What I Think I Hear Is Violence and I Want More
I have begun to desire noise. Noise that prompts. Maybe wounds. I want to remember something that feels tangible, and if I have no memory of how this feels I want to create one.
Related
Narrowing the collective to its relation with art institutions and “artworld systems” posits the latter as ultimate signifiers.
The Tennant Creek Brio transform mining maps, dead TVs, and frontier wreckage into new cultural claims—rejecting imposed “otherness” and forcing the settler gaze into confrontation. If their art is a shock, who’s really being unsettled?
Tim Burns’s art blurs fiction and reality, often staging disasters before they happen. His 1972 Ghost Train redesign eerily foreshadowed the 1979 Luna Park fire, just as his 1977 film Why Cars? uncannily prefigured 9/11. Through rupture, collision, and shock, Burns’s work remains less prophetic than provocatively attuned to history’s unfolding disasters.
