LIVING ARCHIVES

The Living Archives project animates the Kaldor Public Art Projects archives with the memories of those who experienced our projects firsthand. These memories provide a rare glimpse into our history through the eyes of visitors, artists, teachers, art lovers and students.

Browse the living archive below.

A HISTORY I’D NEVER LEARNED

A HISTORY I’D NEVER LEARNED

REBECCA SHANAHAN

“Seeing a building site mapped out like that, crossing garden beds as though they weren’t there, was like being shown something I should have been aware of all the time, shown a history I’d never learned.”

ABSEILING LITTLE BAY

ABSEILING LITTLE BAY

KEITH BELL

“It some ways it looked very simple, in other ways it looked very complex. Sometimes it looked like an alpine scene, at other times it looked like a cascading waterfall. It just seemed to have different moods, the play of shadows and light across it was amazing. It really had a living presence about it.”

ABSORPTION

ABSORPTION

EMILY GALICEK

I visited Asad Raza’s installation on a quiet Monday morning, and there was an incredible sense of peace when walking into the space, as the soil seemed to absorb all the ambient sound from outside.

AN EMOTIONAL TOUR OF 13 ROOMS

AN EMOTIONAL TOUR OF 13 ROOMS

ALANA AMBADOS

“It had a wider impact than just doing an essay for uni. It was more about, how can we share that, the thing that sparked the joy and the interest in art for us in the first place?”

AN UNUSUAL BUILD

AN UNUSUAL BUILD

SEAN CLARIDGE

Ten years later, every time Sean goes past the gallery he looks at the statues and remembers their transformation.

ANYONE COULD HAVE THEIR NAME IN LIGHTS

ANYONE COULD HAVE THEIR NAME IN LIGHTS

REBECCA KHOURY

That anyone could have their name in lights, a way to feel like you are part of something even for a fleeting moment without having to totally put yourself out there.

ART WITHOUT BARRIERS

ART WITHOUT BARRIERS

SANDRA MARSH AND RHIANNON BOWMAN

“As country kids we took up every opportunity to see sophisticated Sydney. We were in awe of the teamwork and the originality of the idea.”

BAKING COLOURED BREAD

BAKING COLOURED BREAD

DENNIS BUTLER

“we really used it as an art expression from within the trade, showing what we were capable of.”

BRIGHT COLOURED ROPE

BRIGHT COLOURED ROPE

GEOFF STEVENSON

I was seven and I remember walking over the material and seeing the bright coloured rope everywhere.

CONSTRUCTING 21 BEACH CELLS

CONSTRUCTING 21 BEACH CELLS

PETER GILDER

“I was going with John to see Waverley Council… [Schneider] thought he could plonk this thing on Bondi anywhere, he didn’t realise sometimes Bondi gets these massive waves and so forth.
The other thing was with the beach runners, they were very difficult to deal with. We had to make this distance for them between the wall and the artwork so that they weren’t interrupted, they wouldn’t run around it.…That was a fascinating job, it really was.”

FINDING FAMILY IN PERFORMANCE

FINDING FAMILY IN PERFORMANCE

EUGENE CHOI

“All of the questions were about transformation. The work was about transformation. The work wouldn’t be a work without the public.”

FOUR HOURS WITH GILBERT & GEORGE

FOUR HOURS WITH GILBERT & GEORGE

ALEKS DANKO

“A lot of other people got sucked into it by their mesmeric quality – when are they going to make a mistake? When is one of them going to fall over? But they never did that. The work was not about failure, the work was about success.”

HOW TO PRODUCE A PUBLIC ART PROJECT

HOW TO PRODUCE A PUBLIC ART PROJECT

ALISON GUTHRIE

“I had the master key to the island. And I’m the worst person to give a master key to, because I opened every door and went into every building and looked at everything. It was amazing.”

I WENT TO MOCK AND STAYED TO PRAY

I WENT TO MOCK AND STAYED TO PRAY

MARIE AND PETER DUFFY

“I was surprised at how the cloth was tied to the cliff and rocks. It was very different to anything I had ever seen before, although I was only 10 years old!”

LIKE AN UPWARD WATERFALL

LIKE AN UPWARD WATERFALL

PATRICIA DUNN

“The sea was pounding in and, as the wind lifted under the plastic it gave the extraordinary impression that the sea was running up the cliffs. Like an upward waterfall.”

