BCC
Curated by Dan Bourke, Grace Connors & Mia Palmer-VerevisPhotos by Sebastian Kainey
Featuring work by Angus Bowskill, Reece Cahill, Cass Lynch & Mei Swan Lim, Ella Valentine, Gemma Weston, and Clare Wohlnick, with a text by Liz Smith.
Considering the tensions between acts of connection and indicators of distance, the exhibition takes its title from the blind carbon copy—a familiar email function that quietly extends a conversation beyond its visible recipients—positioned here as a form of distribution rather than secrecy, working to introduce individuals in the same networks who may not yet know each other.
A group show organised by one artist-run initiative in Boorloo/Perth materialises in another in Naarm/Melbourne. In place of artists traversing physical space for this exhibition, the artworks travel instead via email, where JPGs and PDFs become digital prints, MP4s appear on borrowed TV screens, and text instructions are interpreted to create physical objects.
The works in BCC examine subjects such as extractive industries, attention economies, deep memory and climate change, translation and comprehension, and the increasingly unstable boundaries between online and offline life. Diverse in form and approach, these artworks engage systems of transference, mediation, circulation, and transformation. They reflect on how information and meaning move through contemporary networks, and how those movements shape our relationships with the world.
Read Liz Smith’s exhibition essay here
Photos: Sebastian Kainey
This exhibition took place on the stolen land of the Wurundjeri and Boon Wurrung people of the Kulin Nation. We offer our respect to their Elders, past, present, and
emerging, and to all Australian First Nations people. Sovereignty was never ceded.