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Incommensurable – photomedia in the era of globalisation – exhibition, Canberra





Incommensurable – photomedia in the era of globalisation – is an exhibition at the Australian National University’s Drill Hall Gallery in Canberra. The exhibition started today, 23 February 2018, and will continue until 8 April.

Six artists are contributing to the exhibition, curated by Terence Maloon: Nick Danziger, Merilyn Fairskye, Ciara O’Brien, David Stephenson, Martin Walch, and Anne Zahalka.

The exhibition provides ‘conflicting perspectives that highlight some of the more troubling aspects of our globalised age.’

by Ciara O’Brien


During the Artists in Conversation, on 23 February, convened by Terence Maloon, the artists Merilyn Fairskye, David Stephenson and Anne Zahalka discussed their works.

Maloon described the evolution of globalisation since the 1980s depicted in the artists’ works as ‘arresting visions and perspectives’ showing a ‘staggering way of raising questions about land, the caring for land …’

Merilyn Fairskye’s Ground Zero (first Soviet atomic bomb test, 7.00am, 29 August 1949, The Polygon, Kazakhstan), a 2015 archival ink pigment print, and Radiant 2015-2017, a single-channel vertical HD video installation (duration 11:40 minute loop) both show the ‘terminal landscape’ and ‘nuclear cycle.’

by Merilyn Fairskye

by Merilyn Fairskye

by Merilyn Fairskye

Anne Zahalka's 2004 series of ink pigment prints (lightjet prints) reference popular culture, ‘re-imagining nature’ showing ‘stereotypes of iconic Australian folklore’ through digitized images.

by Anne Zahalka

by Anne Zahalka

by Anne Zahalka

David Stephenson’s photographic images show globalisation through images of major cities, such as Sydney from Cremorne Point (2010).

by David Stephenson 

by David Stephenson 


The over-arching theme of Documentary Photography – or photojournalism – was also discussed. This included the stylistic position that was ‘not particularly truthful’ through black and white images, framed and window-mounted photographs, and taking liberties with the ‘frequent use of disjointed’ and ‘digified’ images in an attempt to ‘disrupt the documentary.’







MARTINA NICOLLS is an international aid and development consultant, and the author of:- Similar But Different in the Animal Kingdom (2017), The Shortness of Life: A Mongolian Lament (2015), Liberia’s Deadest Ends (2012), Bardot’s Comet (2011), Kashmir on a Knife-Edge (2010) and The Sudan Curse (2009).


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