from:  Inhouse ARI <info@inhouseari.com.au>
to: Tara Heffernan, Lisa Bryan-Brown, Nicola Scott,
date: Tue, Sep 30, 2014 at 11:02 AM
subject: Invitation to participate, 200 Adelaide St, BARI Festival

Hi <respective writer>

We have been given the exciting opportunity to curate an exhibition in an empty office space at 200 Adelaide St and we would like to invite you to be involved.

The exhibition is being curated with a sort of thematic approach where three writers/scholars (you) will be invited to partake in a critical discussion. To reflect this dialogue you will select two Brisbane artists/artworks each who will be invited display works in the space. The attached exhibition proposal further explains this process, the outcomes and our goals.

The exhibition will open October 18 as part of BARI Festival 2014. We understand this is a short time frame, but please let us assure your contribution to the exhibition will have a great impact whilst your commitment will be quite low.

If you are interested could you please get back to us with your availability ASAP in the coming days, so we can arrange a meeting to get this process started.

Best regards,

Jenna and Meagan

Jenna Baldock and Meagan Streader

Inhouse ARI
J: 0431 301 703 | M: 0433 395 390

200 ADELAIDE | EXHIBITION PROPOSAL                            

Exhibition Dates – October 18, 2014
Title – TBC

Parties involved

3 x Writers/academics
2 x Facilitators Inhouse ARI directors (Meagan Streader and Jenna Baldock)
6 x Artists

Exhibition Format

The exhibition will be curated to foster a conversation between 3 Brisbane based writers/scholars. Through this conversation overarching discourses or concise parameters will be determined to select the involved artists/artworks. For example, this conversation could reflect prevalent themes within Brisbane art at the moment or intersecting interests in each other’s creative practices. The main concentration here is to create and document these discussions alongside the development of the exhibition.

From this point the involved parties will keep this conversation going through online channels. This will be curated within and displayed as part of the exhibition – most likely in the form of a blog. Each of the 3 writers/scholars will select two artists(/artworks) each to reflect these conversations.

Writers/scholars commitment

1 x site meeting prior to project
1 x meeting in person (with artists) before project
2 hour contact time online
1 x meeting post/during exhibition to resolve and reflect.


  • Exhibition
  • Online blog to be displayed alongside artworks in the exhibition
  • Possibility of an open forum (this may double as the final meeting to resolve and reflect on the process)

On 7 October 2014 11:09, Inhouse ARI <info@inhouseari.com.au> wrote:

Hi Everyone!

Unfortunately, we are still trying to get the swipe cards to enter the space. However, If you are all still available for tomorrow, I think this will provide the opportunity to develop the conversation further. Is there a particular time that would suit everyone?

I have also attached a list of notes from the conversation on Friday, please let us know if there is anything we have missed. We would like to try and document as much as possible so anything and everything helps.

Thanks again for your commitment to the project, I am excited to see it take shape.

Best regards,


Notes from Project introductory Meeting – 3/10/14

Parties Present:

  • Tara Heffernan, Nicola Scott,, Lisa Bryan Brown (writers)
  • Meagan Streader and Jenna Baldock (Inhouse ARI directors)

Project introduced my Inhouse ARI directors Meagan Streader and Jenna Baldock

  • Emphasis on the production and documentation of critical dialogue from the three writers. Their involvement parameters extend to their discussion and selection of two artists (/artworks) but not necessarily the actual execution of the exhibition. This dialogue will be continued throughout the full project culminating in the display of the dialogue alongside the exhibition and some sort of debrief or forum (depending on time and space parameters)

  • Images shown and verbal walkthrough of space provided

  • Spatial parameters explained – walls cannot be damaged – space ideal for projections and objects.

Question posed ignite initial dialogue beyond space – Is there any themes or dialogues that you feel are currently prevalent in the Brisbane art climate or wider community, or is there something that is of particular interest to you within your current pursuits and research?

Nicola Scott, raised the prevalence of security and surveillance and the impact in the lead up to G20 and our current political environment.

Lisa Bryan-Brown raised a recent experience she had at Riverfire – crowds were systematically controlled with pathway width barricades and arrows that directed you throughout the South Bank precinct – participants bags were searched and several people were pulled aside to be patted down by security/police

We discussed the control of this environment and it’s effect on our movement through space – this was compared to curatorial approaches and the control of movement and the viewers experience through artwork placement.

A site visit and further discussion was scheduled for Wednesday  8/10/2014.



Parties Present:

  • Tara Heffernan, Nicola Scott, Lisa Bryan Brown (writers)
  • Meagan Streader and Jenna Baldock (Inhouse ARI directors)

Transcript from discussion/questions raised:

Drawing from the previous meeting Nicola raised the issue of the upcoming G20 summit (work culture, surveillance, spaces, celebration of military) – recognised a need to narrow this concept down to one or two clear themes.

Nicola – ‘I am really interested in the ideas that were raised about work culture – about everything coming down to money, no matter what activity you are doing – I would really love for that artist I was talking about to perform [Pascalle Burton with Tessa Rose, 24 Hour Gym]’ ….. ‘how does art come back to money-making too’

Nicola raised artists for surveillance – Gerald Keaney, Thomas Day and Kiah Reading suggested by Nicola

Tara – ‘I have been thinking about Kiah’s work as well, As well as being something about power and control it really does work into surveillance as well […] I think one of us should rope him in’

Nicola – ‘Jarrod sent me some stuff that is also about surveillance but I am not sure how I feel about it in this space’

Meagan raised the consideration of Jarrod’s work in the intimate spaces (office spaces) within the exhibition to set his work

Lisa – ‘I guess I was thinking about Lewellyn and Sarah’s recent show. Particularly the film they had sewn the cheap shitty, you all know what I am talking about […] the Big W from the outside’

Jenna – Lewellyn and Sarah’s work was a shot looking into a close Big W at christmas time. Raised issues of surveillance and had a very shopping centre food court soundtrack.

