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Column has been produced on a bi-annual basis as a printed periodical published by Artspace. From 2013 onwards Column will be released as a digital publication that acts as a site for the critical contextualisation, elaboration and extension of Artspace's ongoing program of exhibitions, performances, residencies, and public programs, as well as providing space for response to related developments outside Artspace. The publication does not merely serve as an adjunct to an exhibition program, as an explanatory or validating device, but as an active component of the overall life of an organisation and its publics, a platform for discourse that contributes to the thinking around the intellectual, artistic and social practices explored in various ways at Artspace.
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Year of PublicationImage of PublicationTitleISBN / ISSNPagesDimensions (mm) ( w x h x d)Hard/soft coverEditorsContributorsInformation
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2012
Column 10ISSN 1835 3487 / ISBN 978 1 920781 50 7144150 x 210softMark Feary & Blair French Andrea Bell, Edward Colless, Mark Feary, Blair French, Shane Haseman, Lisa Havilah, Ranjit Hoskote, Kate MacNeill, Anne Marsh, Fiona McGregor and Edward ScheerAs Column reaches double-figures in terms of issues, and five years of publishing, we are breaking one of the rules that we set ourselves at the point of its inception. Up to this point, the writing on Artspace exhibition projects featured in Column — and critical texts are commissioned and published in relation to all Artspace exhibition projects, whether in Column or artist monographs — has been written and published subsequent to the exhibition. That is, Column has provided, and indeed will continue to provide, a platform for bringing together considered critical reflections upon exhibition projects based in an experience of their material form and temporal character as installations. This issue of Column has been published parallel to and in accompaniment of a major Artspace gallery project, Everything Falls Apart, an exhibition in two parts that brings together a selection of work occasioned by and/or examining the collapse of ideological and political systems. This special Everything Falls Apart section covers the work of artists in both parts, Part I: Alessandro Balteo Yazbeck in collboration with Media Farzin, Jem Cohen, Phil Collins, Sarah Goffman, Sarah Morris; and in part Part II: Vernon Ah Kee, Zanny Begg & Oliver Ressler, Jem Cohen, Tony Garifalakis, Merata Mita.

It seems appropriate then to publish Column 10 in association and concurrent with the exhibition, bringing interpretative material to the experience of the exhibition itself; locating that experience of the exhibition within the context of our ongoing program, represented in the publication by texts on other recent key curatorial projects at Artspace and major solo works by artists as diverse as Praneet Soi, Fiona McGregor, Alex Martinis Roe, Alex Gawronski, Kate Mitchell, Khaled Sabsabi and Adam Geczy; as well as essays examining two group exhibitions: Nothing Like Performance (Matthew Bradley, Lauren Brincat, Brown Council, Paul Donald, Will French, Yiorgos Zafiriou) and The Other's Other (Newell Harry, Raafat Ishak, Dinh Q Lê, Sangeeta Sandrasegar, Jun Yang).
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2012
Column 9 Burn what you cannot steal978 1 92078 49 1104150 x 210softReuben KeehanEmma Bugden, Kyongfa Che, Bec Dean, Anthony Gardner, Lily Hibberd, Reuben Keehan, Heejin Kim, Anneke Jaspers, Sean Lowry and Laura PrestonBurn what you cannot steal expands upon ideas emerging from a major exhibition of the same title curated by Reuben Keehan at the invitation of curatorial collective What, How & for Whom (WHW) for Galerija Nova, Zagreb, Croatia. Featuring the work of artists Brook Andrew, Alicia Frankovich, Deborah Kelly, Minouk Lim, Daniel Malone and Hiroharu Mori, the exhibition proposed the readymade as an unsurpassable horizon of the art of our time, but also as a sign functioning within a distinctly Euro-American canon, that system of legitimations under which the supposedly global art world continues to operate.

Burn what you cannot steal — both exhibition and book — evolved from a series of artistic and curatorial collaborations and occasions in Australia, Asia and Europe. Most notable was the exhibition From Blank Pages: Eight Artistic Propositions in the Time of Catastrophe, curated by Heejin Kim for Art Space Pool, Seoul, Korea, in collaboration with Reuben Keehan and also featuring the work of Brook Andrew, Alicia Frankovich, Deborah Kelly and Minouk Lim alongside that of Jung Yoon Suk, Donghee Koo, Bona Park and Rho Jae Oon. From Blank Pages questioned the role and capacities of art in dealing with such abstract social and mental spaces as panic, uncertainty and paralysis, through the reconsideration of these states as ‘blank pages’ by the poet Su-Young Kim (1921-68).
