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The ‘Women’s Show’ after House of Slé: A Dialogue Between Bhenji Ra and June Miskell

The ‘Women’s Show’ after House of Slé: A Dialogue Between Bhenji Ra and June Miskell Australian and New Zealand Journal of Art, 2022, vol. 22, no. 2, 172–186 https://doi.org/10.1080/14434318.2022.2143755 The ‘Women’s Show’ after House of Sle: A Dialogue Between Bhenji Ra and June Miskell a* b June Miskell and Bhenji Ra a b University of New South Wales Art and Design, Sydney; Independent Researcher Introduction to Our Dialogue (June Miskell) Over the past decade, Filipinx-Australian artist Bhenji Ra has developed a trans- disciplinary practice combining dance, performance, video, and community organ- ising and events. Together with artist Justin Shoulder, she is part of the collective Club Ate, whose practice traverses video, performance, and club events, with an emphasis on community activation and collaboration with members of the LGBTQIAþ Asia–Pacific diaspora in Australia and the Philippines. Formed in 2014, through Bhenji and Justin’s shared Filipino-Australian ancestry, Club Ate has frequently collaborated with set and costume designer Matthew Stegh, digital video artist and music video director Tristan Jalleh, and composer and electronic music producer Corin Ileto. Across the body of Club Ate’s work—recent examples include Ex Nilalang (2014–) and In Muva We Trust (2020)—Bhenji and Justin draw upon and reimagine Filipinx folklore narratives in the creation of their own ‘future folklore’, which is both pre-colonial and http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Australian and New Zealand Journal of Art Taylor & Francis

The ‘Women’s Show’ after House of Slé: A Dialogue Between Bhenji Ra and June Miskell

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The ‘Women’s Show’ after House of Slé: A Dialogue Between Bhenji Ra and June Miskell

Abstract

Australian and New Zealand Journal of Art, 2022, vol. 22, no. 2, 172–186 https://doi.org/10.1080/14434318.2022.2143755 The ‘Women’s Show’ after House of Sle: A Dialogue Between Bhenji Ra and June Miskell a* b June Miskell and Bhenji Ra a b University of New South Wales Art and Design, Sydney; Independent Researcher Introduction to Our Dialogue (June Miskell) Over the past decade, Filipinx-Australian artist Bhenji Ra has developed a trans- disciplinary practice...
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Publisher
Taylor & Francis
Copyright
© 2022 The Art Association of Australia and New Zealand, Inc
ISSN
2203-1871
eISSN
1443-4318
DOI
10.1080/14434318.2022.2143755
Publisher site
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Abstract

Australian and New Zealand Journal of Art, 2022, vol. 22, no. 2, 172–186 https://doi.org/10.1080/14434318.2022.2143755 The ‘Women’s Show’ after House of Sle: A Dialogue Between Bhenji Ra and June Miskell a* b June Miskell and Bhenji Ra a b University of New South Wales Art and Design, Sydney; Independent Researcher Introduction to Our Dialogue (June Miskell) Over the past decade, Filipinx-Australian artist Bhenji Ra has developed a trans- disciplinary practice combining dance, performance, video, and community organ- ising and events. Together with artist Justin Shoulder, she is part of the collective Club Ate, whose practice traverses video, performance, and club events, with an emphasis on community activation and collaboration with members of the LGBTQIAþ Asia–Pacific diaspora in Australia and the Philippines. Formed in 2014, through Bhenji and Justin’s shared Filipino-Australian ancestry, Club Ate has frequently collaborated with set and costume designer Matthew Stegh, digital video artist and music video director Tristan Jalleh, and composer and electronic music producer Corin Ileto. Across the body of Club Ate’s work—recent examples include Ex Nilalang (2014–) and In Muva We Trust (2020)—Bhenji and Justin draw upon and reimagine Filipinx folklore narratives in the creation of their own ‘future folklore’, which is both pre-colonial and

Journal

Australian and New Zealand Journal of Art – Taylor & Francis

Published: Jul 3, 2022

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