Tara raised that the ideas could be quite broad but the work selection could draw it together and create a nice dialogue

Lisa – ‘I was thinking the capitol idea’

Nicola – ‘I was thinking about how does it tie into surveillance, but then I was like, wait no, we are okay because I have been thinking about how our time is constantly, or at work it is constantly watched by my managers and the whole having the free yoga… it’s still like your time being monitored in this activity your allowed to do”

Jenna – Surveillance also is a control of space which is your interaction and why is it being surveilled … so it does broadly tie in.

Surveillance as a control of space was raised

Lisa suggested collaboration between Leena Reithmuller and Callum Galletly – “When we first met” and Caitlin Franzmann for control of space – Helmets

Meagan raised a series by Caitlin undertaken in Indonesia – instrument builders project / masks she created

Nicola – ‘I thought it may be interesting to have this [conversation] in email… like our choosing and our listing and our culling down and stuff because I like the idea of the curators having something on the line in terms of our choices being made public’

Meagan – ‘yes, and your thought processes in terms of choosing those people’

Nicola – “I do have an email draft sitting in my outbox, and then I was like ‘but maybe this will be seen’ and I stopped” …. “so many bad jokes… so many shrug emoticons.. so professional”

Support raised to include these sorts of conversations we may be worried about posting

Meagan raised whether we should be all be posting directly to a blog or whether the email format for it’s instantaneous real time properties is it more suited to email and posting all together later?

Overall writers expressed like of the formatting email provides

Jenna – Meagan and I can go through and transcribe all of this, I like the idea of it being this fluid recorded dialogue and then the structure of the email

Meagan – timeline to have a list of artists within the coming days and discuss theme further

Nicola – ‘Control of space is actually a great one, well at least one of the really big issues about the G20…’

Lisa – ‘well we could pitch it as the control of space and that is relevant to now as we are coming into the G20, so it’s not about G20 but it is contextualised by G20’

Jenna raised that this parallels a lot of themes apparent outside of and within the gallery

Discussion at large about G20 + climate change being taken off the agenda > Ebola > zombie apocalypse > art party

Tara suggested Rebecca Cunningham (founder of exist) – performance artist/ confronting.

Jenna – the theme seems to have evolved into engaging 3 different interpretations of one idea as well.

Agree amongst all parties present – settled on the idea of control of space

Jenna raised the idea of it being an office space

Nicola – ‘So it’s a very controlled environment”

Group discussed the sales boards presented on easels, and their possible display within the exhibition. highlighting the control of pace through the sales tactics even before the space is purchased and renovated.

Lisa – ‘I would love it to be an exhibit, it’s not by an artist but, if its control of space it’s very honest’

Nicola – ‘I also love that, is it an artwork, isn’t it an artwork’

Discussion of opening times – extended for performances.

The three writers will write a small interpretation of this idea.

IMAGE OF THE SPACE as image header image for the exhibition

from: Tara Heffernan
to: lisa bryan-brown, Inhouse ARI <info@inhouseari.com.au>
cc: Nicola Scott,
date: Wed, Oct 8, 2014 at 8:46 PM
subject: RE: Possible Saturday Meeting

Hi everyone,

Thanks so much for a fantastic meeting. I didn’t realise just how large the space really was. With so much to work with, I feel we can afford a few divergent ideas.

Here is my list of artists,

  1. Ruth McConchie

2.Rebecca Cunningham

I was thinking perhaps , due to the limited time and the issues around live performance (particularly when it might be somewhat challenging, or involve physical exertion) it might be better to think about documentation of past works to project.


Kiah Reading

and possibly Alrey? I feel his live performance/installation really lends itself to both the space and the concept we are working toward.

Thanks so much guys,

Hope you are all well.


On 9 October 2014 12:10, Nicola Scott, wrote:

Hi all,

Slyly typing this in the office feels appropriate after seeing the space.

In thinking about controlled spaces/the control of space what I’m most interested in is the idea of access in relation to the [local] art world – who is granted and who is directly or indirectly denied access, to physical spaces but also cultural/economic/intellectual/symbolic spaces that are often considered more democratic or open than others – art, criticism, academia, poetry. This is something I’m looking at in terms of feminist revisionist art histories, who makes the canon/cut and the economic answer to ‘what’s in a name’?

Curating clearly plays huge part in the process which is why I think it’s nerve-wracking but necessary to make our own gate-keeping publicly viewable, as we discussed yesterday. Interested to see how our approaches to ‘control of space’ differ.

Preliminary list, with any contact deets provided where I know them, is. It is in order of absolutes, as requested, but loose:

Pascalle Burton with Tessa Rose
24 hour gym

Experimental performance/poetry/music for a work out of body and mind, with lyrics derived from both art criticism essays by women and exercise videos. So much happening here – fucking with Cartesian dualism, art as work/sweat, motivational language of work out videos and the office space, women’s work relating to their object status valued more than work in creative/critical fields, words + breath > embodied subjectivity, more. Annnnd it’s funny. Want this, need this. Awesome for the opening I reckon.

