Testimonials

I think the ARI Remix + EXTRA Zine Project is an incredibly important document on the history of arts experience in Australia, especially Brisbane. The history of the Cellars would have been lost to time if Paul hadn't asked me to contribute and this would have been a great loss. The ARI Remix + EXTRA Zine adds to Australia's sense of itself and shows our unique creative and cultural richness within the world at large. I think it should definitely continue in this regard, adding to what has already been achieved.

- Jude Morrell, Artist, Photographer, Educator, Filmmaker

A hugely valuable project in archiving often temporary, ephemeral moments in Brisbane's arts history and contemporary arts culture.

- Miranda Hine, Artist, In Residence ARI cofounder

I think it’s a great historical document and engaging at the same time.

- Peter Fischmann, Photographic Historian

I support the arts in Brisbane and the hard work and dedication of its artists over the years should not go unacknowledged or forgotten

- David Crouch, artist, ARI member and supporter

Let's give this history a future....

- Doug Spowart & Victoria Cooper, Artists, C.R.A.P Cofounders, ARI & Artist Book aficiondos

We all have to take responsibility in insuring our past histories are on the record. Thanks Paul as ever!

- Tim Gruchy, Artist, Zip Collective

Excellent initative and project, great value and continued growth will make it even more valuable. It may be interesting to document artworks that have been installed/commissioned for public spaces and even create "art trails" for visitors to understand more about the local arts scene using digital links to these sites. In particular I'm thinking about works from Lyndal Milani, Wendy Mills and Hollie from the 1980's understanding that they have works around brisbane and are artists who participated in independent art spaces.

- Mark Thomson, Architect & Entrepot Collective Cofounder

It is disappointing that, to date, significant Queensland artist-run documentation and ephemera from this 1970-Now period has not been collected and published to date. I believe that Paul Andrew’s three stage collaborative ARI REMIX digital project is exemplary and is a useful way to change this, and not only is this an important history to document but I believe it has a practical value for upcoming and aspiring artists today and into the future.

- Stephen R Jones, , Senior Media Artist, Experimental Art & Video Art Archivist

That the ARI Remix project can be dipped in and out of means that the audience and people can engage and build on the reflection, is a real strength of its building of testimony. A memory recalled together can be made more vivid because we can see different facets of the same event, time, and therefore where it overlaps, blurrs shows the fragility of people. I like to see fragility, the appeal of a real humanity in any project or work... this shows all sheer highs of people's need to work and express their ideas of what it is to be woring. It is enjoyable and engaging, thank you.

- Racheal Bruhn, Artist & Designer

Wonderful remix of important art histories from a time of strong oppressive forces and therefore strong resistance. The incredible creativity, local initiatives, artists, venues, times and works that this documents and archives, are a valuable resource that could so easily have been lost.

- Linda Dement, Senior Media Artist, Queer Activist

In the early '80's I participated in Technical Girl's Collective, and artist-run collective based in Darlinghurst, Sydney. We produced a calendar and postcards and a video about women and unemployment. We then wrote a film script about a day in the life of young women living in Darlinghurst in 1984 and received film production grants from the Women's Film Fund of the Australian Film Commission to make it. It screened at film festivals in Australia and internationally, appeared on SBS and won the Best Experimental Film from the Toowoomba Film Festival in 1986. When I was a young artist in Brisbane and Sydney in the 1980's, I had no idea that our art making was important. It's just who we were and what we did. The archiving of our work via this project organized by Paul Andrew is invaluable.

- Jasmine Hirst, Senior Media Artist, Filmmaker, Queer Activist

The ARI Remix Project is an incredibly valuable archive and community that has engaged nationally with diverse communities, bringing to life so much historical material that may otherwise be lost, and creating opportunities to forge new partnerships around the country that can grow into the future. If possible, it would be great to see the project develop further, and our organisation would love to continue participating. I appreciate that working with archives is a slow process that takes time and needs support, in particular to undertake the necessary work such as digitisation of images, writing, and the technical requirements of running an innovative website. ARI Remix has made the most of their funding so far, with a dynamic website and active outreach formats such as the newsletter and special articles. ARI remix would clearly benefit from continued support into the future, that will - without question - contribute significantly to Australia's cultural discourse and identity.

