Internet art (also known as net art or web art) is a form of new media art distributed via the Internet. ARI Remix is an expanded and expanding form of 21st Century Internet Art. If forms part of the growing and evolving Queensland/Australian Artist-Run Culture and Heritage Movement.

Youth culture is a defining characteristic of Queensland/Australian artist-run culture and heritage. Documenting youth culture is an essential aspect of the ARI Remix + EXTRA zine memory work we enact.

AN  ARI TIME, QUEER TRANS  LGBTQIA + PREAMBLE…

ARI REMIX + EXTRA ZINE [2011-2032] as ‘living archives’, community archives, anarchive, internet artwork is conceptualised broadly as a  community-based archival art initiative. We are inclusive and embrace artist-run communities of practices, artist-run initiatives [ARIs], artist-run spaces, artist collectives, cooperatives and varied artist groupings. This work is LGBTQIA+, cis, non-binary, queer, trans, neurodiverse, diffability, crip time and BIPOC inclusive. As a queer/ed internet artwork ARI Remix it can be viewed as a parody of ‘the Archive’. It troubles the deficits and deficiencies of ‘the Archive’.

Through a DIY, collectivising, collaborative, participatory and pluralising effort we trouble the deficits and deficiencies of ‘the archive’ by collectivising,  collectively advocating and amplifying examples of Queensland/Australian artist-run culture and heritage resources 1940 to Now. Designed as a three-stage Project of ‘ARI Stories so far…’; Stage One 2011-22, Stage Two 2022-32 and Stage Three tbc. If you would like to kindly support this longitudinal passion project you can make a donation, no matter how small, via the ongoing crowdfunding link here. All donations help offset necessary long-term digital infrastructure and IT costs, small scale digitisation and post custodial preservation efforts:

https://www.gofundme.com/f/help-preserve-ari-remix-living-archives

Project Two: Strengthening Artist-Run Communities 2022-2032

Building out from Project One activity 2011-2021 in ARI Remix Project Two activities we explore;

Strengthening Artist-Run Communities of Practice through a deeply intertwined creative archival assemblages approach, one embracing zines as community archives, along with complementary installations, exhibitions and publications.

In 2025 we launched the new ‘ARIs Revisited’ collaborative reminiscence exhibition series with the series pilot: Headlands Revisited Presented by ARI Remix. Through increased coordination, artistic research and development, community participation and recasting and remix efforts [2022-2025] the exhibition was presented as a form of ‘artful re-enchantment’ at the Redland Art Gallery in 2025.

In 2026 we presented a follow-up installation titled Pink Elephant Revisited in June exploring and recasting aspects of Bohemian Brisbane Magandjin, ‘The Joy of ARIs’ and we delved into a brief hostory of SEQ ARIs where ARIs play a critical, radical and ongoing role in Brisbane Magandjin’s enduring counterculture.

Defining characteristics of ARIs are varied and variable, they include;

1. A doing-it-yourselves/ doing-it together [DIY/DIT] collectivising, advocacy and pluralising ethos, DIY rarely means ‘doing it alone’ in the arts or in current literature,

2. A sense of ARI Time or ARI temporalities, doing things in their own time, in their own way and on their own terms by building on their communities values, needs, interests, involvements and agency,

3. A sense of ARI Joys, Challenges, and Pleasures that make the actual and ‘everyday’ doing and sustaining of ARIs fun, affecting, meaningful and impactful,

4. Ongoing artistic precarity, extensive volunteerism and community bonds,

5. An embrace of informality and marginality and working together towards shared goals of transformation,

6. Independence, autonomy, informality and a collective embrace for non-elitist, non-profit/profit for purpose sentiments, non-dominant, non-monolithic, socially and culturally inclusive creative practices and mindsets are critical,

7. Self-organisation and collective determination: ARIs work independently to, and are not [currently] part of the mainstream cultural monolith. This can be by choice or design. Many ARIs elect to work independently and autonomously. By design, after almost 100 years of intensively collaborative, innovative and youthculture-driven ARI and ARI-like activity in Queensland [1940 to NOW], there is little or no support, acknowledgement, funding for or representation of ARIs inside formal, institutional and traditional GLAMR sector settings. ARIs are unvalued, undervalued, unacknowledged and ignored,

8. ARIs are fun, playful, participatory and engaging communities where dissent, cocreativity and criticality are supported, celebrated and encouraged.

AND – If you also have a memory or story with complementary images, descriptions, captions and weblink about Queensland/Australian ARI culture 1940 to Now please feel to assemble it and send it to us in a web-ready form so we can add it into this growing community-based ‘living archives’ as expanded and expanding Internet Artwork. Around 600-1500 words images, captions, weblinks and send to artsmedia[at]gmail[dot]com by the end of April or end of November 2026 [two rounds for voluntary contributions in 2026 due to no funding]. Thank you!

