2017 CCP Lectures

Centre for Contemporary Photography presents an annual series of public lectures.

Artist Film Workshop Specimen Screenings
Sunday 6 and Sunday 20 August, 6pm, 2017

Echo Chamber: Emerging Research on Photography
Thursday 13 July, 6pm, 2017

Echo Chamber: Emerging Research on Photography
Thursday 2 March, 6pm, 2017

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Artist film workshop Specimen Screenings:

Program 1:
10 films from the Artist Film Workshop
Sunday 6 August, 6pm

Centre for Contemporary Photography
Gold-coin donation, no bookings required.

Hanna Chetwin, Soda, 2017, 16mm, 6mins – digital sound
Richard Tuohy, Pancoran, 2017, 16mm, 9mins – digital sound
Giles Fielke, Internal and External Objects, 2017,16mm, 7mins – digital sound
Zi-Yun Lam, Travel Film, 16mm, 3mins – digital sound
Madeleine Martiniello, Tomato Day, 2016, 16mm, 6mins – digital sound
Callum Ross-Thomson, Fire Mountain, 16mm, 10mins – digital sound
Lucas Haynes, Shoplifting, 16mm, 2mins – digital sound
Sabina Maselli, untitled, 16mm, 5mins – digital sound
Olivia Koh, frozen spit, digital video, 10mins – digital sound
Nina Gilbert, The Image Possibility, digital video, 8mins 5secs – digital sound

Program 2:
I Walked With A Zombie
Sunday 20 August, 6pm

Centre for Contemporary Photography
Gold-coin donation, no bookings required.

Jacques Tourneur, I Walked With A Zombie, 1943, 16mm, 69mins (print courtesy NFSA)
Introduced by John Flaus and with a reading from Ralph de Boissière’s Calypso Isle + guests

Echo Chamber: Emerging research on photography

Thursday 13 July, 6pm
Centre for Contemporary Photography
Gold-coin donation, no bookings required.

CCP's Echo Chamber represents a series of occasional, ongoing public programs showcasing current emerging research in all areas of photography, including historical research, technology, communications and contemporary discussion.
Applications to present research for future Echo Chamber public programs are welcome.


Program Manager, Centre for Contemporary Photography


Rohan Hutchinson
The Arctic, climate and an artist’s response

The high Arctic gives the first sign of what’s to come in an uncertain future. Hutchinson was stationed in the Arctic during February and March of 2017 with the purpose of analysing the global repercussions of climate change and creating a body of work in response to this. In this talk, Hutchinson’s focus is on the research behind his upcoming body of work, including the issue of climate change, how it is affecting the Arctic landscape, and what role an artist can play in raising awareness of this. His research looks at a selection of photographic artists who have created work in response to natural and man made disasters, ranging from traditional large format landscape work to alternative darkroom processes and mixed media installations.

Rohan Hutchinson is a Melbourne based photographic artist whose large format photographic work questions the transformation of space and our relationship with the environment. He has participated in artist residency programs at Lethbridge University, Alberta, Canada (2014) and the Centre for Art and Architecture Kanazawa, Japan (2012) and has conducted research trips to China, Alaska and the Arctic. Hutchinson has had solo exhibitions locally and internationally, including at Strange Neighbour Gallery, Perth Centre for Photography, Queensland Centre for Photography, Kanazawa Art Port, Colour Factory, Flinders Lane Gallery (Upstairs) and Seventh Art Space. In addition to exhibiting his works, Hutchinson has also created several artist books.

Image: Rohan Hutchinson Untitled 2017, courtesy the artist.



Charmaine Toh
Reading the Photographic Archive

This talk will look at the status of the historical photographic archive in Singapore, its relationship with power and its subsequent potential for writing history. Early photographic history in Singapore has been largely determined by the colonial archive, that is, images produced and circulated for British consumption. From the late 19th century to early 20th century, studios such as GR Lambert & Co. and Sachtler & Co., and photographers like John Thomson, created an archive of ethnographic types and views of Southeast Asia, providing the first impression of the region for the European viewers. This visual imagination persisted through the 20th century and laid out the conventions by which Southeast Asia has since been represented. In other words, it is not only an archive of colonial power and desires, but also a visual colonization of the landscapes of the region. The paper concludes by highlighting the difficulties of using such archival material, paying particular attention to the issues with aesthetics and nostalgia.

Charmaine Toh is a PhD candidate at the University of Melbourne researching pictorial photography from Singapore. She is also Curator at National Gallery Singapore; recent exhibitions included Danh VoTang Da Wu: Earth Work 1979 and Siapa Nama Kamu: Art in Singapore since the 19th century. Previously, she was the Programme Director at Objectifs Centre for Photography and Film where she played a pivotal role in revitalising the gallery programme. Charmaine co-curated the 2013 Singapore Biennale.

Image: GR Lambert & Co. Siamese Nurse c.1880, Collection of National Museum of Singapore.


Kelvin Lau
Exploring the mental health of young people from a migrant background using photo-interviewing

“Photo-interviewing” is a qualitative social research method whereby participants create photographs around a selected issue and discuss their meaning within an interview setting.  Kelvin Lau utilized photo-interviewing in his research project to investigate how young people from a culturally and linguistically diverse (CALD) migrant background identified, explained, and responded to subjective experiences of mental distress and ill-health.
He will discuss how the engagement of photo-interviewing by fifteen young people from a CALD migrant background created opportunities in his research for locating and inductively interpreting the meaning of their mentally distressing experiences, and for exploring the barriers they encountered in seeking support for these distress experiences.

