Writing

 


 

61.

Deliver on your promises. 

4A Papers, issue 4, Pedro de Almeida (editor), 4A Centre for Contemporary Asian Art, Sydney, May 2018. 

 

60.

The first move, inept; the follow through, crass; but then, something shifts. 

'Conversation not fit for the table', Runway Conversations, delivered as a speech 25 January 2018, Kudos Gallery, Paddington, Sydney.

 

59.

Australian artists remained visible abroad.

'Australia', ArtAsiaPacific Almanac 2018, vol. XIII, issue 107, January/February 2018, pp. 78-82.

 

58.

Something happened.

4A Papers, issue 3, Pedro de Almeida (editor), 4A Centre for Contemporary Asian Art, Sydney, November 2017.

 

57.

All eyes stay on the dummy, dummy. 

'Gary Carsley's disobedient ventriloquism will have its revenge on Australia and we might not even notice it', Broadsheet Journal, vol. 46.3, October 2017, pp. 6-10.

 

56.

You most certainly want to be there when it happens. 

When South is North: Contemporary Art and Culture from South Asia and Australia [symposium], 'Panel 1: Art in, of, from South Asia? Artists working across cultures and geographies' [moderator]. Presented by 4A Centre for Contemporary Asian Art in association with the Institute for Culture and Society, Western Sydney University, 16 August 2017.

 

55.

'As long as such books are being published,' an American liberal once said to me, 'everything will be all right.'

'Everybody's protest novel: on MASS GROUP INCIDENT', Experimenter Curators' Hub 2017 [presentation & participant], Experimenter, Kolkata, 27–29 July 2017. 

 

54.          

Reconstitution of the individual. Recategorisation of everything else. Preferably in that order.

'Skye Arundhati Thomas in conversation with Pedro de Almeida, Experimenter Curators' Hub 2017, Experimenter, Kolkata, 27–29 July 2017.

 

53.          

Coming to terms with the contingencies of the past.

Dacchi Dang: An Omen Near and Far [curator's introduction], 4A Centre for Contemporary Asian Art, Sydney, 2017.

 

52.

If it hits and it hurts, relax, they don’t riot in the stalls these days. 

4A Papers, issue 2, Pedro de Almeida (editor), 4A Centre for Contemporary Asian Art, Sydney, May 2017.

 

51.

An attractiveness that appeals to humanity’s darker, more atavistic appetite.

'Khaled Sabsabi: Guerilla' in The National: New Australian Art [exhibition catalogue], Art Gallery of New South Wales, Carriageworks and Museum of Contemporary Art Australia, Sydney, 2017, pp. 130–131. 

 

50.

Unprecedented break from the 'arm's length' principle. 

'Australia', ArtAsiaPacific Almanac 2017, vol. XII, issue 102, January/February 2017, pp. 94–98.

 

49.

Other voices, other rooms, yes.

4A Papers, issue 1, Pedro de Almeida (editor), 4A Centre for Contemporary Asian Art, Sydney, November 2016.

 

48.

It’s already our bread and butter business.

Twenty Years: 4A Symposium, 'Session 3: The Next Twenty' [panellist]. Presented by 4A Centre for Contemporary Asian Art in association with The Power Institute, University of Sydney, and supported by the Asian Australian Studies Research Network and the China Studies Centre, 4 November 2016.

 

47.

Individual self-interest that would make Ayn Rand proud.

'If you invested here ... Sydney, SquatSpace and its Tour of Beauty', un Magazine, issue 10.2, October 2016.

 

46.

A lesson in the unfeasibility of cartoon physics.

'Who's James? Digging a Hole in China at OCAT Shenzhen', Broadsheet Journal, vol. 45.2, September 2016, pp. 20–23.

 

45.

Contradictory and chance encounters between human and natural imperatives.

Sea Pearl White Cloud 海珠白雲 [curator's introduction], 4A Centre for Contemporary Asian Art, Sydney, 2016.

 

44.

Both past and future are indeed another country. 

'20th Biennale of Sydney: The future is already here – it's just not evenly distributed', LEAP, no. 39, May–June 2016, p. 205.

 

43.

 A bullet’s horrific exit wound and the environmental brutality of an open-cut mine.

'El Anatsui: Five Decades' [exhibition review, Carriageworks, Sydney) Art Monthly Australia, no. 288, April 2016, pp. 52–53.

 

42.

Unbridled right to disciplinary collaboration and unrestricted permeability.

