An Age that has lost its gestures, is for
this reason, obsessed by them. (2000). Social and political claims that ephemeral artworks sit outside of
the capitalist commodied art structure is becoming increasing hard to maintain. As opposed to moving
art outside of galleries, as was the case in the 60s and 70s, collaborative, participatory artworks have
moved back into the gallery/ theatre bringing along with it complex temporal and labour structures. When
an artist is no longer the central agent of their own work, but operates through a range of individuals,
communities and surrogatese, questions of authorship, instrumentality, ethics, labour and representation
come to the fore. Through examples in my own artwork, The League of Resonance, U_ROYGBIV_ME, and
Act Natural, I address these complexities in the expanded eld of contemporary art practice.
Image: Make Hope, installation/performance, Kate Just
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CREATIVE ENTERPRISES, CREATING INFRASTRUCTURE
4:00 PM 5:30 PM JK MEETING ROOMS 4:00 PM 5:30 PM
Chair: Tiffaney Bishop
CREATIVE ENTERPRISES, CREATING INFRASTRUCTURE
JK MEETING ROOMS
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Critically evaluating art as a social enterprise
Presenter: Dr Grace McQuilten
This paper examines the emergence of art as a social enterprise, both as a response to art's increasing
complicity with the market, and also as an alternative model of economic activity that might provide
greater artistic and creative freedom. Art-based Social Enterprises (ASEs) are hybrid organizations
that link artistic practice and revenue-raising activities with the creation of social benet. As a result,
they have multiple and potentially conicting institutional demands, logics and thus high organizational
complexity . It is in this sense that they require a rigorous and critical approach to evaluation.
Creative practices such as art, craft and design, have a unique ability to generate social inclusion,
by bringing together individuals in an unconventional yet afrming way, creating ow-on effects which
include employment creation, skills training and individual capacity development. The social impact
of creative activity has been recognized internationally, and now forms part of a global development
agenda. While the creative and cultural sector holds great potential for ameliorating social disadvantage,
there are also risks involved in artists attempting to do good in communities . Social enterprise differs
from this model by enabling those experiencing disadvantage to be the agents in their own social and
economic development.
There is potential for ASEs to address the precariousness of traditional non-prot models of artistic
practice, which are experiencing the effects of diminishing government funding and an increasing
reliance on private funding . However ASEs experience three-way tensions between their artistic, social
and nancial missions. It remains to be seen, therefore, whether the ASE model is an appropriate form
to provide cultural and social value in the arts. This paper looks at the emergence of art as a social
enterprise and presents critical approaches to the evaluation of such initiatives.
The art souq
Presenter: Byrad Yyelland and Rhys Himsworth
Qatar is a small nation in the Arab Gulf that has grown from a small pearl shing community to an
international event center in less than a half century. The country's population has surged, growing from
a population of just 70,000 in the late 1960s to more than 2 million today. In recent years, Qatar has
become a recognized player in international politics, education, sports, and the arts. The country has also
spent huge sums in purchasing art, becoming the foremost purchaser of contemporary art in the world
in 2011. Qatar has allocated signicant funds to support local shows by contemporary art superstars
and in establishing the prestigious Museum of Islamic art, the Mahtaf Arab Museum of Modern Art, and
another dozen museums planned for opening in the next six years. These expenditures reect an ethos
that denes art and artists as valuable members of the community and of the overall culture. However,
although artists are active in Qatar, the nation is predominantly a purchaser rather than producer. Working
in a Western university offering degrees in art and design in Qatar has provided the researchers with the
opportunity to ethnographically examine relationships among the cultural components of Qatar with the
viability of an artist studio complex in this region. Data for this research was collected through participant
observation, interviews and focus groups with stakeholders including local and ex-pat artists, gallery and
museum curators, educational leaders and high-ranking decision makers in Qatar, and review of relevant
documentation. Informed by thematic analyses of these data, this research outlines signicant cultural
factors inuencing the nature and design of a potential artist studio complex, and proposes a model
designed to function successfully within these cultural parameters.
Impact of nancial inclusion on the career and business development of the artist
an evaluation of QuickstART micro loan scheme through the stories of recipients
Presenter: Cathy Hunt
The QuickstART Fund was originally created by Positive Solutions and Brian Tucker Accounting. Up to last
year it had supported over 40 individual artists and cultural enterprises with over $90,000 of interest free
microloans. The Fund is now managed by Foresters Community Finance and the capital base is set to grow
signicantly in the next 12 months due to demand. In the last 6 months a further 10 loans of $30,000 have
been made. Successful applicants have included sole traders (visual artists, designers, musicians, artistic
directors) and small cultural enterprises (a publisher, bands, theatre and dance companies). Applicants
have made approaches for a loan from the Fund for the following reasons:
The need for immediate access to nance due to a new opportunity, e.g an invitation for a residency
at short notice
Projects being ineligible for grant support
The need for support over and above a grant that may have been received for a project
A desire to try some other form of funding other than government grants
The difculty artists have of securing and repaying a loan from a mainstream nancial institution
The evaluation, which is taking place in late 2013, will focus on a range of cultural, social and economic
impacts from this approach to nancing cultural development and production, and will be guided through
initial consultation with recipients.
Image: 10:4, film still from documentry, Guy Natel, 2011, UK
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BASEMENT THEATRE 4:00 PM 5:30 PM
ART AND COLLABORATION CULTURAL COMMUNITIES
CURATED PAPERS BASEMENT THEATRE 4:00 PM 5:30 PM
Chair: Martin Mulligan
ART AND COLLABORATION CULTURAL COMMUNITIES
CURATED PAPERS
Towards a validity of collaborative arts
Presenter: Ferdiansyah Thajib
The recent years have witnessed the increasingly blurred boundaries between artistic endeavours and
social activism across regions, this is despite, and along with, their current entanglement with issues of
copyrights and privatization of authorship driven by the burgeoning (art) market. Due to these activities
rather organic, temporal and grass-root based nature however, many of these activities inherent
potentials remain critically unexplored. Questions like how such forms of artistic collaborations connect
and disrupt the links between social efcacy, political meanings and aesthetic experience continue to
linger even in todays context where a mainstreaming of open and sharing culture facilitated by internet
and communication technology takes place.
Reecting on the project entitled Made In Commons co-initated by KUNCI Cultural Studies Center
(http://kunci.or.id) (as well as the collectives body of works in the past 5 years) this presentation aims
to explore forms of open knowledge circulation and ways of producing arts based on the imagination of
commons both in terms of shared-resources and as way of producing knowledge beyond the limits of
capitalism. By looking at new validation modes to growing aesthetic in collaborative and participatory
arts we would like to consider the values of co-workings that are critical to power hierarchy, especially
those that are emphasized on sharing of imaginative thinking, and are structured in open-ended forms
of circulation. Learning from the history of the precarious model of artists economy, we would like to
address how commons-based artistic practices accommodate and are affected by new value creations
that challenge market economy. Finally we are aiming at mapping out patterns of cultural collaborations
that are not only attending global and local differences in their respective operations but also move
towards the development of a transnational culture of sharing that answer to questions of sustainability
and solidarity.
Contemporary Pacic Arts Festival, Values and Self-determination
Presenter: Sana Balai and Grace Vanilau
Grace Vanilau and Aunty Sana Balai are both Arts Workers and Community Practitioners who are
currently working on the Contemporary Pacic Arts Festival (CPAF), an annual multi-disciplinary
showcase of the creative talents of the Australian Pacic Arts Community.
CPAF has a diverse program, creating a platform to share the unique stories of Pacic diaspora in
Melbourne and more broadly Australia.
CPAF was established to respond to the current lack of visibility of Pacic Islander communities living in
Australia. The festival is now in its second year and administered by a group of artists and arts workers
of Pacic heritage, who are all committed to providing a meaningful and engaging platform.
The Pacic region is the most culturally and linguistically diverse region in the world, CPAFs aim is to
work across challenging and diverse cultural protocols, art practices and context with a goal of engaging
with different communities. CPAF is committed to working with communities and artists from Polynesia,
Melanesia and Micronesia.
Self-determination and reciprocity are values to be considered when CPAF engages in festival
partnerships and collaborations. This ensures that we are able to hold space and balance of power.
The team work in constant consultation with community: from elders and youth to the broader public.
Self-determination informs our programming decisions, content and extends cultural transference to
our audience.
Evaluation is about engagement, spirit, reciprocity, actioning and valuing relational spaces, cultural
practices and philosophies and also adding to the international discourse concerning Pacic diaspora.
Beyond geographic certainty: expanding the idea of arts value in the context
of international development
Presenter: Dr Polly Stupples
Development support for the arts commenced in the 1990s, as the result of a cultural turn that
recognised the complexity of the development subject beyond frameworks of need and deciency.
Despite this, artists in the Third World are still required to demonstrate their underdevelopment and
their social productivity in relation to that underdevelopment to attract donor funding. Partly in order
to avoid such framing, some recipient artists refute overt activism in their practice but still embrace a
variety of less visible and less direct forms of social engagement.
This paper begins by critically examining the framing of artists and the of arts social productivity
in the context of development. It then conceptualises the social practice of artists who reject
underdevelopment as a signifying framework (and who refuse to tie their labour to that framework) by
mapping the variety, spaces and nature of their actual agency. Such artists occupy a mediating position
in relation to the elds of both art and development that pushes the existing limits of the development
imaginary and contributes to a richer understanding of the multiple forms of value that artistic practice
might generate. The paper draws together research undertaken with artists initiatives in Nicaragua and
Costa Rica, and the ndings of a detailed donor evaluation undertaken in the region.
RONCH WILLNER & TUNNI KRAUS (PINK WILLIAM LABORATORY)
PRESS #
(INSTALLATION - TELEPHONE CHOOSE YOUR OWN ADVENTURE)
Image: Telephone choose your own adventure -Installation, Ronch Willner & Tunni Kraus
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Chair: Jim Rimmer
VALUING CREATIVE COMMUNITIES
4:00 PM 5:30 PM RIVERBOAT CURATED PAPERS
Evaluation as creative practice: allowing form to meet content in the evaluation of an arts
partnership with vulnerable children
Presenter: Ricci-Jane Adams
When an arts organisations core values include being brave and playful and whose vision is a future
populated by artistically, socially and culturally empowered children, the challenge is laid down to employ
evaluation methods that creatively engage and empower young people.
Polyglot Theatre, a Melbourne based childrens theatre company, has a mandate of partnering with
children to create participatory, interactive art experiences. In the context of Polyglots community
and education partnerships the company most often works with marginalised groups of young people
in communities of disadvantage. Over the past three years Polyglot has commissioned me to conduct
qualitative evaluation of the social and cultural impacts, including the development of creativity in young
people, of their partnership with a primary school in one of Melbournes poorest outer suburbs.
The presentation charts the development of the evaluation over the course of the partnership, discussing
the methodological approaches taken to creatively engage the primary subjects of the evaluation,
children ranging in age from ve to eleven. Particular challenges included responding to the dynamic
needs and broad spectrum of neurodiversity in children; as well as employing an evaluation method that
matches and is responsive to its context, and adds value to the experience of all involved.
The presentation discusses a range of approaches to creative evaluation including trialing an inclusive
evaluation model that invites young people to be peer evaluators, as well as introducing students to
self-reective practices. In addition the curatorial role of an ethnographic and narrative-based approach
to the evaluation is discussed. Drawing on the work of Paul Clements, creative evaluator David Kendall
and theatre theorist Matthew Reason, the presentation explores the multi-faceted role of the embedded
evaluator as artist; the process of developing a creative evaluation methodology; and the challenges of
producing useful data through creative approaches to evaluation.
RIVERBOAT 4:00 PM 5:30 PM CURATED PAPERS
Evaluation as creative practice: allowing form to meet content in the evaluation of an arts
partnership with vulnerable children
Presenter: Tim Barlow
This paper discusses two ongoing collaborative projects involving new community centre models
in Aotearoa New Zealand. Both are sited on the urban periphery in suburbs undergoing radical
transformation and hardship. The two community centres are compared to consider how a development
model of community arts may apply in the context of the increasing marginalisation of these
communities, tikanga Maori (Maori custom) and cultural democracy .