- Caroline Phillips, Women:s Art Register, Artist

The ARI Remix Project is a wonderful source of information. In researching for my work and PhD I referred to the website immensely. The project is much needed especially because from my research I realized that few similar archives exist. If they do exist, they are not as thorough and generous as the one presented here. I do believe that the project can benefit from further organization, however having done a website myself I understand how challenging that could be with all the information. All in all, I think the Remix project is a valuable asset for Queensland and the conservation of social memory, so definitely keep going !

- Joanne Choueiri, Educator, Artist, Architect

Being a part of Nextdoor ARI has been a whirlwind from the start. We launched the ARI at the beginning of 2020, as the world was entering a pandemic. Since then, our journey has been exciting, fulfilling, stressful, time-consuming. Our goal has always been to build a safe and comfortable space for new and emerging artists to find their feet. In our active engagement, we have found a growing community of artists and creators, and have provided opportunities for professional development, networking, and the exhibition of new art. Volunteering in Nextdoor ARI has been immensely rewarding, and yet, also extremely challenging and demanding. We are constantly faced with the battle of presenting high-quality exhibitions and events, with no government funding or permanent space to call our own. We exist solely on donations and the generous in-kind support of other ARI’s and arts spaces.

- Amelia McLeish Kimberly Stokes Joaquin Gonzales Ella Callander Abigail Rutter Claire Su

This is a really important project, highlighting the importance of archives to the future of Brisbane's grassroots contemporary art scene. From a national lens, the importance of artist-run initiatives can be easily overlooked, but this project holds testimony to the scene's vibrant past present and maybe even future. The past can be our present, we can learn and grow from history.

- Emily Wakeling

ARI Remix Project is a vital repository of social memory and artist run culture that serves all generations of arts communities in Australia. I highly rate the initiative and value the project as a living archive of memories, documentation and experiences that can be drawn upon for future learnings. For those that contribute, the exercise of recalling these experiences provides a chance of rare retrospective contemplation. The exercise of recollecting these experiences has allowed me to reflect on this time and how it has shaped my personal and professional life. As ARI culture continues to thrive across Australia, ARI Remix Project should continue to grow alongside, capturing the breadth of stories and creative energy that coincides with these ventures. As a collective memory, the ARI Remix Project has created a community of creative risk-takers and cultural beacons of time that tell an important part of history in the sector.

- Elysha Rei

This is one of the most important projects in the Australian art-scene, of major historical value. It is unique, in fact, since I am not aware that any other region in Australia has produced a history of its own local art product in this manner. There are many factors that make Queensland different socially, politically and culturally from the rest of Australia and it has been of critical importance to record the manner in which artists related to their political environment. The mass of material gathered in the ARI Remix project is astounding. Everything is here... from very serious minimalist painting to Neo-Popist politicised work, to fashion design, the nexus with the musical scene ( an immensely important factor in the creation of the local art-world), the relation to the teaching institutions, to the dance clubs and American hip hop music in the late 1980s .... There is a great deal of information about the many different art-spaces that came and went. This is an incredible archive and there are very few like it.

- Urszula Szulakowska

The focus of my work was feminist, & queer issues of discrimination, & prejudice. However, I participated in many events which celebrated multiculturalism, & in my projects I always strove to include people from a range of cultures, predominantly immigrants from Europe, & Asia, & indigenous Australians. Thank you for including me in this project, & thank you for preserving so much cultural wealth. Evelyn H Hartogh

- Ev Hartogh

A wonderful enterprise! I feel that the ARI Remix project is a valuable and long overdue look at a unique time in our cultural story. It was a dull time, with strict governance over our lives, so the organic evolution and collaboration was a game-changer for developing opportunities for ourselves. I rate it highly. Definitely keep on growing it! No doubt, there are more amazing stories to unearth!

- Anna Bourke

This is an important project. Nobody else is doing this and I know that thousands of hours are dedicated to keeping this going.

