MONUMENTALISM Politics created the monuments and politics has destroyed them
Front cover image: Podgarić from the Spomenik series, 2010 by Jan Kempenaers
Contents Curator’s introduction............................................................................................2 Monuments to Abandoned Futures Uros Cvoro...................................................................................................................4 President Tito visits China in 1977 Yvonne Preston..........................................................................................................6 States of Non-Being Madeleine Preston....................................................................................................8 Artists Tim Bruniges....................................................................................................10 Kuba Dorabialski............................................................................................12 Igor Grubić........................................................................................................14 Biljana Jančić......................................................................................................16 Jan Kempenaers..............................................................................................18 Marko Lulić........................................................................................................20 Kusum Normoyle..........................................................................................22 Petrova Gora.............................................................................................................24 Jasenovac.....................................................................................................................26 Tjentište........................................................................................................................28 Spomenici Revolucije............................................................................................30 Gallery...........................................................................................................................32 Kamenska....................................................................................................................42 Credits..........................................................................................................................44
Curator’s introduction our collective memory is shaped by the ideology of the day the politics of memory enables a regime to record its version of the past history is conditioned by this shared remembrance The memorials forming the backdrop to Monumentalism were commissioned by Yugoslav President Josip Broz Tito to convey a sense of confidence and strength in the new Socialist Republic. Designed and built in the ‘60s and ‘70s by leading architects and sculptors from across the former Yugoslavia including Vojin Bakić and Bogan Bogdanović, these gestures to modernism are located at sites of concentration camps and battles commemorating the victims of fascism during World War 11. The futuristic aesthetic of the monuments challenges their commemorative intention. Devoid of signs of ideologies, war heroes or religious iconography, the monuments were symbols of a modern and unified Yugoslavia. Established as recreational areas to visit and cultivate a sense of 4
national and cultural togetherness, these remote and isolated memorials now lay idle. As the Balkans War took hold in the early ‘90s and Yugoslavia fell apart, the monuments became touchstones for the inherent hatreds from the past. Many of the monuments have been destroyed and even today some of the remaining memorials are being dismantled for their raw materials. The original intention for the creation of the monuments has resulted in their demise. Politics created the monuments and politics has destroyed them. Although many of the monuments have been razed – their influence remains. The space they occupied, the awareness of their existence,
the reasons for their creation and the motives behind their desecration are all elements affirming the authority of the monument. As the son of migrants from the former Yugoslavia, my interest in art and architecture from Eastern Europe was a catalyst for this exhibition. A series of large-scale visuals, site-specific installation and a responsive feedback soundscape, Monumentalism brought together European and Australian artists to respond to the emotional, political and social impact of the failings of the single party state. Most of the artists involved in this exhibition have direct or familial connections to the region. Monumentalism was the first iteration of an ongoing project. Using the
aesthetic premise of these brutalist structures as a foundation, this exhibition was designed to introduce visitors to the reasons for their creation and the rationale for their demise. The fertile territories from this era of history, art, architecture and politics will influence a new iteration of this project focusing on the global and local implications of the rise of Nationalism.
Anthony Bautovich is undertaking a Masters of Curating and Cultural Leadership at UNSW | Art & Design. In 2016 he was awarded the inaugural Kudos Gallery Early Career Curator Award. He is a director of Home@735 Gallery.