The Wainuiomata Community Centre in Wellington, is administered by local whanau (family group) and
is attempting to broaden its connection with the community through youth programs and other cultural
initiatives. In a suburb of Wellington that has been widely denigrated in popular and academic literature,
this small-town suburb with a strong self-identity, yet negative wider image, struggles for economic and
cultural resources amidst rising unemployment, poverty and youth issues. TEZA (Transitional Economic
Zone of Aotearoa) is a publicly funded, bi-cultural community of artists and collaborators having its
second iteration in New Brighton, Christchurch, November 2013. Curated by public art commissioners
Letting Space this mobile community centre attempts to engage local communities with visiting artists
to create positive social change through new systems of exchange. New Brighton is situated by the
sea in the earthquake ravaged Eastern suburbs and has continued to develop strong community bonds
and community led art initiatives in local church halls and other transitional spaces. The paper will be
referencing my own engagement with these two community cultural projects, to consider how a Pakeha
(of European origin) interloper artist can negotiate the conicts of bi-culturalism and the autonomy
of vulnerable community centres. Finally, to further Grant Kester's discussion of destabilising the ow
of cultural power from centre to periphery, the politics of engagement will be considered in relation to
recent international debates on development in community arts practice.
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CURATED PAPERS
VALUING CREATIVE COMMUNITIES
Chair: Jim Rimmer
4:00 PM 5:30 PM RIVERBOAT
State of the Arts: Increasing cultural value and recognition of the arts through participatory
practices. (A Case Study of the Arts in Warrnambool)
Presenter: Liza McCosh
How artists gain exposure and operate across commercial platforms has in recent times, undergone
great change in the global and local context. These changes are largely due to the upsurge in internet
phenomena. Artists now have at their disposal a myriad of online possibilities to promote and sell their
work. Consequently the effect on the commercial art sector has been largely realized through a downturn
in gallery retail and the breakdown of the traditional artist/gallery relationship.
Concurrently, there is a growing appreciation by Governments and Council bodies for the value of the
arts in a social and cultural context and as a benet for the well-being of a community. This is evidenced
through the formation and implementation of cultural policies across governing bodies both, national and
local, that recognize the benets of artists and forms of creativity within communities. As with all rapid
change in discourse, issues surface; there is a space of renegotiation that needs to be addressed and
in this context it is between artists, the broader local community and commercial enterprise beyond the
existing arts community.
From the multiple perspectives of an artist, academic and arts manager, I will present a case study on the
changing state of the arts in the regional city of Warrnambool, revealing issues and projected outcomes,
and showing how these are being managed through a participatory model that includes artists, the
local governing authority and commercial partnerships forged with the arts community. Initially
inspired by Marcus Westburys Renew Newcastle and Renew Australia projects, the negotiation of the
arts in Warrnambool is in a developmental stage, but is poised to conrm a model that supports the
transformation of regional arts from an underground activity to one that is openly recognized, supported
and valued within the community.
PERFORMANCE SPACE
Chair: Mary Ann Hunter
EVALUATING RESILIENCE AND CHANGE IN COMMUNITY-BASED ART PRACTISES
4:00 PM 5:30 PM PANELS
PERFORMANCE SPACE 4:00 PM 5:30 PM
Chair: Dr Bo J Svoronos
JOURNEYS WITHIN THE JOURNEY - EVALUATING FESTIVALS
PANELS
Panel members: Ros Derrett and Peter Phipps
Human congregations are a distinct part of our social existences. They come in many forms, places and
reasons. It would be plausible to state that in our modern times festivals have become regular domains
fullling a broad range of cultural, artistic and community aspirations. They can be free, ticketed, held in
the public realm or commercially operated. A festivals meaning will be diverse amongst those attending,
dependent on the festivals lifecycle and the people who bring them into the world. Globally there are
increasingly more destinations, cultural interests and multidisciplinary art forms operating in festivals
then ever before. From a localized level through to their international appeal, festivals nd ways to
uniquely distinguish themselves and the interests they manifest. Yet one crucial thing binds them all
together, they cannot exist in isolation.
This panel critically looks at the journeys within the journey of a festival. How the theoretical evaluation
of a festival begins before the stage has been erected, the performers have been booked and elements
of the look and feel are decided upon. During the discussion the panelists will consider how do festivals
artistically and culturally represent the people for whom they are produced? What are the future
prospects of festivals? What does a viable festival industry potentially consist of? Will we tire of festivals
in favor of another way to socialize? And has the competitive festival market become so saturated that in
some instances attracting an audience is more effort then worth?
The panel brings together festival enthusiasts who are respected academics and practitioners
working with aspects of evaluation in their elds. Festival topics of interest will range from community,
Indigenous, youth, major events, festival design, tourism and destination management.
Panel members: Michelle LeBaron, and Lenine Bourke
Arts practices are frequently used to foster community resilience and address cultural conicts. Their
versatility, dynamism and emergent nature make them attractive particularly for working with diverse
groups. Yet, such practices are notoriously challenging to evaluate, both because there are no clear
linear chains of causation and given different symbolic systems of meaning across cultures.
This panel brings together recent Canadian and Australian research and case-studies to investigate
questions of value and evaluation in arts-based practice that seeks to build community resilience. In
what ways are conventional log-frame approaches to evaluation being augmented or challenged by more
recent approaches that incorporate dialogic, arts-based and neuroscientically-informed approaches
to measuring resiliency and change? In a world of diverse meaning-making, what do measurement or
change mean anyway?
8:00 PM 9:30 PM ENZA'S STUDIO ARTSITIC PROGRAM
Performance The Other Journey, CuriousWorks Online pre-booking required
Image: Over the Barricade mack up, Peter Burke & Louise Lavarack
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FOOTSCRAY.
YOU MIGHT LIKE IT!
PORK BUNS, NAI L BARS, BAKERI ES AND
ARTI ST- RUN SPACES FOOTSCRAY I S A
VI BRANT GATEWAY TO MELBOURNE S
METROPOLI TAN WEST.
Food(scray) Celebrated for its rich
multicultural history, Footscray is a known
haven for foodies. Whether youre feeling
homesick or adventurous, if youre longing
for an authentic culinary experience youll
be spoiled for choice in Footscray.
Hopkins, Nicholson and Irvine Streets burst
with diverse restaurants, bakeries and cafs,
promising delicacies such as Chinese dumplings,
Vietnamese pho, South Indian dosa or Ethiopian
injera served with zingy chilli sauce.
But perhaps the heart of Footscray is its large
indoor market. Opposite Footscray Railway
Station, the market boasts a large range of
produce and traditional goods, from pigs ears to
lotus owers and is open Tuesday to Saturday
each week.
Download the Footscray Food Map, or get on board
the Footscray Fresh Food Ramble (Contact details:
0438 583 808 lauren@laurenwambach.com)
Festivals
Footscray is home to some of Melbournes
most lively festivals and February is the perfect
time to visit.
St. Jeromes Laneway Festival
Saturday, 1 February Footscray Community
Arts Centre and the Rivers Edge
Taking place at Footscray Community Arts
Centre, St. Jeromes Laneway Festival is
about leading new and revered seminal music.
The festival has always been interested in nding
whats fresh and great and bringing it to unique
settings and surrounds to be appreciated by
music lovers. Its an urban music experience like
no other.
Bookings: http://melbourne.lanewayfestival.com
TET/Lunar New Year Festival
Sunday, 2 February Hopkins Street, Footscray
On the same weekend, celebrating the Year
of the Horse, Footscrays annual Lunar NY
Festival (known as TET among local Vietnamese
community) will take place on Sunday 2nd
February on Hopkins Street from 10am to
10pm. The festival presents a wide range of
cultural activities, food stalls, and traditional
performances including the Chinese lion
procession to bless of local businesses and
Vietnamese folk dance.
Bookings: Free event, no bookings required
Arts
Footscray is well known for its thriving arts
community. Navigating exhibitions at local
artist-run spaces (ARIs), such as well
established Trocadero Art Space and more
recent ventures such as Knight Street, Five
Walls Projects, and Bruce ARI, is great way to
feel the pulse of contemporary arts practice as
it propagates in shop fronts, arcades and even
peoples garages (see the Rumpus Room for
details). In recent years, the Maribyrnong City
Councils investment in public art initiatives have
seen art bleed into social and public spaces.
Keen to take a guided walking tour of galleries,
creative spaces and public art in Footscray? On
Footscray Art Crawl lead insightful journeys into
the local vibrant contemporary arts by meeting
the artists and collaborators.
Bookings: onfootscray@gmail.com
Beauty
And now for the nail bars Too much conference
hustle and bustle? Take advantage of Footscrays
plentiful salons offering unbounded beauty
services, from eyelash extensions, foot spas,
facials and even a quick jab of anti-wrinkle ller.
Click here for reviews
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ARTISTIC PROGRAM
ARTWORKS AND
EXCHANGES
Spanning two sites connected by the
Maribyrnong River Footscray Community
Arts Centre and the Incinerator Gallery - the
program explores tensions that exist among
representational practices of art (exhibition,
object, performance, presentation) that
address social engagement in both form and
content (intervention, interruption, event,
exchange).
The exhibition at the Incinerator Gallery stages an
archive of socially-engaged artworks, providing
artists an opportunity to present installations,
documentation and other residue produced.
Meanwhile, on 6 & 7 February at Footscray
Community Arts Centre, the conference will provide
a platform for artist interventions, exchanges
and performative actions engaging conference
delegates and the general public. Residue
produced from these exchanges will occupy in the
Roslyn Smorgon Gallery until the 23rd of February.

Opening receptions:
Monday 3 February, 6:00pm - The Incinerator
Gallery, 180 Holmes Road, Moonee Ponds
Thursday 6 February, 7:30pm - Footscray
Community Arts Centre, 45 Moreland Street,
Footscray
The exhibitions and interventions have been
curated by Dr Marnie Badham and Rob Ball,
Centre for Cultural Partnerships, University of
Melbourne and Richard Ennis, Incinerator Gallery
with curatorial advice from Jade Lillie, Footscray
Community Arts Centre, Alison Lasek, ACCA, and
Simone Slee, VCA, University of Melbourne.
For the full artistic program visit:
www.spectresofevaluation.com/artworks-and-
exchanges.html
Artworks and Exchanges explores the social turn in
contemporary art by showcasing new and re-presented
community-engaged art works.
Over t he Barricade, Peter Burke & Louise Lavarack,
Participating artists and arts collectives:
Kate Just (VIC)
Monte Masi (SA)
Georgina Lee (VIC)
Change Media (SA)
CuriousWorks (NSW)
Bridget Nicholson (VIC)
Benjamin Cittadini (VIC)
Zachary Gough (CAN/USA)
The Other Film Festival (VIC)
Tiffaney Bishop Collective (VIC)
David Brazier & Kelda Free (WA)
Ronch Willner & Tunni Kraus (VIC)
Peter Burke & Louise Lavarack (VIC)
Sean Curham, Alex Monteith, Cat Ruka, Danny Butt, Mark Harvey (NZ)
Page 75
Ricci-Jane Adams
Research Manager
Melbourne Graduate
School of Education
The Auckland Old
Folks Association
Sean Curham, Alex
Monteith, Cat Ruka,
Danny Butt & Mark
Harvey
Artist Collective
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Speaker s , ar t i s t s &
wor ks hops l eader s
PRESENTERS
Ricci-Jane Adams is a cultural researcher
and evaluator in the arts specialising in the
ethnographic study of socially engaged creative
practice. Ricci-Jane is a research associate with
the Centre for Cultural Partnerships, Faculty of
the VCA and MCM, and is a research manager
in Arts education in the Melbourne Graduate
School of Education, the University of Melbourne.
She has conducted research and evaluation for
childrens theatre company, Polyglot Theatre as
well as inclusive arts practitioner Jodee Mundy,
and the Deafblind Cabaret project amongst others.
