Dr Amelia Barikin
Senior Lecturer
School of Communication and Arts
Affiliate of Centre for Critical and Creative Writing
Centre for Critical and Creative Writing
+61 7 336 51437
Researcher biography
I am a Senior Lecturer in Art History in the School of Communication and Arts. My research often focusses on the relationship between contemporary art and time, working across the areas of philosophy, time studies, art history and critical theory. I completed my art history PhD at the University of Melbourne. Prior to joining UQ, I was ARC Senior Research Associate at the University of Melbourne, and have also worked as a curator and editor with various arts institutions.
My books include the monograph Parallel Presents: The Art of Pierre Huyghe (MIT Press, 2012, winner of AAANZ Best Book Prize 2013); the co-edited anthology and now low-key cult classic Making Worlds: Art and Science Fiction (Surpllus, 2015); Pierre Huyghe: TarraWarra International 2015 (catalogue for the first major solo exhibition of Huyghe's work in Australia); Tom Nicholson: Lines Towards Another (IMA and Sternberg Press, 2018); and Robert Smithson: Time Crystals (Monash University Publishing, 2018), the latter published to accompany a major exhibition of works by Robert Smithson that I co-curated with Chris McAuliffe for presentation at the UQ Art Museum and Monash University Museum of Art. My research has been supported by organisations including the Australia Council for the Arts, Creative Australia, Arts Victoria, the Terra Foundation for American Art, City of Melbourne, the Australia Korea Foundation, the Australia Research Council, and the Gordon Darling Foundation, and I also publish widely in arts magazines and exhibition catalogues.
I have presented invited talks on my research at numerous institutions including for the Biennale of Sydney, Mildura Palimpsest Biennale, Wellington City Gallery New Zealand, Marian Goodman Gallery New York, the Australian Center for the Moving Image, Institute of Modern Art Brisbane, Queensland Art Gallery / Gallery of Modern Art Brisbane, the National Gallery of Australia, the National Gallery of Victoria, Gertrude Contemporary, Auckland University of Technology, Institute for Visual Research University of Oxford, Artspace Sydney, and Helsinki Academy of Fine Arts, Finland. In 2013, I was the recipient of a 2013 Art Gallery of New South Wales residential fellowship at the Cité internationale des arts, Paris.
My current work includes research into the histories of queer art in Australia, as part of the KINK research collective, accessible at queeraustralianart.com. In 2024, KINK were appointed as Adjunct Curators to the Institute of Modern Art, Brisbane.
Currently available to supervise art history MPhil and PhD projects: I particularly welcome applications from researchers working in the areas of contemporary art, queer theory, feminisms, geophilosophy, science fiction, Australian art, or time studies (or all of the above!).
Publications
Books
Barikin, Amelia and Lynn, Victoria (2015). Pierre Huyghe: TarraWarra International 2015. Healesville, VIC, Australia: TarraWarra Museum of Art.
Barikin, Amelia (2012). Parallel presents : the art of Pierre Huyghe. Cambridge, MA., USA: MIT Press.
Book Chapters
Barikin, Amelia (2024). Unleash yourself!. Luke Roberts: beyond the great divide. (pp. 63-81) edited by Nicholas Tsoutas and Jonathan McBurnie. Rockhampton, Qld, Australia: Rockhampton Museum of Art.
Barikin, Amelia (2024). A world undone. Nicholas Mangan: a world undone. (pp. 14-36) edited by Anneke Jaspers and Anna Davis. Sydney and Milan: Museum of Contemporary Art Australia and Lenz Press.
Barikin, Amelia (2021). Ecologies of Time. On Fire: Climate & Crisis. (pp. 32-36) edited by Tim Walsh. Brisbane, QLD, Australia: Institute of Modern Art.
Amelia Barikin (2021). Queering time, queering history: Drew Pettifer's A Sorrowful Act. A Sorrowful Act: The Wreck of the Zeewijk. (pp. 96-99) edited by Drew Pettifer. Perth, Australia: University of Western Australia.
