Art Monthly Australasia:

︎︎︎Neither soft nor weak: Gwangju’s 14th Biennale
Issue 336, Winter 2023

︎︎︎Mapping Croft’s voyages and traces of Country at CMAG
12 January 2022, online review
︎︎︎Capturing Country: ‘Art Centres on Screen’
28 October 2021, online review

[1] Charwei Tsai, a temple, a shrine, a mosque, a church, 2022; installation view, 14th Gwangju Biennale, ‘soft and weak like water’, 2023; courtesy the artist and Gwangju Biennale Foundation; photo: glimworkers; [2] Justene Williams, Victory over the Sun, performance still, National Gallery of Australia, Kamberri/Canberra, October 2022; photo: Creswick Collective; [3 Brenda L. Croft, Kurrwa, 2017–21, Blackwood crystal, red Gaffer lead crystal, Corten steel, stainless steel, Sikaflex, electrical wire, 12-volt globe, dimensions variable; image © Brenda L. Croft; [4] Noreen Parker, Camouflage army truck, acrylic on found metal oil sump, pram wheels, fencing wire, 72 x 34 x 32cm; cinematographer: Devris Hasan; image courtesy Desart


︎︎︎Trust and Language: Saskia Haalebos on Vulnerability in Collaboration…Scaffolding Cultural Co-Creativity, online interview