Sarah Rodigari and I have been commissioned by the Live Art Development Agency (LADA) in London to produce a guide to their Study Room on Live Art practices across Australia. As part of their Study Room LADA commission artists and thinkers to write personal Study Room Guides to help navigate users through this resource. The idea is to enable Study Room users to ‘experience the materials in a new way and highlight materials that they may not have otherwise come across.’
Our proposed guide by-passes the authoritative tone of a pedagogical approach that can be found in curatorial anthologies of ‘favoured’ list of artists names. Rather than debate whose name might be considered worthy of such a document, we’ve turned our attention to Real Time Magazine to consider what kind of history might be revealed through a poetic analysis of the specific lens of this publication.
Our process will not only show the practices as they currently exist but will map the forms emergence, through theatre, social practice and visual arts and provide international publics an understanding of the importance of these traces. Aside from a few stand out publications (Clare Grant, Anne Marsh, Margaret Hamilton) the history of the relatively recent practice of experimental performance and Live Art in Australia is not well known.
Since its beginning in 1992 Real Time’s extensive coverage of descriptive arts writing has not only influenced our identities as emerging artists, but it has tirelessly spoken to and recorded a generation of experimental Australian performance here and overseas. As artists we began practicing not long after Real Time Magazine begun and we have a close personal association with the magazine as readers, artists and writers. Through mining the archives of Real Time, reflecting on what is there, who is missing, we critically engage with how we approach, read, and disseminate this history from a self-reflective perspective.