Researcher

Dr Veronica Tello

Field of Research (FoR)

Biography

I am a Chilean/Australian writer. My research seeks to develop para- and counter- histories/memories/archives in alignment with border subjects. I am particularly invested in post- and de-colonial and Marxist-feminist theories as well as the practice and discourse of institutional critique. 

I am currently undertaking three inter-related research projects:

 

I am a Chilean/Australian writer. My research seeks to develop para- and counter- histories/memories/archives in alignment with border subjects. I am particularly invested in post- and de-colonial and Marxist-feminist theories as well as the practice and discourse of institutional critique. 

I am currently undertaking three inter-related research projects:

 

  • (with Sebastián Valenzuela Valdivia) a monograph on the exhibition history of Margins and Institutions: Art in Chile after 1973 (1986) focussed on the queer and transnational solidarity networks forged by Chilean and Australian arts workers, especially Juan Dávila, Paul Foss, Paul Taylor and Nelly Richard, to produce this project. Following the monograph, Valenzuela-Valdivia and I will curate a critical re-staging of the exhibition Margins and Institutions: Art in Chile after 1973 (1986) in Santiago (originally staged during the Pinochet dictatorship, 1973-1990), the exhibition was only seen Australia - across the Experimental Art Foundation, George Paton Gallery, Artspace, Chameleon and Praxis).

 

  • (with Diana Baker Smith) a performance-lecture, video work and experimental academy entitled Origins, Openings and Orifices (OOO, 2020-) which examines the settler-colonial/possessive histories, values and epistemological underpinnings of the National Gallery of Australia and its collection. It focuses especially on the NGA's opening night, and the collection tour given to Queen Elizabeth II by James Mollison (inaugural Director of the NGA) and then Prime Minister Malcolm Fraser amongst others.

 

  • a moving conceptual vocabulary of the aesthetics, politics, histories and potentialities of the Global Souths via a project I lead entitled Future Souths (2017-) in collaboration with Salote Tawale, Walter Mignolo, Dylan Miner, Zoe Butt, Ruth Simbao, Rachel O'Reilly, Carla Macchiavello and many others. see: futuresouths.org

 

My first book, Counter-Memorial Aesthetics: Refugee Histories and the Politics of Contemporary Art (Radical Aesthetics Radical Art series, Bloomsbury Philosophy, 2016) analysed the protracted 'refugee crisis' from the 1990s to the present era in countries such as Australia, Cuba, the US and the UK and the role of contemporary art in manifesting 'counter-memories' of not only diminishing histories but also neglected futures which prioritise locating a critical, post-identity (non-citizen/nation-based) form of inter-subjectivity and thinking.

 

Recent publications appear in Memory Studies, Third Text, Afterall (Online) and Contemporaneity.

 

From 2018-2020, I am Research Fellow at Rhodes University, South Africa (Arts of Global South research cluster, led by Prof Ruth Simbao). 

In 2015 I was Visiting Fellow in the Social Practice Queens program, City University New York (CUNY), and in 2010 I was art historian and theorist in residence at the Frankfurter Kunstverein, researching the work of the Berlin based artist Dierk Schmidt in collaboration with the Stadel Museum. 

 

I have curated several exhibitions since 2006, including Feminist Actions (Next Wave Festival).


My Grants

2020: Australia Council for Arts - Individual and Group Project funding, Australian Exhibition Histories: Margins and Institutions: Art in Chile after 1973 (1986) 

2019-2020: PLuS Alliance Research Fellowship, Latin American Art Networks 

2015-2018: UNSW Vice-Chancellor's Postdoctoral Research Fellowship, Decolonial Futures and Contemporary Art

2015: Bundanon Trust Writer’s Residency, Counter-Memorial Aesthetics: Refugee Histories and the Politics of Contemporary Art 


My Qualifications

PhD, Art History/Visual Culture, University of Melbourne, 2013


My Research Supervision


Supervision keywords


Areas of supervision

Honours and Postgraduate (MFA/PhD) Supervision
I am interested in supervising students, including those pursuing practice-led research, in the following research areas:

  • De- and post-colonial methodologies, theories, aesthetics 
  • Marxist, feminist methodologies and theories 
  • Borders, trans- and post- nationalisms, migration, globalisation 
  • Time, memory, histories, futures
  • Counter-histories/memories/archives 
  • Australian art histories, concepts, practices 
  • Latin American art histories, concepts, practices 

Currently supervising

PhD

James Nguyen (practice-led research) – Measuring the Distance Of Return: Diaspora, performance and the mirror-less camera (joint with Jennifer Biddle)

Aneshka Mora (art theory/history) – Decolonialisation and Institutional Critique in Contemporary Australian Art (joint with Uroš Čvoro)

Teresa Hunter-Hicks (art theory/history) – Labour, Collaboration and Collectivity in Australian and North American Poster Collectives (1968-1991) (joint with Diana Baker Smith)

Completed

Meredith Birrell (art theory/history) –The Fugitive Self: Posthuman subjectivity in the Essay-Films of The Otolith Group, Hito Steyerl and Ursula Biemann, 2020.

MFA

Lu Forsberg, Counter-Surveillance, Extractivism and Eco-Aesthetics (joint with Diana Baker Smith)

Amber Hammad, Speculative History and Critique of Gender in/out of Pakistan (joint with Diana Baker Smith)

Anney Bounpraseuth, The Politics of Location 

Completed

Elena Gomez, Admit the Joyous Passion of Revolt: Gender, Labour and Inter-generationality in Marxist-feminist poetics, 2019 (joint with Astrid Lorange)

HONOURS (ART HISTORY/THEORY)

Nicola Marshall, Gossip as Archival Method in Post-War Lebanese Contemporary Art, 2020

Completed

June Miskell, Embodied Knowledge And Collective Survival: Dance And Community In The Work Of Bhenji Ra, 2019.

Evgenia Anagnostopoulos, Crisis and The Curatorial: Tracing Emergent Forms Of Institutional Activity in Athens, 2018.

Melissa Mills, Performing and Contesting the Archive in Sites of Crisis, 2018.

Aneshka Mora, Indigenous and Migrant Solidarity in Contemporary Australian Art, 2017.

Hannah Waters, Visualising Necropolitics: Renzo Martens' Enjoy Poverty and Abbas Kiarostami's ABC Africa, 2017.

 

My Teaching

I convene the following courses within the Bachelor of Fine Art - across art history/theory, curatorial and studio: 

  • Australian Art, 1st year level (Art History/Theory)
  • Global Contemporary Art, 3rd year level (Art History/Theory) and Masters of Curating and Cultural Leadership
  • Contemporary Art Theories and Methods, 4th year/Honours level (Studio and Theory)
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