Contributors

CONTRIBUTING ARTISTS

Megan Cope is a Quandamooka woman from North Stradbroke Island in South East Queensland who lives and works in Brisbane. Her site-specific sculptural installations, video work and paintings explore the myths and methods of colonisation. Her diverse practice also investigates issues relating to identity, the environment, and mapping practices. Cope’s work has been exhibited in Australia and internationally, including at Queensland Art Gallery/Gallery of Modern Art; Gold Coast City Art Gallery; MONA FOMA, Hobart; ARC Biennial, Brisbane; Cairns Regional Art Gallery; Koori Heritage Trust, Melbourne; City Gallery, Wellington; Para Site Contemporary Art Space, Hong Kong; Careof Art Space, Milan; the Australian Embassy, Washington and Next Wave Festival, 2014. Cope was commissioned to create major site-specific works at Queensland Art Gallery/Gallery of Modern Art, 2013; as well as for the Melbourne Museum, 2015. Cope is a member of Aboriginal art collective proppaNOW.

Carl Gerber, born 1985 in Mainz, studied screenwriting between 2007-2013 at the Filmhochschule Ludwigsburg. During his studies, prize-winning short films were based on his books, including Synkope, which was nominated for the Deutsche Kurzfilmpreis. His short stories Die Untersuchung des Auges and Erster Erste were published with Primero Verlag. In 2012, Gerber led a film workshop on the Turkish-Syrian border for Syrian refugee children. He is part of the Berlin-based Newsgroup Afghanistan, which has facilitated exhibitions, a theatre piece and a publication on the topics of home, flight and the German asylum process. Since 2013, Gerber works as a performance dramaturg. His works have been shown at Sophiensälen Berlin, Ballhaus Ost Berlin and the Harburger Bahnhof, among others. His first full-length film, 24 Weeks, was the only German contribution for the 66th Berlinale competition. After touring festivals and cinemas in over 30 countries, the film was nominated four times for the German Film Prize in 2017, including for Best Screenplay. The film won the “Silver Lola” award.

Archie Moore (Kamilaroi. Born 1970, Toowoomba, lives Brisbane) works across media in portrayals of self and national histories. His ongoing interests include key signifiers of identity – skin, language, smell, home, flags – as well as the borders of intercultural understanding and misunderstanding, including the wider concerns of racism. Uncertainty is an ongoing theme pertaining to his paternal Kamilaroi heritage. Moore completed his Bachelor of Visual Arts at Queensland University of Technology in 1998. In 2001, he was awarded the Millennial Anne & Gordon Samstag International Visual Arts Scholarship which enabled him to study at the Academy of Fine Arts in Prague. He has held regular solo exhibitions of his work for two decades in university, not-for-profit and commercial galleries across Australia, as well as being invited to present a solo show in Japan and a two-person show in the UK. He has been commissioned for the 3rd National Indigenous Art Triennale and the 20th Biennale of Sydney.

Sonya Schönberger is a Berlin-based artist whose practice is strongly influenced by historical themes in connection with biographical memories. She often dedicates herself to biographies that appear “normal”, but contain a “break” of sorts, over which the person did not have any control. This break was often triggered by political and social changes such as the Second World War or the Reunification of East and West Germany, which could not have come to pass without leaving a trace on the individual and their contemporaries. Many of Schönberger’s works have developed out of a number of archives that the artist has created over the last seven years. Alongside these, Schönberger also works with traces in Berlin’s public spaces connected with the above-mentioned eras. Her works have been exibited internationally, including in the USA, Iran, Pakistan, Israel, Canada and Luxemburg. Sonya Schönberger is represented by Katharina Maria Raab Gallery.

Sumugan Sivanesan (Berlin/Sydney) is an anti-disciplinary cultural producer. Often working collaboratively his interests span histories of anticolonialism, activist media, intentional communities and resilient networks, non-human rights and extinctions. He has worked alongside the (former) refugee and media figure Sanjeev ‘Alex’ Kuhendrarajah (2013–2018) on a series of texts and artworks to critique the ‘proper processes’ of refugee determination and re-settlement. With artist and writer Tessa Zettel he began the artistic/urban research program ‘Plan Bienen’ (2014–ongoing) to speculate on the overlap of dwindling bee populations and economic precariousness in the cultural capital of Berlin. He was a part of the experimental documentary collective theweathergroup_U (2008–2012) who worked in the confluence of the burgeoning carbon economy and Aboriginal land rights in Australia, and the media/art gang boat-people.org (2001–ongoing) who instigated public interventions and events to argue with successive Australian governments’ draconian border policies and nationalist narratives. He earned a doctorate from the Transforming Cultures research centre at the University of Technology Sydney (2014) and was a post-doctoral researcher at the Institute for English and American Studies (Cultural Studies), University of Potsdam (2016).

