PUBLIC PLATFORM | EDITED BY SARAH JONES
A LONG LINE (CURRENTS)
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Monday 9.00am - 5.00pm
Tuesday 9.00am - 5.00pm
Wednesday 9.00am - 5.00pm
Thursday 9.00am - 5.00pm
Friday 9.00am - 5.00pm
Saturday 10.00am - 3.00pm
Sunday closed
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For the CURRENTS exhibition, Gallery One is darkly-lit to accommodate screen and projection works. Gallery Two is lit by daylight, and accessible via stairs or elevator.
Platform Arts is wheelchair-accessible via our Gheringhap St entrance. Unlocked, accessible bathrooms are available on both ground and first floors.
For accessibility enquiries, please directly contact us at hello@platformarts.org.au
Please note, Platform Arts is a dry venue.
A Long Line is the first in a series of readers generated by Public Platform, a research community currently connected through Platform Arts.
A long line hopes to entangle a selection of oceanic works and practices via a collation of fragments. These fragments by contributors Aarti Sunder, Fiona Hillary, Maria Mercedes Salgado, Seokwoo Lee & Lowell Bautista, Ben Burtenshaw and Georgia Nowak are here not only to direct us back to the complex beginnings from which they are quoted but also to be read down the line - as if caught against one another along a vector of space-time that attends to a collision of ideas, here, now and into our collective future.
A Long Line was published by Public Platform to coincide with the opening of the CURRENTS exhibition.
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Public Platform works through expanded modes of publishing to intervene, speculate and connect; creating new publics amidst its growing community of artists and multiplying in the invisible collisions of its as yet, unknown readership.
Public Platform responds to Platform Arts’ call for provocation, interruption, and intervention as core to the production of contemporary art. It is a research initiative that works through expanded modes of publishing and temporary public art, to interrupt, imagine, extend and document. Equally, as a live archiving project it takes public space and publication as simultaneous sites for intervention and speculation, creating its own public in the invisible collisions of the readers it collects.