Kelvin Lau is a PhD student at the Department of General Practice, University of Melbourne. He is scheduled to complete his PhD research project in August 2017.  He also works as a GP at Headspace Collingwood, a mental health support service for young people between 14 and 25 years of age.

Image: Untitled by “Ayu” 2015 (artist’s name withheld).
Artists have been given pseudonyms to maintain the privacy of research participants.


Echo Chamber: Emerging research on photography

Thursday 2 March, 6pm
Centre for Contemporary Photography
Gold-coin donation, no bookings required.

CCP's Echo Chamber represents a series of occasional, ongoing public programs showcasing current emerging research in all areas of photography, including historical research, technology, communications and contemporary discussion.

Applications to present research for future Echo Chamber public programs are welcome.


Program Manager, Centre for Contemporary Photography


Kate Golding

Kate Golding
The camera obscura: past, present, future

A precursor to photography as we know it today, the camera obscura is a naturally occurring optical phenomenon. Through her research, Golding has examined historical and contemporary applications of this “darkened chamber” from astronomical observation, seaside recreation, scientific and military uses through to art making. This research has extended to experimentations with the creation of several camera obscura both fixed and portable. However, the camera obscura is more than just a photographic apparatus or mechanical device, it can be an idea, a metaphor. French philosopher, Sarah Kofman has examined how Marx, Freud and Nietzsche all made use of the camera obscura as metaphor in their writing. This presentation will discuss both this history and philosophy. Golding will propose ways in which the camera obscura, as experiential device, might be used to disrupt perception.

Kate Golding is an artist based in Narrm Melbourne who utilises photographic processes to examine colonisation while reflecting critically on her own settler heritage. Currently undertaking a Master of Fine Arts by Research degree at the Victorian College of the Arts, University of Melbourne, her research project focuses on First Nation sovereignty, the memorialisation of Captain Cook and the creation of counter-monuments. Golding has exhibited both nationally and internationally and last year was the winner of the 2016 Linden Postcard Show and the Best Work by a CCP Member award at the 2016 CCP Salon.

Image credit: Kate Golding, Camera obscura (install detail), 2016, courtesy the artist.

Sophia Cai

Sophia Cai
In My Skin: Contemporary Chinese Photography

In this talk, emerging curator and arts writer Sophia Cai will examine the use of the body in Chinese contemporary photography. Drawing on the works of young artists born in the 1970s and 1980s, who have all grown up without direct experience of socialism and the Cultural Revolution, this talk will examine how social, economic and political changes are registered through personal experiences and identity. The focus on the corporeal through the lens of photography offers the artists a means to mediate directly on contemporary life and issues, while anchored in personal experience and intimacy. While not always overtly political in nature, the primacy of the body works can be understood against a broader backdrop of China’s recent history and developments, particularly in relation to a shift from collectivism to individualism.

Sophia Cai is an emerging curator and arts writer with a particular interest in Asian art history and craft-based contemporary art practices. She completed a Masters in History of Art at the Courtauld Institute of Art in 2014 specialising in contemporary Chinese art post-1979, and previously graduated from the Australian National University with a First-Class Honours degree in Art History and Curatorship. As an independent curator, Sophia has worked on exhibitions in Sydney and Melbourne including Secret Garden at Schoolhouse Studios (2015), Some words are just between us at Firstdraft (2016) and Closing the Distance at Bundoora Homestead Art Centre (2017).

Image credit: Pixy Liao, Play Station, 2013, courtesy the artist.

Roderick Grant

Roderick Grant
Critical Infrastructure: Landscape, Intention and Intervention

What we see as the outward visual denotation of urban infrastructure is not always connected directly to what it might connote as a symbol, an index, or as an embodiment of policy, need, capital and spatial practice. The objective of this new research and scholarship is to bring to light the disjunctions and contradictions in the visual coherence of our urban infrastructure, and to reveal how we might begin to analyze its meaning and re-assess the significance of its critical adaptation, and intentional evolution. The core aspects of infrastructure that this investigation will address begin with energy – what can be understood by their critically assessing the overlap, integration and opposition of infrastructure with seen and unseen aspects of governance.

Roderick Grant is Chair + Associate Professor of Graphic Design at OCAD University in Toronto, Ontario, Canada. Before joining OCAD University in the Fall of 2009, Roderick was Assistant Professor of Design, at the American University of Sharjah in the United Arab Emirates. He holds an MFA in Graphic Design from the Rhode Island School of Design, and a BA in Urban Studies from New College of Florida. Roderick’s design practice – simonjames – a partnership with his wife Michelle Grant, focuses on small architectural and editorial projects, design competitions, and speculative design work. He is currently a Visiting Researcher at Swinburne University in Melbourne, Australia for the 2016/17 academic year, initiating a longer-term research project on urban infrastructure, photojournalistic representation and visual narrative construction.

Image credit: Roderick Grant, Brunswick Terminal Station, 2016, courtesy the artist.

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