Jacquelene Drinkall

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Jacquelene Drinkall, Weather Underwater, performance on Great Barrier Reef for video wearing a Telepathic Balaclava Fascinator and dress made from men’s neck ties (still image from Blindside Gallery installation 300 x 540cm, HD video on HD projector), 2010-11

Jacquelene Drinkall is an artist, research-writer, curator and educator based in Gosford/Sydney, New South Wales, Australia. Following her participation in 2015 Saas-Fee Summer Institute of Art (SFSIA) for which she worked as TA and received a SFSIA scholarship and a Developing and Recognising Talent (DART) award, she is further developing her ongoing research into telepathy aesthetics of immaterial labour through ongoing work with artist and theorist Warren Neidich, who is founder and director of SFSIA. In particular, she is looking at telepathy in relation to cognitive capitalism and extended cognition. She has a forthcoming paper exploring the neuroethics of liberatory artist work with telepathy in dialectic relation to the prosthetics and military mind control developed by DARPA and the capitalist war machine – it is titled ‘Neuromodulations of Extro-Scientific Telepathy’ and it will be published in Neidich’s Psychopathologies of Cognitive Capitalism Volume 3, published by Archive Books in Berlin and launched at Pro-qm bookstore in Berlin, May 9 2016. She also has a paper ‘All That is Solid: Speculative, Quantum and Cognitive Aesthetics of Telepathy and Telekinesis’ forthcoming in special Transdisciplinary Imaging Conference edition of Leonardo Electronic Almanac. Jacquelene is appointed editor of Neidich’s Artbrain journal for the sixth edition of The Journal of Neuro-Aesthetic Theory.

Jacquelene began exhibiting internationally when she undertook an Independent Research Unit via an Australian National University Travelling Art Scholarship for study with Marina Abramovic and Krzsyztof Wodicszko at Ecole Nationale Superieure des Beaux-Arts (ENSBA) in 1994-95, and Abramovic curated her performance installations at ENSBA and Crestet Centre d’Art. More recently she has exhibited at SFSIA Exhibition in Switzerland; Riga Triennale at the Latvia National Museum; QUAD Gallery in the UK; University of Sydney’s Verge Gallery; and Blue Mountains Cultural Centre. Jacquelene has received awards such as the Marten Bequest Travelling Art Scholarship; Dyason Bequest from the Art Gallery of New South Wales (AGNSW); an AGNSW Cite International des Arts residency, followed by French government residency at the Cite; an Australian Postgraduate Award, as well as numerous other awards and residencies. She has a BA Visual Art (Painting) with Honours 1 and University Medal; Masters by Research in Visual Art (Painting); and PhD Art History and Theory (artworks/exhibitions and written thesis).

Jacquelene’s art practice explores telepathy via multiple mediums, including weaving with telecommunications wire, performance, video, photomedia, painting, drawing, installation, objects, sculpture, audio, kinetics, virtual world performance and machinima and EEG neuroheadset interaction. Some of her forthcoming exhibitions include a solo exhibition exploring telepathology in 2018 and group exhibition on mermaids in 2017, both at Macquarie University Gallery, and a group exhibition curated by Alex Wisser involving collaboration-at-a-distance between seven Australian artists and seven New York artists.

Learn more on her website.

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Jacquelene Drinkall, Video Performance Documentation with Algorithmic Glitch, oil on canvas, 50 x 80cm, 2016, based on a video made of collaborative performance for 2015 SFSIA Exhibition
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Jacquelene Drinkall, Weatherman UFOlogy, high impact acrylic, marine ply, hardware, test installation with viewer interact at Cementa_13, 250 x 464 x 464cm, 2013

Jacquelene is Honorary Researcher at UNSW Art and Design.