Accompanying the 2020 presentation of Howl at the Adelaide Biennial of Australian Art: Monster Theatres, is a 48 page publication detailing the artworks referenced throughout the performance.

Dispersed during the performance the publication records who, and what, constituted the works reception. From a rainbow repeatedly burned in a public square, to an artwork attacked with a hammer at the National Gallery of Victoria, the publication also includes previous artworks referenced in Howl, performance images, and an essay in response by Mish Grigor.

This version of the publication was specifically remastered for the performance of Howl at the Art Gallery of South Australia, for the 2020 Adelaide Biennial of Australian Art: Monster Theatres, supported by Vitalstatistix and RCC Fringe. Previous performances have occurred at Perth Institute of Contemporary Arts (2018) and Meat Market (Arts House) for the Festival of Live Art (2016).

Howl sets itself at the intersection between parade, protest and procession. In Australia we hold parades for football stars, community dance troupes and war veterans. In Howl we ask: what might it look like to give artists the same public recognition? What happens if we take what government and religious officials often deride and place it in a context they could love, such as the community parade or classical music concert?

To organise a hard copy of the newest Howl publication please email


Publication Text: Lara Thoms, Willoh S. Weiland, Lz Dunn and Mish Grigor
Publication Designer: Rebecca McCauley
Photography: Bryony Jackson/Aaron Claringbold

To view a pdf copy of the publication visit here

Images Aaron Claringbold

APHIDS acknowledges the Wurundjeri Woi-wurrung and Boon wurrung peoples on whose lands we live and work. Sovereignty was never ceded and we pay our respect to past, present, and future Aboriginal elders and community, and to their long and rich history of artmaking on this Country.