Barikin, Amelia (2019). After the end: The temporality of melancholia. The Persistence of Melancholia in Arts and Culture. (pp. 107-121) edited by Andrea Bubenik. New York, NY United States: Taylor and Francis. doi: 10.4324/9780429468469
Barikin, Amelia (2018). Blindness and figuration: the dialectics of picture-making in the work of Tom Nicholson. Tom Nicholson: lines towards another. (pp. 39-52) edited by Amelia Barikin and Helen Hughes. Berlin, Germany: Sternberg Press.
Barikin, Amelia and McAuliffe, Chris (2018). Robert Smithson: time crystals. Robert Smithson: time crystals. (pp. 5-36) edited by Amelia Barikin and Chris McAuliffe. Melbourne, Australia: Monash University Publishing in association with Monash University Museum of Art.
Barikin, Amelia (2018). Towards an impossible summit: the journey as decoy in the work of Pierre Huyghe. Art as adventure: going beyond. (pp. 76-93) edited by James P. Werner and Rosemary O'Neill. Newcastle upon Tyne, United Kingdom: Cambridge Scholars Publishing.
Barikin, Amelia (2017). Sound fossils and speaking stones: towards a mineral ontology of contemporary art. Animism in art and performance. (pp. 253-275) edited by Christopher Braddock. Cham, Switzerland: Palgrave Macmillan. doi: 10.1007/978-3-319-66550-4_13
Papastergiadis, Nikos, Barikin, Amelia, McQuire, Scott and Yue, Audrey (2016). Introduction: screen cultures and public spaces. Ambient screens and transnational public spaces. (pp. 3-27) edited by Nikos Papastergiadis. Hong Kong: Hong Kong University Press.
Barikin, Amelia (2016). Chronophobia, presence and presentness in the work of Liam O'Brien. New16. (pp. 54-55) edited by Annika Kristensen and Margaret Farmer. Melbourne, Australia: Australian Centre for Contemporary Art.
Papastergiadis, Nikos, Barikin, Amelia and McQuire, Scott (2016). Conclusion: ambient screens. Ambient screens and transnational public spaces. (pp. 211-238) edited by Nikos Papastergiadis. Hong Kong: Hong Kong University Press.
Barikin, Amelia (2016). Psychotropicalism: A manifesto in search of a manifestation. un Anthology 2004 - 2014: A decade of art and ideas. (pp. 145-150) edited by Ulanda Blair, Rosemary Forde and Phip Murray. Melbourne, Australia: un Projects.
Papastergiadis, Nikos, Barikin, Amelia, Gu, Xin, McQuire, Scott and Yue, Audrey (2016). Mobile methods and large screens. Ambient screens and transnational public spaces. (pp. 131-208) edited by Nikos Papastergiadis. Hong Kong: Hong Kong University Press.
Barikin, Amelia (2015). Quantum entanglements and the construction of time: do we need a science-fictional history of art?. Soleil double. (pp. 17-24) edited by era-unavailable. Paris, France: Editions Dilecta.
Barikin, Amelia, Papastergiadis, Nikos, Radywyl, Natalia and McQuire, Scott (2015). Ambient aesthetics: altered subjectivities in the new museum. The international handbooks of museum studies. (pp. 417-436) edited by Sharon Macdonald and Helen Rees Leahy. Chichester, West Sussex, United Kingdom: John Wiley & Sons. doi: 10.1002/9781118829059.wbihms120
Barikin, Amelia, Green, Charles and Brown, Lyndell (2015). The museum in hiding: framing conflict. International handbooks of museum studies. (pp. 485-510) edited by Sharon Macdonald and Helen Rees Leahy. Chichester, West Sussex, United Kingdom: John Wiley & Sons. doi: 10.1002/9781118829059.wbihms123
Barikin, Amelia and Papastergiadis, Nikos (2015). Ambient perspective and the citizen's moving eyes. Future publics (the rest can and should be done by the people): a critical reader in contemporary art. (pp. 90-115) edited by Maria Hlavajova and Ranjit Hoskote. Utrecht, Netherlands: BAK: base for active knowledge.
Barikin, Amelia (2014). Zombie history: contemporary art in the jungles of cosmic time. Three Reflections on Contemporary Art History. (pp. 55-74) edited by Helen Hughes and Nicholas Croggon. Melbourne, VIC, Australia: Discipline.