Ricci-Jane is an award winning playwright and has
written and lectured on magical realist theatre as
political discourse.
riccia@unimelb.edu.au
Read Ricci-Jane's abstract
The Auckland Old Folks Association was
incorporated in 1945 to foster gatherings among
its members irrespective of status or creed
in a hall designed for that purpose. In 2011 the
associations purposes were extended to support
arts and cultural production, with a particular
interest in performance and intergenerational
cultural exchanges. The Associations organising
committee consists of Sean Curham (coordinator),
Alex Monteith, Cat Ruka, Danny Butt and Mark
Harvey, all of whom have extensive histories in
performance and visual/media arts in New Zealand.
The committee aim to invite the public at Spectres
of Evaluation into a discussion on intergenerational
work and the governance of community facilities.
They will also produce performative interventions
during their time in Footscray, including hosting a
project with the collective Local Time.
www.ofa.org.nz
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Writer and arts advocate Esther Anatolitis
(CHAIR) is Director of Regional Arts Victoria
and co-curator of Architecture+Philosophy.
Esthers past professional roles span craft and
design, literary arts, multicultural arts, public
art, festivals, publishing and broadcasting. Her
creative projects have focused on the identication
of interstitial spaces for new work. Esthers
academic background is in European philosophy,
and she also holds the postgraduate Zertikat
BauhausDessau (Dessau, Germany) for her work on
an international architectural project, as the DAAD
Knstlerprogramm resident. Across all her work is
an abiding interest in creating exible frameworks
for the emergence of the new.
esther@rav.net.au
Read Esther's abstract
Esther
Anatolitis
Director
Regional Arts
Victoria
Originally from Canada, Marnie Badham is an
artist-researcher exploring representational
practice (policy, art, research) with politically
and socially marginalized communities. Extending
her 2012 practice-led PhD research 'Naming the
World: a relational approach to cultural indicators
and socially-engaged arts practice', her research
interests include cultural value and new forms of
contemporary art. Marnie is currently a Research
Fellow at the Centre for Cultural Partnerships,
University of Melbourne and a lecturer for Research
Methodology at a Masters level. Marnie publishes
and presents internationally, while maintaining an
active art practice through residencies, exhibitions
and other community-based collaborations.
m.badham@unimelb.edu.au
Marnie Badham
Research Fellow
Centre for Cultural
Partnerships,
University of
Melbourne
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Rob Ball is a Melbourne-based artist who also
works in community and cultural development,
advocacy, policy, research and placemaking.
Robs practice-based research investigates
restorative gestures in socially engaged art. He is
a PhD candidate with the Centre for Cultural
Partnerships, University of Melbourne. Rob
is co-producer of the Spectres of Evaluation
conference and coordinator of Artworks &
Exchanges exhibition.
rob@artinsocialspaces.net
Co-presenter with Deb Warr.
Read panel abstract
Rob Ball
Artist/Researcher
Tim Barlow
PhD Candidate
Massey University,
New Zealand
Tim Barlow has an MFA (distinction) from Massey
University, Wellington, Aotearoa. Recently he has
worked with the public art commissioners Letting
Space; in 2012 on the project The Public Fountain
for the Taupo Erupt Festival and the planning for
the TEZA (Transitional Economic Zone of Aotearoa)
event in Christchurch later in 2013. He has been
involved in producing site-based installations,
collaborative and community based projects and lm
production for over 25 years. Currently he is a PhD
candidate at Massey University working on practice
led projects collaboratively with community centres
and vulnerable communities on the urban periphery.
timbrlw@gmail.com
Read Tim's abstract
Penny Baron has been working passionately and
extensively for the past 20 years as a performer,
deviser and director. Penny is Co Artistic director
of Born in a Taxi and is a long-standing member
of the theatre company, The Business. She has
won numerous awards both as an individual and
as a member of these companies. The main pulse
behind her work is a physically driven inquiry into
improvisation both in process and performance.
Penny has worked with companies including
Rawcus, Dislocate, Polygolt, The Four Noels,
The Dream Masons, Shaken and Suspicious, Weave,
CreateAbility, Company 13 and Bell Shakespeare.
penny@borninataxi.com.au
Co-presenter with John Willis and Jacob Boehme.
Read panel abstract
Penny Baron
Co Artistic Director
Born in a Taxi
Dr Alison Baker is a community psychologist,
currently working as a research fellow at the
Victoria Institute for Education, Diversity & Lifelong
Learning at Victoria University. Her dissertation
research examined sociopolitical and civic
development among young people in El Salvador
using photovoice and surveys. Her current
research explores civic engagement through
community-based arts with young people in
Melbournes West. Alison is interested in blending
creative research methodologies and documentary
techniques to develop young peoples sense of
social justice and capacity for action.
Alison.Baker@vu.edu.au
Co-presenter with Charlotte Hilder.
Read Alison's abstract
Sana (Susan) Balai was born on Buka Island,
Autonomous Region of Bougainville in Papua New
Guinea (PNG). As an applied science graduate,
Sana spent more than 13 years working for
Bougainville Copper Limited (a subsidiary of CRA/
Rio Tinto, PNG.) This was followed by her museum
career in the Indigenous art department at Melbourne
Museum then at the National Gallery of Victoria.
She was a member of Pacic Advisory committee to
the Melbourne Museum, 1994-99 and was appointed
Community Liaison (Victoria) for the Board of
Australian Association for the Advancement of Pacic
Studies (AAAPS) 2010 2012. Sana is an active
member of the Papua New Guinea and Pacic Islander
communities in Melbourne; shes an assistant curator
of Indigenous art at the National Gallery of Victoria
with art of the Pacic as her main focus.
Read Sana's abstract
Alison Baker
Research Fellow
Victoria Institute
Sana Balai
Elder
Contemporary
Pacic Arts Festival
Timmah Ball
Community
Development Ofcer
The City of Greater
Dandenong
Timmah Ball completed a Master of Urban Planning
from the University of Melbourne in 2011. Her thesis
explored the role of art and creative lead strategies
in community consultation processes. She previously
completed a Bachelor of Creative Arts and has been
involved in a range of community based arts projects
with the Womens Circus, Illura Press, Urban
Reforestation and has worked for The Australian
Centre for the Moving Image, The San Francisco Film
Festival and Four Larks Theatre. She currently works
for the City of Greater Dandenong as a Community
Development Ofcer where she produces the Greater
Dandenong Film Festival.
Timmah.Ball@cgd.vic.gov.au
Read Timmah's abstract
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Dancer, choreographer, puppeteer, community arts
practitioner - Jacob Boehme is a man of many talents.
With a passion for bringing Victorian Indigenous
stories to life through modern dance, Jacob trained
at NAISDA, Australias leading institute for Indigenous
Performing Arts. Jacob has been a part of many
cultural exchanges, teaching dance (including
ballet) to children in traditional Aboriginal and Torres
Strait Island communities. After working as the Next
Generation Representative for theatre company
Assitej International from 2008-2010, Jacob has
assumed the position of Artistic Director of the Idja
Dance Theatre where he continues to inspire and
hand on skills to young Indigenous people.
Co-presenter with John Willis and Penny Baron
Read panel abstract
Jacob Boehme
BalletLab
Emma Blomkamp recently submitted a doctoral
thesis on urban cultural policy in Australian and New
Zealand local government through a jointly-awarded
PhD programme with the University of Aucklands
Department of Political Studies and the University
of Melbournes Centre for Cultural Partnerships.
She now manages social innovation projects for
Innovate Change and educational programmes for
Show Me Shorts Film Festival. Emma holds a MA
(Hons) in Film and has studied Media and Cultural
Management at Sciences-Po Paris. Her research
has been published in the International Journal of
Cultural Policy, International Journal of Cultural
Studies and the Asia Pacic Journal of Arts and
Cultural Management.
emmablomkamp@gmail.com
Read Emma's abstract
Emma Blomkamp
PhD Candidate
Department of
Political Studies,
University of
Auckland, and
Centre for Cultural
Partnerships,
University of
Melbourne.
Tiffaney Bishop is a practicing artist with a degree
in communications (PR), a diploma in Illustrative
Photography, a rst class Honours degree in Media
Arts and a Masters degree in Fine Art Photo Media.
Tiffaney is a multi-disciplinary artist who engages
in relational, dialogical, visual, literary, public and
interactive art practices. She has been actively
engaged in community arts practice for many years
now and is passionate about raising the prole of
youth arts culture and contemporary community
arts practice in this country. Tiffaney currently
runs an experimental adult mentored/youth driven
contemporary collaborative arts project based in
Belgrave called tiffaney bishop COLLECTIVE(tbC),
that engages young artists in a variety of
professional art making processes, mediums, and
collaborative practices.
tiffaney@tiffaneybishopcollective.com
Read TBC abstract
Tiffaney Bishop
multi-disciplinary
artist
Lenine Bourke has a broad range of national and
international professional experiences in the
arts and cultural sector. She has led various arts
organisations such as Contact Inc and projects,
and worked for peak bodies including as Executive
Director of Young People and the Arts Australia,
local and state governments, statutory authorities,
educational institutions, galleries, festivals and
artists groups. Lenines work as young leader was
recognized with the inaugural Kirk Robson award
from the Australia Council and again in 2009 when
she received the Brisbane City Council Lord Mayors
creative fellowship to undertake research in the area
of Social Practice. She currently holds an Australia
Council Fellowship in Community Partnerships.
lenineb@yahoo.com
Panel Chair Read panel abstract
and co-presenting with Mary Ann Hunter
Read panel abstract
Lenine Bourke
Independent Artist
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David Brazier and Kelda Frees itinerant practice sees
them working site specically, often in collaboration
while in residency situations. Their process involves
negotiating the complex relationships that constitute
site and working site specically. They examine
relationships between location, physical, social and
institutional dimensions and their personal histories,
working methodologies and artistic autonomy. They
seek tensions within these relationships in order to
interrogate and re-imagine the systems and spaces
they occupy.
Their work has been widely supported by
international organisations including Arts Council
England, Arcus Japan, Khoj International Artists
Association India and NAVA Australia. In 2013 they
taught a Social Practice workshop to MFA students
at California College of the Arts and in 2014 they
feature in the book What We Want is Free: Critical
Exchanges in Recent Art (Purves T. and Selzer
S. A., SUNY Press).
David completed his BA at Curtin University
and Ecole Nationale Suprieure des Beaux-Arts
de Paris and went on to receive his MFA at
Goldmiths University of London. Kelda draws
on past experience as a Landscape Architect,
having specialised in arts based, socially
engaged consultation for award winning public
realm projects.
www.brazierfree.com
David Brazier &
Kelda Free
Artist collective P
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Aunty Carolyn has devoted her life to the cause and
culture of her people and has inherited traditional
and customary responsibilities associated with her
country. As a language specialist and respected
Boon Wurrung Elder, Aunty Carolyn oversaw the
design of the Boon Wurrung and Wemba Wemba
cloaks made for the Opening Ceremony of the
2006 Melbourne Commonwealth Games. Aunty
Carolyn Briggs champions the role of Indigenous
cuisine in maintaining health and well-being. She
recently closed the doors of her restaurant Tjanabi,
in Federation Square, Melbourne, where Prime
Minister Julia Gillard entertained United States
Secretary of State, Hillary Clinton, in November
2010. The menu was based on Aboriginal peoples
six seasons and their traditional way of eating
organic, locally grown food.
Aunty Carolyn
Briggs
Boon Wurrung Elder
In his performative practice Peter Burke uses
marketing strategies and ctional personae
combined with current concerns and conventions of
art, especially those involving social interaction in
public spaces. By these means Burke examines and
questions the general condition of contemporary
consumer society. Burke exhibits widely in
Australia and internationally, most recently at
Bund 33, Shanghai, the India Art Fair and Art Stage
Singapore. Other projects include Triage (with
Louise Lavarack), (2013) and Findings, Trocadero,
Footscray (2011). Burke is the recipient of grants
from Australia Council for a residency in Tokyo
(2014), Field Theory (2011) and Arts Victoria (2003).
www.peterburke.com.au
Peter Burke
Artist
Tania Canas is a research student at the Centre for
Cultural Partnerships, in the Faculty of the VCA and
MCM, University of Melbourne.
