Where is the Dissent?

I feel a bit vulnerable about this post, because it is a true unedited reflection of my morning thoughts.

Morning of Tuesday 15 October 2019

I would like to, in the course of my group residency, find a moment of dissent I can call my own.

Is it possible to find a deeper truth?

I always thought truth would be firm enough to stand on, at least for a moment, like a stepping stone in the river. Until then, my intentions are to show up for a dialogue. To show up without an agenda that would contextualise my actions… so it will be uncomfortable.

It will be uncertain.
But I will be open to possibilities,
I will be open to influence
And in the flux I will find my
standing place:
Balancing the inside with the outside

I wanted to talk about non-linear movements in which there is no clear path from A to B and no singular ‘body’ that can be controlled.

In my 2018 paper ‘Individual Dissent for Collective Change in Art and Society‘ I was objecting to the notion that a movement is coherent when you’re in it.

As I prepare for the Laboratory of Dissent 2019 I am holding the intention to show up for a dialogue. A conversation between different perspectives. Whether that perspective is personal or political, experiential or theoretical spatial or otherwise the intention remains the same.

I can predict with a degree of certainty that our collective artist residency will pull focus on the social and practical dynamics of what it takes to find solutions to day-to-day challenges.

Every answer is but a hypothesis yet to be realised.
Every action has a consequence yet to be understood.

Further ideas are spinning off onto scribbled scraps of paper for further multi-medium exploration. I will come back to this.

You’re invited to start a conversation, to let me know what you hear in my words; be my mirror in an inside/outside dance.

Published by Maija Liepins

Australian born, mixed-media artist, Maija Liepins focuses on the sensory and emotional experience in her visual dreamscapes. Repetitive actions such as dream journals or collecting visual impressions with her mobile phone generates material with which to reveal the subtle, ‘underneath’. Maija’s drawings and films allude to a symbolic mythology as if the intangible substance of dream is a material as real as ink and clay. Her practice is driven by a pursuit of freedom - to express, to create, and to collaborate without inculturated inhibition.

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