Barikin, Amelia (2014). Time outside of time: Stuart Ringholt's Club Purple and Untitled (Clock). Stuart Ringholt: Kraft. (pp. 31-37) edited by Charlotte Day and Robert Leonard. Melbourne, Australia: Monash University Museum of Art and Institute of Modern Art.
Barikin, Amelia (2014). Super mechanical super organical: Emily Floyd's science fiction. Emily Floyd: Far Rainbow. (pp. 59-67) edited by Linda Michael. Melbourne, VIC, Australia: Heide Museum of Modern Art.
Barikin, Amelia, Papastergiadis, Nikos, McQuire, Scott and Yue, Audrey (2014). Public screens and participatory public space. Art in the Asia-Pacific Intimate Publics. (pp. 161-172) edited by Larissa Hjorth, Natalie King and Mami Kataoka. New York, NY, USA: Routledge. doi: 10.4324/9781315858104
Barikin, Amelia (2014). Since we last spoke. Bureau 2. (pp. 89-90) edited by Vikki McInnes and Laura Castagnini. Melbourne, Australia: University of Melbourne; Margaret Lawrence Gallery, Victorian College of the Arts.
Barikin, Amelia (2014). Bill Henson, untitled sequence, image no. 11. Five Centuries of Melancholia: Exhibition Catalogue. (pp. 63-63) edited by Andrea Bubenik. St. Lucia, QLD, Australia: The University of Queensland Art Museum.
Barikin, Amelia (2014). Tim Silver, untitled (Bust) (Mahogany Timbermate Woodfiller). Five Centuries of Melancholia: Exhibition Catalogue. (pp. 93-93) edited by Andrea Bubenik. St. Lucia, QLD, Australia: The University of Queensland Art Museum.
Barikin, Amelia (2014). Bill Henson, untitled sequence, image no. 5. Five Centuries of Melancholia: Exhibition Catalogue. (pp. 61-61) edited by Andrea Bubenik. St. Lucia, QLD, Australia: The University of Queensland Art Museum.
Barikin, Amelia (2014). Arche-fossils and future fossils: the speculative paleontology of Julian Charrière. Julian Charrière: future fossil spaces. (pp. 18-29) edited by Nicole Schweizer. Milan, Italy: Mousse Publishing.
Barikin, Amelia (2013). Tales of the fourth dimension. Making worlds: art and science fiction. (pp. 234-240) edited by Amelia Barikin and Helen Hughes. Melbourne, VIC, Australia: Surpllus.
Barikin, Amelia (2013). Souvenirs du futur: du temps de l'art. Pierre Huyghe. (pp. 213-216) edited by Emma Lavigne and Pierre Huyghe. Paris, France: Centre Georges Pompidou.
Barikin, Amelia (2013). Making worlds in art and science fiction. Making worlds: art and science fiction. (pp. 7-13) edited by Amelia Barikin and Helen Hughes. Melbourne, VIC, Australia: Surpllus.
Gray, Nathan, Martorell, Dylan, Barikin, Amelia and Thajib, Ferdiansyah (2013). Selatangents: Snawklor (Nathan Gray and Dylan Martorell) in discussion with Amelia Barikin and Ferdiansyah Thajib. Mapping south: journeys in south-south cultural relations. (pp. 349-368) edited by Anthony Gardner. Melbourne, VIC, Australia: The South Project.
Barikin, Amelia (2012). A short flight in a black cube. Raafat Ishak and Tom Nicholson: proposition for a banner march and a black cube hot air balloon. (pp. 13-20) edited by Ishak Raafat, Tom Nicholson, Danny Lacy, Nikos Papastergiadis and Amelia Barikin. Shepparton, Vic., Australia: Shepparton Art Museum.
Barikin, Amelia (2011). Diasportal: travels in space and time. Dylan Martorell : soundtracks. (pp. 1-5) Parkville, Vic., Australia: Asialink.
Douglas, Amelia (2010). Pierre Huyghe's science fictions. Event Horizon: Moon Souvenir Edition. (pp. 3-3) edited by Centre for Contemporary Photography. Fitzroy, VIC, Australia: Centre for Contemporary Photography.
