Extending upon the core global exhibition program, Project Anywhere also hosted a series of biennial New York City based conferences, Melbourne based symposia, and published responses. All these extraordinary events and publications were co-convened and co-edited by Prof Simone Douglas (Parsons School of Design, The New School) and A/Prof Sean Lowry (University of Melbourne).

Many of the ideas underpinning Project Anywhere’s radical rethinking of art at the outermost limits of location specificity are discussed at length in the 2022 Routledge publication Where is art?, which was edited by Project Anywhere Editorial Committee members Simone Douglas, Adam Geczy and Sean Lowry.


Project Anywhere is a vehicle for illuminating the existence of art potentially located anywhere on earth.


 A free one-day symposium event exploring art at the outermost limits of location-specificity


Publication featuring contributions from presenters at our 2018 biennial conference. 


 A free one-day symposium event exploring art at the outermost limits of location-specificity


Art at the outermost limits of location specificity


Publication featuring contributions from presenters at our 2016 biennial conference. 


Conference held at School of Art, Media, and Technology at Parsons School of Design, The New School, New York, NY, November 17-18, 2016


Publication featuring contributions from presenters at our 2014 biennial conference.


The first of our biennial conference events was hosted by the School of Art, Media, and Technology Parsons The New School for Design in New York on November 13 and 14, 2014.



Anywhere iv, Centre of Visual Art, University of Melbourne; Project Anywhere; and Parsons Fine Arts, School of Art, Media and Technology, Parsons The New School for Design. Design by Ella Egidy ISBN: 978-0-6487354-1-0

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Project Anywhere is a vehicle for illuminating the existence of art potentially located anywhere on earth. Using a peer reviewed global exhibition model and dedicated website, it is specifically designed to evaluate and promote artistic projects presented outside traditional exhibition spaces and circuits. A key feature of Project Anywhere’s innovative evaluation model is the substitution of the figure of curator with a democratizing blind peer evaluation system. Significantly, this peer evaluation model differs substantially from traditional research evaluation systems, which typically endorse the quality of project “outcomes”. Instead, by emphasizing evaluation at the proposal stage, our double-blind peer review process privileges speculation, discursive thinking and risk-taking over project “realisation”. Representations of projects hosted as part of Project Anywhere’s global exhibition program are featured on the homepage for one year, updated throughout the hosting period, and then made permanently accessible in the exhibition archive.

Project Anywhere accepts both individual and collaborative proposals from artists, curators and researchers working anywhere in the world. Projects can be highly speculative or discursive in nature and can extend or contradict existing methodologies. Project Anywhere affords independent validation, feedback, and international dissemination across a range of platforms for art and artistic research at the outermost limits of location-specificity.

At the cessation of the Project Anywhere annual global exhibition hosting period, all selected contributors are invited to develop a short page-based response. These responses are then presented in our biennial publication Anywhere. All the contributions featured in this edited publication have been developed in response to artistic projects originally selected for inclusion in Project Anywhere’s 2019 and 2020 exhibition programs. The contributing artists, curators and researchers were all invited to develop a text/image piece that is neither straightforward documentation nor scholarly text. We are delighted to share these extraordinary ‘re-imaginings’ in this our fourth issue of Anywhere, and the second designed by Ella Egidy. Acknowledging that it is not possible to wholly explain or describe an artistic project, the contributions featured in Anywhere iv should instead be seen as alternative portals into their respective worlds.



An online symposium exploring art at the outermost limits of location-specificity

Today, much artistic activity takes place outside traditional exhibition circuits and is variously characterised by where and when it is situated. Many of these artistic activities are more concerned with events, actions, sites, relations and processes than with the display of discretely exhibited objects. Indeed, given that some contemporary artistic projects manifest as radically spatially diffused distributions of elements, artists and audiences alike face significant challenges when presenting, disseminating and evaluating work of this kind. This online symposium will explore various ways in which artistic projects located outside conventional exhibition contexts and programming schedules are represented and evaluated. Comprising a series of presentations, performances and discussions featuring the work of artists, curators and other creative practitioners working outside established exhibition formats, this event will explore art at the outermost limits of location-specificity.


Curated by Simone Douglas (Parsons School of Design, The New School, New York City) and Sean Lowry (Victorian College of the Arts, Faculty of Fine Art and Music, The University of Melbourne) as part of an ongoing partnership between the Centre of Visual Art (University of Melbourne) and the School of Art, Media and Technology at Parsons (Parsons School of Design, The New School). Douglas and Lowry have been collaborating since 2014 across a series of international conferences, symposia and publications dedicated to publicly connecting diverse artistic activities taking place outside traditional exhibition circuits.


Art Anywhere? 2020 was originally organised as a live event accompanying the launch of Project Anywhere’s 2020 Global Exhibition Program, and later postponed due to COVID-19. It was then transformed into an innovative online event consisting of 4 short  panels of approximately one hour each, together with responses from the chairs and discussion.


*Indicates that project was blind peer reviewed for inclusion in Project Anywhere’s 2020 Global Exhibition Program (all other presentations by invitation).