As an emerging researcher she has presented at
conferences in Australia and the US, and recently
appointed to the Editorial Board for the International
PTO Academic Journal. She has also recently
returned from an international theatre residency in
Northern Ireland, working in two operational prisons
and two community groups.
She is the Arts Director at RISE Refugee and her
one-scene monologue script Untouchable was
published with Currency Press Australia 2013.
tania.canas1@gmail.com
Tania Canas
Research Student
Centre for Cultural
Partnerships,
University of
Melbourne.
Pip Chandler
Co-Director
Storyscape
Storyscape is a community development and
arts organisation based in Melbourne. We
work with communities in creative ways to
conduct participatory planning, monitoring and
evaluation, and arts projects. Zo Dawkins and
Pip Chandler founded Storyscape in 2009. Prior
to this both worked as independent evaluation
and communication consultants in the elds
of community and international development.
We combine creative approaches such as Digital
Storytelling, PhotoVoice, Participatory Video,
with more traditional research and evaluation
techniques. We take the essence of storytelling
and combine it with video, research and art to
communicate stories that help us connect, heal,
learn, change and plan.
pip@storyscape.com.au
Co-facilitators of workshop. Read abstract

Zo Dawkins
Co-Director
Storyscape
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Benjamin
Cittadini
PhD Candidate
Victoria University
Benjamin Cittadini is a writer, director, researcher
and live performance artist. He has written and
directed plays for stage, curated and performed in
multi-artform installations and performance events
and developed site-specic, socially engaged and
participatory performance adventures in Frankston,
Dandenong, Footscray, Bendigo, Geelong, Sydney
and Prato, Italy. In 2008 he shared the South-east
design awards Outstanding Social Impact award
with the Eastlink tollway for his work on the White
Street Project in Frankston and in 2012 his devised
theatre piece Bunny was awarded the Innovation
in theatre award at the Melbourne Fringe Festival
benjamin.cittadini@live.vu.edu.au
Read Benjamin's abstract
Bronwyn Coate is a cultural economist
whose research explores different aspects
of art and culture with a focus on economic
implications. Key ares covered in Bronwyns
research include the creative industries, creative
cities, Indigenous cultural production, cultural
consumption and lm economics.
bronwyn.coate@deakin.edu.au
Read Bronwyn's abstract
Bronwyn Coate
Research Fellow
Centre for Memory,
Imagination &
Invention, Deakin
University
Courtney Coombs is an artist and practice-based
PhD candidate, exploring the tenuous and
complicated relationship between feminist ideology
and autonomous art practice. Courtney is a
founding Co-Director for local artist run initiative,
LEVEL and has exhibited extensively throughout
Brisbane in both group and solo shows, as well as
nationally, including the Next Wave Festival (2012)
with LEVEL, Artspaces exhibition Eastern Seaboard
(2011) with No Frills* and internationally including
in her most recent solo exhibition Wish you were
here (2012) at Roji to Hito, Tokyo. Her work is held
in public and private collections.
courtney.coombs@qut.edu.au
Co-presenter with Gretchen Coombs.
Read Courtney and Gretchen's abstract
Gretchen Coombs interests include art and design
criticism/activism, specically recent practices that
challenge social structures within an urban context.
Her doctoral research involved artists, design
collectives, critics and scholars who are immersed
in new ways of theorizing activist practices in
order to gain deeper insights into understanding
the institutionalization of socially engaged art -
or social practices - in San Francisco, practices
that draw on the Bay Areas legacy of progressive
politics and vanguard art practices. Gretchen
currently works as a lecturer in the School of
Design, Creative Industries Faculty, at Queensland
University of Technology in Brisbane, Australia.
gretchen.coombs@qut.edu.au
Co-presenter with Courtney Coombs.
Read Gretchen and Courtney's abstract
Gretchen
Coombs
Lecturer, School
of Design
Queensland
University of
Technology
Courtney
Coombs
PhD Candidate,
Creative Industries
Precincts
Queensland
University of
Technology
Christina Davies (nee Mills) is a Research Assistant
and PhD candidate at the University of Western
Australia. Christina has 13 years of experience in
health research and evaluation. She has experience
in both qualitative and quantitative research
techniques, including data collection, analysis and
reporting. Christina has managed a wide range
of research projects and has qualications in
psychology, public health and the arts. Her PhD is
titled Healthy arts? Exploring the relationship
between arts engagement and general population
health. The PhD is funded via a Healthway
Research Starter Grant and Healthway Research
Training Award.
christina.davies@westnet.com.au
Read Christina's abstract
Christina Davies
PhD Candidate and
Research Assistant
Professor
The University of
Western Australia
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Ros Derrett has worked extensively, in Australia
and overseas, in the areas of tourism management
and cultural development. Ros Derretts experience
as an academic has been informed by her practical
involvement with research into organisational
change, cultural tourism, event management and
regional cultural development. She has worked with
others identifying opportunities for collaborative
events, enterprises and projects, incorporating
effective management strategies and meaningful
community consultation. She is widely published
and has written an international university textbook
on creating enduring festivals. In Australia,
she works as a consultant to government, business
and community agencies working in the arts,
education and tourism.
rderrett@bigpond.net.au
Co-presenter with Bo Svoronos.
Read panel abstract
Dr Ros Derrett
Independent
consultant

Kim Dunphy is the Research Program Manager of
the Cultural Development Network, based at RMIT
University, in Melbourne, Australia. CDN promotes
the cultural vitality of communities throughout
Australia, by supporting and resourcing cultural
development practice in local government.
Kims relevant publications include topics such
as cultural indicators, accessibility and the arts,
creativity and community revitalization in regional
Australia. Her recent PhD examines the role of
participatory arts in social change in Timor-Leste.
Her research interests are concentrated around
the contribution of the arts to individual and
community level change and how that change can
be understood and measured.
Kim.dunphy@culturaldevelopment.net.au
Participatory workshop.
Read Kim's Abstract
Dr Kim Dunphy
Research Program
Manager
Cultural
Development
Network
Gretchen Ennis is a researcher, songwriter,
musician and community development enthusiast.
She completed her PhD on network approaches to
community development in 2012. Gretchen enjoys
working as a post-doctoral research fellow because
she gets to partner with community organisations to
gure out ways to evaluate their work in meaningful
and useful ways. Gretchen is also on the board of
Happy Yess Community Arts.
gretchen.ennis@cdu.edu.au
Co-presenter with Jane Tonkin.
Read Gretchen's Abstract
Dr Gretchen
Ennis
Post Doctoral
Research Fellow
Charles Darwin
University
Richards postgraduate studies in philosophy and
art historiography focused on artists biographies
in European literary traditions. He has spent most
of his professional career in Australias secondary
art market at Deutscher and Hackett, where he has
advised private collectors and public institutions
on collecting and exhibiting Australian and
international art. In 2011 he became the curator and
exhibition programmer at the Incinerator Gallery
where he has produced a range of exhibitions
from solo shows of local artists, to major touring
exhibitions of contemporary design. He has also
developed an extensive public program combining
arts education and local history learning. He is
currently a board member of Kings ARI.
REnnis@mvcc.vic.gov.au
Artist Panel Chair
Richard Ennis
Curator and
Exhibition
Programmer
Incinerator Gallery
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Marcia Ferguson commenced the role of Artistic
Director of Big West Festival in May 2012.
Previously, Marcia worked at Back to Back Theatre
as a freelance director and Artistic Associate
2000-12, curating the community program and
co-devising new works such as Democratic Set,
Ganesh Versus The Third Reich, and as show
director on Small Metal Objects and Food Court
within Australian and overseas. Marcia has
extensive experience as a writer, dramaturg, deviser
and director with small to medium companies
such as Arena Theatre Company, Crying Out Loud,
Ranters, Y-Glam and Westside Circus. Marcias
work delivers across multiple art forums including
physical theatre, conceptual art, installations and
new technologies.
Marcia@bigwest.com.au
Co-Presenting with John Willis
Read panel abstract
Marcia
Ferguson
Artistic Director
Big West Festival
Natalie Fisher is Lead Consultant at NSF
Consulting, the Small Town Transformations
independent evaluator. NSF Consulting has
developed a solid evidence-based body of work
that demonstrates the important role that arts
can play as part of regional development and the
disaster recovery process. Natalie is an experienced
evaluator of arts-led initiatives in regional Australia.
She evaluated Arts Victorias response to the 2009
Black Saturday bushres and Arts Queenslands
Creative Recovery Initiative following Queenslands
2011 natural disasters. She is also currently
evaluating Arts Queenslands Creative Capricorn,
an arts-led initiative that involves the integration of
artistic and cultural programs in Rockhampton.
natalie@nsfconsulting.com.au
Co-presenter with Esther Anatolitis.
Read Natalie and Esther's abstract
Natalie Fisher
Director
NSF Consulting
Isabel works at Footscray Community Arts Centre
as the Producer Strategic Initiatives. Prior to this,
she worked with the ACT Human Rights Commission
as an Advisor working on research projects and
community engagement with children, young people
and people with disability.
Previously Isabel has worked in arts and cultural
development with state and local governments in
Queensland, at Brisbane Festival, 2high Festival,
FUSE television network (New York), and the Venice
Biennale. She is also one half of the team behind
Suitcase Rummage.
Isabel holds a Bachelor of Creative Industries and a
Graduate Diploma in Journalism from Queensland
University of Technology.
isabel@footscrayarts.com
Isabel
FitzGerald
Producer
Strategic Initiatives
Footscray
Community
Arts Centre
Liss Gabb is an artist, educator and creative
producer with over 15 years experience in designing
and implementing arts projects with vulnerable
communities. Underpinned by principles of cultural
democracy and social justice, Liss work utilises
performance, multimedia, text and photographic
artforms. Over the last 20 years Liss has developed
a socially engaged practice that is grounded in
long-term relationships with the communities she
works with. Liss is a regular contributor to national
and international conferences in the arts and health
sectors. Liss is currently undertaking a Masters of
Fine Arts (Art in Public Space) at RMIT.
lissg@wrhc.com.au
Read liss' abstract
Alia Gabres is a Melbourne based Poet & Storyteller.
She is the Co-director of The Centre for Poetics and
Justice and Associate Producer at the Footscray
Arts Centre. She is currently undertaking a Masters
in Community and Cultural Development at the VCA
with a focus on Arts Practice as a site for knowledge
generation, preservation and cultural transmission.
In 2012 Alia was the City Libraries Poet in
Residence and later in 2013 Artist in Residence
with Minor Disturbance Youth Slam team in Denver
Colorado. She ended the year by producing an
intergenerational narrative project in California
entitled Our Parents were Children Once with
acclaimed poet Mark Gonzales.
Liss Gabb
Program
Co-ordinator
Barkly Arts Centre,
Western Region
Health Centre
Alia Gabres
Poet and Storyteller
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Greg Giannis is an artist and educator with a
background in software design engineering. Mostly
working with new media, he incorporates the writing
of software into his practice, creating new and
innovative works. Currently Greg is working with
telecommunications systems and communities
to create collaborative works that rely on public
participation. His current project draws inuences
from peripatetic art practices and social cartography,
and incorporates custom software development
and media arts. His work has been exhibited locally
and internationally and has presented papers at
international media art conferences.
greg.giannis@vu.edu.au
Co-presenter with Sally Webster
Read panel abstract
Zachary Gough makes festive, conversational and
social art projects that critically explore personal
values, often by connecting people and groups
with one another, to challenge and inspire the ways
we operate today. In the past, his projects have
manifested as a marching band, a board game,
free dental care, a pseudo-business conglomerate,
Pirate and Community Radio. Originally from
Kitchener Ontario Canada, he completed his BFA
at Mount Allison University in Sackville, New
Brunswick and is currently a candidate in the Art
and Social Practice MFA program at Portland State
University in Oregon, USA.
www.zacharygough.ca
Greg Giannis
Artist and Educator
College of Arts,
Victoria University
Zachary Gough
Artist
Charlotte Hilder
Youth Arts
& Events Ofcer
Brimbank
City Council
herestudio
Community Activists
and Architectural
Company
Charlotte Hilder started her arts career in lm,
working on productions such as Spike Jonez
feature lm Where The Wild Things Are. In 2003
after working with disadvantaged youth in inner-
city Melbourne on participatory arts projects,
Charlotte changed her career path and has been
producing youth and community arts initiatives, for
various government and community organizations.
