Julie Louise Bacon is an artist, curator and writer.
Her installation, performance and moving image practice explores the poetics and politics of the body, landscape and collective histories, working with duration, site and archival research. She has exhibited extensively in an international context, including: Artspace Ideas Platform Sydney; Golden Thread Gallery Belfast; White Cube London; the CCA Tel Aviv; and Western Front Vancouver.
Julie Louise has developed arts policy and programmes in executive and curatorial posts in art centres in England, Québec and Northern Ireland. Her curatorial practice results in exhibitions, festivals and conferences that advance interdisciplinary, site-sensitive and socially-engaged practices. From 2012-2016, she was Artistic Director of Embassy for Water, the first Embassy for a shared physical entity, beyond the nation state. The project formed a core component of Leeuwarden’s successful bid to be European Capital of Culture 2018 during her consultancy as a creative producer (2012-15). Julie Louise has served on arts advisory boards and juries for municipalities, arts councils and arts organisations, and undertaken consultancies on a range of public art projects.
Originally from South Shields, a fishing and former shipbuilding town on the North Sea, she is a Lecturer at UNSW Art & Design and a researcher at the National Institute for Experimental Arts. Following her PhD (2006), she has published widely on contemporary art and cultural theory. She is editor of the anthology Arkive City 2.0: Tracing Time in the Network Ages (2020).
Julie Louise heads the development of the arts-led, international research initiative The Habitat of Time(2018-2020). This builds on the international festival Töne: A Meeting of Sound and Light (2014), Signal: Art and Network Technologies (2012), and the AHRC exhibition and conference series Per-forming the Archive(2006-2008). The project navigates shifting experiences of time in the network ages by conceptualising relationships between physical, social and mental time-forms. In 2018, she furthered this research as a Fellow at the Foundation for Art and Creative Technology (Liverpool, UK) and curated an exhibition and symposium at Casula Powerhouse (Sydney).
IN RESIDENCE 2019
Julie Louise plans to further her research on the habitat of time in the context of the Bundanon ecology. She will work on an essay series that explores the findings of the project, drawing on the body of curatorial propositions, artworks, and dialogue generated to date. She will also experiment with the essay film, and develop the project’s performative and collaborative research methods.