- Sharon Jewell, Artist-Run Member, Cofounder The Butterfactory & Canaipa Mudlines

Hi Paul, Thank you for adding Nowhere to your valuable archive. It's been great to have a reason to reflect and document the Nowhere purpose, activity, people and outcomes. It also triggered a spark of revival so who know what will happen! We'll keep you informed.

- John Waldron Co-founder Nowhere Art Group 1.02.2022

Keep up the great work!

- Dennis Remmer

The ARI Remix Project is a wonderful connector across generations of artists in the greater Brisbane area. It recovers the fragile links and reweaves them into coherent historical narratives. This is important for each generation of artists in a place like Brisbane, where concrete references to our history are too easily erased. It is also an invaluable tool for researchers.

- Rachel Apelt

In my career I established the Ephemera Collection at State Library of Qld..My role as Arts Librarian at the State Library of Queensland was the impetus for me to actively engage,collect and preserve ephemera from the Artist-Runs from early 1980s to 1990s. I rate the ARI Remix project as excellent...I think the ARI Remix Project has been extremely successful, inspiring, engaging and has galvanised so many to recall, contribute and maintain the extraordinary impact the Artist-Runs had on the cultural scene within Brisbane during this rapidly changing political, social and economic period. I congratulate all involved with this project and on continually sustaining the interest, passion and commitment to Artist-Runs which is not always easy to maintain. Fantastic concept and how exciting to revisit such a flourishing and vigorous period for artist-run spaces and art ephemera. Glorious photo of Angelina Martinez by the way! Paul Andrew and this artist coalition of the willing is a highly committed team and are to be congratulated. Best of luck, Cassie Doyle Cassie Doyle Archivist University of Queensland, Fryer Library

- Cassie Doyle

Bek Schembri (nee Bek Fogarty) One of the agendas when we started Galerie Brutal was to circulate a monthly booklet of ideas called Brutal News. It was an open forum often featuring artist pages as well as our monthly exhibition programming and publicity for Brutal's social events. In those days it was all done by hand, cut and paste and illustrated by David Lawrence Stafford. I'm so proud that the whole series representing 3 years of activity is safely archived in important public collections across Australia (ariremix.com.au) Galerie Brutal, 21 Gipps St, Fortitude Valley, Qld ??

- Bek Schembri ( nee Rebekah Fogarty)

Melanie Swalwell ‏ @melswal 20 Aug 2018 Just discovered the Australian Artist Run Initiative Living Archive project, 1980-the present. It's great!! Thankyou @vignettestream. I will definitely be using this. (Some similarities to the "Popular Memory Archive" we made for @AgainPlay.)...http://www.ourdigitalheritage.org/archive/playitagain

- Melanie Swalwell ‏

This is Leung Chi Wo, the author of the Chinese edition of Stories of Hong Kong Artists—Interview Manuscripts from 1998 which features Hiram To’s work. With your support and your loan of images, I am glad to tell you the book has finally been published. Thousand thanks to you Paul and ARI Remix Project! Without your support, this book will not be possible. best regards, Leung Chi Wo 梁志和

- Leung Chi Wo - Editor, Author

The ARI Remix Project is excellent. Great project Paul, thanks for doing it.

- Linda Wallace - Artist

The ARI Remix Project is excellent, an exemplary model of gathering, concentration, democratic access to and distribution of often difficult to categorise documentation, memorabilia, ephemera, recollections and discourse around the phenomena of artist-run spaces. It creates an significant archive for future research into this important but somewhat neglected arena of cultural activity and inspiration for artists everywhere who may from time to time question the validity or purpose of their experimental, non-mainstream or seemingly marginal practices.

- Gary Warner - Artist

An extraordinary initiative which is recovering precious history that would otherwise be lost. Lively and entertaining, a rich variety is gathered here of hitherto unknown visual imagery. The interviews with artists are revealing about the times in which they practiced. The artists recorded here are varied in their type of work, from painting to designing club decor, with many being equally gifted and innovative musicians and writers. The field is left open, unscripted and uncensored, thus building an invaluable archive of Australian artistic history for the future. Paul Andrew is to be greatly congratulated for his total dedication to this project and the massive amount of time and energy that he has given to it.This project should be supported in the future.