Katherine Sawyer

Really interested in this work (in progress?) as described on website, unsure how it would manifest in the space: Kat is also becoming an active member of over 100 local clubs, amateur groups and societies, in a project which investigates antithetical modes of inclusion and exclusion in niche communities like the arts.


This work (framed photograph) was shown in the Churchie. Suits as symbol of male art star and referencing history of comedy/stand up, Catherine and Kate donning the suit, infiltrating these historically masculine spaces with suits they have handsewn.

Llewellyn Millhouse and Sarah Poulgrain
Big W

This one fits less precisely in my framework above so maybe this is can be one of Tara or Lisa’s choices in the end, if we wanna stay roughly delineated into our 2(ish) artists each, but we discussed yesterday. Possibly projected outside on the balcony – street sounds interacting/interfering with excites me as does the setting up of a road-runner style false window on the side of the building, looking into a store that you can’t enter, which is really the image of a store selling Christmas goods on the side of an office building (simulacrum ago-go) that exists to facilitate the flow of money, and what better symbol than capitalist Christmas narrative – 99% always on the outer of the 1%’s Christmas coming all at once etc etc.


I know this is too many (sorrry) but I already whittled it, help me narrow down further guys? I imagine Pascalle and Kat Sawyer are more up in the air in terms of their availability/work status, so the list may naturally refine itself down to 2 or 3 works. I know Lisa is also keen on showing Llewy and Sarah, although this work was very recently shown. The CorK work would be a much more simple one to facilitate if they were interested in being included (assuming this isn’t the work down in Melbourne currently? I am not up to speed..).


Date: Thu, 9 Oct 2014 12:30:32 +1000
Subject: Re: Possible Saturday Meeting
From: Nicola Scott
To: info@inhouseari.com.au
CC: Tara Heffernan; Lisa Bryan-Brown

PS Just on another point we talked about yesterday, adapting/altering existing work for this space – say if CorK wanted to stage a performance or Llewy and Sarah wanted to change the work in some site specific way I’d be well into that. Although maybe unlikely with the tight timeframe.

from: Lisa Bryan-Brown
to: Nicola Scott, Inhouse ARI <info@inhouseari.com.au>
cc: Tara Heffernan
date: Thu, Oct 9, 2014 at 2:19 PM

Hi Everyone

Apologies for the delay in response, work is too too busy

So as discussed last night, for our theme of ‘control of space’ I would be interested in exhibiting the following artists/works:

  1. Caitlin Franzmann – between two trees, between two ears (Yogyakarta, The Instrument Builders)
    To my knowledge, these masks have not yet been shown in Brisbane

Alternately, Caitlin might want to respond to the space itself. I have contacted her regarding showing ‘between two trees, between two ears’ and have made it clear that we are very open to showing other works or hearing her ideas

  1. Leena Reithmuller in Collaboration (A) with Callum Galletley and (B) with Caitlin Franzmann
    (A) http://leenariethmuller.com/project/when-we-first-met/
    Previously shown in group exhibition “you & I: thoughts on intimacy” at The Hold in 2013

(B) http://leenariethmuller.com/project/between/
Previously shown in the 2013 Churchie Emerging Art Award

  1. The Wandering Room – The Wandering Room is a Magical Place


I would love to show the goggles, I relise they have previously been exhibited in the GUAG chapter of the Q[ARI] project but I think they are great and obviously change with each installation. I think they would be really interesting in the context of a show about space.

  1. Jasmin Coleman


Jasmin is an artist who’s practice I’ve been watching for years and someone I really want to work with one day. I don’t know her personally so I fear the short lead time might compromise our ability to work with her, but I think showing a variant of “Stabilisers” or something from her more recent “Working Earth” body of work would be interesting

I have no ideas for titles yet but will send any through that I come up with!



from: Inhouse ARI <info@inhouseari.com.au>
to: Lisa Bryan-Brown
cc: Nicola Scott, Tara Heffernan
date: Fri, Oct 10, 2014 at 1:34 PM

Hi ladies,

Thank you for submitting your thoughts/lists so quickly!

As discussed, we will contact your first two listed artists today.

Lisa – as discussed the other night, it might be a good idea if you want to drop Caitlyn a line as well because of the timeline.

Nicola – are you referencing Kat Sawyer’s practice? – “Kat is also becoming an active member of over 100 local clubs, amateur groups and societies, in a project, which investigates antithetical modes of inclusion and exclusion in niche communities like the arts.” – do you know of a particular work or do you want us to enquire for you?

A question for all – would you like to be cc’d in the emails we send to artists, or would you prefer to be updated after everything is confirmed?

I will be going into the space tomorrow after lunch to get a header image shot of the site for the event listings etc. If anyone wants to join in you’re welcome! It could be nice having that ‘conversation’ present between the writers in the image for the image.

Thaaaaaankssssss :) and let us know if you have any questions.


Jenna Baldock and Meagan Streader

Inhouse ARI
J: 0431 301 703 | M: 0433 395 390

from: Inhouse ARI <info@inhouseari.com.au>

Hi <artist/s>,

We have been given the exciting opportunity to curate an exhibition in an empty office space at 200 Adelaide St, Brisbane and we would like to invite you to be involved in the project.

We have taken a thematic approach to this exhibition and have invited three Brisbane writers/academics to curate the project based on a combined critical discussion about relevant issues. From this dialogue, each writer has been asked to invite two artists to display work/s in the space that reflect the overarching discourses that have arisen out of initial discussions and meetings.