NOURISH – Panel 1 | May 19, 2020

10.00am                     Susie Quillinan—HAWAPI*

10.45am                     Tania Blackwell—A Guide to Remembering: The Colonial Amnesia Project*

10.15am                      Lauren Gower—Growing Communities: Plants, People and Restorative Practice

10.30am                     Elizabeth Presa—Muckleford Garden

11.00am                    Panel Discussion | Chair—Raafat Ishak


DISAVOWAL – Panel 2 | May 20, 2020

12.15pm                     Seol Park—American Landscape(s) AR (2019)*

12.30pm                    Scotty So—Scarlett on Display

12.00noon                Kiron Robinson—If you want my mind you can take my pain as well (the Crawling Man Project)

12.45pm                    Panel Discussion | Chair—Cate Consandine


ELSEWHERE – Panel 3 | May 21, 2020

2.15pm                     Edward Colless—Pointlessness

2.30pm                    Sarah Rudledge— Between Here and There 

2.45pm                    Francis Carmody—Hat project: Lost and Found Recovery

3.00pm                    Panel Discussion | Chair—Kim Donaldson


VENTURING – Panel 4 | May 22, 2020

3.45pm                     Jonas (J) Magnusson and Cecilia Grönberg—Fieldwork and locality in an expanded book

4.00pm                    Siri Lee— ZÀO: A History of Chinese Dishcourse through Famine and Revolution*

4.15pm                     David Cross—Eclipse

4.30pm                     Anthony McInneny, Beatriz Maturana Cossio and Ricardo Brodsky Baudet—Crossways. The Bridge as Readymade*

4.45pm                     Chelsea Coon— Performance as Fault Line

5.00pm                     Panel Discussion | Chair— Simone Slee





HAWAPI is an independent cultural association that takes interdisciplinary artists to specific locations to conduct research and produce interventions in public space. These encuentros take place in sites that are impacted by, and representative of, particular social, political, economic and environmental tensions. Providing artists with the opportunity to work in these contexts compels them to grapple with the complexities of place, in order to better understand critical regional issues. After the encuentro, HAWAPI creates opportunities for the artists to share their insights with the established contemporary art community in the form of public exhibitions, events, publications and conversations. For the Art Anywhere? 2020 symposium, co-director of HAWAPI Susie Quillinan will present a brief overview of the seven previous editions of the project in Peru and Colombia, in addition to the dynamics of location specificity, production and presentation.

Susie Quillinan works across exhibition making, residency design, education and publishing to explore how we think, organise learning and develop modes of making. Quillinan’s research explores experimental study and research methods in art and curatorial practice, artist made infrastructures and weaving as methodology. She has developed curatorial programming, editorial projects and study programmes in Lima, New York, Berlin, Bogotá and Mexico City. Quillinan is currently co-director of HAWAPI, program manager of Transart Institute’s MFA program and candidate in the PhD – Curatorial Practice program at MADA, Monash. She is based in Lima, Peru.


 A guide to remembering – the colonial amnesia project presents a new landscape memorial typology, derived through social exchange and collective encounters. Through the lens of a thief and a perpetrator on unceded lands, this Project Anywhere iteration is based in Bothwell, Tasmania. This project follows the familial links and history of the Black Line (1830) and the Black War (1823–1831) during colonial invasion. The act of remembering these atrocities is prompted through a methodology of poetic provocations, disrupting colonial comfort through acknowledgement of the dark history that took place in this region. Thus, this work is purposed as an affront to colonial amnesia. During an artist residency in September 2020, the Bothwell community will be invited to participate in this project, immersing in the narratives of place and contributing to a new assemblage of memory. Through participating and engaging in the project and its ‘poetic provocations’ (as a tool for remembering), a deeper experience of memorialisation is offered to those who participate. It is through participatory practice that knowledge and truth telling will resonate on a far deeper level than a physical memorial space. This new intangible memorial typology can then transcend beyond time and place, being a Project Anywhere that brings the act of remembering to the forefront of our being.

Tania Blackwell is a Tasmanian born; Melbourne based interdisciplinary artist.  She holds a Bachelor of Arts (Fine Art) with Honours, RMIT University 2002 and a Masters of Landscape Architecture Melbourne University 2018. Intangible cultural heritage, memory, darkness and haunting in landscapes are recurring themes in her creative practice and research. These narratives are explored through mapping, installations, photography, writing and exchange. Most recent achievements include; recipient, Steve Calhoun Research Scholarship, Melbourne University 2016; Invited speaker Places of Memory, Intangible Cultural Heritage for ICOMOS, Florence, 2017; and Trauma-scapes and the Aesthetics of Darkness – Tasmanian Landscapes, Island Dynamics Conference, Svalbard, Norway 2019.


One of Gower’s ongoing responses to living in Kulin country as a trawlwoolway woman is to restore (her) front yard into a plant community, with a focus on species of the plains grasslands plant community of Melbourne. This project is both a decolonising act and a relational practice, comprising a growing number of sites and people as it moves in and out of the gallery and across state and First Nations boundaries. In this presentation, she will map this restorative project’s trajectories and reflect upon plants as sovereign beings that have the capacity to restore our relationships to place and to each other.