- Urszula Szulakowska - Artist, Author, Academic

I was a participating artist at One Flat artist-run space in Brisbane in the 1980s and had a number of exhibitions and performances including Raw Roar (La Boite Theatre) , as well as protests One Flat - Jeanelle Hurst, Russell Lake, Eugene Carchesio, Adam Boyd, Zeliko Maric and so many others . The ARI Remix Living Archives & Social Memory Project is EXCELLENT. A wonderful and timely project that is superbly run and well documented. If not for ARI Remix, these stories would have been lost for all time. It has also inspired me to reconnect with my friends and colleagues on a new project, 30 years on - the Many Faces of Burrumarra project - honoring one of the NTs great intellectual and cultural leaders. Name: Ian McIntosh

- Ian McIntosh - IUPUI, Reconciliation Watch, Founder Associate Director, Confucius Institute in Indianapolis Director of International Partnerships Rotary Peace Fellow, Chulalongkorn University, Thailand

The ARI Remix website has been fantastic research for the works in this collection to identify dates etc that we did not have, so nice to be getting more comprehensive documentation for the UQAM works represented in the 2016 Ephemeral Traces exhibition.

- Kath Kerswell, Senior Registrar | UQ Art Museum

I worked with a number of ARI's in an advisory role primarily in the promotions and marketing of their events and fundraising activities. I raised funds for several in the 1980's including The Observatory Collective.The House of Wack Gallery (Newstead 2003 - 2004) was a commercially run venture that welcomed local artists and offered gallery / exhibition space for free.. Worked with Camp Fire Group and David Paulson in 1988 and during my tenure with Arts Queensland I promoted the activities of numerous ARI's including Juggler's Artspace, CoCA, Backing Indigenous Arts, ProppaNow, Boxcopy, Accidentally Annie Street,The Wandering Room, InBetweenSpaces, The Fort. The ARI Remix Project is excellent it is an invaluable resource that has plotted the history of significant periods in Brisbane's cultural development. The archives and memories are particularly important as they document the activities of artists during a period of great social, political and cultural change that impacted the lives of many.

- Jon Adams

I was involved in many Australian ARIs during the 1990's including Bartleme Gallery in Elizabeth Arcade in Brisbane's CBD (Edwina Bartleme), Galerie Brutal gallery in Fortitude Valley (Rebecca Fogarty and David Stafford),Isn't Gallery, Boulder Lodge Concepts also in Fortitude Valley ( Joseph O"Connor and Craig Ball), Omniscient Collective Gallery in Woolloongabba, Man Bites Pumpkin in Fortitude Valley, Bauhaus Gallery in Brisbane CBD and XB Installation Projects in Dayboro at The Butterfactory (Sharon Jewell and Hollie) WANDA (Women's Art Collective). I participated as an exhibiting artist in group shows and I was on the committee for Bartleme galleries helping to decide on themes for upcoming exhibitions. I was on the organising committee of WANDA (Women's Art Collective). ARI Remix at ariremix.com.au gives a voice to the thousands of artists and other contributors to a vital community of artist-run initiatives in South East QLD, regional QLD and beyond. Many of these events and ARIs would be forgotten if such an archive didn't exist. It is an important resource recording the stories of the artists involved in these artist run initiatives. Providing a wonderful historical record of an exciting and creative outpouring of artistic activity in Brisbane. I enjoyed contributing to the ARI .Remix website. I feel proud to have been part of many exhibitions in ARI's in Brisbane during the 1990's and think it is a worthwhile and important archive of information. It is a great resource for contemporary artists to gain insight into the past history of ARI's in Brisbane and beyond.

- Casselle Mountford

I was a collective member and co-director of Inkahoots, which in the early 1990s created a space for community orgs, NGOS and individual artists to access design and screen printing facilities. Inkahoots members collaborated with other artists and NGOs on various projects, including the 1994 Political Posters series. As a collective member I was also a co-director, a role shared by each active member. A recent artist collaboration I thought excellent was that between Liquid Architecture and numerous Brisbane and Gold Coast based artists to create the sound-based and experiential work, A Plant is a Community. The project was thoroughly researched and prompted a fluid exchange and spontaneous connecting between the artists and audiences. However, I was struck by the challenges of adequately documenting such a project and keeping the intergenerational links alive. Such site specific and experiential work is too easily lost as the tangible references are fragile. It is important to document these projects in a coherent framework, such as the ARI Remix Project. The ARI Remix Living Archives & Social Memory Project is a wonderful connector across generations of artists in the greater Brisbane area. It recovers the fragile links and reweaves them into coherent historical narratives. This is important for each generation of artists in a place like Brisbane, where concrete references to our history are too easily erased. It is also an invaluable tool for researchers.