Charlotte has qualications in Fine Arts, Multimedia
Design and Community Cultural Development.
Charlotte coordinates and chairs the Western
Youth Arts Network (WYAN) which brings together
community and cultural development practitioners,
artists and academics.
charlotteh@brimbank.vic.gov.au
Co-presenter with Alison Baker
Read Charlotte and Alison's abstract
herestudio is a registered architectural company
and a network of community activists. Currently
herestudio focusses on participatory design of
community-orientated projects, and affordable
everyday architecture. To do this, herestudio
considers the opportunity of architecture, not only
through the procurement of buildings, but through
events, temporary installations and artworks.
Director Ammon Beyerle teaches design and theory
and is undertaking a PhD in agonism, architecture
and participation at the University of Melbourne;
he lives in Ballarat. Director and registered architect
Michelle Emma James teaches design and is
undertaking a master of social science at RMIT;
she lives in Melbourne.
ammonbeyerle@herestudio.net
www.herestudio.net / @herestudio
Rhys Himsworth
Community
Development Ofcer
Virginia
Commonwealth
University Qatar
Rhys Himsworth received his BA in Fine Art from
Central Saint Martins College of Art and Design
in 2003 and his MA in Printmaking from the
Royal College of Art in 2009. Since completion
of his masters he has taken part in residencies
in the United States, including the Fountainhead
Fellowship and the Virginia Center for the Creative
Arts, and in China where he researched painting
factories in the southern village of Dafen, exploring
the changing nature of printmaking as it relates to
painting. As an artist, Rhys has exhibited extensively
in Europe, North America and the Middle East.
trhimsworth@vcu.edu
Co-Presenter with Bryad Yyelland
Read Rhys and Bryad's abstract
Cathy Horsley
Community Cultural
Development Ofcer
Port Phillip
City Council
After graduating from Victoria College
(B.A. Fine Art) and The Victorian College of the Arts
(Mas. Fine Art), Cathy Horsley practiced as a ne
artist from 1985-1998, transitioning to community
arts and cultural development in late 1990s.
In the role of Community Cultural Development
Ofcer at the City of Port Phillip (2004 - present)
Cathy has played a key role in the delivery of
Councils commitment to access and equity in the
development and provision of arts and cultural
opportunities to people with specic needs and
those who are disadvantaged.
chorsley@portphillip.vic.gov.au
Read Cathy's abstract
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Cathy Hunt
Director
Positive Solutions

Cathy has over 25 years experience of working
in the arts, cultural and non prot sectors in
Australia, Hong Kong and the UK. She is one of the
founding Directors of the consultancy company
Positive Solutions; a founder of the QuickstART
loan scheme, the rst in Australia designed for
artists and creative practitioners; a founder of
Boardconnect which supports the boards of non
prots in Australia, and a researcher in the area of
new business models and new forms of nancing
for the cultural sector. Cathy has a rst degree in
English and Theatre Studies and an M.Phil through
the University of Liverpool (UK) which explored the
design and development process of buildings for the
performing arts.
cathy.hunt@positive-solutions.com.au
Read Cathy's abstract
Mary Ann Hunter is Senior Lecturer and
Postgraduate Coursework Coordinator in the
Faculty of Education at the University of Tasmania
and Honorary Research Associate of the Faculty of
Arts, University of Queensland. Mary Anns research
interests focus on the role of arts and creative
practice in education and applied settings. She is
particularly interested in interdisciplinary research
and enquiry and her experience is in qualitative
and arts-based methods. Recent projects include
Performance and Peacebuilding, an ongoing project
in association with the Center for Ethics, Justice
and Public Life at Brandeis University, Boston, and
Education, arts and sustainability: Transforming
learning in an unsustainable world.
MaryAnn.Hunter@utas.edu.au
Panel Chair
Read panel abstract
Dr Mary Ann
Hunter
Senior Lecturer in
Arts Education
University of
Tasmania
Lucas Ihlein is an artist who works with social
relations and communication as the primary media
of his creative practice. His PhD entitled Framing
Everyday Experience: Blogging as Art (2010)
explored the granularity of physical and virtual
social engagement as the basis for relational art
practice. His work manifests as blogs, participatory
performances, pedagogical projects, experimental
lm and video, re-enactments, gallery installations,
lithographic prints and drawings.
Ihlein collaborates extensively, and is a member
of Big Fag Press, SquatSpace, and Teaching and
Learning Cinema. He works as a lecturer in Media
Arts at University of Wollongong.
lucasi@uow.edu.au
Read Lucas Abstract
Dr Lucas Ihlein
Artist, Lecturer -
Media Arts
University of
Wollongong
Moses Iten is an internationally known DJ and
weekly host of 3PBS radio program Space is the
Place, broadcasting quality music & grooves from
ALL regions of the globe. Producer of the Cumbia
Cosmonauts and The Swiss Conspiracy, Iten is
obsessed with Cumbia and other constantly evolving
Tropical Bass / Ghettotech styles such as Dancehall,
Baile Funk, Moombahton, Kuduro, Congotronics,
Champeta, UK Bass and yet-to-be-dened
directions in club sounds. You can expect to hear
Moses selecting the best from his vast crates
of mp3s and vinyl - especially African and Latin
American futurist folk music, cut-up beats and
psychedelic grooves. Space is the Place features
regular guest DJs, focusing to expose Melbourne
to unreleased and undened new sounds sourced
straight from producers and labels around the world.
Moses collaborates VJ Martin Hadley (of the
Cumberia Cosmonauts) to make Safari Cinema.
www.facebook.com/moses.iten
Moses Iten
Safari Cinema
Sherene Idriss is a PhD candidate at UWS,
investigating the ways that young men of
Arab-Australian backgrounds develop creative
identities across important moments of their
lives, such as school, higher education and in the
labour market.
s.idriss@uws.edu.au
Read Sherene's abstract
Sherene Idriss
PhD Candidate
Institute of Culture
and Society,
University of
Western Sydney
Dr James
Hullick
McKenzie
Postdoctoral Fellow
Music Mind and
Wellbeing Initiative,
University of
Melbourne
James Hullick is a McKenzie Postdoctoral Fellow
at The University of Melbournes Music Mind and
Wellbeing Initiative. Hullicks research interrogates
the intersection between technology, community
and sonic art. He is Director of both the community
sound art organization The Click Clack Project,
and the professional sound art organization JOLT
Arts inc. Hullick is a practicing sound artist,
performer and composer.
james.hullick@unimelb.edu.au
Read James' abstract
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Alex is Big hARTs National Producer, after working
as Creative Producer of Ngapartji Ngapartji 2005-
2010. Alex has worked on a range of documentary
lms including; producing Nothing Rhymes with
Ngapartji production managing the drama shoot
for Coniston: Telling It True and directing Queen of
the Desert. In 2009 Alex was awarded the Australia
Councils Kirk Robson Award and in 2011 the Screen
Territory Bob Plasto Award. In 2013 Alex Churchill
Fellowship looking at models for social change
documentary impact and engagement in UK, Canada
and USA. She is passionate about justice, diversity,
access and roller derby and blogs at echotango.org
Co-presenter with Lenine Bourke.
Read panel abstract
Katie Keys is a thirty-something non-Indig Aussie
Brit based in Melbourne. A poet, writer and
arts manager, her work has been published in
anthologies, magazines and online in Australia
and beyond. An advocate of online creative
communities, Katie has tweeted one tiny little poem
each day @tinylittlepoems for more than four years.
katiekeys@myartsmail.com
Alex Kelly
Producer
Big hART
Katie Keys
Poet, Writer
Kate Just is an Australian visual artist working
with mixed media including knitted sculpture,
clay, collage and photography. Kate Just was
born in Hartford, Connecticut in 1974 and moved
to Melbourne permanently in 1996. Just has a
Doctor of Philosophy (Sculpture) from Monash
University, a Master of Arts from RMIT and a
Bachelor of Fine Arts (Painting) from the Victorian
College of the Arts where she has been a Lecturer
in Art since 2005. Just has exhibited extensively
in solo and group exhibitions across Australia and
internationally. Just has been awarded funding
by the City of Melbourne, Arts Victoria and the
Australia Council for the Arts. Just was the winner
of the 2007 Siemens Travel Award, and the 2012
British Council Realise Your Dream Award. She
has undertaken residencies locally at Gertrude
Contemporary Art Spaces, Heide Museum of
Modern Art and The Australian Tapestry Workshop.
She has held international residencies in the
Australian Council for the Arts studio in Barcelona,
and the KREMS International Artist in Residence
program in Austria, and pursued independent
research in London and Leeds, culminating in the
HOPE works presented here.
www.katejust.com
Kate Just
Artist
Rimi Khan is a Research Fellow in Cultural
Studies at the University of Melbourne. Her
research interests include critical cultural policy,
multiculturalism and cultural sustainability. She
is currently involved in an Australian Research
Council-funded project which seeks to develop
cultural indicators for local, state and federal
government cultural agencies.
rpkhan@unimelb.edu.au
Co-presenter with Danielle Ray Wyatt
Read panel abstract
Rimi Khan
Research Fellow
University of
Melbourne
Louise Lavarack is a Melbourne visual artist
with a spatial practice in which she explores the
relationship between gure and landscape. Her
works distil the world around us, choreographing
our experience of it and realigning our perception
of social and imaginative realms. Louise has
completed major public art commissions for a
range of government and private sector clients.
She has received grants and prizes acknowledging
her merit and been short-listed for numerous other
commissions and prizes. Her practice includes
permanent and temporary works for public and
private space as well as smaller-scale works for
gallery exhibition. She has collaborated with Peter
Burke on several projects over recent years.
www.louiselavarack.com.au
Louise Lavarack
Artist

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Michelle LeBaron is Professor at UBC Faculty of Law
and was Director of the UBC Program on Dispute
Resolution from 2003-2012. From 1993-2003,
she taught at the Institute for Conict Analysis
and Resolution and the Womens Studies program
at George Mason University in Fairfax, Virginia.
Professor LeBarons research focuses on how the
arts can foster belonging and social cohesion across
cultural and worldview differences. Her current
project investigates how dance, movement and
kinesthetic awareness can enhance practitioners
and parties capacities to transform conict and is
the subject of her new book The Choreography of
Resolution: Conict, Movement and Neuroscience.
Co-presenter with Mary Ann Hunter
Read Panel Abstract
Georgina Lee is an emerging Melbourne-based
artist and business analyst whose work explores the
sphere corporate life. Lee employs a variety of media
such as installation, video, text and performative
strategies such as the appropriation of language,
utility and practices from the corporate world. She
has completed postgraduate training at the Victorian
College of the Arts and is currently pursuing a post-
graduate diploma in Art History at the University of
Melbourne. Lee regularly shows at artist-run spaces
and is a current board member of Melbourne-based
arts organisation, BUS Projects.
www.georginalee.net
Dr Michelle
LeBaron
Professor,
Faculty of Law
University of British
Columbia

Georgina Lee
Artist
Jade Lillie
Director & CEO
Footscray
Community
Arts Centre
Jennifer
Lyons-Reid &
Carl Kuddell
Co-Founders
Change Media
Jade is the Director & CEO of Footscray Community
Arts Centre. An experienced community cultural
development practitioner, arts executive, educator
and facilitator, she has worked in a variety of
consultation, government and non-government
contexts in Australia and overseas, including:
Education Queensland, NT Department of Education
and Training, Arts Queensland, SpeakOut (Human
Ventures), Brisbane City Council and Contact Inc.
