Surpllus, Melbourne

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Lockjaw


Lockjaw (1983) was the most realised project by Zerox Dreamflesh (1979-1984), a loose group of writers, artists and musicians that produced a series of ‘zine-ish print objects, cassettes, Xerox postcards and a Super 8 film. Their work was oppositional, not very accessible (though when you got it, you really got it), and always inspired and inspiring. The book has been scanned from an original copy and reproduced by risograph – a 21st-century analogue to early-1980s photocopy art. This new edition includes a separate section with essays by George Alexander and Professor Ross Gibson, an introduction by Sonya Jeffery, and a reflection on the impact of Lockjaw on one reader by Matt Holden. This reissue of Lockjaw is a co-publication of Telephone Publishing(Melbourne) and Surpllus (Melbourne).

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Lockjaw - Zerox Dreamflesh (1979-1984)
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Making Worlds: Art and Science Fiction
Amelia Barikin and Helen Hughes (Eds.)

Making Worlds: Art and Science Fiction is an anthology of new texts by artists, curators, art historians and writers who are self-confessed science fiction fans. The linking point is the idea of science fiction as a platform for the building of alternate art histories. This collection is concerned with the ways in which science fiction might be performed, materialised or enacted within a contemporary context.

Edited by Amelia Barikin and Helen Hughes, with contributions by: Adrian Martin, Amelia Barikin, Andrew Frost, Anthony White, Arlo Mountford, Brendan Lee, Charles Green, Chris McAuliffe, Chronox, Damiano Bertoli, Darren Jorgensen, Dylan Martorell, Edward Colless, Helen Hughes, Helen Johnson, Justin Clemens, Lauren Bliss, Matthew Shannon, Nathan Gray, Nick Selenitsch, OSW, Patrick Pound, Philip Brophy, Rex Butler, Ryan Johnston, and Soda_Jerk.

Designed by Brad Haylock.

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Impresario: Paul Taylor, The Melbourne Years, 1981–1984

Impresario: Paul Taylor, The Melbourne Years, 1981–1984 brings together a diverse body of texts focused on Paul Taylor, the Australian editor, writer, curator and impresario, and in particular his important and influential early years in Melbourne between 1981 and 1984. The dates of the texts included span some thirty years and take a variety of different forms — critical essays, reviews, short reflective texts, interviews, transcriptions of lectures — the combination of which seeks to analyse Taylor’s impact on Australian art history in the early 1980s, when he founded Art & Text and curated the landmark exhibition ‘POPISM’ at the National Gallery of Victoria, and the subsequent ripples that continue to encircle us in his wake, thirty years on.

Edited and introduced by Helen Hughes and Nicholas Croggon, and featuring contributions by Ashley Crawford, Adrian Martin, Charles Green & Heather Barker, Chris McAuliffe, David Chesworth & Jon Dale, David Pestorius, Graham Willett, Ian McLean, Judy Annear, Janine Burke, Juan Davila, Jonathan Holmes, John Nixon & David Homewood, Jenny Watson & Kelly Fliedner, Lyndal Jones, Merryn Gates, Maria Kozic, Philip Brophy, Paul Foss, Patrick McCaughey, Peter Tyndall, Rex Butler & Susan Rothnie, Ralph Traviati, Imants Tillers, Edward Colless, Russell Walsh, Sue Cramer, Denise Robinson and Vivienne Shark LeWitt.

Editors: Helen Hughes and Nicholas Croggon
Design: Brad Haylock

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Tom Nicholson
Comparative Monument (Ma'man Allah)


Tom Nicholson’s bilingual artist’s book begins with the remarkable and dominating presence of Australian eucalyptus trees in the Ma’man Allah/Mamilia cemetery in Jerusalem, Palestine’s oldest and most important Islamic cemetery. These river red gums are famous in Australia for their connection to Barmah, a landmark of anti-colonial resistance. Comparative Monument is an attempt to articulate the historical links and echoes between Jerusalem and Australia. Drawing on the symbolic importance of trees in Israel and Palestine, and in Australian commemorative traditions, it is also an attempt to rethink the nature and possibilities of the monument itself, and the linkages to drawing and walking.

Designed by Ziga Testen and James Oates

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