- Rachel Apelt

ZIP, as well as Zero/Xero/Xiro where music is art. I was a musician, visual/graphic artist and mood enhancer from 1978 til leaving Brisbane in 1985 to continue my work in Sydney. I was a collaborator on recorded music, performance, poster making with a range of other artists, most notably with ZIP - Terry Murphy, Irena Luckus, Matt Mawson and Tim Gruchy. I collaborated with Gary Warner, Clare McKenna, Adam Wolter and others to produce small-format magazines and live music and art performances. Darlinghurst Eats its Young - Madeline Preston, was a significant and influential online/exhibited experience for me in my work as a sub-cultural historian interested in the personal and ephemeral. Ephemeral Traces - Peter Anderson, was a fine gathering of rarely seen but very familiar work from my past. The grand-daddy of them all, Know Your Product - Ross Harley, legitimised all our busy-ness, put it in a frame, and started the ball rolling. The ARI Remix Project is excellent. Probably the most comprehensive, exciting and meaningful way of curating and disseminating these important stories that make up Brisbane's cultural life. I love this project.

- John Willsteed

I moved to Sydney (from Toowoomba/Brisbane) in 1981 where I ran Art/Empire/Industry with James Rogers, Calvin Brown, Gayle Pollard, and Glen Puster. I then ran another artist-run space—Union Street Gallery—with Debra Dawes, Jelle Van den Bergh, and Deborah Singelton in 1984-1985. These sorts of curated recovery and retrieval endeavors are, in my opinion, important because without them there is no solid historical ground to build on. Australian art history is a somewhat neglected field that needs all the help it can get. The ARI Remix Project is excellent. I am grateful for Paul's efforts here. Without them, much of the important groundwork done by ARI's would disappear forever.

- Jeff Gibson

ARI Remix is an invaluable repository of historical ARIs, artists, moments, memories and events. It is an accessible and thorough database that also encapsulates the personal stories of ARI history. As ARIs by nature can be so ephemeral, having ARI Remix take the reigns in documenting, presenting and sharing these moments in arts and cultural history is incredible important. I look forward to seeing it grow and develop as an iconic platform for Australia's arts and cultural sector.

- Elysha Rei, Artist, Made Creative ARI Toowoomba

The ARI Remix Living Archives & Social Memory Project website is a valuable resource, particularly for the QLD scene and it's artists, but it was also be good to be able to access further histories of interstate venues and see what is going on outside of QLD. I also just wanted to say i enjoy the mail outs that come out, always packed with lots of stuff, thanks

- Erika Scott, Accidentally Annie Street Space, The Soylent Spot ARI

Hiya Paul! Good to see you are still busy collecting ace archival stories for your magnum opus. Funny as I have been searching a few artists of late and have been pleasantly directed to your ARI spiderweb, such an epic resource!

- Erika Scott, The Soylent Spot ARI

The ARI Remix Living Archive & Social Memory Project is an invaluable resource that has plotted the history of significant periods in Brisbane's cultural development. The archives and memories are particularly important as they document the activities of artists during a period of great social, political and cultural change that impacted the lives of many..Jon and Claire Adams

- Jon & Claire Adams

Congratulations on your work with the ARI Remix Project. It has become an invaluable resource that I look forward to seeing it continue to grow in the years to come. The issues you raise in your email around digital collections are very important to me as part of All Conference's work. For us, archives are important advocacy tools and making them accessible via access points like ARI Remix and (in a smaller way) the All Conference library, are excellent ways for those that actually work in these spaces to understand the lineage of their activities. https://allconference.org.au/library