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2011
Column 81835–3487176150 x 210softMark Feary & Blair FrenchLiv Barrett, Andrew Benjamin, Natasha Bullock, Mark Feary, Felicity Fenner, Blair French, Alex Gawronski, Adam Geczy, Anneke Jaspers, Reuben Keehan, Jennifer A. McMahon, David McNeill, Melanie Oliver, Mark Parfitt, Russell Storer, and Rhonda Weppler & Trevor MahovskyWithin this issue of Column the featured writers critically respond to the risks taken by the artists involved in the Artspace gallery program, broadly encompassing some of the various exhibitions and activities from October 2010 until September 2011. Within many of the texts are questions of context and role that the gallery might perform within considerations of the recontextualisation and decontextualisation of specific histories and narratives. Some of the ideas emerging out of and responding to the gallery projects reflect upon the specificities and conditions of place and how one operates within and in reaction to such determinants. These range from Anneke Jasper’s consideration of Eastern Seaboard with its resituating of a number of artist-run initiatives from Australia’s eastern cities, through to Alex Gawronski’s response to Michael Goldberg’s post-apocalyptical archeological site excavated from behind Artspace. Column 8 also features a special series of texts by Blair French, Adam Geczy, Andrew Benjamin, David McNeill and Jennifer A. McMahon who participated in the ‘Mirrors, Doubles, Shadows, Caves: Plato and Contemporary Art’ symposium presented by Artspace in August 2011 in advance of Düsseldorf-based artist Mischa Kuball’s project Platon’s Mirror.
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2011
Column 7: NEW IMAGING Transdisciplinary strategies for art beyond the new mediaISSN 1835-3487
92150 x 210softSu Baker, Melanie Oliver and Paul ThomasDarryn Ansted, Lucia Ayala and Jaime E. Forero-Romero, Justin Clemens and Adam Nash, Kathy Cleland, Edward Colless, Andrew Frost, Stephen Little, Leon Marvell, Ann Ring Petersen and Mitchell WhitelawThis issue of Column, New Imaging: Transdisciplinary strategies for art beyond new media, investigates a profound shift occurring in our understanding of postmodern media culture. Since the turn of the millennium the emphasis on mediation as technology and as aesthetic idiom has become increasingly normative and doctrinaire. Mediation and the new media arts have in fact become the new medium of critical and pedagogical discourse. The essays collected here propose a remediated apprehension of the image: an active image and activity of imaging beyond the boundaries of disciplinary definition, but also altering the relations of intermedia aesthetics and interdisciplinary pedagogy.
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2010
Column 61835-348795150 x 210softReuben Keehan & Melanie OliverPaula Abood, Bec Dean, Simon Denny, Blair French, Adam Geczy, Sean Lowry, Jai McKenzie, Andrew McNamara, Deborah Pollard, Sean Rafferty, Justene Williams, Danni Zuvela.Listening, speaking and performing are the threads that bind the works and texts platformed in issue 6 of Column, covering Artspace’s artistic program of January to September 2010. Beginning with Sean Lowry’s timely observations on the relationship between music and visually centred cultural formations, Column 6 follows the voice as it makes itself heard across works by Tony Birch & Tom Nicholson, Tamar Guimarães, Sam James, Ms & Mr, Jayce Salloum, Sam Smith and Wilkins Hill. The issue also sees greater priority given to artist pageworks as a means of expanding the possible uses of the publication, with the contribution of significant projects by Simon Denny, Sean Rafferty and Justene Williams on logic, mapping and spanglemachine makers.

Column is a bi-annual periodical that acts as a site for the critical contextualisation, elaboration and extension of Artspace’s ongoing program of exhibitions, performances, residencies and public programs.
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2010
Column 5
ISSN 1835-3487
175150 x 210softReuben KeehanChristopher Braddock, Rex Butler, John Conomos, Rebbecca Conroy, Leonhard Emmerling, Blair French, Anthony Gardner, Alex Gawronski, Lily Hibberd , Anneke Jaspers, Reuben Keehan, Lizzie Muller, Terry Smith, What, How & for Whom, You Are Here. This issue of Column covers a particularly active period for Artspace, encompassing much of 2009 and the early part of 2010. It includes essays related to the three discussion events facilitated over this time as well as the exhibition programs, colour documentation of projects and an extended section on the exhibition Imprint. Across the sixteen texts, two threads of analysis can be discerned: the question of the autonomy of art as distinct from other fields of activity and the political autonomy of the art worker. Collectively the writers propose a thinking that runs counter to ideology, embracing memory, processes of historical retrieval and enactment, and challenges to dominant epistemologies. They are thought experiments made public, movements toward realising the political potential of art and writing, to reflect on, and to compel, action in the world.