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Monuments to abandoned futures Dr. Uros Cvoro
According to Henri Lefebvre, monument is a ‘singular spatial representation of collective identity’: an attempt to materially transcend time through the memory of the nation-state.1 Lefebvre’s reflection is both a reminder of the proximity of monuments to nation-state power and grand historical narratives during the last two centuries; and representative of the critical work produced in the same period aimed at unpacking of the oppressive and grandiose historicism and traditionalism of the monument: from Nietzsche’s rejection of the monument, through modernist questioning of its totalitarian tendencies, critical rethinking of commemorative practices in the wake of World War II, to global memory studies. As James E. Young notes, the monument has narrated and reflected historical, political and cultural events of the nineteenth and twentieth centuries, shifting from the heroic selfaggrandizing of the late nineteenth century to ‘antiheroic, often ironic, and self-effacing conceptual installations that mark the national ambivalence and uncertainty of late 6
twentieth century postmodernism.’2 Young’s account has been influential in discussions of monumentality by providing a powerful critique of the monolithic, homogenising tendencies in monuments via the idea of the ‘counter-monument’: spaces that challenge the very premise of their being. But what happens when the monument assumes an oppositional character to its official premise not through a critical or conscious counter-memorial gesture, but through the process of outliving the ideology it was intended to represent? And how does Young’s framework help us to understand the fate of monuments in Former Yugoslavia, whose abstract forms symbolised anti-fascism, but also stood in opposition to the doctrine of Socialist Realism? On the one hand, after 1989, how to deal with ‘residual signs’ of socialist heritage3 such as monuments has been the key question for post-socialist societies. As Boris Groys suggests, almost overnight the socialist heritage shifted from symbolising the future to
a historical excess that needs to be erased in order for the former East to catch up to the former West.4 And a crucial part of this erasure had to do with what Young describes as monument’s ‘consort’ with two of twentieth century’s most egregiously totalitarian regimes: Nazi Germany and Soviet Union’s revival of monumentality. Yet on the other hand, if the abstract forms of World War II monuments in the Former Yugoslavia – reminiscent of international contemporaries yet largely ignored by the art historical canon – represent failed modernization, this is a different kind of failure. Remembering Yugoslav monumental modernism in this exhibition is an act of preserving its emancipatory potential of the past against historical revisions. But it is also a critical gesture against hegemonic interpretations of the dissolution of Yugoslavia, which legitimize the transitional teleology of ‘returning to the capitalist future’. Artists imagine futures where monuments operate like transitive symbols that are visible within the frame of history, but no
longer part of that history. They stand as reminders of an inconvenient past refusing to disappear or be sequestered into political consensus, reminding us that the present is a clash between ideological systems that preclude lived experience of history and time. 1 Henri Lefebvre The Production of Space, Tr, Donald Nicholson-Smith, Blackwell,a Cambridge, 1991, 221 2 James E. Young, At Memory’s Edge: After-Images of the Holocaust in Contemporary Art and Architecture, Yale University Press, New haven and London, 2000, 93 3 Malcolm Miles ‘Appropriating the Ex-Cold War’ in Malcolm Miles and Mel Jordan, ed, Art and Theory After Socialism, Intellect, Bristol, 2008, pp. 55-66, 55 4 Boris Groys ‘NSK: From Hybrid Socialism to Universal State’ e-flux #67, Nov 2015, Available at http://www.e-flux.com/journal/nsk-from-hybridsocialism-to-universal-state/ Accessed on 8 November 2016
Dr Uros Cvoro is a senior lecturer at the UNSW Art & Design, and is a researcher at Contemporary Culture, Art & Politics (CCAP).
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President Tito visits China in 1977 As reported by Yvonne Preston for the Sydney Morning Herald.
Peking turned on an almost unprecedentedly lavish and spectacular welcome for the 85-year-old President Tito of Yugoslavia at the start of his official five-day visit to China in August 1977. The scale of the welcome had been matched in the past only by the reception given the North Korean President Kim Il Sung in 1975. An estimated 50,000 schoolchildren carrying Chinese and Yugoslav flags danced in Tienanmen Square as the long cavalcade of official cars drove slowly past. Slogans across the wide avenue claimed resolute support for “the just struggle against hegemonism, imperialism and colonialism”, Chinesespeak for Tito’s policy of standing up to the Russians. The Yugoslav leader had begun his three nation tour in the Soviet Union, where his reception was likely to have been considerably more low key. He arrived in Peking via Pyongyang. The welcome party at Peking airport included no less than three top-ranked Chinese, Mao’s successor Chairman Hua Guo Feng, and two Party ViceChairmen, Li Xien-nien and Deng Xiaoping. It was Deng’s first appearance 8
Tito arriving in Peking in 1977 – photo by Yvonne Preston
at the airport in two years, years which had seen his fortunes wax and wane. Chinese newspapers were fulsome in their praise of Tito, describing him as an internationally respected leader, one of the older generation of anti-fascist leaders. An editorial in the Party newspaper Peoples’ Daily said Yugoslavia had been built into a prosperous industrial and agricultural country. The editorial made no direct attack on the Soviet Union but it implied criticism by praising Tito’s policy of non-alignment, and by its warning against any encroachment on the independence of Yugoslavia. The visit had repercussions in Europe where the tiny state of Albania ramped up criticism of China, its former patron, once described as China’s only ally in Europe. The Balkan country criticised China for “rehabilitating the Tito clique” and for “uniting openly with this band of traitors”. The Albanian attack, which does not mention China by name, came in the oblique form of a 14-year-old speech by the Albanian Premier, Mr Enver Hoxha. In this speech Hoxha castigated the then Russian Premier, Nikita Khrushchev for paying an official visit to “revisionist” Yugoslavia.
