Deborah Kelly's gods, monsters and probable histories

Vanni Accarigi, I

Deborah Kelly's gods, monsters and probable histories

Vanni Accarigi, I

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Publisher:: Artlink Australia
Citation:: Artlink: Australian Contemporary Art Quarterly, 2008, pp. 26 - 31
Issue Date:: 2008-01

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Field	Value	Language
dc.contributor.author	Vanni Accarigi, I https://orcid.org/0000-0003-2795-8465	en_US
dc.date.issued	2008-01	en_US
dc.identifier.citation	Artlink: Australian Contemporary Art Quarterly, 2008, pp. 26 - 31	en_US
dc.identifier.issn	0727-1239	en_US
dc.identifier.uri	http://hdl.handle.net/10453/12324
dc.description.abstract	Background-This essay was commissioned by Artlink, one of the leading magazines on contemporary arts. It was part of a special issue exploring the work of eight innovators in Australian art. The issue was launched at the Singapore Biennale in 2008, to coincide with the Biennales opening featuring Deborah Kelly's ephemeral installation Beware of the God. I followed this project from its beginning as cinematographer for her Beware of the God Project Documentation, exhibited at Barry Keldoulis Gallery Knicker Knot, 11 April 5 May 2007. Contribution I wrote this 2200 words essay based on a series of conversations and exchanges with Deborah Kelly. The essay takes the form of a fictocritical tale, using storytelling to introduce three themes: the growing influence of religion in contemporary society; vignettes of sexualised monstrous femininity; fictocritical histories of `forgotten events in the Australian past. Significance This essay constitutes a new, innovative and thorough critical appraisal of Deborah Kellys work. It is based on five years of research and collaboration with the artist, in the area of arts and design as tools of political intervention (see also 2005 `Conversation with Deborah Kelly, Klartext! The Status of the Political in Contemporary Art and Culture, January 14-16, Kunstlerhaus Bethanien and Volksbuhne am Rosa-Luxemburg-Platz, Berlin). It shares its theoretical premises and aims with my ARC Discovery project, Contact Zones: activism, art and media in Italy, 1994-2006 in the production of new understandings of the use of communicative practices in activism in the age of knowledge economy.	en_US
dc.publisher	Artlink Australia	en_US
dc.relation.ispartof	Artlink: Australian Contemporary Art Quarterly	en_US
dc.title	Deborah Kelly's gods, monsters and probable histories	en_US
utslib.location	Adelaide, Australia	en_US
utslib.for	200209 Multicultural, Intercultural and Cross-cultural Studies	en_US
utslib.for	200204 Cultural Theory	en_US
utslib.for	2001 Communication and Media Studies	en_US
utslib.for	1299 Other Built Environment and Design	en_US
utslib.for	1901 Art Theory and Criticism	en_US
utslib.for	1905 Visual Arts and Crafts	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/e-Press
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences
utslib.copyright.status	open_access
pubs.consider-herdc	false	en_US
pubs.place-of-publication	Adelaide, Australia	en_US

Abstract:

Background-This essay was commissioned by Artlink, one of the leading magazines on contemporary arts. It was part of a special issue exploring the work of eight innovators in Australian art. The issue was launched at the Singapore Biennale in 2008, to coincide with the Biennales opening featuring Deborah Kelly's ephemeral installation Beware of the God. I followed this project from its beginning as cinematographer for her Beware of the God Project Documentation, exhibited at Barry Keldoulis Gallery Knicker Knot, 11 April 5 May 2007. Contribution I wrote this 2200 words essay based on a series of conversations and exchanges with Deborah Kelly. The essay takes the form of a fictocritical tale, using storytelling to introduce three themes: the growing influence of religion in contemporary society; vignettes of sexualised monstrous femininity; fictocritical histories of `forgotten events in the Australian past. Significance This essay constitutes a new, innovative and thorough critical appraisal of Deborah Kellys work. It is based on five years of research and collaboration with the artist, in the area of arts and design as tools of political intervention (see also 2005 `Conversation with Deborah Kelly, Klartext! The Status of the Political in Contemporary Art and Culture, January 14-16, Kunstlerhaus Bethanien and Volksbuhne am Rosa-Luxemburg-Platz, Berlin). It shares its theoretical premises and aims with my ARC Discovery project, Contact Zones: activism, art and media in Italy, 1994-2006 in the production of new understandings of the use of communicative practices in activism in the age of knowledge economy.

Please use this identifier to cite or link to this item:

http://hdl.handle.net/10453/12324