'The wondrous art of Eric Bridgeman, briefly', Broadsheet Journal, vol. 44.4, March 2016, pp. 20–24. 

 

41.

Expedient manoeuvring for individuals and civilisations alike.

'Radiant Times: Nicholas Mangan', ArtAsiaPacific, vol. X, issue 96, November/December 2015, pp. 98–109.

 

40.

Increasingly precarious government funding. 

'Australia,' ArtAsiaPacific Almanac 2016, vol. XI, issue 97, January/February 2016, pp. 96–100. 

 

39.

Not simply to be pure and just in our cause.

This is not a history lesson, Pedro de Almeida, paperback, 100 pp., published in conjunction with BOOK MACHINE (Sydney) organised by Onestar Press (Paris) and powered by Artspace, Sydney, at VOLUME 2015 | Another Art Book Fair, 2015.

 

38.

No top of the pops or next top model despite your Big Sur chops in Vogue Italia high gloss. 

'Men and their problems' in TV Moore: With Love & Squalor [artist's monograph published to accompany the exhibitions TV Moore: With Love & Squalor, Australian Centre for Contemporary Art, Melbourne, and TV Moore: Three Paintings, STATION, Melbourne], TV Moore (author and editor), STATION, Melbourne, 2015, paperback, pp. 49–63. 

 

37.

The brutality of fact in the desiccated carcass of a rat.

'Dark poet: Trent Parke's The Black Rose' [exhibition review, Art Gallery of South Australia, Adelaide] Art Monthly Australia, no. 280, June 2015, pp. 58–59.

 

36.

What’s left to ‘do’?

'Towards a new paradigm: Brett Rogers and The Photographers' Gallery, London', Photofile, vol. 96, Autumn/Winter 2015, pp. 90–95.

 

35.

The latent power of the individual. 

MASS GROUP INCIDENT: 48HR Incident [curators' introduction], 4A Centre for Contemporary Asian Art, Sydney, 2015.

 

34.

Fiction with documentary, remembrance with negation, responsibility with impunity, privacy with surveillance.

MASS GROUP INCIDENT: Tell Me My Truth [curators' introduction], 4A Centre for Contemporary Asian Art, Sydney, 2015.

 

33.

A desire to break the hierarchies and social privileges of tradition.

MASS GROUP INCIDENT: Yangjiang Group - Actions for Tomorrow [curators' introduction, exhibition booklet, 4 pp.], 4A Centre for Contemporary Asian Art, Sydney, 2015.

 

32.

All of a sudden things got real.

'Inventory management' [exhibition review, The List, Campbelltown Arts Centre, Sydney], Contemporary Visual Art + Culture Broadsheet, vol. 43.4, September 2014, pp. 60–54.

 

31.

The truly horny were forced to rely on their imaginations.

‘Imagination and desire: The 19th Biennale of Sydney - You Imagine What You Desire, Contemporary Visual Art + Culture Broadsheet, vol. 43.2, June 2014, pp. 30–35.

 

30.

Trillions of exploding death stars across digital platforms is and always was a mug’s game.

'#nofilter' [on the question of manipulation in digital photography in the work of Michael Cook and Joseph McGlennon, Contemporary Visual Art + Culture Broadsheet, vol. 43.2, June 2014, pp. 57–60.

 

29.

A sort of wrestling with experience rather than a standing back from it.

‘A handful of earth’ [on the work of Maria Fernanda Cardoso, Joanne Saad and Ghassan Saaid], in UNCOVERED: Hidden Pleasures of the Day [exhibition catalogue], Paul Howard (curator and editor), Blacktown Arts Centre, Sydney, 2014, paperback, pp. 4–7.

 

28.

A machine of theological study whose operating manual is written by a heretic.

‘In veneration of lost souls: Christian Boltanski's Chance' [exhibition review, Carriageworks, Sydney], Art Monthly Australia, no. 268, April 2014, pp. 18–21.

 

27.

Faith in close inspection of the surfaces of relics to reveal connections across time.

‘The ACP files: Spring 2013’ [exhibition review of Australian Centre for Photography 2013 Spring Season: Buka, Emmanuel Angelicas; The Woodhouse Rephotography Project, Rowan Conroy; Contemplations, Robert Besanko], Photofile, no. 94, March 2014, pp. 77–79.           

 

26.

Who will save the past from wilful destruction?

Beijing Silvermine – Thomas Sauvin [curator's introduction], 4A Centre for Contemporary Asian Art, Sydney, 2014.