Lauren Gower belongs to the trawlwoolway people of tebrakunna country in northeast Tasmania, and currently lives in unceded Kulin country in Melbourne. Lauren works in the role of Tutor in Indigenous Arts and Culture at the Wilin Centre for Indigenous Arts and Culture, University of Melbourne. Lauren’s research and creative practice focus on poetic, performative and participatory engagements with country that centre First Nations ways of being, doing and knowing.


In 2018, Presa bought 22 acres of land adjacent to state forest on the traditional land of the Dja Dja Wurrung people in central Victoria. A commissioned environmental report listing the Indigenous and non-Indigenous species serves as an initial guide for rehabilitating this land. Yet as she travelled -most recently to Shangri-La, bordering Tibet and Emily Dickinson’s historic garden in Amherst- she wondered what it means to “dwell authentically” (using Heidegger’s term) in land brutally taken from its original inhabitants, and what role art might have in healing and reparation? Thus, she turned to gardens.   Might a garden become the “Bridge” in Heidegger’s concept of the four-fold: “that gathers to itself in its own way earth and sky, divinities and mortals”? Following Luce Irigaray’s thought, might dwelling be characterised as a constant striving in relation to Eros? In fidelity to these thinkers, she dreams of, devises, plans and starts to construct a garden – for the sky, the gods and the cosmos, and to the earth, its mineral elements and creatures.  This presentation is an account of a process of making; still in its infancy, it is offered in acknowledgment of the traditional custodians, their knowledge systems and the life they sustain.

Elizabeth Presa is an artist and lecturer at the VCA. She was Head of the Interdisciplinary Centre for Ideas at the VCA from 2003-2018, prior to that she taught in the Sculpture Department of the VCA.  In 2019 she was visiting artist and professor at The Central Academy of Fine Art in Beijing, and at Minzu University for the Ethnic minorities Beijing; and visiting Researcher at Amherst College MA.


If you want my mind you can take my pain as well (the crawling man project) is a 3D modelled version of the artist crawling through a grey Cartesian plane. This facsimile is programmed to crawl for 38 years, after which he will die. Artificial Intelligence predicts that the artist will live for 38 more years and then I die. Fuck you AI, he says. Two can play at that game. The modelled version of the artist is his digital familiar. It exists to take his pain, humiliation and suffering and hopefully die in his stead. If you want … speculates upon relationships between time and life. At this point in the artist’s life, he is interested in humiliation. If he can claim it, he might avoid it.

Kiron Robinson is a practising visual artist and Lecturer in Art at the Victorian College of the Arts, based in the Photography studio. Robinson utilises a range of material strategies to interrogate doubt, faith and belief capabilities as constructive devices.  He believes in working in groups as long as you know who is in charge, repeating yourself again and again and again and has a passing interest in scout halls.


American landscape(s) AR (2019) is an independent augmented reality (AR) production by Seol Park. It engages the public in viewing museum artefacts overlaid with digital content -text, imagery, audio, and video- visible only through a mobile AR app. Park’s digital compositions augment three iconic 19C paintings by American masters in the Metropolitan Museum of Art’s collection, presented in situ across three galleries in the museum’s American Wing. Park’s work addresses themes of migration, cross-cultural dimension, Romanticism, Realism/reality, landscape painting traditions, and digital technology. Park’s composition captures the artist’s impression of America’s national landscape today: a view of the country caught between preserving a Romantic notion of its national identity while embracing multiculturalism. The AR collage imagery of present-day American challenges adds dimension to these “quintessentially American” views, resembling the way immigrants come to America and build upon the country’s foundations. The work’s methodology proposes an in-museum AR experience that 1) presents interdisciplinary content while leaving zero physical footprint, 2) directs traffic to less-popular historical galleries in particular, 3) deepens the public’s interaction with on-site content, in contrast to existing methodologies in which engagement between visitors and museum exhibits remains largely passive.

Seol Park is an artist and cultural producer exploring society’s evolving relationship with technology, with particular interest in mobile interaction. She has been quoted in Interaction Design journals, presented augmented reality art internationally, won Special Project Commission from the 2018 Lorne Sculpture Biennale, and has worked with INTEL, Microsoft and other companies in art collaboration advisory capacities. Park earned a BA in Interaction Design in Seoul, Korea, and moved to the U.S. in 2006 to join the San Francisco headquarters of a leading design firm Landor. She furthered her studies in art history and material culture through her MA degree studies at Sotheby’s Institute New York and has since established her studio practice in NYC.


Scarlett on display explores relationships between authenticity and authority through a series of “culture-jamming” incursions into the world of Wikipedia using a performative drag persona. Significantly, after the artist reverse-image searched some of these incursions, he discovered that some images were being used uncritically by international news agencies and scholars.

Scotty So works across media, using painting, photography, site-responsive installation, video and performance to explore the often-contradictory relationship between humour and sincerity within lived experience. Born and raised in Hong Kong, So graduated BFA Honours at the Victorian College of the Arts with First Class Honours in Melbourne, Australia, 2019. So’s work has been displayed in two solo and several group shows, including exhibitions in Hong Kong, Greater China and Australia.