Copies of the speech, “Khrushchev kneeling before Tito”, were delivered to selected embassies and foreign correspondents by the Albanian Embassy in Peking. The timing of the release can only be interpreted as a direct attack on China. The Hoxha speech accused the “Moscow revisionist group” of committing itself “even more strongly to the camp of the enemies of Marxism-Leninism, of socialism and peace and plunging even deeper into the mire of betrayal”. The visit of Tito to China was followed by the arrival in Peking of NSW Premier Neville Wran, a much lower key affair. (None of this, significant as it all seemed at the time and as I wrote it, makes little sense today. At the time it generated a rare head of steam. Today it has no relevance at all. Yugoslavia no longer exists. The Soviet Union is no more. And China has largely moved on from these bizarre ideological spats. - Yvonne Preston.) Please note: I did not interview Tito. Correspondents never had the opportunity to speak to visitor bigwigs, unless they were Westerners who held press conferences. Yvonne Preston was the Sydney Morning Herald’s China correspondent from 1975-1978 and again from 1990-1993. She is a Walkley award winning journalist and is the recipient of the US based MS magazine award for her interview with Benazhir Bhutto.
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States of non-being Madeleine Preston
“Men make their own history, but they do not make it as they please; they do not make it under self-selected circumstances, but under circumstances existing already, given and transmitted from the past. The tradition of all dead generations weighs like a nightmare on the brains of the living.” Karl Marx 1 In Mira Turajlic’s documentary Cinema Kommunista Turajlic speaks of Yugoslavia the country that ‘no longer exists’. However the remains of that country do; in the monuments, in the large number of films made during the 40 years of its existence, and in peoples’ memory. Turajlics film argues Josip Broz Tito founder of the former country used cinema to help create a national identity for Yugoslavia. Tito like North Korea’s Kim Jong Il was a film buff, and like Kim Jong Il Tito had his own cinema and projectionist. Unlike Tito, Kim Jong Il had to abduct the film stars he wanted to play in his story. Tito however was able to attract stars like Sofia Loren and Orson Welles to flesh out his narrative. One party two systems before it was employed by Deng Hsiao Ping in China. Cinema was not the only method of nation building employed by Tito. He sought to tell the story of Yugoslavia in stone and concrete and employed 10
architects and artists to create what are now referred to as the spomenik. The term spomenik literally means monument, but the noun became an unlikely proper noun through western failure to understand or appreciate languages other than English. This act of the internet is reminiscent of Croatian artist Mladen Stilinovic’s pointed text work An artist who cannot speak English is no artist. The importance of place and history are rendered generic to their online audience by an act of mistranslation. Tito might take some pleasure in the fact that since their internet discovery some of the Spomenik have had their film debuts in science fiction films. Illusion of the past’s future in narratives of the present’s future. But this pleasure might be tempered by the realisation this re-working of his nation’s narrative leaves little room for him in the script. The monuments are no longer in Yugoslavia they are in Croatia, Bosnia Serbia, Macedonia, Slovenia and Montenegro. For those who were born and lived in the country that no longer exists they are not an illusion. Unlike socialist realist post war monuments and memorials the Spomenik do not reference a 19th century romantic
painting tradition. Instead they herald a futurism of the past, one that came and went. To see them online as many now do, they can hold the attraction of ruins. Their ghostly otherworldliness is borne of their difference, and their materials. In Irena Skoric ‘s film Unwanted Heritage she interviews former citizens of the country that no longer exists. They speak with a sense of melancholy of the Spomeniks, and melancholy might be a way to better understand the Spomeniks enduring power. ‌melancholia does not solely put the emphasis on what is dysfunctional or debilitating about depressive feelings such as lack of self-esteem, loss of interest, etc., but leaves room to explore, perhaps even establish, a more complex relation to the social and political conditions within which it arises‌ melancholia can be considered as a contemplative distance, a break with the present precisely needed to engage with the conditions within which it occurs. 2 For some the monuments provide material comfort as a source of scrap metal for others they provide opportunity of a different kind. The Spomenik are a physical reminder; a place where the light gets in.
