Australian Environments on Screen, in association with EFFA, invites you to:
enduring environments
A virtual exhibition and research project looking at the shaping and disorienting of colonial categories of ‘the environment’ in Australia.
enduring environments
Exhibition | enduringenvironments.com
enduring environments is a creative output of Australian Environments on Screen, a collaborative research project supported by the Australian Research Council’s Discovery Projects funding scheme (DP190101178). The project is presented in association with Environmental Film Festival Australia..
What’s happening.
Australian Environments on Screen invites you to enduring environments — a virtual exhibition and research project looking at the shaping and disorienting of colonial categories of ‘the environment’ in Australia.
The project shares the works and processes of five artists/collectives: Jakarli Romanis, Dr Rhett Loban, Tributaries, Amelia Hine and Joseph L Griffiths, along with an essay response by Wergaia and Wemba Wemba writer Susie Anderson.
enduring environments is a collaboration between researchers/curators Professor Therese Davis and Taylor Mitchell over eighteen months in response to conversations with featured artists, engagement with audiovisual works, and their joint investigations from histories of eco-documentary media to nature/culture dichotomies, and the notion of endurance. The website is designed by Zenobia Ahmed.
enduring environments | enduringenvironments.com
Australian Environments on Screen | australianenvironmentsonscreen.org
Instagram | @au_environments_on_screen
Promotional images | Rhett Loban
Curatorial info.
Addressing ecological crisis calls for a reimagining of the environment that foregrounds the more-than-human relations constituting everyday life. This argument is made not only by scholars, artists and activists but increasingly, and paradoxically, by the corporation and the colonising state. On stricken, unceded Wurundjeri Woi-wurrung land, ‘sustainable’ shopping centres unite nature and culture through ‘biophilic design’, while state-sponsored symposiums celebrate the promise of a ‘regenerative’ future—the cleansing sensibility of flow and circularity an attempt to smooth out the violent relations between ‘economy’ and ‘environment’. Meanwhile, First Nations displacement, toxic accumulation, and petro capitalism continue, showing us how the violent governance of ‘the environment’ is inherent to a colonial project that, despite embracing the aesthetic turn towards interconnectivity, continues to prioritise market forms of life over all others. How, then, might we engage the political and aesthetic possibilities of entanglement without rendering abstract the ongoing violence of colonial capitalism? The works in this exhibition by Jahkarli Romanis, Rhett Loban, Amelia Hine, Joseph L. Griffiths and Tributaries contribute to an archive of endurance addressing this question.