Jade has been a recipient of the Kirk Robson Award
and an Asialink Arts Management Resident. Until
recently, Jade was based in Northern Thailand
working with Australian Volunteers International
as an Arts Management Advisor for organisations
working with communities around human rights and
trafcking issues. While there, she also completed
a research project Australia and South East Asia
- Creating Connections and Understanding: CACD
and International Collaborations which looked at
community arts and cultural development practice
in a contemporary South East Asian context as well
as intercultural collaboration and engagement in
international development.
jade@footscrayarts.com
Artistic director Jennifer Lyons-Reid and creative
producer Carl Kuddell are Change Media's
co-founders and key artists. Working with a team
of artists, we are a national digital media arts
initiative, focusing on disruptive innovation, critical
literacy in digital media, and social change through
co-creative storytelling. In the last 2 decades we
have worked in community arts, broadcast media,
live art, and delivered hundreds of digital media
workshops with thousands of participants across
Australia. We have received awards across the
globe for our work. Our recent strategic advisory
work includes investigations into story theft,
equity and harm in community arts. They are joined
by Ammon Beyerle and Michelle Emma James from
herestudio for this event.
carl@tallstoreez.com
Read more of Change Media and program

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Jason Maling is an artist and facilitator whose
work explores individual and collective expressions
of play through processes of public invitation,
exchange and negotiation. Projects happen where
they need to and use what they must tying together
elements of time, live performance, dialogue, text,
object making, drawing, installation, and sometimes
technology. As a writer, educator and founding
member of Live Art advocacy collective Field Theory
he is an ardent supporter of work that crosses
disciplines and contexts and seeks new languages
and strategies for intervening in the public sphere.
Jasons recent projects include Fuguestate, a
musical collaboration with a Melbourne chapter
of Freemasons and Physician, an institutional
treatment program for cultural anxiety that
premiered at the Museum of Contemporary Art,
Sydney in 2012. http://www.jasonmaling.com
jasonmaling@gmail.com
Co-presenter with Amy Spiers
Read panel abstract
Monte Masi uses humour and conviviality to
productively complicate his relationship with
artists, audiences and other publics. Recent
exhibitions and performances have included
Arte Magra: from the Opaque, at the Australian
Experimental Art Foundation, Adelaide; Symptopia,
Concord, Los Angeles USA, Performing the
Curatorial, Agora, Berlin; and Give us a Look at the
2012 Next Wave festival, Melbourne. Additionally,
Monte was a founding member of Adelaides
FELTspace artist-run initiative, acting as co-
director of the space from 2007-2010. He received
a Samstag Scholarship in 2011, undertaking study
within the social practice program at California
College of the Arts, San Francisco, and holds an
MFA from the University of South Australia.
www.montemasi.com
Jason Maling
Artist
Monte Masi
Artist
Judith Marcuses career spans over 40 years of
professional work as a dancer, choreographer,
director, producer, teacher, writer, consultant and
lecturer in Canada and abroad. She has created
over 100 original works for live performance by
dance, theatre and opera companies as well as for
lm and television and has produced seven large-
scale, international arts festivals. Her repertory
contemporary dance company toured extensively in
Canada and abroad for 15 years, while also producing
community residencies and youth programs.
Among many initiatives her youth-focused, ve-
year, issue-based ICE, FIRE and EARTH projects
involved thousands of youth in workshops, national
touring, television production and community
collaborations.
Founder and Co-Director of the International Centre
of Art for Social Change, she is a Senior Fellow
of Ashoka International. Among many honours,
she has received the Lee and Chalmers Canadian
choreographic awards and an honorary doctorate.
She is an Adjunct Professor and Artist in Residence
at Vancouvers Simon Fraser University.
She is presently leading a ve-year national study on
art for social change, the rst of its kind in Canada.
judith@jmprojects.ca
Read Judith's abstract
Judith Marcuse
Founder and
Co-Director
International Centre
of Art for Social
Change, Simon
Fraser University
McCosh has exhibited widely as a practising
artist, is a Senior Lecturer at Deakin University
and is Founder/Director of Scope Galleries,
a contemporary art gallery in regional Victoria.
Her interests include the material sublime,
environmental art as a catalyst for change, and
supportive practises for regional arts. Her curatorial
work supports these ideas exemplied by the
implementation of a National Award, Art Concerning
Environment. She has received numerous awards
and residencies and has recently been published
in Carnal Knowledge: Towards a New Materiality
through the Arts (2013, I. B. Taurus, London and
New York).
liza.mccosh@deakin.edu.au
Read Lizas Abstract
Dr Liza McCosh
Senior Lecturer
Deakin University

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Dr Lachlan MacDowall is an artist and cultural
researcher in the Centre for Cultural Partnerships
in the Faculty of the VCA and MCM, University
of Melbourne. His areas of research include the
history and aesthetics of grafti, the creative
city and community-based art-making. He has
published widely on grafti, street art and urban
creativity, including as a contributor to the two
book-length studies of Australian grafti: Cubrilo,
Harvey and Stamers Kings Way: The Beginnings
of Australian Grafti: Melbourne 1983-1993
(2009) and Christine Dews Uncommissioned Art
(2007), which includes 60 of his photographs.
He is also the Principal Researcher on a 3-year
ARC-funded project examining the effective
evaluation of community-based arts projects, in
partnership with the Australia Council for the Arts
and RMIT University.
lmacd@unimelb.edu.au
Dr Lachlan
MacDowall
Head
Centre for Cultural
Partnerships, in the
Faculty of the VCA
and MCM, University
of Melbourne.
Dr Grace McQuilten is an Honorary Fellow and
Lecturer in Art History at the University of
Melbourne. Her research looks at the relationship
between art, money, and social enterprise. She is
a founding director and CEO of The Social Studio,
a creative social enterprise working with young
people from refugee backgrounds in Melbourne. In
2011 she published the title Art in Consumer Culture
(Ashgate Publishing, UK), which critically examined
the conation of art and design in contemporary
consumer culture.
gmm@unimelb.edu.au
Read Graces abstract
Dr Grace
McQuilten
Honourary Fellow
& Lecturer
School of Culture
& Communication,
The University of
Melbourne
Duncan McKay has recently completed a PhD at
Edith Cowan Universitys School of Communications
and Arts in Perth, Western Australia. In this
research Duncan undertook a unique, sociological
examination of the working lives of professional
visual artists in Western Australia. His
research interests include the construction and
measurement of cultural values, new methodologies
for researching cultural production, and the labour
of artistic practice.
dmckay0@our.ecu.edu.au
Read Duncans abstract
Duncan McKay
PhD Candidate
Edith Cowan
University
Camilla Mhring Reestorff is assistant professor
at the University of Aarhus, Denmark. She has
conducted research on the intertwining of art,
activism and politics in the Danish culture war.
Her publications include work on contemporary
cultural politics and political art e.g. in Globalizing
Art (Thomsen and rjaster 2011), ctionality as
a rhetorical strategy (Andersen, Brix, Kierkegaard,
Skov, Stage and Reestroff 2013) and unruly activists
practices e.g. Buying Blood Diamonds and Altering
Global Capitalism. Mads Brgger as Unruly Artivist
in The Ambassador (Reestroff 2013). Her primary
research focus is mediatization, artivism and
cultural participation.
norcmr@hum.au.dk
Read Camillas Abstract
Camilla Mhring
Reestorff
Assistant Professor
Department of
Aesthetics and
Culture, Aarhus
University, Denmark
Maria Miranda is a media artist and a Research
Fellow at La Trobe University, Melbourne. She has
recently been awarded a 3-year DECRA research
fellowship for The Cultural Economy of Australian
Artist-run Initiatives.
Maria is Director of Gallery Ellipsis, the online
gallery of the Centre for Creative Arts, La Trobe.
From 2010 to 2012 Maria was a post-doctoral fellow
at La Trobe University where she co-curated Nature
in the Dark, a collaboration between Victorian
National Parks Association and 10 invited artists.
She is the author of Unsitely Aesthetics: uncertain
practices in contemporary art (Errant Bodies
Press, 2013).
M.Miranda@latrobe.edu.au
Read Marias Abstract
Dr Maria
Miranda
DECRA Research
Fellow
La Trobe University
Scotia is currently the Manager of the Creative
Recovery Network and afliated programs
across Qld. She has a background spanning
twenty-two years in movement based theatre,
devised performance, and coordination of projects
and theatrical productions in Australian and
international contexts. She is committed to artistic
collaborations which privilege the contributors to
develop their art, their audience and the cultural
relevance of their work creating art that changes
the way people see their own and others lives
scotia@contact.org.au
Co-presenter with Lenine Bourke.
Read panel abstract
Scotia
Monkivitch
Manager
Creative Recovery
Contact Inc
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Judy Morton is the Research Manager at Arts
Victoria, one of the partner organisations in the
Australian Research Council funded Linkage
Project, Multiculturalism and Governance:
Evaluating Arts Policies and Engaging Cultural
Citizenship.
Judy.Morton@dpc.vic.gov.au
Co-presenter with Danielle Wyatt
Read panel abstract
Associate Professor Martin Mulligan is a senior
academic in the School of Global, Urban and
Social Studies at RMIT University, Melbourne. As a
researcher in RMIT's Globalism Research Centre he
was lead researcher on projects undertaken with
VicHealth, Regional Arts Victoria, Australia Council
for the Arts and the Cultural Development Network
that focused on the role that community-based art
can play in building more cohesive and adaptable
local communities in a world of global change.
Along with Lachlan McDowell and Frank Panucci,
he is a Chief Investigator on an Australian Research
Council-funded project focusing on developing a
new framework for evaluation community-based art
in Australia.
martin.mulligan@rmit.edu.au
Chair
Robyn Murphy is a Leading Senior Constable
with 25 years of service with Victoria Police.
Robyn enjoys a diverse range of duties as a Crime
Prevention Ofcer. She has a keen interest in
CPTED (Crime Prevention Through Environmental
Design) and works collaboratively with Councils
and businesses to minimise the opportunity for
crime and enhance the space for community
participation and enjoyment. Robyn understands
the complex nature of offending and the impact
of crime for victims and the wider community.
She particularly enjoys policing in a partnership
environment to address local issues with her
community. Outside of work Robyn is a passionate
advocate for young people on the Autism Spectrum
and has written a book to help young people and
their families better understand their diagnosis.
Co-presenter with Deborah Warr
Read panel abstract
Judy Morton
Research Manager
Arts Victoria
Martin Mulligan
Research Fellow
Globalism
Reseach Centre
RMIT
Robyn Murphy
Senior Constable
Victoria Police
Becky Nevin Berger is a visual arts researcher and
a current PhD Candidate at the Australian National
University Canberra. She uses drawing, painting
sculpture, new media and installation to investigate
the relationship between human and environment.
A community artist since 2001 Becky has drawn
from personal experience and documented evidence
to produce participatory arts programs. This has
included arts and craft programs for young adults
with special needs, performance programs for at
risk teenagers, expressive arts for palliative care
clients, a visual thinking-led indigenous nutrition
program and extensive community partnerships
programs. Becky lives in Warrnambool with her
husband and their three children.
bec@alliedarts.com.au
Read Beckys abstract
Bridget has been working on site-referential
installations for the past decade, combining made
artefacts with sound. Bridgets work focuses on
using organic materials, a craft based making
process, and engaging with others through
their bodies, to extract emotional response to
contemporary ideas. Her interest is primarily on
the human non-human relationship, place, space
and the environment. A large portion of this work
has taken place during residencies, and in regional
areas across Australia. The project methodology
is part of ongoing development of a practice that
engages people as content and has compelled
Bridget to further ideas associated with working
with community through a Masters of Community
Cultural Development, completed 2013.
www.touchthisearthlightly.com
Becky Nevin
Berger
PhD Candidate
Sculpture Workshop,
Australian National
University
Bridget
Nicholson
Artist
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Bec Olsen is currently enrolled in an Evaluation
Masters program at the University of Melbourne,
has a Masters in Public Policy and a BA (hons).
Bec has worked across the community sector,
federal government and local government, with a
focus on implementing community development
approaches to strengthen local communities.
