Accompanying the 2016 and 2018 presentations of Howl is a 36 page publication detailing the artworks referenced in the performance.

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?

Howl honours artworks that are significant to us because of the powerful reactions they have generated. Our performance commemorates art that is controversial, has been censored, and has incited everything from violence to revulsion–from furore over a feminist self portrait, to a rainbow repeatedly burnt in a public square, to artists being arrested on suspicion of bioterrorism. It is a personal canon of artworks, from the 19th century to the present day, that has amassed some of the most compelling public responses – responses which uncover the way society can be deeply unsettled by art.

The 2016 publication can be viewed online here


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

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.