Douglas, Amelia (2010). Killing time. Christopher Köller: killing time. A video retrospective. (pp. 10-11) Melbourne, VIC, Australia: Kings Artist Run Initiative.
Douglas, Amelia (2009). Wonderlands: experiencing experience. A conversation between Amelia Douglas and Tim Webster. Wonderlands: Cristo redentor. (pp. 3-11) edited by Amelia Douglas. Melbourne, VIC, Australia: Blindside Artist Run Space.
Journal Articles
Barikin, Amelia (2024). Visualising time: Daniel Crooks. Sullivan+Strumpf (24), 50-59.
Barikin, Amelia, Pangirakis, Spiros, Riley Walsh, Tim, McGrath, Callum and Coombs, Courtney (2024). Don't forget to remember. Queer Australian Art.
Barikin, Amelia (2024). Jarrod van der Ryken, the buds on the trees and the night were still. Memo Review.
Barikin, Amelia (2022). Pierre Huyghe: Variants. Cura Magazine, 39 (Fall Winter 2022-23).
Barikin, Amelia (2022). Texts for a queer art history. un Magazine, 16 (2), 87-96.
Barikin, Amelia and McAuliffe, Chris (2019). Script for a nonsite: Robert smithson’s “The Monument”. Archives of American Art Journal, 58 (2), 46-69. doi: 10.1086/706833
Papastergiadis, Nikos and Barikin, Amelia (2015). Ambient perspective and endless art. Discipline, 4, 80-91.
Holert, Tom, Baumann, Stefanie, Blom, Ina, Basilio, Miriam, Puric, Biljana, Hsu, Claire, Boudry, Pauline, Lorenz, Renate, Barikin, Amelia and Gomez-Moya, Cristian (2014). Round Table On the Critical Archive. Artmargins, 3 (3), 3-20. doi: 10.1162/ARTM_a_00091
Barikin, Amelia, Papastergiadis, Nikos, Yue, Audrey, McQuire, Scott, Gibson, Ross and Gu, Xin (2014). Translating gesture in a transnational public sphere. Journal of Intercultural Studies, 35 (4), 349-365. doi: 10.1080/07256868.2014.913014
Barikin, Amelia (2014). We have begun to communicate with the animals, and the stars: speaking the future in Neil Beloufa's Kempinski. West Space Journal, 1 (3).
Barikin, Amelia (2014). no more stars (star wars): ra di martino. Broadsheet, 43 (1), 33-35.
Barikin, Amelia (2014). Stephen Russell: "Torpor Audit". Eyeline, 1 (80), 95-95.
Papastergiadis, Nikos, McQuire, Scott, Gu, Xin, Barikin, Amelia, Gibson, Ross, Yue, Audrey, Jung, Sun, Cmielewski, Cecelia, Soh Yeong Roh and Jones, Matt (2013). Mega screens for mega cities. Theory, Culture and Society, 30 (7-8), 325-341. doi: 10.1177/0263276413503691
Barikin, Amelia, Papastergiadis, Nikos, McQuire, Scott and Yue, Audrey (2013). Screen cultures and public spaces. Dissect Journal, 1 (1), 66-83.
Barikin, Amelia (2013). Review of TarraWarra Biennial 2012: Sonic Spheres. Art and Australia, 50 (3), 472-472.
Barikin, Amelia (2012). Parallel collisions: 2012 Adelaide Biennial of Australian Art curators Alexie Glass-Kantor and Natasha Bullock. Contemporary Visual Art+Culture Broadsheet, 41 (1), 34-39.
Barikin, Amelia (2012). Time shrines: mourning and melancholia in the work of Ash Keating. Discipline (2), 18-24.
Douglas, Amelia (2011). On contemporary history. Broadsheet, 40 (2), 118-119.
Douglas, Amelia (2010). Before and after science. Interview: Charlotte Day and Sarah Tutton. Contemporary Visual Art+Culture Broadsheet, 39 (1), 25-27.
