Recent research involves examining the Infrastructure of Memory via the work of artists such as Yhonnie Scarce whose work examines sites of conflict and military colonisation. In the context of events in the Middle East, I seek to understand the genocide being carried out against Palestinians in Gaza, and to discover the extent of the University of Melbourne's complicity in this genocide through its research in military hardware and software. Lisa Radford is a Lecturer in Art, Victorian College of the Arts, Faculty of Fine Arts and Music.

Emerging from the discipline of painting and working as a writer, artist and teacher Lisa Radford explores the shared socio-political space between images, place and people. Conversation and collaboration form the fundamental basis of her processes and methodology as means for creating iterative and generative texts, exhibitions and seminars that span a range of media including painting, publishing, performance and installation. Radford is currently collaborating with Shelley Lasica on her seminal survey exhibition When I Am Not There at Monash Museum of Art, due to open in August 2022. Prior to this, she collaborated with Sam George (2008-2022) where they used conversation and oral histories to produce works that referred to documentary processes, shared narratives and coded language. They recently exhibited Veronica Franco v Instagram at Gertrude Glasshouse (Melbourne, 2022) and participated in the celebrated group exhibition This is a Poem, curated by Melissa Keys at Buxton Contemporary (2021). Working with 10 theatre students at the VCA, they wove local art history into the filmic and thespian histories of the Mornington Peninsular including Hannie Rayson's Hotel Sorrento.

Concrete Archives is an ongoing evolving project that documents the shared experiences of 2 women: one Aboriginal, Yhonnie Scarce; the other non-Aboriginal, Radford. Pre-pandemic, Radford and Scarce travelled across the world to visit sites imbued with significant histories of devastation, including Auschwitz, Chernobyl, Fukushima, Hiroshima, Maralinga, New York, Wounded Knee and former Yugoslavia. Scattered across the globe, these sites are an archive human history and loss in the form of architecture (brutalist buildings, monuments and memorials) and imagery (photographs, diarised accounts). This fieldwork to date has resulted in the production of an editorial project with Art + Australia online and a major curatorial project debuting at ACE Open (ADL) which travelled to the VCA (MEL) this digital, oral and exhibition archive includes historical and contemporary works and asks how we can address the cultural amnesia which obfuscates, if not renders invisible, the Genocide of Aboriginal people in Australia since colonisation.

Published by Surpllus (Melbourne, 2016) and edited by Patrice Sharkey, her book Aesthetic Nonsense makes common sense, thanks x,collects writing from the previous 20 years where Radford has written alongside (and sometimes about) contemporary art and artists in Melbourne. Brought together in this publication, Radford's criticism and ficto-criticism captures many local histories that speak to politics, friendship, popular culture and a myriad of other subjectivities. Her essays on arts relationship to politics have been published by The Saturday Paper, Art in Australia, the Melbourne Art Fair and Onomatopee Projects (NL).

Dr

Lisa Radford

Senior Lecturer in Art

Victorian College of the Arts

Dr

Lisa Radford

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