- Channon Goodwin

Yes I too participated in Artist-Runs in the 1980-1990 period, in Brisbane and interstate - My role was multifaceted in that I was involved with running the space(s) in so far as the day-to-day as well as organising exhibitions, and as a participant and contributing artist. I think that having a resource which enables people to visit; sometimes for the first time, activities undertaken in previous decades in Brisbane's art community helps provide important historical and cultural context. For those who were active at the time, it is an opportunity to view a period from often a slightly different direction having had time mediate, and in some ways re-contextualise events. It is also obviously wonderful to see,(and hear) things again that were in some cases all but forgotten, teetering on the edge of memory, faces, places and spaces inhabited by art and life. For a city and state that is continuing to develop in all sorts of directions, to be aware of its heritage from as many vantage points as possible is really important. That awareness needs to be pricked and fostered by projects such as this which allow recent cultural history to be viewed, reviewed and built upon. Artist Russell Lake

- Russell Lake

1980-1990,1990-2000, I was actively engaged in many artist-runs during this period. I was involved in the founding and setting up of THAT Space in Brisbane in the mid eighties. At the same time and later I was also involved in a number of studios around town. The ARI Remix project so far, EXCELLENT, it's great stuff. A fabulous resource. Lots and lots of good and interesting information. Lots and lots of hard work. And bouncing off what artist and designer Angelina Martinez has already said, we set up these spaces as a places for those like us to exhibit, and to create an environment where art practice at a grass roots level was possible and valued. The mix of artist-run spaces at the time created a rich and dynamic environment in which to develop our practices and share our work. The ARI Remix Project is an important record of that period, filling a hole in the collective memory of those places and that time. John Waller

- John Waller

1980-1990,1990-2000,2000-2010,2010-Now, I was involved with many artist-runs during these years. My role? I was engaged in finding a place to create work and exhibit the work. I worked for a small time in Red Comb House, Little Roma Street, Loch Street West End. Showing work in all places Le Scoops, Metro Arts, McWhirters, That Contemporary Artspace and Arch Lane Public Art. From the nineties to 2000's exhibited in small groups, tandem and solo in various small spots but mainly with Doggett Street Studio. Grateful for the drivers of all these places, their ability to find and build opportunities to show was great. The ARI Remix project so far is EXCELLENT, and I like the reflection, the process of having to put together a small story, to make it comprehensible made me go through old files and relook and actually look at different lines of work and pick some out to support that narrative. The process has also given me the inspiration to work on a project that I had been considering since making the first batch of work the documenting portrait photos that I took at the time retaking and revoking the photos. I now have a way of framing it that makes sense of the original work. I want to retake the photos of the people, plus some people that I knew back then but was a touch too shy to ask if I could their photo. It would make for an interesting document. The way people engaged with having their photo taken back then. It would be interesting to see their authorship, or engagement with having their image taken now. I have also found the stories people have told really interesting, human and so without guile. It is a delight to see work that was impulsive, insightful and real without the need for the academy's approval. It happened to spite any formal feeding into of a fine art industry (it didn't really exist then!) Maybe it still doesn't!? – just being cheeky, I have noticed traces and shadows of it! That the project can be dipped in and out of means that the audience and people can engage and build on the reflection, is a real strength of its building of testimony. A memory recalled together can be made more vivid because we can see different facets of the same event, time, and therefore where it overlaps, blurs shows the fragility of people. I like to see fragility, the appeal of a real humanity in any project or work... this shows all sheer highs of people's need to work and express their ideas of what it is be work. It is enjoyable and engaging, thank you. Racheal Bruhn

- Racheal Bruhn

Yes, I was actively involved in 1980-1990 artist-runs in Brisbane, with Zip, it was a music and visual art collaboration. I was one of the five core members. The ARI Remix project is EXCELLENT. All the hard work of the organisers seems to have paid off. I appreciate being invited to contribute.