“Punctuality” is the virtue of being on time, which also carries the meaning of arriving at an expected location. The etymology of “punctual” includes the spatial dimension as a target that is punctured, pricked, penetrated by being “on the dot”. Also, one punctuates a remark by pointing, which gives one’s remark direction (a gesture that can be ostensive or rhetorical). When our travel (across the world or just to work across town) and the motion of the clock’s hands rendezvous as intended, life has a point. A sort of efficient copulation. Unpunctuality on the other hand, as a contingency of busy or lazy life, is a mundane inconvenience. But what happens when this drift away from any point becomes extreme—so remote that it’s unworldly? I arrived on time in Reykjavik, but sat forsaken, alone in a room quarantined by a hurricane, listening to 200 kph winds clawing at the building fabric outside. I was waiting, it turned out, for nothing. For a rendezvous long cancelled on me. I started writing—artfully I’d hoped—about this limbo of aloneness, which I eventually realised had no point to it. I started writing about the pathology of pointlessness (pointless waiting: which is an endurance task; or pointless activity: which is frustrating and becomes a complaint against loss of value); then about its aetiology (the origin of a lingering occupation of being pointless). The former induces resentment but also dogged persistence, the latter inexorably leads towards suicide—but ironically as a restoration of pointedness and an ultimate punctuality to a lost life. I had travelled a long way to not get very far. But that’s what happens in quarantine, a condition that is becoming universal now as we wait out our condition (viral, meteorological, ontological), to see what symptoms will or won’t show and whether we will survive it. A forensic but pointless art of being in limbo, anywhere.

Edward Colless. To his surprise, Edward Colless is still employed teaching critical studies at the VCA. As editor of the rebooted Art+Australia journal he has, unsurprisingly, been told he’s made this venerable journal unreadable and unrecognizable. In addition to various fields of university teaching, he has worked professionally if inconsequentially in architecture, theatre, cinema, curating, broadcasting and journalism. He writes whenever he can, mainly on art to earn a living but also travel, fiction, verse and is increasingly indulging in arcana—art historical marginalia, outsider science, theological heresies—which leaves him increasingly isolated from any readership and unlikely of earning a living.


When making artworks that exist in multiple times and places, the question arises: where is the site of the work? How can works that begin in response to specific physical sites ‘live-on’ after the event and become more than documentation? Looking at selected pieces from a recent residency in Japan, this presentation explores some of the relational, temporal and ethical considerations when locating work both here and elsewhere.  In its post-residency state, fragments comprising text, image, sound and textile come together in the studio/gallery as an important but necessarily insufficient means of keeping the project in a state of flow. This open-endedness and continual expansion of material manifestations investigates the relational space between the physical site and every other possible configuration. Detours, delays, poor translations and fictionalisations provide a productive ambiguity from which to speculate on some of the ways meaning is made and carried between one place and another.

Sarah Rudledge (b. Sydney, Australia) is a visual artist based in Melbourne. Her dream is to be in more than one place at a time in some knowable way. Short of this she investigates the relationship between site orientated artworks and their afterlife (manifestations in the studio/gallery), and what these shifting contexts can say about the longevity and multiple potential meanings of any given project.


Hat project: lost and found recovery (2019) follows the acquisition of fifteen hats from Public Transport Victoria’s ‘Lost and Found’ Recovery, and the subsequent engagements with various experts to gather more information on the lost items to assist in finding their owners.

Francis Carmody lives and works in Melbourne. Carmody’s work is presented as products of distribution and power structures characterised by a wide range of forms, objects and actions. He explores the structures of the romantic, narrative and access through promiscuous research methodologies. Enacted by an initial action from the artist or a constructed model carried out by someone else, administrative and hysterical steps are rehearsed to realise projects which in turn are then re distributed as an artifice.


A 338-page bilingual artist’s book, ZÀO: A History of Chinese Dishcourse through Famine and Revolution retells modern Chinese history through ‘faction’ (fact and fiction). This invented genre is a critical response to my study of Mao Era propaganda — itself an archive of fictions posing as fact. As this propaganda was blooming, anywhere between 20 and 63 million people (estimates vary owing in part to obfuscation of historical records) were starving to death or murdered for political reasons. A speculative history, ZÀO satirically reconstructs the events leading up to and during the Great Leap Forward (1958-1962) and Cultural Revolution (1966-1976), both Maoist movements that were supposed to shepherd China into an unprecedented communist utopia. Instead, these movements ushered in the most severe famine in recorded human history; decades of the most successful and pervasive ideological indoctrination of a population; and a near civil war in which citizens killed each other for being “counterrevolutionaries.” Yet these crises’ devastating magnitude has been met only with a censored obscurity in both mainland China and Western public discourse. In its exhumation of massive historical trauma concealed beneath exuberant propaganda, ZÀO deploys myriad strategies: archival images, original historical research, personal memoir, fictional storyline, bilingual (mis)translation, critical analysis, and hand-drawn illustrations.

