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Dr Amelia Barikin

Senior Lecturer

School of Communication and Arts
Faculty of Humanities and Social Sciences
a.barikin@uq.edu.au
+61 7 336 51437

Overview

I am a Senior Lecturer in Art History in the School of Communication and Arts. My research often focusses on the relationship between contemporary art and time, working across the areas of philosophy, time studies, art history and critical theory. I completed my art history PhD at the University of Melbourne. Prior to joining UQ, I was ARC Senior Research Associate at the University of Melbourne, and have also worked as a curator and editor with various Australian arts institutions.

My books include the monograph Parallel Presents: The Art of Pierre Huyghe (MIT Press, 2012, winner of AAANZ Best Book Prize 2013); the co-edited anthology and now low-key cult classic Making Worlds: Art and Science Fiction (Surpllus, 2015); Pierre Huyghe: TarraWarra International 2015 (catalogue for the first major solo exhibition of Huyghe's work in Australia); Tom Nicholson: Lines Towards Another (IMA and Sternberg Press, 2018); and Robert Smithson: Time Crystals (Monash University Publishing, 2018), the latter published to accompany a major exhibition of works by Robert Smithson that I co-curated with Chris McAuliffe for presentation at the UQ Art Museum and Monash University Museum of Art. My research has been supported by organisations including the Australia Council for the Arts, Arts Victoria, the Terra Foundation for American Art, City of Melbourne, the Australia Korea Foundation, the Australia Research Council, and the Gordon Darling Foundation, and I also publish widely in arts magazines and exhibition catalogues.

I was the recipient of a 2013 Art Gallery of New South Wales residential fellowship at the Cité internationale des arts, Paris, and have presented invited talks on my research at numerous institutions including for the Biennale of Sydney, Mildura Palimpsest Biennale, Wellington City Gallery New Zealand, Marian Goodman Gallery New York, the Australian Center for the Moving Image, Institute of Modern Art Brisbane, Queensland Art Gallery / Gallery of Modern Art Brisbane, the National Gallery of Australia, the National Gallery of Victoria, Gertrude Contemporary, Auckland University of Technology, Institute for Visual Research University of Oxford, Artspace Sydney, and Helsinki Academy of Fine Arts, Finland. My current work includes research into the histories of queer art in Australia.

Currently available to supervise art history MPhil and PhD projects: I particularly welcome applications from researchers working in the areas of contemporary art, queer theory, feminisms, geophilosophy, science fiction, Australian art, or time studies (or all of the above!).

Research Interests

  • Contemporary international and Australian art
  • Science fiction
  • Time-based art and durational media
  • Philosophies of time
  • Historiography
  • Aesthetics

Research Impacts

2016 Stanislaw Lem Reading Group, Biennale of Sydney, Carriageworks 24 April; 'Everywhere all at once: time travel and contemporary art', public lecture Wellington City Gallery, New Zealand 21 June; 'Nicholas Mangan: Limits to Growth', public talk Monash University Museum of Art 12 July; 'Frontier Imaginaries', panel discussion QUT Art Museum, Brisbane 13 August; 'Mineral Volumes', Materials of Sound Sympsosium, Artspace, Sydney 24 August; 'Art in the Time of Colony: conversation with Khadija von Zinnenburg Carroll', IMA Brisbane 15 October; 'The Future of ARIs', public panel discussion, BARI Festival Brisbane Powerhouse 20 October; 'ACMI Podcast: Philippe Parreno', October 2016; 'Philippe Parreno: In Conversation', ACMI Melbourne 6 Dec, 'Curating Publics, Curating Spaces', University of Melbourne 8 December.