Simone van Dijken’s (NL) work consists of writing, painting, drawing, and performance, and currently questions hierarchies and vulnerabilities in relation to the body. Van Dijken’s own physical presence and voice are the starting point for understanding the body as a symbolic and political entity, marked by gender, power dynamics, and clothing – or rather protection. By repeatedly painting similar elements, extracted from a spatial and emotional proximity (a second hand V-neck sweater, for instance), she works and re-works visual familiarity, letting recognition fade out. Associative junctions are being layered: spray paint over oil paint, ashes over pigments. Her performances are collages of spoken word and guitar noise. Simone van Dijken was a Researcher Fine Arts at the Jan van Eyck Academy in Maastricht, Netherlands, and received the Lower Saxony Dorothea-Erxleben-Stipend for painting. She was visiting lecturer at the University of Arts in Braunschweig. She lives and works in Berlin.

Khadija von Zinnenburg Carroll is an artist, writer and the Professorial Chair of Global Art at the University of Birmingham. Her practise explores how to intervene ethically and experimentally within neoliberal institutions. This form of infrastructural activism and institutional disobedience, together with the employment of site specific installation strategies questions the market’s grip on both art and research and reflects on the intersections of both in the performances, videos, and books. Khadija is the author of the books Art in the Time of Colony; The Importance of Being Anachronistic: Contemporary Aboriginal Art and Museum Reparations; and Botanical Drift: Plant Protagonists of the Invasive Herbarium. She has shown her work on issues of surveillance, extraterritorial asylum and embassies at Savvy; Haus der Kulturen der Welt; and Silver Sehnsucht during Frieze London. She wrote her Ph.D. at Harvard University about appropriations of the colonial archive and her installations and texts have been exhibited internationally, including at the Venice and Marrakech Biennales. She is the recipient of fellowships from the DAAD, Humboldt Stiftung, and is an editor of the journal Third Text.

 

CONTRIBUTING WRITERS

Ben Gook (AU/DE) is an Alexander von Humboldt Foundation Postdoctoral Fellow at Humboldt Universität, Berlin. He also holds an honorary position at the University of Melbourne, as a Fellow in the School of Social and Political Sciences. He received his PhD in Social Theory and Cultural Studies from the University of Melbourne in 2014. He researches contemporary politics, economy and culture, with a focus on social change after the Fall of the Berlin Wall. His first book is Divided Subjects, Invisible Borders: Re- unified Germany after 1989 (London: Rowman & Littlefield, 2015). He has also written on Australian culture, including “Australian Postcolonial Trauma and Silences in Samson and Delilah,” (Scars and Wounds: Trauma on Film in National and International Contexts, 2017) and “…With Ears for Landscape: Australian Soundscapes,” Crossings (2006). His essay “Lest we Forget; Let us Forget” (2013) responded to Nothing to See Here by Amy Spiers and Catherine Ryan at Sydney’s Underbelly Arts Festival.

Raelee Lancaster is a Brisbane-based poet, and a research assistant with Macquarie University. She has performed at literary events and festivals around Australia and her work has featured in Rabbit, Scum Mag, Voiceworks, and other print and online media. In 2018, Raelee’s poetry was awarded first place for the Nakata Brophy Short Fiction and Poetry Prize for Young Indigenous Writers. Raised on Awabakal land, Raelee has connections to the Wiradjuri nation.

Sarah Keenan is Senior Lecturer at Birkbeck Law School and co-director of the Centre for Research on Race and Law. Originally trained as a lawyer in Australia, her research uses feminist and critical race theories to rethink questions of space, property and identity. Her book ‘Subversive Property: Law and the Production of Spaces of Belonging’ was published by Routledge in 2014, and she is currently a Leverhulme Fellow working on her project ‘Making Land Liquid: The Temporality of Land Title Registration’.

