Jethro Harcourt’s name sits a-page, surrounded by white time. The letters en ay relinquish against their identity. A lacuna of ‘not applicable’ dissecting the relationship between image and reality. It explores ideas of authorship and materiality often using video as the medium. Does video ≠ déjà vu? The picture reads: Coming Soon at Westspace. Or should it read, Coming Soon to Westspace? Subtle conjectures. Utilizing a range of material strategies Kiron Robinson situates himself within the text a collaboration formed in 2005. No punctuation intended. A short time later he became attracted to the life of the artist. Recent solo exhibitions include: Waterfall Person, 0.5 and Greif Tourism. Beth Caird is an artist and writer based in Melbourne, with a BFA in 2014.

It was scanning bios to fill in little shavings of information. Non-discriminate, described as, the free association of eyes wandering across the page, a precipice of; black and white and bold and negated. The semiotics of languid time enter at an exit pace, no time telling what the vernacular of vision rejects or absolves. Freedom in abstraction. We can’t all be so lucky all of the time, she thought. Comprised, the bios are a mélange, a spliced collective identity: three-and-a-quarter-lines, five-and-a-third-lines, no lines, etcetera. Prosopo/graphi- cal*. It could be for an exhibition, a focus group, a ‘how to’ for navigating the self as neo-capitalist currency, an exchange, a dating circle, a pedagogy. The form centrifugal so that we can all carry on after the clean-up, unaffected? Like a riot grrrl it reads as a solipstic orgy of qualification, of ceded ambition, all clusterfucky. Demarcated by the same white time of the page. That negative space that sows a history.

t h e w h i t e s i n h e r e y e s a r e, a l s o h i s

— astrix punk tuation at symbolist painters —i

But it’s not any one of these things, per se. It’s a conversation about agency in amalgam. Shall I proceed?

In other words, some ideas have to be formally replicated, instead of being described. They have to be evoked. This is especially true when talking about urban experience. What music best evokes life in cities? Improvisational jazz, real rock and roll, and rap/hip-hop/sampling. It’s the clash of systems that produces the authentic representation of the complex whole.ii

We go through life a tapestry of projections and inferences. They pile up around us as: other’s, as our own. We could end up all hypercoloured and haptic, if we’re fortunate enough. The contemporary condition privileges snippets, sordid of uncertainty, at every integer of self-enunciation. (Astrid opened the launch being all vague, talking about vagueness as a conceptual derisive of genuine engagement with new ideas. There is some correlative here. The limitations of poetics the sublimity of it again.)iii


as he applies the matte black lipstick to the contours of his mouth’s margin.

it’s an application that anticipates the day, he might emerge, a woman.

a recombination.

an authentic self.

former, current and future.

no different to any other narrative of his(her) self-reflexivity. it’s just that, the world may not recognise this authentic self.

does the gallery?

some of them got the first look is a group exhibition in Melbourne, with a gallery named KINGS Artist-Run, in 2015.
Abbra Kotlarczyk is a writer and artist based in Melbourne. She is currently studying Art History at The University of Melbourne.

* Prosopographical research has the goal of learning about patterns of relationships and activities through the study of collective biography.
i Christopher LG Hill, Tink Thank, 3-ply and Poly-be Press, 2014, p. 9.
ii Sarah Shulman, The Gentrification of the Mind: Witness to a Lost Imagination, University of California Press, 2013, p. 16.
iii Aodhan Madden Interview with Astrid Lorange, Un Magazine 9.1, 2015, pp. 22-25.