She is interest in how people interact with public
spaces and how they can be transformed; and
involving community in local governance processes
to ensure their voice and experience is heard. Bec
spent four year as Place Manager of the Heidelberg
West Neighbourhood Renewal project, a state
government initiative that aims to bring community,
government and local agencies and business
together to work together to effect change.
becolsen@gmail.com
Co-presenter with Deb Warr
Read panel abstract
Bec Olsen
Former Place
Manager
Banyule City Council
Jess Olivieri
Artist
Jess Olivieri creates work that spans performance,
sound, video, dance and installation. Jess practice
investigates the social and cultural factors that
inuence how we inhabit public space.
Jess recently collaborated with the Aura Australis
Womens Choir for the performance Hello at
the MCA. Jess is co-founder of the Parachutes
for Ladies recently showing at GOMA as part of
Contempory:Women as well as Campbeltown Art
Centre's Transmission in a collaboration with the
Sydney Chamber Choir. In 2011 Jesss work with
Hayley and the Parachutes for Ladies was featured
in MCAs Primavera 2011.
Jesss work is held in major public and
private collections.
jessaolivieri@gmail.com
Read panel abstract
Frank Panucci
Director
Community
Partnerships Sector,
Australia Council
for the Arts
Frank Panucci is Director of the Community
Partnerships Section of the Australia Council for the
Arts. Frank has worked in community and cultural
development for over 20 years and held a range of
senior positions in the government, community and
arts sectors including Sydneys rst Italo-Australian
community cultural development performance
company, NSW Ethnic Affairs Commission, research
at trade unions, Carnivale festival and the Human
Rights and Equal Opportunities Commission. He
holds a MA in Economics (University of Sydney), is
committed to social inclusion and social justice, and
is a tragic and highly emotional supporter of Roma,
Barcelona and Sydney Football Clubs.
F.Panucci@australiacouncil.gov.au
Chair
Peter Phipps is a senior lecturer in Global Studies
at RMIT and a founding member of the Globalism
Research Centre. He undertook post-graduate
training in cultural anthropology at the University
of California Berkeley, and completed a PhD on
the cultural politics of postcolonial theory in the
School of Anthropology, Philosophy and Social
Enquiry at the University of Melbourne. He has
published a number of book chapters, research
reports, policy recommendations and articles
on Indigenous festivals, tourism, ethnic cultural
precincts and cultural politics. He has worked with
organizations including the PNG Department for
Community Development, ATSIC, ATSIAB (Australia
Council), Telstra Foundation, UNDP (Sarajevo),
the Yothu Yindi Foundation, City of Moreland,
Scanlon Foundation, City of Melbourne and
Victorian Multicultural Commission, and Warlayirti
Art centre, Balgo.
peter.phipps@rmit.edu.au
Co-presenter with Bo Svoronos
Read panel abstract
Dr Peter Phipps
Senior lecturer in
Global Studies
RMIT
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Rick Randall
Artistic Director
and Founder
The Other
Film Festival
Rick Randall is a highly skilled community artist
working in screen culture. Rick collaborates with
marginalised and disadvantaged communities to
produce work that is authentic and compelling.
Rick is the Artistic Director and founder of
The Other Film Festival. Under his leadership,
the festival has demonstrated an unwavering
commitment to the visibility, inclusion and cultural
participation of people with a disability.
Rick presents regularly at national and international
conferences on the themes of disability, inclusion
and social justice, most recently at United
Nations in New York. His work as a director has
been honoured with inclusion in the Academy
Awards.
rrandall@artsaccess.com.au
Read The Other Film Festival Program
Danielle Ray Wyatt is a cultural researcher working
at the School of Culture and
Communication at the University of Melbourne. Her
research examines the postcolonial politics of place
in Australia, art making and its relationship to place,
multicultural arts policy, and the cultural citizenship
of migrants and migrant communities.
dwyatt@unimelb.edu.au
Panel Chair
Read panel abstract
Jim manages VicHealths investments and
partnerships in the arts, work which ranges from
large scale, multi-year initiatives to more discreet,
project driven community interventions, all with a
focus on improving health and wellbeing outcomes
across the community.
His commitment to the potential of arts and
cultural activity as a tool for engagement and
development has informed Jim's work within a
range of organisations including Victorian Trades
Hall Arts, Platform Youth Theatre, Asialink, and
the Victorian College for the Arts. Directly before
joining VicHealth Jim was Executive Ofcer of both
the National Arts and Culture Alliance, and Arts
Industry Council Victoria.
jrimmer@vichealth.vic.gov.au
Chair
Danielle Wyatt
Researcher
University of
Melbourne
Jim Rimmer
Senior Project
Ofcer: Mental
Wellbeing & Arts
Victorian Health
Promotion
Foundation,
VicHealth
Sarahs artwork addresses notions of performance
pertaining to socio-political engagement, shared
authorship and new institutional critique. The
form of her work is responsive and context
specic. Works presented include: MCA
(Australia), Melbourne International Arts Festival,
PACT Zollverein (Germany), NRLA (UK), Anti-
Contemporary Arts Festival (Finland) South
Project (Yogyakarta). Sarah has a BA (Hons) in
Sociology (UNSW) Masters in Fine Art (RMIT)
and is a PhD candidate in Creative Arts at the
University of Wollongong. She is a current recipient
of the Australia Council for the Arts Cultural
Leadership Grant and has a forthcoming chapter on
performance for the Royal Geographic Society.
sarah.rodigari@gmail.com
Read Sarahs abstract
Sarah Rodigari
Artist
Bong Ramilo has worked in the arts for more
than 30 years, as a musician, theatre worker,
and cultural activist. He works to democratize
the making and sharing of art. He has explored
especially the relationships of community, art,
technology and change through an Australia
Council Fellowship 2000-2002 and other means.
He is the Executive ofce of Darwin Community Arts
and plays Ukulele with The Darwin Rondalla.
eo@darwincommunityarts.org.au
Co-presenter with Lenine Bourke
Read panel abstract
Bong Ramilo
Executive Ofcer
Darwin Community
Arts
Syaatudina
Saja
Researcher
KUNCI Cultural
Studies Centre,
Yogyakarta,
Indonesia
Born in Melbourne, 11 March 1988, Syaatudina,
or for short Dina, has interest with explorations in
creative writing, and various topics ranging from
culture, arts, technology, and history, especially
oral and local history. Currently, shes working as
Program Manager and Researcher in KUNCI Cultural
Studies Center, Yogyakarta. (www.kunci.or.id)
syaatudina@gmail.com
Read syaatudinas abstract
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As its Director, Shakthi has led CuriousWorks
to deliver a series of creative initiatives that have
had sustainable and innovative outcomes for
all Australians. All of his work has focused on
respectful collaboration with some of Australias
most marginalised communities and the ongoing
sharing of contemporary, untold, Australian stories
through traditional and digital distribution methods.
In 2011, Shakthi was awarded the Australia Councils
Kirk Robson Award, given annually to a young
artist showing leadership in community arts and
cultural development. From 2013-2015, he is the
inaugural Associate Artist at Carriageworks.
Shakthi also writes and produces his own music
under the name Kurinji.
Read CuriousWorks abstract
Shakthi
Sivanathan
Executive & Artistic
Director
CuriousWorks
Eser Selen received her Bachelors (1997), MFA
(1999) at Bilkent University, Turkey, MA (2002)
and PhD (2010) in Performance Studies at New
York University, US. Her research interests include
feminisms, performance studies, contemporary art
and communication design.
Her work appeared in such journals as Gender Place
and Culture, Women & Performance, International
Journal of the Humanities. She is also a visual
artist whose work encompasses performance
art, installation and video. She has exhibited and
performed in Europe, the United States and the
Middle East and is currently an Assistant Professor
at the Communication Design Department at Kadir
Has University, Turkey.
eser.selen@khas.edu.tr
Read Esers abstract
Dr Eser Selen
Assistant Professor
Communication
Design Department
Kadir Has University,
Istanbul
Lauren has been haunted by the Spectre of Evaluation
for about seven years. She has a lot of experience
using participatory (pseudo-participatory?) and
qualitative research methods in evaluation. She has
extensive experience in the conduct of evaluation
in community settings, she has worked for Clear
Horizon, Brotherhood of St Laurence, Foundation for
Young Australians, amongst others. She currently
works for The Song Room, evaluating arts programs
in schools. She is writing a novel set in the coal
mines of the Latrobe Valley. In her spare time she is a
motivational unicorn.
laurensiegmann@gmail.com
Read Lauren's abstract
Lauren
Siegmann
Evaluation
Consultant
Amy Spiers is a Melbourne-based artist and writer
who is interested in participatory, socially-engaged
and public art. Amy has presented numerous art
projects for both site-specic and gallery contexts
across Australia and internationally. In 2012,
she undertook an internship with the public art
commissioning agency Situations in Bristol, UK and
a residency at the Zentrum fr Kunst und Urbanistik
in Berlin, Germany. As a writer, Amy has written for
art publications and blogs such as Das Superpaper,
Live Art List Australia, Next Wave, un magazine,
Artlink and Gertrude Contemporary. She is
currently a PhD candidate at the Centre for Cultural
Partnerships, Victorian College of the Arts.
amyspiers@gmail.com
Panel Chair Read panel abstract
Read Amy's abstract
Amy Spiers
PhD Candidate
Centre for Cultural
Partnerships,
Victorian College of
the Arts, University
of Melbourne
Polly Stupples is a currently teaching in
Development Studies at Massey University,
where she divides her work between
development theory, sustainable development
and questions of creativity, culture, and place.
She is co-founder of a New Zealand research
network on Creative Practice and Cultural Policy
and is currently co-editing a book on Art and
International Development with Dr Katerina Teawia
(ANU) that draws on critical perspectives from
around the globe.
P.T.Stupples@massey.ac.nz
Read Pollys abstract
Dr Polly
Stupples
Lecturer and
researcher
Massey University,
New Zealand
Mark Stevenson is an anthropologist and cultural
historian whose work focuses on gender and
sexuality in late-imperial Chinese literature as well
as art in contemporary Tibetan communities in
Western China. He is the author of Many Paths:
Searching for Old Tibet in New China (Lothian,
2005), and (with Wu Cuncun) editor and translator
of Homoeroticism in Imperial China: A Sourcebook
(Routledge, 2013). He is currently working on an
ARC Discovery Project, Peking Opera, Epitheatre
and Writing in Nineteenth-Century Beijing.
Mark.Stevenson@vu.edu.au
Read Marks abstract
Mark
Stevenson
Senior Lecturer in
Asian Studies
Victoria University
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Dr. Bo J. Svoronos currently works for Footscray
Community Arts Centre as a Creative Producer
managing community, cultural and arts related
programs. He has worked for local government as
a lead researcher, consultant and Indigenous arts
ofcer. His PhD, Local Identity Global Focus, was
a practice based research project investigating
reciprocity and an Indigenous festival. Bo is a
regular guest lecturer for RMITs Masters of
Community Arts and School of Business; and
independently produces creative projects. Former
chairperson of WELL Productions, Bo sits on the
boards of Next Wave and The Torch. Bo has written,
performed and exhibited his own artistic works.
bo@footscrayarts.com/ bo.svoronos@gmail.com
Read Bos Abstract
Dr Bo J
Svoronos
Creative Producer
Footscray
Community
Arts Centre
Ferdiansyah
Thajib
Co-Director
KUNCI Cultural
Studies
Ferdiansyah Thajib was born in Bandung,
Indonesia (1978). Since 2011 he is a co-Director
of KUNCI Cultural Studies Center a non-prot and
independent organization established in in 1999
in Yogyakarta, Indonesia. Thajib has been actively
working as a researcher in the eld of cultural
studies, on individual as well as collaborative
basis. His activities revolve around knowledge-
production practices and are aimed at developing
critical encounters between theory and practice.