Peter Monteath is Professor of History at Flinders University in Adelaide. He has taught at The University of Queensland, Deakin University, The University of Western Australia, The University of Adelaide and Flinders University. He has also been a Visiting Professor at The University of St Louis Missouri and the Technical University of Berlin, where he was an Alexander von Humboldt Fellow. His research interests lie broadly in the areas of modern German and modern Australian history, and in the connections between them. His best-known book is POW: Australian Prisoners of War in Hitler’s Reich (Sydney 2011). In 2015 he published, with co-author Valerie Munt, a biography of the anthropologist Fred Rose under the title Red Professor: The Cold War Life of Fred Rose. The book, based on extensive work in Australian and German archives, was short-listed for the Prime Minister’s History Prize in 2016. Currently Peter Monteath is teaching and researching German history at Flinders University; he is also President of the History Council of South Australia.

Nathan “mudyi” Sentance is a Wiradjuri creative producer who works to ensure that the cultural and historical narratives conveyed by cultural and memory institutions, such galleries, libraries, archives and museums (GLAM) have First Nations perspectives and that First Nations stories being told are being told and controlled by First Nations people. This is to balance the biases and misinterpretations of Aboriginal culture and people that has been previously set by GLAM institutions. Nathan was also a participant in the 2017 Wesfarmers/NGA Indigenous Arts Leadership program and is currently the convener of the Australian Society of Archivists, Aboriginal and Torres Strait Islander Special Interest Group. He produced Ngalu Warrawi Marri (we stand strong), the Invasion Day protest event at Australian Museum, and assisted in curating the upcoming Gadi exhibition at the Australian Museum and is a invited speaker the Museums Galleries Australia Conference for 2018.

 

curatorial advisor

Rachel O’Reilly (Brisbane/Berlin) is an artist, writer, curator and educator (Dutch Art Institute) whose work explores relationships between art and situated cultural practice, aesthetic philosophy, and political economy. She was a resident at the Jan van Eyck Akademie, curator at the Australian Cinematheque and Fifth Asia Pacific Triennial of Contemporary Art where she archived the films of Kumar Shahani, and more recently co-curated ‘Infrastructural Rifts: Souls and Soils of Disaster Developmentalism’ for DAI Roaming Academy, and ‘Planetary Records: Performing Justice between Art and Law’ for Contour Biennale, Mechelen. Publications include: ‘Neutrality: From the Letter from Melos to Non-Aligned Movement(s)’ with Jelena Vesić (Haus der Kunst Goethe Fellow) and Vladimir Jerić Vlidi, and ‘Infrastructures of Autonomy on the Professional Frontier: Art and the Boycott of/as Art’, with Danny Butt, Journal of Aesthetics and Protest. Her artistic work and research on unconventional extractivism has been presented at the Institute of Modern Art, Eflux, Van Abbemuseum, Qalandiya International, Savvy Contemporary, Tate Liverpool, and as part of Frontier Imaginaries. Her commitment to curatorial ethics is recognized by her advisory role to the Place, Ground and Practice group of the International Society for Electronic Arts, and her invitation to Future South(s), an online dialogical network of artists, curators, theorists, and historians hosted by UNSW. Her writing has been published by Cambridge Scholars Press, MIT Press, Postcolonial Studies, Eflux Journal and in networked e-books.

 

HOSTING ARTIST

Sonja Hornung is a visual artist who grew up and studied in Melbourne, Australia. In 2012, she moved to Berlin to undertake a Masters at the Berlin-Weißensee School of Art. In her artistic practice she often attempts to insert emancipated forms into pre-existing orders. After moving to Berlin in 2012, she spent two years attempting to convince embassies to replace their national flags with a flag with no meaning (Emptying flags, with Neue Berliner Räume, 2012-2014). Her work has since been shown at institutions and project spaces such as Forum Stadtpark (2018, Graz), Art Encounters Biennale (2017, Timisoara), Kunstverein Harburg (2017), Bonn Theater (2017), District Berlin (2016), Maxim Gorki Theater (Berlin, 2016), Ivan Gallery (Bucharest, 2015), Kunsthaus Dahlem (Berlin, 2015) and Friday Exit (Vienna, 2014). She was a recipient of the Melbourne National Scholarship (2005-10) and the Mart Stam Studio Scholarship (2016), and has been funded by the Australian Copyright Agency (2015), the European Cultural Foundation (2015), Kunstförderung Steiermark, Austria (2017-18) and the DAAD (2009-10, 2015, 2016). She has additionally written reviews and cultural commentary for Frieze, Berlin Art Link, Artleaks Gazette and ArtSlant Berlin.

