Geoffrey Brown, Stuart Walsh & Friend, God Save Us at Deconstruct @ the Biennale Club, 2015, Live performance, xs collective, Photo: Fleur Ruddick.

Rohan Morris & Heather Lee, Untitled performance at Deconstruct @ the Biennale Club, 2015, xs collective, Photo: Fleur Ruddick.

Geoffrey Brown, Rohan Morris & Jess Avery, God Save Us, 2015, xs collective, Photo: Fleur Ruddick.

xs collective – Artcaching Project

The xs collective uses GPS-guided smart-phone technology to enable the public to locate its variously sited installations around the Mildura CBD precinct.

By making art accessible to the public through this ‘techno-geography’ (after Guy Debord’s ‘psycho-geography’ of the Situationist dérive), by siting it in public spaces and by making it ‘fun’ (akin to a treasure hunt), the collective is making its art work more inclusive and accessible – and, ipso facto, less privileged.

In this context, the internet represents the single most important vehicle by which to deliver a more sustainable model based on collective practices. Between Nicholas Bourriaud’s ‘time-readymades’ and Sean Lowry’s ‘electro-readymades’ we have a platform – the world-wide-web – or ‘interstitial territory’ via which we may affirm a new age of shared techno-culture.

With the participant now the central figure of culture, and with artists ignoring the separation of transmission and reception by occupying and reactivating form (downloading, pirating, copying and repurposing), a more collective consciousness has arisen that freely utilises global culture as a toolbox in an open collective space which resists univocal narratives and commodifying product lines.