Siri Lee is an NYC-based interdisciplinary visual artist. Interweaving the personal, historical, and fictional, she constructs image-based narratives using writing, illustration, and archival materials. A potluck of research, mixed media, and speculative fiction, Siri’s work deploys image- and wordplay to visualise analogies between material culture and ideology. Her practice is inspired by her upbringing in China and the U.S. and an academic background that crosses literary studies, digital media studies, and the social sciences. A recent graduate from the University of Chicago, Lee is an upcoming Food Futures artist-in-residence at Residency Unlimited in New York, has been selected for inclusion in Project Anywhere’s 2020 Global Exhibition Program, and has exhibited in Chicago and New York.


In 2011, Hobart-based artist Anthony Johnson developed a new commission for a public art series across Tasmania called Iteration Again. The work Eclipse consisted of a series of bus journeys each Saturday afternoon, taking place over the course of a month through four streets in North Hobart. The audience were ushered onto a luxury coach and driven around the block for a few minutes, before being deposited again at the pickup spot. This was repeated in the following weeks, creating a perception that the work was either a public art homage to John Cage and Samuel Beckett, or that the artist was taking liberties. While the subtle shifts in time, weather and audience marked each iteration, it was only towards the final weeks that the full measure of the artists project was comprehensible. Bit by bit, the staggering scale of the work was recovered by perceptive audience members who began over time (and multiple journeys) to forensically assemble fragments of what they were seeing. Eclipse was an artwork that took great risks to challenge our capacities for perception, ever ambiguous in potentiate meanings. This presentation will revisit Eclipsesome ten years later, considering how the deft calibration of time and space challenged ideas of place using repetition as a strategy of transformation.

David Cross is an artist, writer and curator based in Melbourne. Working across performance, installation, video and photography, Cross explores the relationship between pleasure, intimacy and the phobic in his works, and often incorporates participation by linking performance art with object-based environments. As a curator Cross has produced a number of temporary public projects, including One Day Sculpture (with Claire Doherty) across New Zealand in 2008-09, and Iteration: Again in Tasmania in 2011. He recently co-founded the research initiative Public Art Commission (PAC) at Deakin University which is devoted to the commissioning and scholarship of temporary public art. Recent PAC projects co-developed with Cameron Bishop include, Treatment with Melbourne Water and City of Wyndham (2015-17), Venetian Blind with European Cultural Centre, Venice (2019), and Six Moments in Kingston for the City of Kingston (2019). Cross is currently Professor of Visual Arts, Faculty of Arts and Education at Deakin University, Melbourne.


This project utilises the bridge as a metaphor of communication—of language and physical movement—in the specific context of Santiago’s urban culture. A series of 9 Meccano type bridges were installed during the late nineteenth century as part of the canalisation of the Mapocho River. The canal and its bridges were the centrepiece of the modernisation of Santiago de Chile as the “Paris of South America” and linked the north and south sides of the city for three kilometres. These links were easily moved or removed, replaced and multiplied during the twentieth century.  In the twenty-first century, three sites along the Mapocho contain the remaining four metal crossways. The assemble metal brides have been appropriated, demounted and re-arranged as heritage objects of anywhere within the river’s premodern, early modern and contemporary urban history.

Anthony McInneny (PhD Architecture. RMIT University, Australia) Conjoint Professor University of Newcastle, Member of RMIT University CAST. Lead Artist/Investigator.

Beatriz Maturana Cossio (PhD Architecture. University of Melbourne). Associate Professor Faculty of Architecture and Urbanism, University of Chile, Santiago. Adjunct Professor RMIT University. Urban Design and Heritage Advisor.


What is it when a performance is moved from the contextual frame of a gallery and inserted into a public space, where such a framework to understand performance is less established? How can performance provoke underlying ideologies of how bodies are ordered in such spaces? Which bodies are permitted to hold space and demonstrate an idea? Phases of the Imminent was a six-hour endurance performance presented at the Salt Lake City Performance Art Festival in the SLC Public Library. This performance examined the interrelated factors of space, time and body. Coon moved broken mirror particles to make six successively smaller orbital rings that reflected the space and the audience. Each ring represented an hour, which began from the outermost limits of the structure and moved inwards until she was closed inside. The re-arrangement of the broken mirror particles into circles spoke to the way that nothing ever ends; rather, forms change and what occurred in previous phases is inextricably linked to the imminent. Significantly, Coon’s performance provoked select audience outbursts through its examination of the way the body affects space, space affects time, and time affects the body. Coon questions through performance: what else is possible if the limits of space, time and the body are reconsidered?

Chelsea Coon is a performance artist and writer. Her performances utilise endurance to reconsider limitations of the body through its various orientations to space and time. She has exhibited internationally in festivals, biennales, galleries and artist-run spaces. She received her BFA at the School of the Museum of Fine Arts (2012), MFA at Tufts University (2014), and a Certificate of Advanced Studies in Theatre, Performance and Contemporary Live Arts at the University of Applied Sciences and Arts Scuola Teatro Dimitri, Switzerland (2015). Recent writings will be included in Rated RX: Sheree Rose with and after Bob Flanagan (Ohio State University Press, 2020); and the phenomenology of bloody performance art! (Routledge, 2021). Coon is a doctoral candidate at the VCA.