The governing political party of the GDR (German Democratic Republic).
Led by architect Horst Bauer, who also designed Berlin’s iconic Café Moskau.
Tobias Doll, Elisabeth Eulitz, Karla Schäffner. Berlin- Pankow: Sozialistische Botschaftsbauten Städtebauliche Dokumentation – Freiraumplanung – Typenbauten. Masterarbeit im Masterstudium Denkmalpflege der TU Berlin, Wintersemester 2012-13.
One key architect involved in the urban planning of Marzahn, Wolf-Rüdiger Eisentraut, was in 1996 to renovate the embassy itself when it was transformed, briefly, into a medical laboratory.
A 1970 ‘Neues Deutschland’ article compared Australia to ‘neo-colonialist’ South Africa, citing its ambitions towards regional dominance, its racist ‘White Australia’ policy and ‘arch-reactionary’ denigration of Aboriginal people. See: Walter Kocher, ‘Der folgsame Vetter des Uncle Sam’, Neues Deutschland, 12.7.1970, 6.
The site was rented from the GDR by Australia, however operations were prematurely closed down in 1986. Held by the public hand for a time, the site subsequently hosted a kindergarten, the Deutsche Industrie- und Handelsbank AG, and the medical laboratory bioscientia Institut f. Laboruntersuchungen Ingelheim GmbH, before being privatised by the BImA) (Institute for Federal Real Estate) to investor Lars Dittrich, hosting the media start-up tape.tv, being resold to real estate developer Prexxot GmbH and now: hosting the artist studio complex Atelierhaus Australische Botschaft Ost, who are currently attempting to extract the building from the speculative real estate bubble, looking towards collective ownership formats.
Doreen Massey, For Space, (SAGE Publications, 2005) 70-71.
Monteath, Peter (2008) ‘The German Democratic Republic and Australia’ in Debatte: Journal of Contemporary Central and Eastern Europe, 16:2, 213-235, siehe auch: Schedvin, Boris (2008) Emissaries of Trade: A history of the Australian trade commissioner service, Canberra: WHH Publishing, 279-280.
Daley, Paul (2018), ‘Revealed: how Australian spies filmed Indigenous activists during the cold war’ in The Guardian, 13/02/2018. Artikel online aufrufbar hier.
Monteath Peter & Munt, Valerie (2015), Red Professor: The Cold War Life of Fred Rose, South Australia: Wakefield Press, 275.
Hurley, Andrew Wright (2015), ‘No Fixed Address, but currently in East Berlin: The Australian bicentennial, Indigenous protest and the Festival of Political Song 1988’ in Perfect Beat, 15:2, 129-148.
Krätzer, Tobias (1998), Botschaften und Konsulaten in Berlin: Eine stadtpolitische Analyse, Berlin Verlag, 132.
Frederic Jameson, ‘The Aesthetics of Singularity,’ New Left Review, no. 92 (2015): 130.
This definition of neoliberalism draws on William Davies, The Limits of Neoliberalism: Authority, Sovereignty and the Logic of Competition (London: Sage, 2014). I have written about this at more length and with full references elsewhere: Ben Gook, ‘Backdating German Neoliberalism: Ordoliberalism, the German Model and Economic Experiments in Eastern Germany after 1989,’ Journal of Sociology 54, no. 1 (2018).
Arbeitsgruppe Alternative Wirtschaftspolitik, Deutsche Zweiheit—Oder: Wie viel Unterschied verträgt die Einheit? Bilanz der Vereinigungspolitik (St Katharinen: PapyRossa, 2010).
www.bild.de/politik/wirtschaft/griechenland-krise/regierung-athen-sparen-verkauft-inseln-pleite-akropolis-11692338.bild.html
Gil Eyal, Iván Szelényi, and Eleanor R. Townsley, Making Capitalism without Capitalists: Class Formation and Elite Struggles in Post-Communist Central Europe (London: Verso, 1998).
Gareth Dale, The East German Revolution of 1989 (Manchester: Manchester University Press, 2006); First the Transition, Then the Crash: Eastern Europe in the 2000s (London: Pluto Press, 2011).
Der Paritätische Gesamtverband, Menschenwürde ist Menschenrecht: Bericht Zum Armutsentwicklung in Deutschland 2017 (Berlin: Der Paritätische Gesamtverband, 2017).
Brigitte Young, Triumph of the Fatherland: German Unification and the Marginalization of Women (Ann Arbor: The University of Michigan Press, 1999).
Jonathan Olsen, ‘The Left Party and the AfD: Populist Competitors in Eastern Germany,’ German Politics and Society 36, no. 1 (2018).
