Anarchive: knowledge follows form is Bridget Currie’s solo exhibition, commissioned for The Experimental Art Anarchive — a curatorial and publishing program that critically examines the historicisation of experimental art in Australia, led by curator and researcher Sasha Grbich.
Oscillating between past and present, the exhibition features new works that trace the residue of experimental art practice within FUMA’s Post-object and Documentation collection — one of the nation’s most significant records of conceptual art from the 1960s and 70s.
Responding to Grbich’s research into the archival underrepresentation of women artists, together, Grbich and Currie foreground artists such as Alison Goodwin, Eva Man-Wah Yuen, and Poppy Johnson, alongside earlier works by Dorothy Thompson and Bonita Ely, whose performative and environmentally attuned practices resonate with Currie’s own. Recorded conversations throughout the exhibition serve as an informal guide and further animate these connections across time.
Currie has also developed strategies for “unfolding” the collection, engaging its ephemeral materials through processes of re-making, re-staging and revisitation within her own history of practice. Her approach opens the collection to new readings and sets the stage for a lively conversation with a radical past.
Anarchive: knowledge follows form is supported by Create SA through the South Australian Government and presented in partnership with Anarchive: Gut-feeling at Adelaide Contemporary Experimental (ACE), and Artlink magazine’s special issue EXPERIMENTAL ART: Rattling the Archive.
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