- Matt Mawson

Yes I too was actively involved in artist-runs in Brisbane, 1980-1990,1990-2000. The artist-run scene was something I found immensely empowering, both in terms of providing somewhere to show, but also an entry into a wonderful community of like-minded people. Let us know how your rate the ARI Remix project so far:: EXCELLENT The whole thing has been incredible fun. Shane Kneipp

- Shane Kneipp

Yes I was actively involved in artist-runs 1980-1990, at the time, I had an active arts practice, collaborating wildly across many ARIs and other creative activities in Brisbane through the 80s The ARI Remix project so far, EXCELLENT Keep up the excellent job being done. This undertaking is crucially important. Tim Gruchy

- Tim Gruchy, Senior Digital Media Artist, ZIP

My role ? I established the Ephemera Collection at State Library Queensland. My role as Arts Librarian at the State Library of Queensland was the impetus for me to actively engage,collect and preserve ephemera from the Artist-Runs from early 1980s to 1990s The ARI Remix project is EXCELLENT I think the ARI Remix Project has been extremely successful, inspiring, engaging and has galvanised so many to recall, contribute and maintain the extraordinary impact the Artist-Runs had on the cultural scene within Brisbane during this rapidly changing political, social and economic period. I congratulate all involved with this project and on continually sustaining the interest, passion and commitment to Artist-Runs which is not always easy to maintain. Paul Andrew and the ARI Remix collective, a highly committed team are to be congratulated. Cassie Doyle

- Cassie Doyle, Librarian, Arts Ephemera Expert,

I am an artist and I worked with THAT SPACE, an artist-run in the 1980s, exhibited a few exhibitions there and attended many events. One of the co-founding members and initial committee for Tropical Artists' Guild in Cairns. My exhibition 'Preliminaries for "Big Smoke"' was the first exhibition held at TAG. The ARI Remix project is EXCELLENT, the ARI Remix site is superb, what an amazing resource. I enjoy checking back and seeing what is new on site. I appreciate the effort gone into this project, a valuable archive of a vibrant and vital time in Australian arts.

- John Douglas

This project begins to document the influence of artist run initiatives in Queensland. The artist run initiatives of the 1980s grew out of a critical relationship with the policies and practices of mainstream art institutions and governments. I support this project because documentation and analysis of artist run initiatives is important in the development of art in Queensland. I would like to see this project receive government funding and institutional support to expand on the current research and database and to develop new initiatives.

- Dianne Heenan

" I’ve been looking through the Remix site, it looks great, what an amazing project and resource! Please let us know if there are any other ways we can share and support the Remix Project, we love what you are doing"

- Long time supporter

" ARI’s or artist-run spaces as we called them also provided us with a place to exhibit, to network and to meet other contemporary artists. This was invaluable at the time as there were no venues, institutions or galleries that would even consider exhibiting my work or promoting my art practice, especially those of a young female artist like myself. It is disconcerting that documentation and ephemera from this era has not been collected and published. This archive of material and resources and those of others like myself, deserves to have a place in the social and art history of the city. It is important to document this history of ARI’s in Brisbane because of the unique political, economic and social circumstances at the time, and how this generated such enormous activity by cultural workers that was often critical, challenging and provocative. REMIX is designed as an online project and what is terrific about this is that it will make these interviews and archives available to a wider audience online, from Queensland and elsewhere, and for much longer period than any exhibition can even attempt to provide. This is important to me."

- Angelina Martinez

I was for a while a member of Red Comb House (1982), and subsequently an early participant in John Mills Himself, producing a site-specific installation there in 1984. During this time there was a lot of interaction within each other's work, and across ARI spaces, which was stimulating and productive. Jay Younger, John Waller, Wayne Smith, Jane Richens, Virginia Barratt, members of THAT Contemporary Art Space, became colleagues and collaborators as a result of the interactions within the ARI scene. One key difference that I noticed between Brisbane and the southern art scenes (at this time) was that Brisbane artists were very supportive of each other’s projects and practices. The ARI remix project has been a catalyst for recovering a previously neglected and therefore inaccessible history of what was a remarkable and vibrant period of the burgeoning Brisbane art scene of the 1980s. This timely recovery added depth and vitality to the Ephemeral Traces (2016) exhibition, curated by Peter Anderson for UQ Art Museum. The chosen mode of interviews with the individual artists remembering their participation in their own words, has created a rich tapestry of voices and memories without the reductive suppression of a singular authorial voice.

- Lyndall Milani