So far, this platform has created a dialogue around the theme of control of space. In the context of the upcoming G20, this issue broadly touches on common themes of surveillance, capitalism, security and the flow of activity within the city before, during and after this event. The exhibition space itself also aligns with questions about the office space and working culture – and how our ‘time’ is constantly watched and monitored through various activities and programs.

The three academics that have been invited to curate the exhibition are:

Lisa Bryan-Brown
Nicola Scott
Tara Heffernan

You have been invited by one of the writers to partake in this exhibition.

This exhibition will open October 18 as part of BARI Festival 2014. We understand this is a short time frame, but we will provide you with install and technical assistance, as well as after hours access.

Please see the following link for some images of the space:

If you are interested could you please respond to us ASAP. Due to the tight turnaround we would like to receive a confirmation by Sunday evening at the latest. We will also be trying to contact you via phone or social media over the weekend. Please feel free to contact us on the phone numbers provided below.

If you are interested in viewing the space please contact us as we will be doing site visits over this weekend and next week.

Thank you and hope to hear from you soon.

Meagan and Jenna

Jenna Baldock and Meagan Streader

Inhouse ARI
J: 0431 301 703 | M: 0433 395 390

from: Inhouse ARI <info@inhouseari.com.au>
to: Lisa Bryan-Brown
cc: Nicola Scott, Tara Heffernan
date: Fri, Oct 10, 2014 at 1:40 PM

Hey gurrrrls – also who’s thinking about an exhibition title? any ideas?



from: Lisa Bryan-Brown
to: Inhouse ARI <info@inhouseari.com.au>
cc: Nicola Scott, Tara Heffernan
date: Fri, Oct 10, 2014 at 2:56 PM

Hey Everyone

Firstly, I’m not worried re: CC/not CC situation. Happy to come along for the email-trail ride or be updated later, in my opinion this is your guy’s call. That said, obviously if you don’t know the artists you’re contacting personally, it might be a good ‘ice breaker’ to CC us where one of us is already friendly with the artist being approached?

I know Kat was working on the club-joining project actively around a year ago, she was trying to join a Yachting club with Miriam when we spoke about it last. It was certainly something she’d begun on but I’m not sure what outcomes she has yet – but I think you could definitely enquire about the specific project to see where she’s at with it?

For titles, ugh, I’m the worst with titles, really. This is every bad thought I’ve had, here’s what I’ve got so far:

Control Logic   [software term for how users interact with programming]

Spatial Awareness

Regulatory Body / or / Regulatory Bodies   [I think this one might have potential?]


Adjustment  / or / Adjust

Authority Exertion

Exclusion Zone / or / Security Zone    [I think ‘Exclusion Zone’ might be my favourite on this list but is it too G20 specific?]

Do Not Cross

I shudder to think any wider public might see my title brainstorming, how awful. One of us had to go first I guess.


Lisa x

from: Tara Heffernan
to: Lisa Bryan-Brown, Nicola Scott
cc: Inhouse ARI <info@inhouseari.com.au>
date: Fri, Oct 10, 2014 at 3:40 PM

Hey team,

As for titles, I’m terrible at them too! But I thought maybe we could be a little tricky without being too overt.

That being said, I’m dry…

New Visibility

Secret Publicity

Delete History

(GAH so naff)

I think it would be to our benefit to consider the relationship between controlled spaces (in relation to public spaces/security/surveillance) and  the gallery space, which is, as Nicola pointed out, another public space within which not only our experience of art, but what art/artists have access and agency.

During the past week, film theorist Thomas Elsaesser has been at UQ and I’ve been attending all of his events (including a masterclass on Lars Von Trier’s Nymphomaniac! :D :D :D ). After the meeting on Wednesday, I managed to catch the end of his lecture ‘Cinema After Film: A Poetics Of Obsolescence’. I didn’t hear much of it, but what I took away was a few points on the role on the relationships between film/video art and the viewer in spite specific installation, or the inevitable cultural currency afforded to video when placed in the context of the art gallery. It’s a shame there isn’t a publicly avaliable recording of it, as I feel it touched upon a number of things relevant to anybody curating video art/video installation.

Just to reiterate Lisa’s question, how much detail about the artists/artworks do you want from us?

I feel compelled to provide more details, I think I was a big vague before. Also, in answer to your question Meagan, I’d be happy to be cced!

Understanding the time limits, I thought perhaps it would be possible to perhaps include documentation of previous works within the space. I had thought that perhaps (given how lucky we are to have a space that already has a history/inherent character) we could use the space/s in a reflexive way to consider the relationship with production/communal and monitored (yet solitary) labour. However, as excited as I am about the possibilities, do you guys think this could be too obvious and tired? Moreover, I wondered if perhaps this was overcurating!!! I realise how significantly the context impacts upon the interpretation of the work and I don’t want to steal it from the artists!

When I imaged Ruth’s work, I was thinking that an installation incorporating one of the smaller spaces (or even the second entrance!!!??? Perhaps obscuring the way out/or in) might be most suited. I had not had a particular work in mind, but thought perhaps even fragments of a previous work might suit the space/timeframe. Potentially, even documentation projected as video or images (but this is a far out idea, if it’s something Ruth would have an interest in doing. It could potentially be compromising to her work/ideas).

If Alrey or Rebecca are able to contribute, I feel that we could perhaps negotiate with them as to whether they would be interested in using video work or installation that has already been produced, or if they would like to install within the space or do something new? I know that both of them have been busy (though, I guess everybody is!!!).