2015 Museums and Galleries NSW Curator Residency Grant, TarraWarra Museum of Art 2015; Public lecture 'In Dreams: Lynch and Surrealism', GOMA March 2015; Panellist, UQ Art Museum 'The Places You'll Go!' March 2015; Presenter, 'Animism and Material Vitality' conference; Auckland AUT June 2015; Curator's tour, TarraWarra Museum of Art, August 2015; Screening and public talk, 'Pierre Huyghe: Untitled (Human Mask)', Australian Centre for the Moving Image, September 2015; Public lecture, 'Being After Time: Towards a Mineral Ontology of Contemporary Art', Mildura Biennale, October 2015; Public lecture, 'Sound Fossils and Arche-Fossils', Gertrude Contemporary, Melbourne October 2015; Presenter and co-convenor, 'Time out of Time', TarraWarra Museum of Art, October 2015; Public lecture for 'Worlds within Worlds', Academy of Fine Arts, Helsinki, December 9 2015.

2014 AGNSW Residency Scholarship, Cité Internationale des Arts, Paris, March-May 2014; Invited panellist, 'Draw Me a Discovery: Café Scientifique', Brisbane, 19 June 2014; Invited keynote respondent 'Art Out of Time' symposium, Oxford University UK, 26 June 2014; Continuing Professional Development Seminar for 'The Melancholic Imagination', University of Queensland, 30 August 2014; public exhibition tour of 'Stuart Ringholt: Kraft', Institute of Modern Art, Brisbane, 20 Sep 2014; public symposium co-convenor and presenter at 'Triple Oh! Symposium: Art and Object Oriented Ontology' UQ Art Museum, 27 Sep 2014; Session Chair, 'The Life of Things', EMSAH WIP Conference, University of Queensland, 29 Sep 2014; Judge, Dr John McCulloch Memorial Prize, Univeristy of Queensland, 30 Sep 2014; conference paper for public symposium 'The Persistence of Melancholia: Melancholia and the Arts 1514-2014', UQ Art Museum, 23-24 October 2014.

2013 'Making Worlds', public reading and book launch at Motto Melbourne, 5 Sep 2013; 'The Future is Noise', public panel discussion with Greg Hainge and David Toop, IMA Brisbane 22 Aug 2013; 'Art and Science Fiction', radio interview for 4ZZZ, Brisbane, 14 June 2013; 'Making Worlds: Art and Science Fiction', conference paper, ISEA, University of Sydney, 12 June 2013; 'Large Screens and the Transnational Public Sphere', roundtable with Nikos Papastergiadis, Scott McQuire, Ross Gibson, Cecelia Cmielewski, Audrey Yue and Xin Gu, ISEA, Sydney, 12 June 2013; 'Memories of the Future: On the Time of Art', public lecture, Institute of Modern Art, Brisbane, 11 April 2013; 'The Paper Trail: History and Archives in the Work of Thomas Demand', public lecture, National Gallery of Victoria, Melbourne, 15 March 2013.

Qualifications

  • Doctor of Philosophy, University of Melbourne
  • Bachelor of Arts (Honours), University of Melbourne

Publications

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Grants

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Supervision

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Publications

Featured Publications

Book

Book Chapter

  • After the end: The temporality of melancholia

    Barikin, Amelia (2019). After the end: The temporality of melancholia. The Persistence of Melancholia in Arts and Culture. (pp. 107-121) edited by Andrea Bubenik. New York, NY United States: Taylor and Francis. doi: 10.4324/9780429468469

  • Blindness and figuration: the dialectics of picture-making in the work of Tom Nicholson

    Barikin, Amelia (2018). Blindness and figuration: the dialectics of picture-making in the work of Tom Nicholson. Tom Nicholson: lines towards another. (pp. 39-52) edited by Amelia Barikin and Helen Hughes. Berlin, Germany: Sternberg Press.

  • Robert Smithson: time crystals

    Barikin, Amelia and McAuliffe, Chris (2018). Robert Smithson: time crystals. Robert Smithson: time crystals. (pp. 5-36) edited by Amelia Barikin and Chris McAuliffe. Melbourne, Australia: Monash University Publishing in association with Monash University Museum of Art.

