Secessionism, submergence and Siteresponsive art: The Embassy of the Commonwealth of New Bayswater at the 1st Fremantle Biennale

Hayward, P

Secessionism, submergence and Siteresponsive art: The Embassy of the Commonwealth of New Bayswater at the 1st Fremantle Biennale

Hayward, P

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Publication Type:: Journal Article
Citation:: Shima, 2018, 12 (1)
Issue Date:: 2018-01-01

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Field	Value	Language
dc.contributor.author	Hayward, P https://orcid.org/0000-0002-0018-0174	en_US
dc.date.issued	2018-01-01	en_US
dc.identifier.citation	Shima, 2018, 12 (1)	en_US
dc.identifier.issn	1834-6049	en_US
dc.identifier.uri	http://hdl.handle.net/10453/130709
dc.description.abstract	© 2018, Shima Publications (Australia). Assertions of territorial and, particularly, micronational secession have often been highly performative and/or rhetorical. In this regard, they closely parallel aspects of conceptual, performance and installation art practice. It is unsurprising then that a number of prominent micronations have been formed by artists in response to local issues and/or as components of broader artistic projects. The Embassy of the Commonwealth of New Bayswater, created by Perth artist Jessee Lee Johns for the inaugural Fremantle Biennale in 2017, is a prime example of site-responsive art's ability to provide illuminating representations of key issues in local discourse. The installation merits sustained consideration in this journal due to its intersection with recent debates concerning micronationality in the form of its wry engagement with aspects of Western Australian secessionist politics. Its other significant aspect is its address to issues of sea level rise, encroachment and submergence - a phenomenon whose impacts are likely to over-ride the viability of many low-lying territories let alone any secessionist pretensions individuals or communities inhabiting them may have.	en_US
dc.relation.ispartof	Shima	en_US
dc.relation.isbasedon	10.21463/shima.12.1.14	en_US
dc.title	Secessionism, submergence and Siteresponsive art: The Embassy of the Commonwealth of New Bayswater at the 1st Fremantle Biennale	en_US
dc.type	Journal Article
utslib.citation.volume	1	en_US
utslib.citation.volume	12	en_US
utslib.for	1901 Art Theory and Criticism	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences/School of Communication
utslib.copyright.status	open_access
pubs.issue	1	en_US
pubs.publication-status	Published	en_US
pubs.volume	12	en_US

Abstract:

© 2018, Shima Publications (Australia). Assertions of territorial and, particularly, micronational secession have often been highly performative and/or rhetorical. In this regard, they closely parallel aspects of conceptual, performance and installation art practice. It is unsurprising then that a number of prominent micronations have been formed by artists in response to local issues and/or as components of broader artistic projects. The Embassy of the Commonwealth of New Bayswater, created by Perth artist Jessee Lee Johns for the inaugural Fremantle Biennale in 2017, is a prime example of site-responsive art's ability to provide illuminating representations of key issues in local discourse. The installation merits sustained consideration in this journal due to its intersection with recent debates concerning micronationality in the form of its wry engagement with aspects of Western Australian secessionist politics. Its other significant aspect is its address to issues of sea level rise, encroachment and submergence - a phenomenon whose impacts are likely to over-ride the viability of many low-lying territories let alone any secessionist pretensions individuals or communities inhabiting them may have.

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http://hdl.handle.net/10453/130709