Wild and wayward meanderings of calamitous feminism in a bureaucratically becalmed research milieu
when curiosity becomes curios
As the temperature reaches 40 degrees today in Perth, this witch is on fire. Thank you for staying with me, dear friends, as I tear up the asphalt towards the finish line of my PhD. I will submit my thesis next week, and then cool my jets for a mere week before flying to Maui for some burnout recovery time with my family. After this, I hop on my broom back to Cornwall for another one-month residency and exhibition installation at the Museum of Witchcraft and Magic (with a much-anticipated brief stopover in Edinburgh). My 8-month (full season) exhibition will include some of the works I showed recently at Art Laboratory Berlin, as well as some new works, along with the work I created at the museum last year and a selection of intriguing and immodest objects from their collection. I’m hoping to stir up some measure of shit, metaphorically and perhaps even literally—I will at the very least be agitating the exhibition spaces with a few contemporary reliquaries of sexy body fluids.
Last night I presented a brief overview of the research-creation activities and results from my residency at the Museum of Witchcraft and Magic in 2022, highlighting some of this provocative material. My audience was the Graduate Women of Western Australia, who’d granted me a bursary in support of my witchy project last year, as part of my PhD. There were a number of awardees who presented their work, and one of the things I appreciated about the presentations was their five-minute delivery, having been distilled to essential questions and results, making them teasers that were easy to engage with. I was so exhausted that I was pleased to simply tease and be teased.
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