  • Towards an impossible summit: the journey as decoy in the work of Pierre Huyghe

    Barikin, Amelia (2018). Towards an impossible summit: the journey as decoy in the work of Pierre Huyghe. Art as adventure: going beyond. (pp. 76-93) edited by James P. Werner and Rosemary O'Neill. Newcastle upon Tyne, United Kingdom: Cambridge Scholars Publishing.

  • Sound fossils and speaking stones: towards a mineral ontology of contemporary art

    Barikin, Amelia (2017). Sound fossils and speaking stones: towards a mineral ontology of contemporary art. Animism in art and performance. (pp. 253-275) edited by Christopher Braddock. Cham, Switzerland: Palgrave Macmillan. doi: 10.1007/978-3-319-66550-4_13

  • Chronophobia, presence and presentness in the work of Liam O'Brien

    Barikin, Amelia (2016). Chronophobia, presence and presentness in the work of Liam O'Brien. New16. (pp. 54-55) edited by Annika Kristensen and Margaret Farmer. Melbourne, Australia: Australian Centre for Contemporary Art.

  • Conclusion: ambient screens

    Papastergiadis, Nikos, Barikin, Amelia and McQuire, Scott (2016). Conclusion: ambient screens. Ambient screens and transnational public spaces. (pp. 211-238) edited by Nikos Papastergiadis. Hong Kong: Hong Kong University Press.

  • Introduction: screen cultures and public spaces

    Papastergiadis, Nikos, Barikin, Amelia, McQuire, Scott and Yue, Audrey (2016). Introduction: screen cultures and public spaces. Ambient screens and transnational public spaces. (pp. 3-27) edited by Nikos Papastergiadis. Hong Kong: Hong Kong University Press.

  • Mobile methods and large screens

    Papastergiadis, Nikos, Barikin, Amelia, Gu, Xin, McQuire, Scott and Yue, Audrey (2016). Mobile methods and large screens. Ambient screens and transnational public spaces. (pp. 131-208) edited by Nikos Papastergiadis. Hong Kong: Hong Kong University Press.

  • Ambient aesthetics: altered subjectivities in the new museum

    Barikin, Amelia, Papastergiadis, Nikos, Radywyl, Natalia and McQuire, Scott (2015). Ambient aesthetics: altered subjectivities in the new museum. The international handbooks of museum studies. (pp. 417-436) edited by Sharon Macdonald and Helen Rees Leahy. Chichester, West Sussex, United Kingdom: John Wiley &​ Sons. doi: 10.1002/9781118829059.wbihms120

  • Ambient perspective and the citizen's moving eyes

    Barikin, Amelia and Papastergiadis, Nikos (2015). Ambient perspective and the citizen's moving eyes. Future publics (the rest can and should be done by the people): a critical reader in contemporary art. (pp. 90-115) edited by Maria Hlavajova and Ranjit Hoskote. Utrecht, Netherlands: BAK: base for active knowledge.

  • Quantum entanglements and the construction of time: do we need a science-fictional history of art?

    Barikin, Amelia (2015). Quantum entanglements and the construction of time: do we need a science-fictional history of art?. Soleil double. (pp. 17-24) edited by era-unavailable. Paris, France: Editions Dilecta.

  • The museum in hiding: framing conflict

    Barikin, Amelia, Green, Charles and Brown, Lyndell (2015). The museum in hiding: framing conflict. International handbooks of museum studies. (pp. 485-510) edited by Sharon Macdonald and Helen Rees Leahy. Chichester, West Sussex, United Kingdom: John Wiley &​ Sons. doi: 10.1002/9781118829059.wbihms123

  • Arche-fossils and future fossils: the speculative paleontology of Julian Charrière

    Barikin, Amelia (2014). Arche-fossils and future fossils: the speculative paleontology of Julian Charrière. Julian Charrière: future fossil spaces. (pp. 18-29) edited by Nicole Schweizer. Milan, Italy: Mousse Publishing.