Again, I had no particular work in mind for Kiah (perhaps you did, Nicola?). The work that was floating in my head when I was originally thinking about the show was an untitled video work that was presented on one of the Friday night events at Metro arts last year, curated by Anna Carluccio on behalf of Exist. As friday night at metro arts is often about works in progress, I’m not sure if this manifested as anything more (can’t find it on Kiah’s website). If I remembered it correctly, it was a video of the shadow of a male (probably the artist) masterbating. Possibly, the figure was standing behind a backlit screen to show their black silhouette. A bit of a one-liner, but I felt it was an interesting contrast between public/private and  (more so) the voyeur/exhibitionist— whether the subject wants to be seen (showing themselves on a video pleasuring themselves, like a webcam), or behind a curtain and accidentally (on purpose) having their personal pleasure projected to the outside world. A sexy kind of surveillance! But also, in relation to Nicola’s point about the roles of gender within art spaces and its role in regard to access/interest, it could also be a tongue in cheek comment on the male art star!

Okay, BYE!

All the best,


from: Inhouse ARI <info@inhouseari.com.au>
to: Tara Heffernan
cc: Lisa Bryan-Brown, Nicola Scott
date: Fri, Oct 10, 2014 at 4:11 PM

Hi Guys,

I just had the thought you guys have generated the perfect theme this project – we are self-surveilling the emails we are sending and the conversations we are having as we are aware they will go live, in a similar way that we may act differently when we are aware we are in a space with heavy surveillance. I love a good meta-narrative!

Tara and Lisa – if you would like to provide more details you are more than welcome to do so, we will be also presenting the theme and curatorial scope to the artists so their interpretation is open if you would like to have it operate in this manner. Tara, I think with your selection of Ruth was referential to her overarching practice and she operates on such a site-specific manner so I think this won’t require any direction.

Nicola – I just had a chat to Pascalle and unfortunately she has a performance out of town on the night. With this information we will now be contacting Kate Woodcroft.

We have almost finished contacting everyone and will hopefully have more news soon.

Will hopefully see you all tonight during the rounds.



Jenna Baldock and Meagan Streader

Inhouse ARI
J: 0431 301 703 | M: 0433 395 390

from: Tara Heffernan
to: Inhouse ARI <info@inhouseari.com.au>
date: Sat, Oct 11, 2014 at 6:48 PM

Hey there!

Just had an extra thought to throw out there- if we have trouble following up with any of our artists or backup artists, maybe we could ask about Louise Bennett? I was thinking back to a work you guys described her testing out a while back, which I think involved her standing on a plinth and the audience sitting one by one on a chair facing up at her, and being photographed by Louise with a camera phone. You mentioned it was a rather distressing performance to be part of, and I thought maybe it would be suited to our show if she was free and wanted to be a part!

Just a thought!
Have a good Saturday night!

from: Inhouse ARI <info@inhouseari.com.au>
to: Tara Heffernan, Nicola Scott, Lisa Bryan-Brown
date: Mon, Oct 13, 2014 at 12:17 AM

Hi girls,

So in response to the title suggestions:

We love all your suggestions! Jen and I really like CTRL + SHIFT + SPACE. A nice double layered meaning behind the collection of words/keyboard key references. On the one hand it speaks well to the concept of the office space/the working environment/the computer cubicle, etc etc, and this idea of controlling and shifting the layout and flow of large groups of people within these environments. On the other, a connection with control over limits of space and artist selection within the curatorial process of the exhibition. It’s like a perfect abbreviation for the concept and process of the show.

How does everyone else feel about this as the title for the show? We will be listing the event tomorrow so it would be good to confirm ASAP.

So far artists confirmed for the show:

Ruth McConchie
Kat Danger-Sawyer
Leena Riethmuller

We will be meeting with Caitlin tomorrow and are in conversation with Rebecca Cunningham.

It’s all coming together!! Excitement!!


Ps – I am very tired, hopefully I haven’t jumbled my words.

Jenna Baldock and Meagan Streader

Inhouse ARI
J: 0431 301 703 | M: 0433 395 390

from: Tara Heffernan
to: Inhouse ARI <info@inhouseari.com.au>, Nicola Scott, Lisa Bryan-Brown
date: Mon, Oct 13, 2014 at 7:04 AM

Hey friends,

It’s so exciting to see the list of the confirmed artists. I’m glad we have a great list together already.

CTRL + SHIFT + SPACE sounds great! However, while I do like think it works (and i know we are on a time limit!) I just wondered if maybe it was a bit net.art gimmicky?  But maybe that’s actually what we want?! It has a range of meanings, and is a little reflexive/fun (like the range of works we hope to show!).

It’s really exciting to know that things are coming together. I think the space is really going to be utilised well by the artists :D

Have a great day!

All the best,


from: Inhouse ARI <info@inhouseari.com.au>
to: Tara Heffernan
cc: Nicola Scott, Lisa Bryan-Brown
date: Mon, Oct 13, 2014 at 11:01 AM

Hi all,

Tara – I definitely get where you are coming from thinking it’s a bit tech gimmicky (I guess I kind of liked that).

I also liked “Regulatory Bodies” – it covers the concept nicely and lacks that gimmicky feeling to it, but perhaps is more obvious? I don’t mind either way – I think they could both work well.