 

25.

All men are dogs, as scorned lovers and long-suffering wives may tell you.

‘Hot off the canvas’ [on Ann Cape’s exhibition Parlour Games, NG Art Gallery, Sydney], The Sydney Morning Herald, Spectrum, 7–8 December 2013, p. 8.
 

24.

Restless, ceaseless, baseless associations between spectacle and communion.

‘Looking at an Ingres painting’ [on Thomas Hirschhorn’s Gramsci Monument: A Work in Public Space, South Bronx, New York], Contemporary Visual Art + Culture Broadsheet, no. 42.4, December 2013, pp. 262–267.

 

23.

Look, listen and learn from the region’s long history of visionary warriors. 

‘Katherine Night, Passion Purpose Meaning: Arts Activism in Western Sydney’ [book review], Das Superpaper, issue 27, August 2013, p. 75.

 

22.

The amusement park was deserted; its operators standing idle, smoking, waiting and watching.

‘They have magic: a conversation with Zhang Xiao’, American Suburb X, 1 July 2013.

 

21.

Lived experience trumps ideology.

‘Everything and nothing’ [on the work of Khaled Sabsabi in Sharjah Biennial 11 and 18th Biennale of Sydney], Contemporary Visual Art + Culture Broadsheet, no. 42.2, June 2013, pp. 108–111.

 

20.

Feelings of isolation worked in your favour.

‘Just allowing it to be: a conversation with Ian North’, American Suburb X, 5 April 2013.

 

19.

It’s as agreeable a destiny as one might hope for lost worlds.

Ian North Felicia: South Australia 1973-1978 [artist's monograph and exhibition catalogue], Pedro de Almeida (curator and co-author with Ian North), Australian Centre for Photography, Sydney, 2013, paperback, 77 pp.

 

18.

I felt somewhat anaesthetised, a peculiarly modern sensation of inner peace.

'On Audi's arts adventure', September 2012 [media tour invitation courtesy Art Monthly Australia].

 

17.

The magic is often found in the ad-lib no matter how catchy the chorus.

‘Pump up the volume' [exhibition review, Transmission, Campbelltown Arts Centre, Sydney], Runway, issue 22: Site, Spring 2012, pp. 56–59.

 

16.

Enter a world of cerulean hues, poolside sun lounges and cocktails.

‘M.33 3 Books series: Jane Burton, Other Stories; Darren Sylvester, Compass Point; Simon Terrill, Proscenium’ [book reviews], Art & Australia, vol. 50 no. 1, Spring 2012, pp. 154–155.

 

15.

Life-affirming coda to a lapsed idea of youth.

‘Pitch-perfect: Conor O’Brien, Photographs 2003-2011, Australian Centre for Photography, Sydney; Glenn Sloggett, A White Trash (Lost) Love Story, Stills Gallery, Sydney’ [exhibition reviews], Art Monthly Australia, no. 251, July 2012, pp. 45–46.

 

14.

If one person is splendid isolation, then two is a dispute waiting to happen.

Everything Falls Apart (Part I & II)’ [exhibition review, Artspace, Sydney], un Magazine, issue 6.2, 2012, pp. 118–121.

 

13.

Gelatin silver ticket stubs of permanent exiles, of the drowned and the saved.

‘Dinh Q. Lê: Erasure’ [exhibition review, Sherman Contemporary Art Foundation, Sydney], Art & Australia, vol. 49, no. 2, Summer 2012, p. 323.

 

12.

The risk is always spiritual imprisonment behind a wall of material phantoms.

‘Library of the artist as a young man’ [on Samuel Quinteros], Quinteros [artist's monograph], Mitchel Cumming (editor), AFAAAR Publications, Sydney, 2012, paperback, pp. 28–33.

 

11.

Cold half-remembered landscapes of industrial revolutions.

Gary Deirmendjian: MICROVIDS [curator's introduction], Artereal Gallery, Sydney, 2012.

 

10.

The distance between firm ground and the void.

‘Dig your own hole’ [on Gary Deirmendjian’s strata – newington armory, 2012], Artereal Gallery blog, 2012, in association with EXCAVATION: The Armory Exhibition 2012, Newington Armory Gallery, Sydney Olympic Park.

 

9.

A field survey of civilisation’s will for introspection.

EXCAVATION: The Armory Exhibition 2012 [exhibition catalogue], Pedro de Almeida (curator and author), Sydney Olympic Park Authority, Sydney, 2012, paperback, 64 pp.