LIKE BEING TRANSPORTED INTO ANOTHER WORLD

LIKE BEING TRANSPORTED INTO ANOTHER WORLD

NASTIA GLADUSHCHENKO

“I still remember the moment Marina came and sat opposite me. Her presence was so strong but soft and her look was so powerful that I couldn’t help but look in amazement at the honesty she was showing me in her expression.”

LOVE, JOY AND AN AUTOGRAPHED HARD HAT

LOVE, JOY AND AN AUTOGRAPHED HARD HAT

MICHAEL DAGOSTINO

“As an art student it was an amazing thing to work on, it was a scale that we’d never seen before, with an artist that within the Australian context we’d have no contact with.”

MEETING MARINA ABRAMOVIĆ

MEETING MARINA ABRAMOVIĆ

JOHN GOW

My memory of the hug will last longer than the photo I might have taken, which would have become buried somewhere on my computer. Congratulations John Kaldor… your contribution to public art is enormous!

PAINT IT BLACK

PAINT IT BLACK

MATTHEW KENTMANN

“There were things that happened before you and things that are going to happen afterwards and you’re part of a continuity, and I think that’s a liberating perspective to have.”

PERFORMANCE LESSONS WITH MARINA ABRAMOVIĆ

PERFORMANCE LESSONS WITH MARINA ABRAMOVIĆ

LOTTIE CONSALVO

“[It] was an approach that I got a lot out of. I feel that over the years I move more and more towards that, about what can happen just from experimenting with the body.”

SINGING TO THEIR HEARTS’ CONTENT

SINGING TO THEIR HEARTS’ CONTENT

SEVASTI TSATLOGIANIS

As a child I was fascinated with the way they looked covered with bronze metallic colour as they moved and sung to their hearts’ content. It was mesmerising.

SOUNDS OF THE KIMBERLEY IN ST PETERS

SOUNDS OF THE KIMBERLEY IN ST PETERS

ANTONIA FREDMAN

“This was an in-between space – last week they were closed-up brick kilns, and in a few more weeks they will again be closed-up brick kilns.”

SPACE AGE FABRICS AND CONTEMPORARY ART

SPACE AGE FABRICS AND CONTEMPORARY ART

HELEN GLAD

“John’s passion was contemporary art and I think that he wanted to break a few of the barriers to get people more involved at a time that everything was fairly traditional. He was pushing boundaries, as he did with his fabrics.”

SWAPPING FOR A SILVER ANKLET

SWAPPING FOR A SILVER ANKLET

ZOE GROSS

“Being part of Swap was nice in that I was included in this world that isn’t traditionally for children. I got an experience there that not many people had given me.”

THE ENGINEER WHO MADE PUPPY

THE ENGINEER WHO MADE PUPPY

DOUG KNOX

“I’d never designed a dog before, so you just get a fresh sheet of paper, and that’s how it started.”

THE FATHER OF CONCEPTUAL ART

THE FATHER OF CONCEPTUAL ART

LESLEY TARLINTON

“He was very inclusive. He was very generous. It was phenomenal – he was the father of conceptual art and there he was sitting in a cafe talking with us.”

TOTO FROM THE WIZARD OF OZ MADE FROM FLOWERS

TOTO FROM THE WIZARD OF OZ MADE FROM FLOWERS

MARGOT RENTON

The scale of a terrier dog, which reminded me of Toto from The Wizard of Oz made from flowers, was surreal and wonderful.

VIDEO ART IN A CHURCH

VIDEO ART IN A CHURCH

LOUISE MERHI

“We started to talk about things like life and death and heaven and hell. She really blew me away with the questions, and she was seven at the time. I didn’t really expect that. It opened up a different world.”

WRAPPED COAST IN COLOUR: DISCOVERING A LECTURER’S SLIDES

WRAPPED COAST IN COLOUR: DISCOVERING A LECTURER’S SLIDES

ELLEN WAUGH

“There’s so much potential in art, and people are free to do anything now.”

WRAPPING THE ART GALLERY OF NSW

WRAPPING THE ART GALLERY OF NSW

ANNA-MARŸKE

“We would see them on a daily basis, and often host client dinners in our loft for them, and also go with them to client dinners out. They would eat out every night as an opportunity to get together with clients or visiting people in New York. It was always work, every waking moment.”