What do you guys think?


from: Lisa Bryan-Brown
to: Inhouse ARI <info@inhouseari.com.au>, Tara Heffernan
cc: Nicola Scott
date: Mon, Oct 13, 2014 at 2:09 PM

Hey All

While I realise CRTL + SPACE + SHIFT was one of my own suggestions, I do find it a bit cringe… but with the right design and image behind it, I feel any title can look good/ sit well as a title. I feel pretty much 100% the same way about Regulatory Bodies  and every other suggestion, so I am happy to defer to yours and Meagan’s judgement. Unless Tara and Nicola feel strongly that they’d prefer Regulatory Bodies  in which case I can certainly get behind that title as well. CTRL + SPACE + SHIFT is gimmicky and annoying to type out which offends some people’s taste, Regulatory Bodies is punny which offends other people’s tastes…. Titles are hard!

I’m so glad to hear your meeting with Cait, she has emailed me saying between two trees…. is unavailable, but has suggested showing her collab with Leena Between  which I’d be super super keen to show as discussed in the space last week. She also emailed me again with a new idea to show the Torna performace (with the grey jumpers) without the sculpture component. I’d be really happy to go with whatever you guys decide at your meeting today, though I guess I’d prefer to show between if she and Leena are happy to, because it fits really tightly within the exhibition theme.

Best for your artist meetings Inhouse dudes

x Lisa

from: Inhouse ARI <info@inhouseari.com.au>
to: Tara Heffernan
cc: Nicola Scott, Lisa Bryan-Brown
date: Mon, Oct 13, 2014 at 2:20 PM

Hey Writer Dudes,

Either way sounds fantastic to us.

I understand you are busy but I was wondering if you had any thoughts on this title, Nicola? We can always shoot you a call later today.

We are enjoying our makeshift office in the space today, we even had a surprise chair delivery!



from: Nicola Scott
to: Lisa Bryan-Brown
cc: Inhouse ARI <info@inhouseari.com.au>, Tara Heffernan
date: Mon, Oct 13, 2014 at 2:26 PM

Hey guys,

I actually dig CRTL + SPACE + SHIFT or some variation of that…

I’m biased because of my horror/fascination with the spatial and psychological ecosystem of my own workplace, but I’m really into playing with fact that it’s a CBD office floor we’re showing art in. I also like acknowledging how much of the art event, like the modern office, the flow of money, so on, happens via/on the internet/technology. Space of the exhibition isn’t separate from people’s expectations of it, it’s promotion, these emails etc.  I like Regulatory Bodies too (was one chapter heading in my exegesis aha), you guys know how much I love anything vaguely resembling a pun, but I feel like that is maybe somehow a little dry despite the pun factor?

Excited to hear some of the confirmed artists. Jenna and Meagan not sure if Pascalle got back to you but she has let me know she’s already booked for a poetry reading out of Brisbane that night so unfortunately 24 hour gym is off the menu.


from: Inhouse ARI <info@inhouseari.com.au>
to: Nicola Scott
cc: Lisa Bryan-Brown, Tara Heffernan
date: Mon, Oct 13, 2014 at 2:46 PM

Ok guys! We would like to settle on a title this afternoon if possible – but don’t want to fully control your final decision.

Final call…?

Jenna Baldock and Meagan Streader

Inhouse ARI
J: 0431 301 703 | M: 0433 395 390

from: Lisa Bryan-Brown
to: Inhouse ARI <info@inhouseari.com.au>
cc: Nicola Scott, Tara Heffernan
date: Mon, Oct 13, 2014 at 2:49 PM

If we’re voting, I like Nicola’s logic and mainly I like that it was Inhouse’s first choice, so I vote CTRL + SPACE + SHIFT

I can’t wait to go to promo – have you guys hustled an image off an artist or are we going with a space shot? I want to see the invite!!

Yays to all involved x Lisa

from: Nicola Scott
to: Lisa Bryan-Brown
cc: Inhouse ARI <info@inhouseari.com.au>, Tara Heffernan
date: Mon, Oct 13, 2014 at 4:07 PM

CTRL + SPACE + SHIFT has my vote too. x

from: Inhouse ARI <info@inhouseari.com.au>
to: Nicola Scott
cc: Lisa Bryan-Brown, Tara Heffernan
date: Mon, Oct 13, 2014 at 7:36 PM

Hi Guys,

Just about to pop up the Facebook event. Meagan and I have been working on some text. Please let us know if you are happy with this or have any fix-ups.

CTRL + SHIFT + SPACE is the outcome of a recent collaborative curatorial project facilitated by Inhouse ARI. Three local writers were invited to generate a shared critical discussion surrounding relevant issues present within local artistic and cultural life. From this dialogue, each writer was asked to curate two artists that reflected the overarching conversation. CTRL + SHIFT + SPACE will present the development of the collective curatorial discussion within the context of the exhibition.

The three academics that have been invited to curate the exhibition are:

Lisa Bryan-Brown
Tara Heffernan
Nicola Scott,

Bryan-Brown, Heffernan and Scott have generated a discussion about the control of space in contemporary culture. CTRL + SHIFT + SPACE gives rise to the current political environment touching on common themes of surveillance, capitalism and security. The office location aligns with questions about the workspace and its culture, highlighting how our ‘time’ is constantly watched and monitored through various activities and programs.

I have also attached the possible Facebook image.

Please let us know what you guys think.

Nicola – I just received conformation from Catherine or Kate “I can confirm that we’re able to attend the opening in ‘Suits’. There is no ‘performance’ surrounding this work, though we do take documentation of our encounters in the suits and co-ordinate a new pair of socks and boutonniere for each outing.”

It’s all coming together!