  • Bill Henson, untitled sequence, image no. 11

    Barikin, Amelia (2014). Bill Henson, untitled sequence, image no. 11. Five Centuries of Melancholia: Exhibition Catalogue. (pp. 63-63) edited by Andrea Bubenik. St. Lucia, QLD, Australia: The University of Queensland Art Museum.

  • Bill Henson, untitled sequence, image no. 5

    Barikin, Amelia (2014). Bill Henson, untitled sequence, image no. 5. Five Centuries of Melancholia: Exhibition Catalogue. (pp. 61-61) edited by Andrea Bubenik. St. Lucia, QLD, Australia: The University of Queensland Art Museum.

  • Public screens and participatory public space

    Barikin, Amelia, Papastergiadis, Nikos, McQuire, Scott and Yue, Audrey (2014). Public screens and participatory public space. Art in the Asia-Pacific Intimate Publics. (pp. 161-172) edited by Larissa Hjorth, Natalie King and Mami Kataoka. New York, NY, USA: Routledge. doi: 10.4324/9781315858104

  • Super mechanical super organical: Emily Floyd's science fiction

    Barikin, Amelia (2014). Super mechanical super organical: Emily Floyd's science fiction. Emily Floyd: Far Rainbow. (pp. 59-67) edited by Linda Michael. Melbourne, VIC, Australia: Heide Museum of Modern Art.

  • Zombie history: contemporary art in the jungles of cosmic time

    Barikin, Amelia (2014). Zombie history: contemporary art in the jungles of cosmic time. Three Reflections on Contemporary Art History. (pp. 55-74) edited by Helen Hughes and Nicholas Croggon. Melbourne, VIC, Australia: Discipline.

  • Making worlds in art and science fiction

    Barikin, Amelia (2013). Making worlds in art and science fiction. Making worlds: art and science fiction. (pp. 7-13) edited by Amelia Barikin and Helen Hughes. Melbourne, VIC, Australia: Surpllus.

  • Souvenirs du futur: du temps de l'art

    Barikin, Amelia (2013). Souvenirs du futur: du temps de l'art. Pierre Huyghe. (pp. 213-216) edited by Emma Lavigne and Pierre Huyghe. Paris, France: Centre Georges Pompidou.

  • Tales of the fourth dimension

    Barikin, Amelia (2013). Tales of the fourth dimension. Making worlds: art and science fiction. (pp. 234-240) edited by Amelia Barikin and Helen Hughes. Melbourne, VIC, Australia: Surpllus.

  • Diasportal: travels in space and time

    Barikin, Amelia (2011). Diasportal: travels in space and time. Dylan Martorell : soundtracks. (pp. 1-5) Parkville, Vic., Australia: Asialink.

  • Pierre Huyghe's science fictions

    Douglas, Amelia (2010). Pierre Huyghe's science fictions. Event Horizon: Moon Souvenir Edition. (pp. 3-3) edited by Centre for Contemporary Photography. Fitzroy, VIC, Australia: Centre for Contemporary Photography.

Journal Article

Conference Publication

  • Large screens and the transnational public sphere

    Papastergiadis, Nikos, McQuire, Scott, Barikin, Amelia, Cmielewski, Cecelia, Yue, Audrey, Gibson, Ross, Cmielewski, Leon, Jones, Matt and Gu, Xin (2013). Large screens and the transnational public sphere. ISEA2013: The 19th International Symposium of Electronic Art. Resistance is Futile, Sydney, NSW, Australia, 7-16 June, 2013. Sydney, NSW, Australia: ISEA International.

  • Making worlds in art and science fiction

    Barikin, Amelia (2013). Making worlds in art and science fiction. ISEA2013: The 19th International Symposium of Electronic Art. Resistance is Futile, Sydney, NSW, Australia, 7-16 June, 2013. Sydney, NSW, Australia: ISEA International.

Other Outputs

  • Pierre Huyghe: Variants

    Amelia Barikin (2022). Pierre Huyghe: Variants. Cura Magazine, 39 (Fall Winter 2022-23).

  • Texts for a queer art history

    Amelia Barikin (2022). Texts for a queer art history. un Magazine, 16 (2), 87-96.