1 Hamza A. & Ruda F., (editors in chief) and Clemens J & Hoens D., (editors) Clemens J & Hoens D, Politics and Melancholia: Introduction, Crisis and Critique - Politics & Melancholia, Volume 3/Issue 2 2016, Dialectical Materialism Collective 2 Marx. K, The Eighteenth Brumaire of Louis Napoleon, Dodo Press, Gloucester, United Kingdom, 2009 Madeleine Preston is an artist and Lecturer at UNSW | Art & Design and The National Art School and is a Co-Director of Home@735 Gallery.
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Tim Bruniges Working across a range of media including installation, sound, video and sculpture, Bruniges’ artistic practice centres on creating feedback works that explore spatial perception and our relationship with time. Bruniges’ works have been exhibited nationally and in the USA, Germany, France, Iceland, Russia and Belgium, and have been acquired by Artbank and private collections. In 2013 he was granted the Greene St Studio artist residency in New York by the Australia Council for the Arts. In 2014/2015 he was a Highly Commended finalist in the John Fries Award and also a finalist in the 2014/2016 NSW Visual Arts Fellowship (emerging). In early 2017 Bruniges exhibited a newly commissioned, large-scale work, MIRRORS Aalst at Netwerk Center for Contemporary Art in Belgium. 12
Elegy, 2016, Installation, Microphone, laptop, speakers infinite duration 13
Kuba Dorabialski Kuba Dorabialski is an artist and writer originally from Wrocław, Poland. His work attempts to reconcile Modernism with mysticism, and radical leftist politics with the personal poetic. In his spare time he harbours a deep, melancholy nostalgia for soviet aesthetics. He has exhibited work in the US, Europe and Australia and been involved in a number of community building activities, including performance events, children’s workshops and publishing projects. His writing has appeared in Runway and Try Hard Magazine. He is currently a MFA candidate at UNSW, Art and Design. Kuba lives in Sydney.
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Opening night shot from ‘All of Them in There’, 2015 15
Opening night shot of Monument, 2015 16
Igor Grubić Croatian multimedia artist Igor Grubić’s 2015 film monument is a poetic-experimental documentary, structured as a series of nine meditative ‘portraits’ of the massive concrete memorials commissioned by the former Yugoslav state. These sentinel forms were originally built to honour the Second World War victims of fascism. During the Balkans war of the 1990s thousands of these monuments, were destroyed on the territory of ex- Yugoslav state. The attempt to erase these structures was the starting point for this film. His work includes site-specific interventions in public spaces, photography and video works. He is known for his activism and his consideration of the public space as a means of expression. In 2000, he started working as a producer and writer of documentaries, tv reportages and socially committed commercials. His work has been exhibited f.e. at Manifesta 4 and 9; Tirana Biennial 2; 11.Istanbul Biennial; Gwangju Biennale 20th Anniversary Special Project; ‘East Side Stories’ Palais de Tokyo (Paris); Thessaloniki biennale 5; ‘Zero Tolerance’, MOMA PS1 (NY)
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Biljana Jančić Croatian-born Sydney based artist Biljana Jančić’s large-scale architectural interventions investigate the way in which subjects and objects inscribe, delineate or territorialise sites. Her artworks operate as punctures that highlight, amplify or distort existing architectural features. These interventions can be seen as parallel to interferences in virtual spaces, where phenomena such as glitches and other ‘errors’ create an awareness of the fragility that belies the structures that organise our lives. 18
Biljana Jančić completed her Bachelor of Visual Arts in 2007 and PhD in 2013, both at Sydney College of the Arts. Her art making practice is supported by her critical writing and curatorial practice. Biljana has exhibited extensively including exhibitions at Artspace, Stills Gallery, the MCA’s Primavera and Tarra Warra Biennial 2016 curated by Helen Hughes and Victoria Lyn. She is the recipient of the 2016 Fauvette Loureiro Memorial Artists Travel Award.
Splinter, 2016, Installation, Aluminium tape, painter’s tape 19
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Jan Kempenaers Belgian photographer Jan Kempenaers exhibited his renowned ‘Spomenik’ series as part of the Monumentalism exhibition. Exhibited extensively across Europe and the US, the series comprises of 26 images depicting the futuristic memorials built in the former Yugoslavia to commemorate victims of fascism during World War II. Drawing on local knowledge and a map from the ‘70’s outlining the whereabouts of the monuments, Kempenaers traversed the Balkans between 2006 and 2009 locating and photographing these abstract structures. Devoid of people, these powerful images were an Internet hit after his book ‘Spomenik’ (a Croatian word meaning monument) was released in 2010 with a flood of blogs dedicated to these futuristic sculptural forms.