 

8.

Making daily ethical exceptions for self-imposed ideals.

‘When to fold, when to reveal your hand’ [on Shigeyuki Kihara's community-engaged projects, 2010-12] in Edge of Elsewhere [exhibition catalogue], Thomas J. Berghuis, Michael Dagostino, Lisa Havilah and Aaron Seeto (curators and editors), Campbelltown Arts Centre and 4A Centre for Contemporary Asian Art, Sydney, 2014, hardcover, pp. 69–71.

 

7.

The underlying moral structure of foundational myths

‘Refractions of Khaled Sabsabi’ in The Floating Eye – Sydney Pavilion: The 9th Shanghai Biennale [exhibition catalogue], Aaron Seeto (curator and editor), 4A Centre for Contemporary Asian Art, Sydney, 2012, pp. 148–163.  

 

6.

Stoop on bended knee and really eyeball the thing.

‘You go in, you see a thing' [exhibition reviews, Marley Dawson, HEAVY INDUSTRY/LIGHT COMMERCIAL, Roslyn Oxley9 Gallery, Sydney; Kenzee Patterson, The Camden Valley Way, Darren Knight Gallery, Sydney], Art Monthly Australia, no. 243, September 2011, p. 37.

 

5.

The subversive thrill of mark-making.

‘Black Book: The Studio & Streets 2004-2010; Uncommissioned Art: An A-Z of Australian Graffiti; Kings Way: The Beginnings of Australian Graffiti – Melbourne 1983-93’ [book reviews], Art & Australia, vol. 48 no. 4, Winter 2011, pp. 242–243.

 

4.

The indignant neglect of chance that blinds otherwise hungry eyes.

‘Ian North’, Artist Profile, no. 14, February 2011, pp. 114–115.   

 

3.

For all the transparent pretensions, wilful obfuscation and self-defeating exclusivity.

‘The lives of others’ [on Tony Schwensen and André Stitt’s BIG PINKO], Art Monthly Australia, no. 230, June 2010, pp. 5–7.  

 

2.

The spectrum of collective inspiration, stocktaking and analysis required to produce an artist’s book.

Jon Campbell; Nicholas Mangan: Notes From a Cretaceous World; Benjamin Armstrong: Holding a Thread’ [book reviews], Art & Australia, vol. 48 no. 2, Summer 2010, pp. 356–357.  

 

1.

A beautiful conflation of banal and fantastic realities.

'Industrial relations: YOUNG-HAE CHANG HEAVY INDUSTRIES', Edge of Elsewhere [exhibition catalogue], Thomas J. Berghuis, Lisa Havilah and Aaron Seeto (curators and editors), Campbelltown Arts Centre and 4A Centre for Contemporary Asian Art, Sydney, 2010, pp. 108–115.      


 

 

 

Photo (this page): Pedro de Almeida collection 0018-002-2014-POR Gelatine silver press photograph. Caption on reverse: 'Avante Communist Newspaper Headquarters. Editorial Office'. Credit: A.E.I. Noticiosa, Lisboa, Portugal, & Keystone Press Agency Inc., 170 Fifth Avenue, New York, N.Y. RD200375 (WA 4-8123) 062 75 100. Foto: M. Valentim-(C) A.E.I. Photo (Home page): Pedro de Almeida collection 0013-01-2014-POR Gelatin silver press photograph. Caption on reverse: 'Portuguese Govt. members' conference with Angolan leaders of all three factions - at Algarve, South Portugal, January 1975. (The place where the conference took place between the liberation movements of Angola and the Portuguese Government)'. Credit: A.E.I. Noticiosa, Lisboa, Portugal, & Keystone Press Agency Inc., 170 Fifth Avenue, New York, N.Y. 100100 (WA 4-8123). See 'DECOLONIZATION: a publication of the United Nations Department of Political Affairs, Trusteeship and Decolonization', vol. 11, no. 4, March 1974: I. Developments in Angola, p. 3. Photo (Menu page): Pedro de Almeida collection 0012-002-2014-POR. Gelatin silver press photograph. Caption on reverse: 'Portugal, Lisbon, March 1975. One of the 12,000 voting booths, foreseen for the elections in April.' Credit: A.E.I. Noticiosa, Lisboa, Portugal, & Keystone Press Agency Inc., 170 Fifth Avenue, New York, N.Y. (WA 4-8123). Foto: M. Valentim-(C) A.E.I. 200511 J0847.