Cate Consandine works across a wide range of formal and discursive practices, including sculpture and spatial practice, video and performance. Her research interrogates the body in the Australian landscape, and its condition in relation to the physiological and psychoanalytic elaborations of space and its emotion. Consandine has exhibited nationally and internationally since 1999 and is currently represented by Sarah Scout in Melbourne. She received a PhD from Monash University in 2015 and is currently Senior Lecturer and Coordinator of the Honours Program in VCA Art at Victorian College of the Arts, University of Melbourne.

Kim Donaldson is a Senior Lecturer in the Masters of Contemporary Art at the Victorian College of the Arts. Her art practice combines writing, drawing, painting, video, installation, performance and the curatorial. In 2008 she established Techno Park Studios in Melbourne’s industrial west, and in 2011 began its mobile arm through Technopia Tours with the presentation of many projects internationally. From 2016 she has also worked on the Feminist Colour-IN, with Dr Kaisa Kontturi. As a series of performative events focused on feminist activism this project has been seen in Warsaw, Byron Bay, Jyväskylä (Finland), Rome and Melbourne.

Raafat Ishak. Born Cairo 1967; arrived Melbourne 1982; lives and works in Melbourne. Working across painting, sculpture, installation and site-specific drawing, Raafat Ishak’s practice is informed by the history of painting and architecture. While self-consciously embroiled in and submitting to the canonical historical impetus of early modernism and the obscene undertones of pagan desert practices, Ishak’s meditation on the place of and logic for painting is premeditated on speculations on the complicity of the apathetic gesture in negotiating a troubled and grieving world. His work is held in many significant public and private collections, he is a founding member of Ocular Lab Inc, and is represented by Sutton Gallery, Melbourne. Ishak is currently Head of Painting at the Victorian College of the Arts, University of Melbourne.

Simone Slee makes work that has its origins in sculpture. She produces installations, photographs, videos and sculptural objects that often engage the body and have a performance potential. Her practice investigates concepts of abfunction; a term she coined where abfunction is a generative move away from concepts of function within the production and effect of an artwork. Slee received her PhD from the University of Melbourne, where she was awarded the Chancellors Prize for Excellence in the PhD Thesis (2018). She is represented by Sarah Scout Presents, Melbourne, and is currently Art Research Convenor at the Victorian College of the Arts, University of Melbourne.




Simone Douglas is a New York City-based artist, curator and writer. She is a Professor at Parsons School of Design, The New School, NY where she has been Director of MFA Fine Arts for over a decade. Her renowned site-specific, photographic and installation work has been collected by and exhibited in major institutions in China, USA, U.K. Europe and Australasia.

Sean Lowry is a Melbourne-based visual artist, writer, curator and musician. He is Head of Critical and Theoretical Studies in Art at Victorian College of the Arts. Lowry has exhibited and performed extensively both nationally and internationally and his writing appears in numerous journals and edited volumes. He is Founder and Executive Director of Project Anywhere and one half (with Ilmar Taimre) of The Ghosts of Nothing.

Douglas and Lowry have been collaborating since 2014 across a series of international conferences, symposia and publications dedicated to publicly connecting diverse artistic activities taking place outside traditional exhibition circuits.

Experience the archived symposium at www.artanywhere.net 













Publication featuring contributions from presenters at Anywhere and Elsewhere: Art at The Outermost Limits of Location-Specificity, November 15 -16, 2018, Parsons Fine Arts, School of Art, Media and Technology, Parsons The New School for Design, New York NY, USA (presented in conjunction with the Centre of Visual Arts, University of Melbourne and Project Anywhere).

 Edited by Sean Lowry and Simone Douglas

Published by Centre of Visual Art, University of Melbourne; School of Art, Media, and Technology at Parsons School of Design, The New School, New York, NY; and Project Anywhere.

Design by Ella Egidy

ISBN: 978-0-6487354-0-3

Read at: https://issuu.com/projectanywhere/docs/0_anywhere_viii_fa_singlepages_hr

Download at: https://spaces.hightail.com/receive/E9WZy3DuG3






A free one-day symposium event exploring art at the outermost limits of location-specificity

Friday March 22, 2019 at Buxton Contemporary, Southbank VIC 3006, Australia. 

Please find the links below to each session on Vimeo:

This event is curated by Sean Lowry (VCA, Melbourne) and Simone Douglas (Parsons School for Design, New York City) as part of an ongoing partnership between the Centre of Visual Art (University of Melbourne) and Parsons Fine Art (Parsons School of Design, The New School).

* indicates peer reviewed presentation






*FOLLOWING BURKE AND WILLSMONUMENTAL (Jason Waterhouse and Michael Needham)

CUBBY—Shan Turner-Caroll


KOSMOTECHICS (2019)—Nancy Mauro-Flude



*THE MISSING ALBUM—Joanne Choueiri

*THE GRID—Annie Morrad, Dr Ian McArthur + *SIGNIFIERS—Aurora Del Rio, Lavinia Bottamedi, and Alvin McIntyre





Art at the outermost limits of location specificity

15-16 November 2018 at School of Art, Media, and Technology at Parsons School of Design, The New School, New York, NY 10011.