Grayson, Richard, McGovern, Eva, Green, Charles, Geczy, Adam, Lynn, Victoria, North, Ian, Millner, Jacqueline, Douglas, Amelia and French, Blair (2010). Critical or congratulatory?. Contemporary Visual Art+Culture Broadsheet, 39 (1), 18-22.
Douglas, Amelia (2009). North star / dark star. un Magazine, 3 (1), 70-71.
Douglas, Amelia (2009). The viewfinder and the view. Broadsheet, 38 (3), 200-205.
Douglas, Amelia (2008). A forest of lines: an interview with Pierre Huyghe. EMAJ: Electronic Melbourne Art Journal, 1 (3), 1-7.
Douglas, Amelia (2008). Psychotropicalism: a manifesto in search of a manifestation. un Magazine, 2 (1), 6-11.
Douglas, Amelia (2006). A world of one. Contemporary Visual Art+Culture Broadsheet, 35 (4), 234-236.
Douglas, Amelia (2005). American entropy: Doug Aitken's blow debris. EMAJ: Electronic Melbourne Art Journal, 1 (1), 1.1-1.14. doi: 10.38030/emaj.2005.1.1
Douglas, Amelia (2005). The paper trail: history and excess in the photography of Thomas Demand. antiTHESIS, 15, 188-201.
Conference Papers
Barikin, Amelia (2013). Making worlds in art and science fiction. ISEA2013: The 19th International Symposium of Electronic Art. Resistance is Futile, Sydney, NSW, Australia, 7-16 June, 2013. Sydney, NSW, Australia: ISEA International.
Papastergiadis, Nikos, McQuire, Scott, Barikin, Amelia, Cmielewski, Cecelia, Yue, Audrey, Gibson, Ross, Cmielewski, Leon, Jones, Matt and Gu, Xin (2013). Large screens and the transnational public sphere. ISEA2013: The 19th International Symposium of Electronic Art. Resistance is Futile, Sydney, NSW, Australia, 7-16 June, 2013. Sydney, NSW, Australia: ISEA International.
Creative Works
Barikin, Amelia (2024). Luke Roberts: Beyond the Great Divide. Brisbane, QLD, Australia: Institute of Modern Art.
Barikin, Amelia, Coombs, Courtney, Riley Walsh, Tim, Panigirakis, Spiros and McGrath, Callum (2024). Queer Australian Art. Online [queeraustralianart.com]: KINK.
Barikin, Amelia (2019). Robert Smithson's Crystal Lattices: mapping the shapes of time. Santa Fe, New Mexico, USA: Holt/Smithson Foundation.
Barikin, Amelia and McAuliffe, Chris (2018). Robert Smithson: Time Crystals. Brisbane, Australia and Melbourne, Australia: University of Queensland Art Museum & Monash University Museum of Art.
Barikin, Amelia and Lynn, Victoria (2015). Pierre Huyghe: TarraWarra International 2015. Healesville, VIC, Australia: TarraWarra Museum of Art.
Barikin, Amelia, Cmielewski, Cecilia, Gibson, Ross and Yi, Soojung (2012). Australia vs Korea: dance battle 2012. Federation Square, VIC, Australia; Art Center Nabi, Seoul, Korea; Northbridge Piazza, Perth, WA, Australia: University of Melbourne.
Barikin, Amelia and Themelios, Nella (2012). Acoustic ecologies. Melbourne, VIC. Australia: Arts Centre Melbourne.
Douglas, Amelia, Gibson, Ross, Cmielewski, Cecelia and Yi, Soojung (2011). HELLO PROJECT. Federation Square, VIC, Australia; Arko Art Theatre, Seoul, Korea: Large Screens and the Transnational Public Sphere; Art Center Nabi.
Douglas, Amelia (2010). Killing time: Christopher Koeller video retrospective. Melbourne, VIC, Australia: Kings Artist Run Initiative.
Douglas, Amelia and Themelios, Nella (2010). The sound playground. Melbourne, VIC, Australia: Bus Projects; Craft Victoria; fortyfivedownstairs.
Douglas, Amelia and Mishriki, Albert (2009). Found sound: the experimental instrumental project. Melbourne & Carlton, VIC, Australia: Guildford Lane Gallery; Tape Projects Space.