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2009
Column 4: Spaces of ArtISBN 978-1-920781-42-2 /ISSN 1835-3487128150 x 210softReuben KeehanNina Möntmann, Anthony Gardner, Lee Weng Choy, Heejin Kim, Emma Bugden, Isabell Lorey, Alex Baker, Gerald Raunig, Ade Darmawan, David Pestorius, David Cross, Art of Engagement, Jasmin Stephens, Hannah Mathews, Laura Preston, Simon Maidment, Thomas J Berghuis, Lily Hibberd.Spaces of Art: institutional and post-institutional practices in contemporary art engages questions crucial to the future of art institutions and their relationship to contemporary practice in the 21st century. Exploring issues underpinning some of the key curatorial trajectories of the past decade, conditions informing collective production and individual labour, and the shifting relationship of artists, curators, critics and cultural producers toward working within and outside of institutions, Spaces of Art presents concrete discursive contexts and speculative propositions for a range of ongoing experimental practices in Australia, the Asia-Pacific and beyond.
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2009
Column 3ISSN 1835 3487192150 x 210softReuben Keehan Sean Lowry, Gary Pearson, Blair French, Brad Buckley, Laura Preston, Alex Gawronski, Blair French, Sarah Hetherington, Reuben KeehanThe third issue of Column provides the platform for greater critical focus on a series of exhibition, residency, performance and discourse projects held at Artspace over the period September 2008 to April 2009. Column 3 features extensive commentary and documentation of the two iterations of Artspace's major institutional collaboration with Tokyo Wonder Site, Diorama of the City and Between Site & Space; the international group exhibition Point of Origin and its accompanying symposium aesthetics, anti-aesthetics, non-aesthetics, new aesthetics; and the presentation of four artists' moving image works in Event, with focus on a project developed in residence by Finnish artist Elena Näsänen. This issue also includes two accounts of the work of Bruce Barber and the survey exhibition that encompassed four decades of his practice, as well as an in-depth interview with the artist; documentation of Artspace 24/25, reflecting on the 25th anniversary of Artspace as an exhibiting organisation through 24 one-hour exhibition and performance projects; and a full colour pagework project by Richard Maloy.
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2008
Column 2: 2008 Biennale of Sydney Critical ResponseISSN 1835 3487168150 x 210softBlair French & Reuben Keehan (editors)Jacqueline Millner, Zanny Begg, Christina Barton, Susan Best, Philip Brophy, Bec Dean, Anthony Gardner, Frazer Ward, Charlotte Day, Ewen McDonald, Christine Morrow, Alex Gawronski, Reuben Keehan, Ainslie Murray, Caleb Kelly, Sharon ChinIn response to each Biennale of Sydney since 1998, Artspace has commissioned a range of critics, curators and theorists to interrogate and engage with the curatorial framework informing the exhibition, as well as with the practices of the contributing artists, thinkers and performers. On each occasion, writers have been given a week to submit a substantial, fluidly discursive paper quickly brought together and published in a reader format then inserted back into the public sphere to act as a generator of and focal point for sustained critical discussion of the Biennale in its local, regional and global contexts. Column 2 provides the platform for such engagement with the 2008 Biennale of Sydney, accompanying quick response texts by Christina Barton, Susan Best, Philip Brophy, Bec Dean and Anthony Gardner with sustained contextual analysis by Jacqueline Millner and an interview with the biennale's Artistic Director, Carolyn Christov-Bakargiev. This special issue also features documentation and discussion of Artspace's artistic program over the period November 2007 to June 2008, with full-colour pagework projects by artists Geoff Kleem and Julia Gorman.
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2008
Column 1ISSN 1835 3487184150 x 210softReuben Keehan (editor)Russell Storer, Anneke Jaspers, Tanya Peterson, Marcel Bénabou, John Potts, Andreas Ströhl, David Teh, Gina Fairley, Alex Gawronski, Tara D'cruz-Noble, Sean Lowry, Reuben Keehan, Dougal Phillips, Blair French, Natasha Bullock, Susan Best, Edward Scheer, Thomas J BerghuiColumn 1 is the first issue of a bi-annual periodical published by Artspace, intended to serve as a site for the critical contextualisation, elaboration and extension of Artspace's ongoing program of exhibitions, performances, residencies, and public programs, as well as providing space for response to related developments outside Artspace. The publication is intended not merely as an adjunct to an exhibition program, as an explanatory or validating device, but as an active component of the overall life of an organisation and its publics, a platform for discourse that contributes to the thinking around the intellectual, artistic and social practices explored in various ways at Artspace. Edited by Reuben Keehan, Column 1 features documentation and discussion of Artspace's gallery program over the period February to October 2007, alongside selected symposium papers, commissioned writing and a special full colour artists' pageworks project marking the first decade of the Helen Lempriere Travelling Art Scholarship.