On disenchantment, see Davies. On German’s ongoing division, see Ben Gook, Divided Subjects, Invisible Borders: Re-Unified Germany after 1989 (London: Rowman & Littlefield International, 2015). On divided Germany’s reckoning with Nazism and the GDR’s founding fantasies, see Julia Hell, Post-Fascist Fantasies: Psychoanalysis, History, and the Literature of East Germany (Durham: Duke University Press, 1997).
Morris Cohen and C.B. Macpherson, ‘Property and Sovereignty’, Property: Mainstream and Critical Perspectives (University of Toronto Press, 1978).
Kevin Gray, ‘Property in Thin Air’, Cambridge Law Journal, 50 (1991), 252–307.
Kevin Gray, The Legal Order of the Queue, 2007.
James E. Penner, The Idea of Property in Law (Clarendon Press, 1997); Cohen and C.B. Macpherson.
Nicholas Blomley, ‘Law, Property, and the Geography of Violence: The Frontier, the Survey and the Grid’, Annals of the Association of American Geographers, 93 (2003), 121–141.
Cohen and C.B. Macpherson.
Cheryl Harris, ‘Whiteness as Property’, Harvard Law Review, 106(8) (1993), 1721.
Aileen Moreton-Robinson, The White Possessive: Property, Power and Indigenous Sovereignty (University of Minnesota Press, 2015).
Ibid, Harris.
Davina Cooper, Governing Out of Order: Space, Law and the Politics of Belonging (Rivers Oram Press, 1998).
Emily Grabham, ‘”Flagging” the Skin: Corporeal Nationalism and the Properties of Belonging’, Body & Society, 15 (2009), 63–82.
Ibid, Cooper 629.
Ibid, Cooper 636.
Aileen Moreton-Robinson, ‘Imagining the Good Indige-nous Citizen’, Cultural Studies Review, 15(2), (2009), 61-80.
Here, there is a need to need to point towards – while refusing to appropriate – narratives of Aboriginal resistance to the settler state. A few key dates: In 1972, Aboriginal activists established the Aboriginal Tent Embassy on the lawns of Parliament House, the seat of government in Canberra, which carved out a physical, social and political space of belonging in the Australian capital until today, subverting the version of Australia that parliamentarians wish to portray to diplomatic visitors, and in constant struggle with the colonial state. In 1973 the White Australia policy, which had effectively barred non-European immigrants from moving to Australia, was disbanded with a series of legal amendments prohibiting racial discrimination from being formally included in immigration law. In 1976, following a ten-year strike by the Gurindji people, led by Vincent Lingiari, the Aboriginal Land Rights Act (Northern Territory) became the first ever Australian law to ‘grant’ land rights to Aboriginal people. The lie of terra nullius remained part of Australian common law until it was overturned in Mabo v The State of Queensland in 1992; a later Labor government reneged on the promise of federal land rights, creating a post-Mabo legislative framework for ‘native title,’ as a weaker and more limited set of rights. See Andrew Schaap, Gary Foley and Edwina Howell, The Aboriginal Tent Embassy: Sovereignty, Black Power, Land Rights and the State (Routledge 2013).
Doreen Massey, ‘Power-geometry and a Progressive Sense of Place’, in Tim Putnam, Lisa Tickner, Jon Bird Barry Curtis (Eds.), Mapping the Futures: Local Cultures, Global Change (Routledge, 1993).
Sarah Keenan, Subversive Property: Law and the Production of Spaces of Belonging (Routledge, 2015).
Glen Coulthard, Red Skin White Masks: Rejecting the Colonial Politics of Recognition (University of Minessota Press, 2014).
Ibid, Coulthard.
Matthis Berndt, Britta Grell, Andreas Holm et al, The Berlin Reader, (transcript, 2013), 14-15.
Dallas Rogers, The geopolitics of real estate : reconfiguring property, capital and rights (Rowman and Littlefield, 2016).
Sabrina Apicella et al, “In the eye of the storm. Urban Transformations in Berlin: Realities of Crisis and Perspectives for Social Struggles”, in Teaching the Crisis (Group research project, Summer school program, 2013). See also http://teachingthecrisis.net/in-the-eye-of-the-storm-urban-transformations-in-berlin-realities-of-crisis-and-perspectives-for-social-struggles/
‘German Democratic Republic’, NAA: A1838/272 30/1/3 Part 3, German Democratic Republic – Relations with Australia, 318.
‘German Democratic Republic’, NAA: A1838/272 30/1/3 Part 3, German Democratic Republic – Relations with Australia, 316.
Monteath and Munt, Red Professor, 275.