This biennial conference event featured presentations from artists that have successfully navigated blind peer evaluation as part of Project Anywhere‘s Global Exhibition Program (2017-2018), together with a series of invited presentations from established artists, designers, scholars, curators and writers actively engaged with practices outside traditional exhibition circuits.

Curated by Simone Douglas & Sean Lowry

Day 1 video links:





Day 2 video links:







Mark Gardner—Collective Intelligence: The Ecological Stewardship of Honeybees

SOIL SERIES (Francesca Fiore and Hillary Wagner)—Social Drawing: Theory and Praxis in Appalachia *Peer reviewed through Project Anywhere

LungA School (Jonatan Spejlborg and Lasse Høgenhof)—A Cacophony *Peer reviewed through Project Anywhere

Ana Mendes—On Drawing *Peer reviewed through Project Anywhere

Archie Barry—Lexicon of a Body

Nancy Mauro-Flude—Error_in_time() Performance Lecture

Kaspar Stöbe & Nicolò Krättli—Elsewhere/Tomorrow *Peer reviewed through Project Anywhere

Ryo Sato—Matsushima Bunko Museum

Laurent Labourmène—After Earthrise

Leela Shanker—Archipelago of the Everyday: Suspended in Light and Dark

Rebekah Modrak & Marialaura Ghidini—#exstrange: Hijacking E-Commerce for Art *Peer reviewed through Project Anywhere

Andrew Stooke—High Island Circumambulation *Peer reviewed through Project Anywhere

Joshua Singer—Typographic Landscape Ecologies: Alameda, California, USA *Peer reviewed through Project Anywhere

5pm – 5.30pm: Panel Discussion (Chair: Christiane Paul)

Amber Eve Anderson—Navigating Digital Landscapes *Peer reviewed through Project Anywhere

10.15am: Benjamin Matthews—New Hypothetical Continents *Peer reviewed through Project Anywhere

10.30am: Chris Wood—Walking with Satellites and Poetic Research *Peer reviewed through Project Anywhere

Alana Hunt—Cups of Nun Chai*Peer reviewed through Project Anywhere

Jessica Winton—Ris Publica *Peer reviewed through Project Anywhere

Joanne Choueiri—The Missing Album*Peer reviewed through Project Anywhere

12.30 – 1pm: Panel Discussion (Chair: Macushla Robinson)

Luciana Scrutchen—Textiles as Art, Culture, and Science: Discovery of the Ephemeral and Perennial Imprints Through Modeled Ecosystems

Jacob Olmedo—And The World Will Be As One

Adam Geczy—Fashion Anywhere: Fashion, Where Is It?

Burak Cakmak,Brendan McCarthy & Isabelle Webster—Lifecycle Undergarment Project: Kenya

Macushla Robinson—ApeSh*t: gestures against museal whiteness

Georgia Banks—Every Performance Artist Remembered *Peer reviewed through Project Anywhere

Christine Howard-Sandoval—Live Stream

Mark Shorter—What Happens if Tommy Lee Jones Doesn’t Write Back?

ABSTRACTS: https://issuu.com/projectanywhere/docs/anywhere_elsewhere_2018_lores 




Publication featuring contributions from presenters at our 2016 biennial conference. 

Edited by Sean Lowry and Simone Douglas

School of Art, Media, and Technology at Parsons School of Design, The New School, New York, NY; Project Anywhere; and Victorian College of the Arts, Faculty of Fine Arts and Music, University of Melbourne.

Print and design by Conveyer Arts.

Read at:




Conference held at School of Art, Media, and Technology at Parsons School of Design, The New School, New York, NY, November 17-18, 2016

Conference publication: http://issuu.com/projectanywhere/docs/anywhere_and_elsewhere

Artists are increasingly moving beyond the white cube as a ‘prime’ viewing experience to more actively explore spaces, places and times well outside the limits of traditional exhibition circuits. Much of this artistic activity is concerned with events, actions, relationships or processes rather than the exhibition of discrete distributable objects. This two-day conference event will explore the challenge of exhibiting, viewing and evaluating art located elsewhere in space and time. How do artists overcome common assumptions that expanded and dynamic exhibition formats present barriers to value? How do we find appropriate language and evaluative criteria for discussing projects that often straddle art and other realms of knowledge? How might we more meaningfully account for art’s omnivorous ability to traverse diverse forms, spaces and places and evoke understandings potentially elusive in theoretical, scientific or philosophical propositions alone? This conference is specifically conceived as a vehicle for giving voice to artistic projects located anywhere and elsewhere in space and time.

This conference featured presentations from artists that have successfully navigated blind peer evaluation through Project Anywhere, together with a series of invited presentations from artists, curators and writers actively engaged with art and artistic research at the outmost limits of location specificity.