The Anarchive.

The anarchive refers to the fact that the archive in the digital age never sits still. Digital media events are reactivatable by nature, and lend themselves to re-uptake, remix and contagion. There is an in-built unruliness to them. This calls into question traditional practices of documentation and archiving, which operate on a model of passive storage. The anarchive is a kind of dynamic, open-air archiving in which media events are let loose to proliferate through networks, mutating as they go, and triggering follow-on events

Courtesy ‘ Anarchiving: Precarity ‘  –

https://www.researchcatalogue.net/view/89371/89372/0/21

EXTRA ZINE ANTHOLOGY

Exploring DIY zines as types of 21st Century community archives 2021-32

Zines hold value as a unique medium for personal expression, community building, and social commentary outside of mainstream culture.

Their value stems from being a DIY, often profit-resistant publication that provides a platform for marginalized voices and fosters intimacy, creativity, and cultural criticism.

They also have historical, research, institutional accessioning and collectable value as a social document, with their tangible and imperfect nature creating a sense of authenticity and connection.

Much like ARIs and ARI culture – there is no right or wrong way to make an ARI – there is no right or wrong way to make and transmit a zine. Zines allow creators [zinesters] and their communities of practice to share ideas, stories, memories, and art without the constraints of traditional publishing, censorship, or commercial pressures.

They enable authentic expression and affecting experiences for readers. The DIY, collectivising and pluralising ethos we employ encourages risk-taking, memory work [i.e active DIY participatory archival work], and lived experience.

Here, we amplifiy community involvement, social cohesion and queer-trans allyship from inside Queensland/Australian sites where enduring artistic precarity is commonplace. And where zinemaking affords no need or no pressure for zines – as ARI stories so far – to be perfect, complete or fixed in time.

ARI REMIX: PROJECT TWO PART ONE 2022-24

ARI REMIX PRESENTS: SELF-MADE, ARTIST-RUN | EXTRA | DIY Zines: An ARI Zine Anthology Project [ 64 Artists, 70 DIY Zines ]

ARI REMIX PROJECT TWO PART TWO 2022-2025

ARI REMIX PRESENTS: Strengthening Artist-Run Communities 2022-25

ARI REMIX PROJECT TWO PART THREE 2026-2032

ARI REMIX PRESENTS: ARIs Revisited zine-like exhibitions, installations and publications.

ARI Remix activity uses multidimensional, non-traditional and alternative archival practice. Specifically, we employ concepts like counterarchive, and anarchive to promote community engagement, and involvement.

Both concepts, counterarchive and anarchive, refer to alternative archival practices but are understood in different ways, by different people. In an arts-based setting, ‘counterarchives’ may refer to countercultural, political, and community-based archival practices, however, the term ‘anarchives’ tends to encompass projects that are based not on ‘fixed’ property principles, administrative control, or prescribed procedures but on a logic of plurality suited to handle events and movements or “time-based sensations.” In a sense, anarchives are principally in an active mode.

The promotion of such terms in the Web 2.0 environment and in an Internet or Net Art context such as this, suggests that archives are now enabled to fulfil a proactive, participatory, and temporal function in society.

See for example, Paalman, F., Fossati, G., & Masson, E. (2021). Introduction: Activating the Archive. The moving image, 21(1-2), 1-25.

https://doi.org/10.5749/movingimage.21.1-2.0001

Overview | Artist-run initiatives [ARIs]

ARIs [pronounced Ah-rees] are essential cultural organisations. They are typically characterised as culturally diverse, volunteer-based, ephemeral, non-traditional and autonomous artist groupings which exist outside formal, mainstream and institutional settings.

ARIs and ARI members, past, present and emergent, demonstrate a strong emphasis on a DIY, participatory and pluralising ethos in their creative, social and archival activity, in both online and offline settings.

The term DIY [do-it-yourself] is often described in literature as a ‘self-made-culture’. In contemporary arts-based settings which represent diverse identity-based communities and community members these ecologies often embrace terms like doing-it-ourselves and doing-it-together culture, participatory practice, a DIY collectivising and pluralising ethos, and creative mulimodality.

Creative multimodality is broadly understood as the deployment of multiple modes of communication to express a community of practice creatively. This involves exploring, assembling and combining different modes of meaning, such as visual, audio, linguistic, spatial, gestural, and multimodal design and a range of temporal, artistic, and conceptual perspectives.

STORIES WHICH MUST BE TOLD, STORIES SO FAR…

FREELY ACCESS & DWELL UPON THE EXTRA ZINE ANTHOLOGY BELOW …

Please make a donation to support us in our artful and ongoing memory making efforts here in 2025-26;

https://www.gofundme.com/f/help-preserve-ari-remix-living-archives

EXTRA ZINE ISSUES 2020-2026 [Numerical Order] – PROJECT TWO- PARTS ONE, TWO & THREE