Currently he is a PhD Candidate at the Institute fur
Ethnologie, Freie Universitt Berlin, Germany.
ferdi.thajib@gmail.com
Read Ferdiansyahs abstract
Lara Thoms is interested in socially-engaged,
site-specic and participatory possibilities in
contemporary art. Her interdisciplinary projects
have been presented at the Next Wave Festival,
Canberra Contemporary Art Space, Radial System
V, Berlin, Media Arts Asia Pacic Festival, Raumars
Finland, Australian Centre for Photography and
Museum of Contemporary Art, Sydney. Lara is
currently an artistic associate with Aphids, is part of
the ARI collective eld theory, and is an occasional
curator for Performance Space. In addition she has
co-founded the site-specic Tiny Stadiums festival,
was an associate producer for the 2010 Next Wave
festival and has been a board member of PACT
centre for emerging artists since 2007.
laramarusyathoms@gmail.com
Co-presenter with Amy Spiers.
Read panel abstract
Lara Thoms
Artist
Jane Tonkin has 20 years experience in the arts
in the areas of project management, festival
development, venue management and event
producing. Jane has a Grad. Dip. in Arts &
Entertainment Management and specialises in
developing projects (including assembling creative
teams and seeking appropriate resources),
and providing support to artists. After extensive
involvement with Corrugated Iron in previous
years at board level, Jane took up the position of
Executive Producer at Corrugated Iron in 2006.
She is also on the board of the NT Writers Centre
and the Seabreeze Festival.
jane@corrugatediron.org.au
Co-presenter with Gretchen Ennis.
Read panel abstract
Jane Tonkin
Executive Producer
Corrugated Iron
Youth Arts
Grace Vanilau is a Community Cultural Development
practitioner, producer and practicing artist of
Samoan heritage with 22 years experience working in
the arts sector in Aotearoa (NZ) and Australia.
Her arts practices are diverse, she is a singer/
songwriter, spoken word artist and practicing weaver.
A graduate of VCA she studied Community Cultural
Development Practices and Indigenous Arts
Management. She produces culture-specic
programs targeted at Pacic diasporic communities.
Working from a strength based cultural framework
informed by her Pacic heritage and values as well as
her western education. She also works with cultural
diverse communities to create inter-cultural and
intergenerational knowledge share spaces with the
purpose to mobilize and uplift these communities
through creativity.
gvanilau@hotmail.com
Read CPaF abstract
Grace Vanilau
Performance Artist
Contemporary
Pacic Arts
Festival Collective
Gabrielle de Vietri is a Melbourne-based artist
who has exhibited nationally and internationally,
including at the Australian Centre for Contemporary
Art (Melbourne), the Institute of Modern Art
(Brisbane), the Perth Institute for Contemporary
Art, Edinburghs Dean Gallery, and the Knstlerhaus
Bethanien in Berlin. She makes videos,
performances, drawings, sculptures and events.
She runs a program called A Centre for Everything
in collaboration with artist Will Foster.
gdevietri@gmail.com
Co-presenter with Amy Spiers.
Read panel abstract
Gabrielle
de Vietri
Artist
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Michael Volkerling is Adjunct Research Fellow at the
University of Western Sydney. Prior to this he was
Principal Research Fellow at the Centre (2011-13)
and Director of Research and Evaluation at Arts
NSW (2009-11). Before moving to Australia, he was
Director of the Centre for Creative Industries at
Wellington Institute of Technology; Director of the
Leisure and Heritage Studies Programme at Victoria
University; Acting Chief Executive of the Museum
of New Zealand; Executive Director of the National
Art Gallery and Museum and Director of the Queen
Elizabeth II Arts Council. His work on creative
industries and cultural policy has been widely
recognised internationally.
rama@xtra.co.nz
Read Michaels abstract
Uncle Larry Walsh is a Taunwurrung (Central
Victoria) Elder and director of the Koorie Heritage
Trust. His work as an oral historian and researcher
of Koorie history and prehistory is extensive and
extends over a much longer period of time. He has
been telling traditional and contemporary stories
from the Kulin Nations for over the last 5 years
and worked in schools and other educational
institutions, from preschools through to tertiary
institutions in Victoria over this time. He has also
been contracted to perform his stories at many
other events and for many other organisations
recently including Victorian Aboriginal Child Care
Agency, Reconciliation Victoria, Berry St ELF,
Melbourne's Living Museum of the West, Melbourne
Water, Footscray Community Arts Centre and
a range of metropolitan city councils. His work
contains reference to a range of creation stories and
creatures and he is able to geographically locate the
Victorian regions to which they are specic.
Michael
Volkerling
Adjunct
Research Fellow
The University of
Western Sydney

Uncle Larry
Walsh
Tauwurrung Elder
and Storyteller

Deborah Warr is a researcher at the McCaughey
Centre for Community Wellbeing, University of
Melbourne. Her work broadly addresses the area
effects of poverty and place-based disadvantage
and she has a strong interest in the potential
of arts-based practice and methodologies. She
is currently involved in a number of research
projects that use creative strategies for community
engagement, to explore participants life worlds and
to disseminate ndings.
djwarr@unimelb.edu.au
Panel Chair
Read panel abstract
Dr Deborah Warr
Senior Research
Fellow
McCaughey Centre,
University of
Melbourne
Sally Webster is a writer, academic and marketing
communications professional with more than 20
years experience in marketing communications
in Government, politics, education, tourism and
the arts. She is currently Senior Lecturer in Public
Relations and Organisational Communication at
Victoria University, and is completing her doctorate
that investigates using the creative industries to
support strategic marketing communications for
greater engagement with audiences. Her academic
research focuses on creative tourism, cultural
education, and creative marketing. Sally is a social
commentator and regularly speaks at conferences.
In 2011, was invited to present at TEDx Canberra.
Sally.Webster@vu.edu.au
Co-presenter with Greg Giannis
Read panel abstract
Sally Webster
Senior Lecturer
Public Relations
and Organisational
Communication
College of Arts,
Victoria University
Asher Warren is currently undertaking a PhD in
the School of Culture and Communications at
the University of Melbourne. His past research
has investigated the theatricality of online social
networking and the implications of distributed
networks for audiences and performers. His current
research looks to address the development of new
art work which involves interaction, participation
and technology; specically, to develop aesthetic
and ethical frameworks that addresses the new
agencies afforded to participants and technology
warrena1@student.unimelb.edu.au
Read Ashers abstract
Asher Warren
PhD Candidate
School of Culture
and Communication
University of
Melbourne
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Tracey Williams has a Diploma in Fine and
Applied Arts from London Guildhall University,
an MFA(hons) from Elam School of Fine Arts,
and a BA from Otago University. Traceys work
spans the roles of an artist, curator, academic
and educator. Her research interests include
print culture, local knowledge and history,
cultural theory, community cultural development,
authorship, archives and collaboration. Tracey
is an Arts and Culture Programme Leader in the
Arts and Culture Unit at Auckland Council in New
Zealand. She previously worked as a curator for
a Council-owned gallery and taught in visual arts
programmes at Auckland University.
Tracey.Williams@aucklandcouncil.govt.nz
Read Traceys abstract
Tracey Williams
Curator
John Willis is a producer of arts projects who lives
in Castlemaine, Central Victoria. He works as a
Community Development Ofcer with Golden City
Support Services (a non-government organisation
providing disability and mental health supports based
in Bendigo) where he co-founded CreateAbility.
Having come from a background in visual arts
and photography John has increasingly become
involved in theatre and performance practice. In
2012 he completed a Masters in Community Cultural
Development with the Victorian College of the Arts
(University of Melbourne). Johns area of interest is
in different forms of knowledge expressed through
physical, sensory and non-verbal means.
john.willis@gcss.org.au
Panel Chair
Read panel abstract
Establishing and working together out of a
self-initiated community art space in Melbourne,
Pink William, Ronch (acertainblindness.com.au)
and Tunni (tunni.com.au) have been collaborating
on interactive installations and street art projects
for ten years.
Ronch is an unconventional writer, photographer
and urban planner who explores and documents
the potential of real and alternative, cultural and
aesthetic exchange. He has recently completed a
self-initiated two year social documentation project.
Since completing his Masters in Public Art, RMIT,
2010 Tunni has been initiating cultural dialogue
though his often subversive work. His most recent
interactive installation was exhibited at MONA
FOMA, Tasmania, earlier in 2013.
www.pinkwilliam.com
John Willis
Community
Development Ofcer
CreateAbility:
Golden City Support
Services
Ronch Willner &
Tunni Kraus
Artist collective
Joanna is currently the Drama Education Lecturer
at Australian Catholic University, NSW. She
recently graduated with a PhD from Institute of
Culture and Society, UWS. Joannas doctoral
research investigated the artistic and social
exchanges that community arts organizations
facilitate within long term practice in communities,
using the theoretical framework of gift economy.
Joanna is also an actor with Playback Theatre
Sydney and uses a multidisciplinary approach to
her research, involving education, performance and
cultural studies.
Joanna.winchester@acu.edu.au
Read Joannas abstract
Dr Joanna
Winchester
Drama Education
Lecturer
Australian Catholic
University

Peter Wright is Associate Dean (Research) and
Associate Professor of Arts Education and Research
Methods at Murdoch University. He works across
the Arts with a commitment to personal, social and
cultural inquiry, agency, education and expression,
health and wellbeing. His research interests include
teaching, learning and healing in, through, and
with the Arts; Artistically-based approaches to
research; Creativity and Participatory Arts; and
Transformational Learning. Central to this work is
an interest in social-justice, social-pedagogy, and
social-inclusion. He has contributed to and led a
number of competitive externally funded research
projects including funding through National Youth
Affairs Research Scheme, and ARC.
p.wright@murdoch.edu.au
Read Peters abstract
Dr Peter Wright
Associate Professor
Murdoch University

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In 2008 Byrad Yyelland and his family moved from
the prairies of Canada to the deserts of Qatar where
he joined Virginia Commonwealth University Qatar
as Director of the Liberal Arts & Sciences program.
Byrad has focused predominantly on teaching and
private contract research for most of his career,
but in recent years has been actively engaged
in academic research in the areas of emotion
management, identity, organizational culture, culture
change and visual sociology. Byrad is an enthusiastic
collaborator in interdisciplinary research and is
an accredited facilitator of Instructional Skills
Workshops and Appreciative Inquiry.
bayyelland@vcu.edu
Co-presenter with Rhys Himsworth.
Read Bryad and Rhys' abstract
John is an arts manager with experience working
on policy development and a background of arts
programming, specically in cinema, new media arts,
and screen education. He studied at the Tasmanian
School of Art, the South Australian School of Art,
Monash University and the Academy of Fine Art
Karlsruhe, Germany. From 1992, John was Director of
the State Film Centre of Victoria leading it through its
development as the Australian Centre for the Moving
Image (ACMI) and was responsible for opening
the new public facilities at Federation Square in
Melbourne in October 2002. John left ACMI in 2004
and joined CDN in 2005 as Director. Since then, he
has worked with the Board and a highly skilled team
to support stronger local arts planning within the
cultural development activities of local government.
john.smithies@culturaldevelopment.net.au
Chair
Audrey Yue is Associate Professor in Cultural
Studies at the University of Melbourne, Australia.
Her recent publications include Transnational
Australian Cinemas: Ethics in the Asian Diasporas
(2013) and Queer Singapore: Illiberal Citizenship
and Mediated Cultures (2012).
aisy@unimelb.edu.au
Co-presenter with Danielle Wyatt
Read panel abstract
Byrad Yyelland
Director, Liberal Arts
& Sciences
Virginia
Commonwealth
University Qatar
John Smithies
Director
Cultural
Development
Network
Audrey Yue
Associate Professor
University of
Melbourne
Image: making Gippsland, Bridget Nicholson, 2011
Thankyou for attending the
Spectres of Evaluation:
Rethinking Art/Community/ Value conference
Continue the conversation at
Twitter: @CCP_art, @footscray, #CCPSpectres
People we want to thank
Michele Grimston, Anne Thoday, Richard Keville, Vanessa Macedo, Jennifer Tran,
Maddy Macfarlane, Poppy de Souza, Annasophia Larsen, Gemma-Rose Turnbull,
John Smithies, Simone Mugavin and Josiah Lulham

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