  • Ecologies of Time

    Barikin, Amelia (2021). Ecologies of Time. On Fire: Climate & Crisis. (pp. 32-36) edited by Tim Walsh. Brisbane, QLD, Australia: Institute of Modern Art.

  • Queering time, queering history: Drew Pettifer's A Sorrowful Act

    Amelia Barikin (2021). Queering time, queering history: Drew Pettifer's A Sorrowful Act. A Sorrowful Act: The Wreck of the Zeewijk. (pp. 96-99) edited by Drew Pettifer. Perth, Australia: University of Western Australia.

  • Robert Smithson: Time Crystals

    Barikin, Amelia and McAuliffe, Chris (2018). Robert Smithson: Time Crystals. Brisbane, Australia and Melbourne, Australia: University of Queensland Art Museum & Monash University Museum of Art.

  • Psychotropicalism: A manifesto in search of a manifestation

    Barikin, Amelia (2016). Psychotropicalism: A manifesto in search of a manifestation. un Anthology 2004 - 2014: A decade of art and ideas. (pp. 145-150) edited by Ulanda Blair, Rosemary Forde and Phip Murray. Melbourne, Australia: un Projects.

  • Pierre Huyghe: TarraWarra International 2015

    Barikin, Amelia and Lynn, Victoria (2015). Pierre Huyghe: TarraWarra International 2015. Healesville, VIC, Australia: TarraWarra Museum of Art.

  • Pierre Huyghe: TarraWarra International 2015

    Barikin, Amelia and Lynn, Victoria (2015). Pierre Huyghe: TarraWarra International 2015. Healesville, VIC, Australia: TarraWarra Museum of Art.

  • Since we last spoke

    Barikin, Amelia (2014). Since we last spoke. Bureau 2. (pp. 89-90) edited by Vikki McInnes and Laura Castagnini. Melbourne, Australia: University of Melbourne; Margaret Lawrence Gallery, Victorian College of the Arts.

  • Tim Silver, untitled (Bust) (Mahogany Timbermate Woodfiller)

    Barikin, Amelia (2014). Tim Silver, untitled (Bust) (Mahogany Timbermate Woodfiller). Five Centuries of Melancholia: Exhibition Catalogue. (pp. 93-93) edited by Andrea Bubenik. St. Lucia, QLD, Australia: The University of Queensland Art Museum.

  • Time outside of time: Stuart Ringholt's Club Purple and Untitled (Clock)

    Barikin, Amelia (2014). Time outside of time: Stuart Ringholt's Club Purple and Untitled (Clock). Stuart Ringholt: Kraft. (pp. 31-37) edited by Charlotte Day and Robert Leonard. Melbourne, Australia: Monash University Museum of Art and Institute of Modern Art.

  • Selatangents: Snawklor (Nathan Gray and Dylan Martorell) in discussion with Amelia Barikin and Ferdiansyah Thajib

    Gray, Nathan, Martorell, Dylan, Barikin, Amelia and Thajib, Ferdiansyah (2013). Selatangents: Snawklor (Nathan Gray and Dylan Martorell) in discussion with Amelia Barikin and Ferdiansyah Thajib. Mapping south: journeys in south-south cultural relations. (pp. 349-368) edited by Anthony Gardner. Melbourne, VIC, Australia: The South Project.

  • Australia vs Korea: dance battle 2012

    Barikin, Amelia, Cmielewski, Cecilia, Gibson, Ross and Yi, Soojung (2012). Australia vs Korea: dance battle 2012. Federation Square, VIC, Australia; Art Center Nabi, Seoul, Korea; Northbridge Piazza, Perth, WA, Australia: University of Melbourne.

  • Acoustic ecologies

    Barikin, Amelia and Themelios, Nella (2012). Acoustic ecologies. Melbourne, VIC. Australia: Arts Centre Melbourne.

