Make or Break has worked across gallery, institution, festival and community contexts to produce a range of process-based projects that are co-authored with the communities they intersect with. These have included creating experimental economies that address precarity and privilege; unveiling speculative monuments; celebrating the invisible labour of strangers and facilitating conversations and workshops as alternatives to traditional forms of research. Make or Break is passionate about exposing invisible labour and deploying artistic methods to question and challenge the social and political systems that influence lives and livelihoods. Make or Break is a collaboration between artists Connie Anthes and Rebecca Gallo, based in Sydney, Australia on unceded Gadigal and Darug lands.
A bridge is a metaphor for a state of becoming, a mingling of life and death, a connecting point, and a tacit reminder that the land on which the Yokohama Museum of Art stands has been stolen from the salt and the sea. Make or Break is prompting - through image, storytelling and instruction - a series of 6 Actions for Bridges for people to try. These actions will reshape the relations of bodies and worlds and the water that passes between, beneath and through. By collecting audience responses, Make or Break hopes to understand how our relations with the world are unfolding and changing at this moment in time.
'Every Thing You Think You Know' was a billboard erasure project which unfolded Narrm/Melbourne in May 2020 as part of 'Assemble!', during the period that Next Wave Festival was to have taken place. Because the artists could not travel because of the pandemic, Make or Break commissioned local musician, DJ and performer Niveen Abdelatty to visit the billboard daily and paste over its message one letter at a time. During this time, Make or Break also wrote a series of letters to their postponed Next Wave project, published on Witness.
Writing the Feminist Internet took place in the ether and was livestreamed for Next Wave Festival's Assemble!, a gathering of artists online to share ideas around leadership, community and care in a time of crisis. Artist collectives Make or Break and Despoinas Media Coven (Nancy Mauro-Flude and Nicole Brimmer) hosted a collaborative, generative ‘writing with’ session with upwards of 30 volunteer contributors, that responded to a text drafted by Nancy Mauro-Flude in 2018. This text suggests a series of principles and lores for a Feminist Internet within 10 working points. Participants met online to write their own version of this manifesto, riffing off, reimagining, rejecting or rephrasing the original text.
'Force Fields: Art, Architecture and Audience' extends on the physical event of the Kyneton Contemporary Art Triennial that occurred from 14 – 22 April, 2018. It documents and archives the development and presentation of the artworks, performances and additional experiences, as well as the overall energy and significance of the event and its evolution. It offers an opportunity to contribute to the discourse around the nature of multi-site exhibitions – often simply, and reductively, referred to as the ‘biennale model’ – from a particularly Australian perspective, with a regional flavour. Available online at Kyneton Contemporary.
Institutional Waste #1 was presented on Gadigal land at Artspace for the 2019 NSW Visual Arts (Emerging) Fellowship. Initially spurred by the proximity and sight-lines between Artspace and the Art Gallery of New South Wales, it is the initial stage of an ongoing investigation into waste processes in cultural institutions and their complicated relationship with waged labour. The arts sector is often described as an ecosystem, suggesting that there are material and immaterial flows between institutions. Waste management is one way that these flows - or lack thereof - can be considered and critiqued. Temporary exhibitions can generate significant waste: plasterboard, mdf, timber, artwork that has to be ‘de-valued’ before being disposed of. Rehoming this waste with smaller institutions or artist-run initiatives seems like one way to support the rest of the sector, free up funds to pay artists a living wage and reduce landfill at a time of intensifying climate crisis.
‘Unveilings’ was created for the inaugural Kyneton Contemporary Art Triennial in April 2018, curated by Clare Needham and Kent Wilson. It included a shopfront residency, community consultation, a performance series based on survey results and a book. For more information: http://kynetoncontemporary.com/
Critical and contextual discussion:
Merch Stand was produced for Underbelly Arts 2017. It included the production of custom merchandise for 21 Underbelly Arts projects in consultation with the artists, a customised bicycle-powered cart active throughout the festival, an online sales platform with inbuilt option to offset privilege, and dispersal of income to all Festival artists. For more information: http://underbellyarts.com.au/program/festival2017/