Page 101 - Beberemos El Vino Nuevo, Juntos! Let Us Drink the New Wine, Together!

crossing borders via the loopholes still available to us. The instantly recognisable, formal imagery of the world map is interrupted, disrupted, made unrecognisable by the interactions each artist had with it. Supplies were limited to what was readily available at home, so we
were inventive! Stitching, dyeing, drawing; using things already to hand means that each map resonates with the intensities of being in one singular place while also remaining in the world. These counter-mappings bring the scale of the global map immediately down to the micro, to the person being in lockdown, in some place on that map. These intensely personal, imaginary border crossings across the map present an alternative cartography of global location.
The Envelope Project
2020 - 2022
The Envelope Project takes up the idea of porous borders and considers how incidences of seepage, porosity, and chinks of space allow for expanded touch across distance. Twenty envelopes, handmade and using sections of watercolours by Jeffrey Holdaway, each travel from New Zealand to five different countries in the world. Inside are small artworks and objects that provoke ideas about being alone-together, along with blank artist-paper inside. Artists were invited to keep anything from the envelope, and to contribute any kind of mapping/ writing/ drawing/ notation/ on the paper inside. As the artists remove anything they must photograph it, and also photograph their contribution before adding it. Inside the envelope is a list of names and addresses to send the envelope to next, evoking the hopeful aims of chain letters. Adding the next address to the envelope, some video themselves as they post the envelope on. The artists send the digital images of their removals and additions to the Mapeo de Bordes Porosos project repository.
Just as with chain letters, some envelopes became lost in transit. Some took hardly any time to be delivered, and others took months. The particular porosity of the borders between countries were mediated by postal rules and regulations, this brought an irregular rhythm to the progress of the envelopes as they dispersed from place to place, from hand to hand, carrying the touches of artists to each other. But the excitement of the arrival! And the breath in as the envelope was opened and the contents examined, and the expanded touches felt.
A second iteration The Envelope Project was curated by alys longley and Linda Knight and took place at the end of 2021, during the Mapping Future Imaginares concentric curriculum held at Bus Projects, Melbourne. A second batch of envelopes were available in the gallery for visitors to open and explore. Similarly, there was the invitation to remove a piece of work from an envelope and also contribute a work. Again, each of these transactions must be photographed and sent in. These envelopes were not sent on individually, they were a collection to be held and explored, and contributions captured the euphoria of being finally released from lockdown and adjusting to a world altered by the extraordinary experience. At the conclusion of Mapping Future Imaginaries these envelopes were gathered up and sent to join the first batch that, bit by bit, arrived at their final destination.
Chaosgraph: Scales of Infection
2020 - 2022
Linda Knight and alys longley Textile, video, performance
In Chaosgraph: Scales of Infection, Linda Knight and alys longley explore the datafication processes for reporting the spread of the virus and how this impersonal, large-scale, globalised information can be critically interpreted through small, personal performances of care and
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