HANNAH BEILHARZ

Samples of published writing including essays, poetry and experimental art reviews.

Review of ‘Fuck Borders’ performance by Sawi Laila – Hannah Beilharz, 2022

https://apresperf.ch/hannah-beilharz-fuck-borders

Review of ‘You’ by Eva Talesia Maspoli – Hannah Beilharz, 2022

https://apresperf.ch/hannah-beilharz-you

Publication: ‘Embodying Grief: Filming as a Somatic Feminist Practice’ was a workshop and publication developed in 2022 for the interdisciplinary research symposium ‘sentient performativities’ by the organisation Art.Earth, in Dartmouth, U.K. The project sought to share a creative practice of embodied filming with new audiences as a somatic tool for processing ecological grief. The publication and essay offers further background and theoretical context to the workshop.

Review: A Moment in Perform to Live (review of the performance in the exhibition Propose Do Zeig ZackZack at HSLU Design & Kunst Luzern, Switzerland)

https://apresperf.ch/hannah-beilharz-a-moment-in-perform-to-live

Exhibition Catalogue: ‘Anamorphic Visions’ explores imagery of the Australian landscape as a signifier of national identity and complex histories. Made through a longterm engagement with the country of the Dja Dja Wurrung people in central Victoria, the artist’s personal connections to this landscape interweave with the context of ongoing colonial violence and oppression. The works examine the perspectives of a white settler and migrant subject position in relation to the landscape and attempts to provide space for audiences to imagine what could be useful in understanding our sense of belonging within the violent and often ignored histories of colonisation. The use of video and sculpture reveals an embodied engagement with the landscape to examine the presence of grief and trauma on country, within the legacy of colonial violence. A central aim of the exhibition is to encourage dialogue and knowledge exchange on the specific and local legacies of colonialism within our individual experiences and diverse communities, fostering hope and the possibility of change. The work was shown as a solo exhibition in 2021 at the Yarra Sculpture Gallery, Melbourne, Australia.” – Text from exhibition catalog, 2021.

Exhibition Catalogue: This essay is a response to the exhibition When Leaves Trace Skin, and will explore the idea of an expanded feminine within the art works and feminist philosophy. Traditional notions of femininity will be critically analysed within the context of patriarchal violence against women and the effects of trauma. This essay will reveal some of the intentions behind the work, while also foregrounding that this experiential artwork moves outside the boundaries of language. The title, When Leaves Trace Skin, refers to a space of relation between the self and the world, which will also be explored in relation to feminist philosophy, and ideas of relation and becoming.

Language and Resistance – Review of Tyson Campbell’s performance ‘Beyond Text’, Hannah Beilharz, 2017

Open Letter (Activism in the institution), 2017 – This letter was co-written in response to the experiences of me and other students at RMIT in 2017, and was posted as an action letter on the graduation night opening. It was also forwarded to all heads of schools and staff with this email message: We are a group of recently graduated students from the Bachelor of Fine Arts (Honours) program at RMIT University. Reflecting on our experiences this year we have decided to use our collective voice to raise some specific concerns about our program that may be of some relevance to you. We have chosen to remain anonymous both for privacy reasons and because this letter is not about us as individuals, but about the need for structural change.