Jenna Baldock and Meagan Streader

Inhouse ARI
J: 0431 301 703 | M: 0433 395 390

from: Lisa Bryan-Brown
to: Inhouse ARI <info@inhouseari.com.au>
cc: Nicola Scott, Tara Heffernan
date: Mon, Oct 13, 2014 at 10:03 PM

Hey all,

This sounds good, thank you so much guys for your effort on the text! It is incredible the amount of work you’re plugging into this show in a small amount of time – powerhouse pair extraordinaires

I hate to nit pick but I am a straight up syntax nazi, and in the second sentence of the second paragraph, it states that “‘CTRL + SHIFT + SPACE’ gives rise to the current political climate touching on…” – I wonder if maybe we could substitute something like ‘contemplates’ or ‘explores’ or similar so it read “‘CTRL + SHIFT + SPACE’ contemplates//considers the current political climate touching on…” – sorry, I know that’s a small edit and I feel weird presenting it, but I think it better articulates our focus.

Please let us know about install schedules? I can prob get some time off Thurs arvo and could help Sat morning if those times are helpful?


from: Nicola Scott
to: Lisa Bryan-Brown
cc: Inhouse ARI <info@inhouseari.com.au>, Tara Heffernan
date: Tue, Oct 14, 2014 at 2:36 PM

Amazing work guys, thank you! What LBB said.

I can help out nights and any time Saturday as needed? Let me know?

Hooray for CorK! I initially meant the framed photograph ‘Suits’ work but I prefer this performance/attendance for the opening – sartorial, satirical, sold. :)

from: Inhouse ARI <info@inhouseari.com.au>
to: Nicola Scott
date: Tue, Oct 14, 2014 at 4:03 PM

Hi Guys,

We fixed up the text and it’s all up on Facebook: https://www.facebook.com/events/1495916937331706/?ref=notif&notif_t=plan_user_joined

A big thank you for everyone’s input for this.

Below is a little snippet of an email from Jaclyn talking about the site manager I thought you guys might enjoy:

“A run down of events is perfect.  The only reason that he was concerned was that the building is in the area for G20 security lockdown, and he needs to let the facility manger know what’s going on.”

Either meagan or myself are going to be in the space basically all week. If you guys want to pop in and see how things are progressing or to lend a hand just call ahead.

I am getting excited for Saturday!


Jenna Baldock and Meagan Streader

Inhouse ARI
J: 0431 301 703 | M: 0433 395 390

from: Kat Sawyer
to: Nicola Scott,, info@inhouseari.com.au
date: Wed, Oct 15, 2014 at 11:07 PM

Dear Nicola, Meagan and Jenna

Wendy Clark-Hackett has been a member of the Society for Growing Australian Plants (SGAP) Ipswich branch since 1998. The Ipswich branch meets every second Tuesday of the month (except January) at the Environment Center in Queens Park.

On Saturday I saw Wendy Clark-Hackett’s name at the two day Spring Flower Show and Plant Market (Saturday & Sunday) at the Mt Coot-tha auditorium. Wendy Clark-Hackett has a diploma in horticulture and I imagine that she is pragmatic and highly opinionated.

For the exhibition I made an index of SGAP club members and affiliates. This one has Wendy Clark-Hackett’s name at the top. I always wanted to inherit a different name.

wendy clark hacket_kat danger sawyer

Wendy Clark-Hackett 2014, index and image, variably sized

For your show, I have made 4 indexes: Wendy Clark-Hackett – Tommy Spoor,  Trudy Deuce – Glenda FentonHeather Knowles – Morgan HedgesBeryl Raddatz – Liz Aiken. Each index is backed by a stolen image of an interior with domestic plants from the 1990s. The listings are factual but they have also been poeticised. My favourite grouping is from index 4: Beryl Raddatz, Keith Vagg, Alan Thy, Hardy O’Leary.

The images talk to the broader themes in your exhibition; dealing with the naming, grouping, categorisation and surveillance of people. The work is a fragment from the project selected for the exhibition, whereby I join over 100 clubs, groups and amateur societies, making observations and becoming engaged with communities different from my own. The project overall deals with the mechanisms of inclusion and exclusion in niche communities like the arts – perhaps.

I’ve attached all 4 indexes, and I give written permission to use any of the images for the publicity of this magic event. The titles are Wendy Clark-Hackett, Trudy Deuce, Heather Knowles and Beryl Raddatz. The medium information is the same as captioned above. I’m interested in your criticism and comment, particularly as the images make an anti-design statement which will challenge some viewers. They also raise a great deal of questions around authorship, copyright and personal and public information. None of the names are easy to read, but some can barely be read. Do the potential misnomers (the slips, fails and black spots) speak to the clarity and accessibility of information? Or are the works too DIY? Let me know and I could just put in a painting or something.

Watching you, watching me.




Kathryn Sawyer   


6:00 pm Thursday, October 16th
Spatial walk-through with writers Lisa Bryan-Brown and Tara Heffernan

Parties present: Jenna Baldock, Meagan Streader, Lisa Bryan-Brown and Tara Heffernan

[Jenna takes the lead on the walk-through as Meagan has been installing all day and feels under the weather]

Jenna: Over here, what we are planning on doing is that will be Leena and Callum’s collaboration. That will be projected from the back, so you won’t view that box, and opposing that will be—see how that door is screened? That will be a rear projection on to that, and that will be the collaboration between Caitlin and Leena

Meagan: And against the window there, will be Caitlin’s individual work, ‘Invisible Movements’. We have to figure it out, but we think we will build a frame and position it between the two columns. We wanted to get it out of this main space because we were thinking there were too many big screens going on, and it became overwhelming.

