26 May 2016
The IMA’s current exhibition Frontier Imaginaries: No Longer at Ease features two collaborative drawing series from writer/artist, poet and researcher Rachel O’Reilly’s ongoing project The Gas Imaginary (2011-). While in Australia, O’Reilly will discuss this project in more detail in a free lecture at the IMA.
The first series—The Gas Imaginary (2014)—traces the difference between the modernist imagination of underground mining versus contemporary fracking regimes. The second series—Gladstone, Post-pastoral (2016)— has been commissioned for the Brisbane launch of Frontier Imaginaries. It gives a deep time and horizontal social image to the privatised drama of approvals surrounding the expansion of the port of Gladstone into a gas export hub for Queensland.
Despite traversing World Heritage Protected and UNESCO-listed terrain, the LNG developments and dredging were made possible through legal innovations and special economic zonings. Environmental Impact Assessments of the infrastructure itself have since been proven to have lacked ‘critical information’ on groundwater and well locations, while the process of approval has been subjected to a 2015 Federal Senate Inquiry.
Both series have been produced in collaboration with PALACE architects (Valle Medina and Ben Reynolds) and artist Rodrigo Hernandez.
Born in Gladstone and based in Berlin, Rachel O’Reilly is a poet, critic, independent curator and researcher. Her work explores relationships between art and situated cultural practice, media and psychoanalysis, aesthetic philosophy and political economy. From 2004-08 she was a curator of film, video and new media at the Gallery of Modern Art, Brisbane. She has a background in comparative literature, and a Master (Cum Laude) in Media and Culture from the University of Amsterdam. Rachel is part of the How to Do Things With Theory program at the Dutch Art Institute. From 2013-14 she was a researcher in residence of the Jan van Eyck Academie, NL. Her critical writing has been published by Cambridge Scholars Press, MIT Press, and Postcolonial Studies and in collaborative criticism e-books by the V2 Institute for Unstable Media, Rotterdam.