  • Parallel collisions: 2012 Adelaide Biennial of Australian Art curators Alexie Glass-Kantor and Natasha Bullock

    Barikin, Amelia (2012). Parallel collisions: 2012 Adelaide Biennial of Australian Art curators Alexie Glass-Kantor and Natasha Bullock. Contemporary Visual Art+Culture Broadsheet, 41 (1), 34-39.

  • A short flight in a black cube

    Barikin, Amelia (2012). A short flight in a black cube. Raafat Ishak and Tom Nicholson: proposition for a banner march and a black cube hot air balloon. (pp. 13-20) edited by Ishak Raafat, Tom Nicholson, Danny Lacy, Nikos Papastergiadis and Amelia Barikin. Shepparton, Vic., Australia: Shepparton Art Museum.

  • HELLO PROJECT

    Douglas, Amelia, Gibson, Ross, Cmielewski, Cecelia and Yi, Soojung (2011). HELLO PROJECT. Federation Square, VIC, Australia; Arko Art Theatre, Seoul, Korea: Large Screens and the Transnational Public Sphere; Art Center Nabi.

  • Killing time: Christopher Koeller video retrospective

    Douglas, Amelia (2010). Killing time: Christopher Koeller video retrospective. Melbourne, VIC, Australia: Kings Artist Run Initiative.

  • The sound playground

    Douglas, Amelia and Themelios, Nella (2010). The sound playground. Melbourne, VIC, Australia: Bus Projects; Craft Victoria; fortyfivedownstairs.

  • Before and after science. Interview: Charlotte Day and Sarah Tutton

    Douglas, Amelia (2010). Before and after science. Interview: Charlotte Day and Sarah Tutton. Contemporary Visual Art+Culture Broadsheet, 39 (1), 25-27.

  • Killing time

    Douglas, Amelia (2010). Killing time. Christopher Köller: killing time. A video retrospective. (pp. 10-11) Melbourne, VIC, Australia: Kings Artist Run Initiative.

  • Found sound: the experimental instrumental project

    Douglas, Amelia and Mishriki, Albert (2009). Found sound: the experimental instrumental project. Melbourne & Carlton, VIC, Australia: Guildford Lane Gallery; Tape Projects Space.

  • Wonderlands: experiencing experience. A conversation between Amelia Douglas and Tim Webster

    Douglas, Amelia (2009). Wonderlands: experiencing experience. A conversation between Amelia Douglas and Tim Webster. Wonderlands: Cristo redentor. (pp. 3-11) edited by Amelia Douglas. Melbourne, VIC, Australia: Blindside Artist Run Space.

  • A forest of lines: an interview with Pierre Huyghe

    Douglas, Amelia (2008). A forest of lines: an interview with Pierre Huyghe. EMAJ: Electronic Melbourne Art Journal, 1 (3), 1-7.

  • A world of one

    Douglas, Amelia (2006). A world of one. Contemporary Visual Art+Culture Broadsheet, 35 (4), 234-236.

PhD and MPhil Supervision

Current Supervision

  • Angry Penguins and the making of Australian Modernism

    Doctor Philosophy — Principal Advisor

    Other advisors:

  • The Emperor's New Clothes: The Printed Revolution of Maximilian I (1494-1519)

    Doctor Philosophy — Associate Advisor

    Other advisors:

  • Between Communism and Fascism: The Entangled History of Political Photomontage in Italy, 1925-45

    Doctor Philosophy — Associate Advisor

    Other advisors:

  • There is No Outside: How Artists Engage with Science to Collaborate with Nonhumans in the Anthropocene

    Doctor Philosophy — Associate Advisor

    Other advisors:

  • Women Artists and Modernism in Australia (1900-1940)

    Master Philosophy — Associate Advisor

    Other advisors:

  • Curating, Sex Work and Social Reproduction

    Doctor Philosophy — Associate Advisor

    Other advisors:

Completed Supervision

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Contemporary art

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ResearcherID: K-9136-2016

ORCID: 0000-0001-9801-1469

Google Scholar ID: JNm1lboAAAAJ

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