Presentations by: Megan Smith; David Griffin; Sreshta Rit Premnath; Franklin Collective; Re-sited; Susan R Greene; Frank J Miles; Sylvia Schwenk; EIDIA House; Tatlo; Livia Daza Paris; Radhika Subramaniam Sara Morawetz; Atif Akin; Michelle Lewis-King; Tricia Flanagan; Steve Maher; Standard Practice; Brad Buckley; Anne Gaines and Nadia Williams; Ayodamola Okunseinde and Salome Asega; Karen Frostig; Marta Jecu; Frauke Materlik; Daniel Cherrin; and Jane Philbrick.

Curated by Sean Lowry and Simone Douglas

AYODAMOLA OKUNSEINDE & SALOME ASEGA: https://vimeo.com/216194351

JANE PHILBRICK: https://vimeo.com/216209529

MEGAN SMITH: https://vimeo.com/213254455

DAVID GRIFFIN: https://vimeo.com/213254728

TATLO (Sara Jimenez & Jade Yumang): https://vimeo.com/213254913

FRAUKE MATERLIK: https://vimeo.com/216208361

RIT PREMNATH: https://vimeo.com/213258031

FRANKLIN COLLECTIVE: https://vimeo.com/213849820

EIDIA HOUSE: https://vimeo.com/213850060

LIVIA DAZA PARIS: https://vimeo.com/213868353

RADHIKA SUBRAMANIM: https://vimeo.com/213868819

SARA MORAWETZ: https://vimeo.com/215845388

ATIF AKIN: https://vimeo.com/215851051

TRICIA FLANAGAN: https://vimeo.com/215854519

FRANK J MILES: https://vimeo.com/215864587

BRAD BUCKLEY: https://vimeo.com/216174233

ANNE GAINES & NADIA WILLIAMS: https://vimeo.com/216176720

KAREN FROSTIG: https://vimeo.com/216194714

For more presentations and to see all the panel discussions, please visit the Parsons Art, Media and Technology Vimeo page.





Publication featuring contributions from presenters at our 2014 biennial conference. 

Read at: https://issuu.com/projectanywhere/docs/anywhere_v1_pages 

Edited by Sean Lowry and Simone Douglas




The first of our biennial conference events was hosted by the School of Art, Media, and Technology Parsons The New School for Design in New York on November 13 and 14, 2014. Our biennial conference provides an opportunity for Project Anywhere artists and researchers to share and discuss their work together with an international audience of peers.

Download the 2014 conference publication at: https://drive.google.com/file/d/0B37ceQEM_7JXeElUdzZJaGpkNTg/view?pli=1

Read and download the conference proceedings at: https://issuu.com/projectanywhere/docs/anywhere_v1_pages 

Video documentation of the 2014 conference: https://www.youtube.com/playlist?list=PLWhTJDazgMDkigMcwxlicRRxTnq1mKUyo

Featuring (In order of appearance): Anne Gaines, Radhika Subramaniam, The Department of Biological Flow (Sean Smith & Barbara Fornssler), John Ryan, Nuclei (Fernando Do Campo, Laura Hindmarsh, Claire Krouzecky And Alex Nielsen), Honi Ryan, Erin Bosenberg, Lin + Lam (H. Lan Thao Lam), Ronit Eisenbach, Ian Strange. Arthur Ou, Leanne Zacharias, Kamau Patton, Jeff Stark, Ella Condon,  Marcus Kreiss, Daniel G. Baird, John R. Neeson, Les Joynes, Eidia House (Paul Lamarre and Melissa P. Wolf), Mira Schor,Steve Dutton, Maria Kunda, Fiona Lee, Gary Pearson, Howie Chen, Andy Weir, Irina Danilovah, Carrie Paterson, Jeanine Oleson, Anna Romanenko, Björn Kühn, Gabriel Hensche, Hans Kalliwoda & Bruce Barber.

Curated by Sean Lowry and Simone Douglas


A free one-day symposium event exploring art at the outermost limits of location-specificity

9.30 – 5.30pm – Friday March 20, 2020 at Buxton Contemporary, cnr Dodds St &, Southbank Blvd, Southbank VIC 3006, Australia (followed at 5.30pm- 7pm with the official launch of the Project Anywhere 2019 Global Exhibition Program.

Today, much artistic activity takes place well outside traditional exhibition circuits. Much of this activity is more concerned with events, actions, sites, relations and processes rather than discretely exhibitable objects. Given that some artistic projects now exist as radically spatially diffused distributions of elements, artists and audiences alike can face significant challenges associated with adequately presenting, disseminating and evaluating work of this kind. This one-day symposium will explore various ways in which artistic projects such as these might be represented and evaluated in their often-uneven transition from conception through production to dissemination (and after-life).  Comprising a series of short presentations, performances and discussions featuring the work of artists, curators and other creative practitioners working well beyond the limits of established exhibition formats, this symposium event will explore dynamic contemporary artistic practices at the outermost limits of location-specificity.

This event is curated by Sean Lowry (VCA, Melbourne) and Simone Douglas (Parsons School for Design, New York City) as part of an ongoing partnership between the Centre of Visual Art (University of Melbourne) and Parsons Fine Art (Parsons School of Design, The New School).