Jan Kempenaers lives and works in Antwerp, Belgium and is currently affiliated to the School of Arts Ghent. He studied film and photography at the School of Arts in Ghent and completed his PhD in 2012. Recent solo exhibitions include Triennale de Photographie et Architecture #5, Brussels (2015), Jan Kempenaers, Breese Little, London (2013), Spomenik, Fowler Museum, L.A. (2013), I’m not tailgating, I’m drafting, Still Gallery, Belgium (2013), Jan Kempenaers: Spomenik, Liquid Courage Gallery, Nassau (2013), Kempenaers was a participating artist in Back to the Future, Breese Little, London (2012) and The Architecture Biennale, Venice, (2010). Kempenaers has released a number of publications featuring his photographic work through Roma Publications. Jan Kempenaers exhibits with Breese Little Gallery in London.
Installation shot of Kosmaj monument - from the Spomenik series, 2010 21
Marko Lulić Marko Lulić is a Vienna-based artist, whose work is concerned with the intersection of architectural modernism, ideology, and aesthetics. Lulić has remade a number of modernist monuments, as well as reactivated them in some form by using those public sculptures as reference and/ or location of his performances. He has exhibited extensively nationally and internationally at the Storefront for Art and Architecture, New York; Museum of Contemporary Art, Belgrade; Oldenburger Kunstverein, MAK, Vienna; Witte de With Center for Contemporary Art, Rotterdam; Kunsthalle Vienna; Museum of Contemporary Art, Zagreb; Migros Museum of Contemporary Art, Installation shot of Kosmaj monument, 2015 22
Zurich; 21er Haus / Belvedere, Vienna; Lentos Kunstmuseum Linz, Kunstverein Heilbronn, Grazer Kunstverein, Kunsthalle St. Gallen and Frankfurter Kunstverein. His work ‘Space Girl Dance’ was included in The 19th Biennale of Sydney. In recent years he has also curated several exhibitions at the Secession, Vienna; Siemens Arts Program, and the Museum of Contemporary Art, Belgrade. He won several awards such as the Kardinal König Kunstpreis, the Award of the Alfried Krupp von Bohlen und Halbach Foundation, and the Erich Hauser Foundation Award. For the last five years he has taught at the Academy of Fine Arts in Vienna. Lulić is represented by Gabriele Senn Gallery.
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Opening night shot of Accord with Air: TjentiĹĄte, 2012, single channel video 24
Kusum Normoyle Kusum Normoyle is an artist working with voice, sound, performance, and installation. She takes resonance, screaming, feedback and intervention and puts them to work in gallery, experimental and dance music contexts. Her work investigates aesthetic and literal expressions of voice/bodies, sound technologies, noise making and their relationship to location and materials. Her work has been included in numerous national and international galleries and events including Bergen Kunsthall, Dark MOFO, Artspace Sydney, Bergen Kunsthall, Primavera: Young Australian Artists, MCA Sydney, Redlands Konica Minolta Art Prize, ISSUE Project Room NYC, Superdeluxe at Artspace for the 17th Biennale of Sydney, Liquid Architecture, N.K Berlin, UrBANGUILD JPN, Biennial of Graphic Art, Slovenia. She has ongoing collaborative music projects with Ivan Lisyak as techno duo HVISKE and Peter Blamey in duo Hard Hat.