Jenna: It overtook the space—and the architecture of the space. It felt like you couldn’t view things at the same time.

Meagan: It blocked the space off in ways we couldn’t work with.

Jenna: I think it’s good to have one thing to navigate off…

Lisa: I actually love that you would be able to see all three at once , because I think they have a really interesting little sub-relationship going on

Meagan: And we were thinking about the sound, as well—how that would correlate and work together.

Jenna: I think it’s going to work really well, because you have this voice—this calm interview, and you have got this stalker vantage point—then you have got this methodical walking, that’s so rhythmic. I think it will really compliment each other.

Over here against the wall will be Kat’s work. It will be on a diagonal wall facing the corner—see the viewing point will be lighted in here—it’s meant to intrigue you to come in, so it’s hidden. It will also work well for the lighting and not interfere with the other projections, as it’s the only thing in the space that needs lighting.

So, we are thinking the desk will be over here, so that this space isn’t blank and it will counteract Caitlin’s work. Otherwise, this corner feels odd, and that was kind of a solution for us. So you’ll sit here, you will scroll through—it’s will be a very simple desk and with maybe a lamp on it, so there’s some light, and when you scroll through it reacts up here: projecting what you are looking at so other people can view it at the same time.

Lisa: I really like it! I like what you described, and in the email you articulated that idea of how even the person scrolling through our emails is being surveyed to a degree.

Jenna: Yeah, and it’s come up in the emails how we feel like we are being watched while writing them—that comes up a few times in the emails.

Lisa: Well, I think it’s not so much. Because, it’s funny—I was actually chatting to Leena about this, cause she mentioned you guys had said that of the emails, and she used the phrase “self-censorship”. It’s funny, because I don’t feel like I’m self-censoring; it’s just that when I have done a show before, and I am just emailing Kylie or whoever my list of titles, I’ve just put up every stupid idea I can think of in the hope that it will stir something in her, but there were ones that I culled—I was like “that’s too bad! The world cannot know that I had that thought”. And even like, in those initial lists, I was like, “what should I say about Jasmine Coleman’s practice? I know that I love her, and I know that I have looked at her work for years, but should the world know that?” I was like, “I don’t know! Maybe they should—maybe then she will come up to me with an idea and that will be great!” I think, yeah—it’s funny ‘cause it’s not ‘censoring’ as much, but I think it’s just that we know it will be seen, so you know when you put that effort in to writing a catalogue entry, and you go “I want my name to be behind this idea”, even though it’s casual writing, you need to be comfortable with your name being behind the idea, I guess? That’s what I can say about that.

Jenna: I think there are things at times, where I was a little bit like that. Usually I’m very like, “the weather today! I hope you are outside!” and stuff like that.

Lisa: YEAH, I’m certainly not going to be like “I hope you are all well!” or things like that.

Tara: Ooooh, I do that all the time.

All: (laughing)

Jenna: But I saw you cut down, too! I feel like we cut most of the pleasantries, very much like we were interacting as though we had never met in person, or something.

Meagan: I think the time constraints also impacted upon the directness of our correspondence. We needed to get things done, and had to be really to the point in each email.

Jenna: So, we have got Ruth’s and Kiah’s left.

Lisa: So, does this have audio? Or is it silent? Kiah’s, I mean.

Jenna: Just like, rustling—OH, no, it’s traffic, sorry. It’s traffic—the sound is very important, it makes the work feel public. It’s like that intimate moment, and the traffic makes it feel like it’s public. You can hear all these cars—all of these sirens.

Meagan: I don’t know if you have seen the work?

Lisa: I have not seen it, but it has been adequately described to me.

All: [laughter]

Meagan: Well, that’s what it will be.

Tara: I think it’s appropriate that it’s in here, tucked in this room, because people won’t know what they are walking into.

Jenna: It’s like the intimate little corner.

Meagan: It is, and it’s a very intimate work, in a way.

Meagan: I think Kiah’s work especially suits the space—I was saying today, I really wish I could project Kiah’s onto all of the windows. Just go nuts, and have ‘COCKRAM’ all over the sides of the building.

All: [laughter]

Jenna: And Ruth’s will be in here. So she is playing with two types of surveillance—between the two rooms. So this room will be about the idea of a stakeout. So here she is going to have a telescope set up and have food wrappers lying around and sort of set up that scene. And look! This window is perfect, because you can look straight down.

Lisa: COOL! That’s the train station, isn’t it?

Tara: OH WOW. I didn’t realise that was the train station—there’s always going to be people there.

Lisa: Mathew has a pair of binoculars and because we are really high up and you call see over a lot of the hills. He spends a lot of time looking at all of the houses – it really freaks me out – I tell him he can’t do that. He responds “I don’t see what’s bad, their window’s open, I can do it. Then he finds social media really creepy, the other night he was like “How old do think such-and-such would be” and I said “oh their and artist, it will be easy to find out – I will just google it” and he thought that was more creepy. “You look out windows all day!” he response “no that’s wholesome”

Tara: Back to the Simpsons – the old couple where he has the telescope. “ma there’s this weird looking kid over there” – that’s what it seems like to me because he’s constantly looking out

Lisa: That’s definitely it. So that one is stake out, what’s the other room?

Jenna: That one is a hacker.

Lisa: Oh, that suits the little funny room!

Jenna: I think in here she is concentrating on sound and light to highlight the obscurity of the space. I’m not too sure—it’s developing as she is going.