Our Still Lives (keep on coming) Christopher Hanrahan
I’m fatigued, but I guess so is everyone else. On radio 702, it seems to be the topic that every presenter falls back on when there’s not much else to talk about.
‘Today, we’re wondering Why are we so tired? It’s seems now more than ever that all around us the ubiquitous response to how are you, is I’m tired. But are we really busier and doing more than the generations before us?’
It actually makes for pretty good radio, this said, there’s not much I don’t like on 702, except perhaps the guy on Sunday mornings. While I don’t like him, I don’t mind it at all when his brand of us against them city vs. country styled banter is echoed when the phone lines are opened to good Australians that want to weigh in on the debate about our seemingly relentless pursuit of lethargy. I’m not sure why, but it’s nice to be contraire sometimes.
Image above: Christopher Hanrahan, 2006
Civilise Paul Ferman
Even though global political and social climates are in a constant state of fluctuation, it seems western communities and the communities that negotiate with them have been on a slow wind backwards.
As a way of promoting right-wing rationalism, more governments are playing the nationalist card. The impact of this as proven around he world is an inward gazing that leads to fear-driven self policing and intolerance around issues of ‘difference’.
With a boom in information technologies these conservative governments are accessing new ways in which to infiltrate the wider community. This in turn is leaving more marginalized groups (race, sexuality, disability, class, etc) facing even further isolation, intolerance and discrimination.
The works in civilise are ‘tampered’ older children’s books. Books that can be viewed as historical indoctrination documents to assign ‘normative’ social and gender roles to children.
The books messages have been subverted using techniques similar to graffiti’s culture-jamming processes against contemporary forms of marketing. Turning the enemies message against itself with a quick change of its glossy skin, highlights the absurdity and transitory quality of the message. This process encourages playful refection by the viewer, on current issues such as racial intolerance, heterosexism, power and gender stereotypes.
Cilvilise is a subversion of agenda, asking audiences to question notions of difference and how we account for ourselves as ‘evolved’ social beings.