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Petrova Gora Designed by abstract sculptor Vojin Bakić and completed in 1981, the Petrova Gora memorial was built on Petrovac, the highest peak of the Petrova Gora mountain range in central Croatia. The monument is located at the site were 300 Serb peasants armed only with pitchforks and crude weapons were killed in a desperate attack on the controlling Ustaše militia in 1942. Surrounded by a vast recreational area, the 37-metre-high stainless-steel monument was a popular destination for school groups, work outings and families from across the former Yugoslavia. The interior of the memorial was devastated and looted with the break out of the Balkans War in the early ‘90s. The stainless-steel exterior panels have been pilfered by locals over the years leaving only a concrete shell. Image by Jan Kempenaers
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Jasenovac
Image by Jan Kempenaers 28
The Jasenovac concentration camp was located at a former brickwork in the town of Jasenovac in Slavonia, northeast Croatia. The Jasenovac monument commemorates the reportedly 100,000 mostly Serbs, Jews and Gypsies who were exterminated at the World War II concentration camp. Designed by renowned architect and academic Bogdan Bogdanović and built in 1966, the colossal concrete sculpture known as ‘Stone Flower’ gained international attention due to the brutality inflicted at Jasenovac concentration camp. One of the most barbaric death camps in Europe, Jasenovac came to be known as the Auschwitz of The Balkans. The preferred method of killing at Jasenovac was by hand. Inmates were slaughtered with a knife known as the ‘Srbosjek’ or Serbcutter. The knife’s agricultural purpose was to enable workers to cut wheat sheaves open before threshing them. The six-inch steel blade was fixed on a thick leather glove plate to prevent injuries and to increase work speed. Bogdanović’s architectural design ‘Stone Flower’ was created to symbolize renewal and forgiveness. The monument was vandalized during the Balkans War but unlike many of the other damaged memorials has since been restored. 29
Tjentište
Designed by sculptor Miodrag Živković and completed in 1971, the Tjentište monument commemorates the lives lost in the battle of Sutjeska which took place during 1943. One of the bloodiest conflicts in which the Partisans engaged against joint German-Italian Axis forces, the battle was fought in the mountainous terrain 30
of what is now the Sutjeska National Park in eastern Bosnia and Herzegovina. The aim of the offensive was to eliminate the central Yugoslav Partisan formations and capture their commander, Josip Broz Tito. On June 9 1943, Tito was nearly killed when a bomb exploded near his leading
group, wounding him in the arm. Although significantly outnumbered, the Partisans managed to withstand the attacks eventually breaking through German lines. During the months of struggle over 7,500 of Partisan fighters were killed. The failure of the Axis forces offensive marked a turning point toward Partisan control of Yugoslavia.
Tjentište appears as one of the nine meditative portraits in the documentary ‘Monument’ by Croatian artist Igor Grubić and features as the backdrop to the sound performance video by Kusum Normoyle - Accord with Air (Tjentište 2012). Image by Jan Kempenaers
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During the 1970’s, the Yugoslav government produced a sticker book titled ‘Spomenici Revolucije’ featuring stickers of 252 monuments. Similar to collecting footy cards, school children were encouraged to purchase stickers of anti-fascist modernist monuments at local kiosks to fill up their sticker books. This was an attempt by the government to try to install a feeling of unity and togetherness in the youth of new Socialist Republic. The first school with all their students’ albums completed would win a trip to the most important monuments: second prize was a colour TV set.
photo by Anthony Bautovich 32
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Kamenska
The monument to the revolutionary victory of the people of Slavonia, located at the town of Kamenska in Croatia, commemorated the fallen Partisan soldiers and civilian victims from the region during World War II. Completed in 1968, the 30-metre-high stainless-steel memorial sculpture was designed by Vojin Bakic. Covered by 1600 square metres of stainless steel, all set on an enormous black marble platform, the monument at the time was considered the largest postmodern sculpture in the world. Bakic was a significant figure in the context of European modernism in the second half of the 20th century. In the early ‘60’s, he rose to prominence in the fields of abstract expression and optical research. His vision and creativity changed the way large scale monuments were constructed and designed in the former Yugoslavia. During the Balkans war in February 1992, the Kamenska memorial was destroyed by the Croatian Army. Due to the superior design and construction of the monument, it took a number of days of dynamite mining to topple the memorial. The site of the desecrated memorial now lays abandoned.
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Image by Jan Kempenaers 45
Art Direction Madeleine Preston All installation photos by docqment. Opening night shots on pages 12-15, 22-23, 32-41 by Steve McLaren Publication date October 2017 Printer Lighthouse Print Group
Thanks to Madeleine Preston, Ashley Scott, Ally D’Astolfo, Carla Jamieson, Luke Letourneau, Keiran Butler, all the staff at the Resource Centre at UNSW Art & Design, Brett East, Steve McLaren, Marko Lulić, Kuba Dorabialski, Uros Cvoro, Geraldine Barlow, Siân McIntyre.
This project has benefitted from an Art & Design Grant courtesy of Arc @ UNSW Limited
our collective memory is shaped by the ideology of the day the politics of memory enables a regime to record its version of the past history is conditioned by this shared remembrance