ACCA, AS PART OF Who’s Afraid of Public Space?, INCINERATOR GALLERY AS PART OF the Incinerator Art Prize and Artspace 52 ACTIONS exhibition
DESTINY (2021), is a moving-image work made in collaboration with on-demand or ‘gig economy’ workers, including rideshare drivers, food delivery riders and cleaners, that explores personal and global experiences of the platform economy. Against the backdrop of the historical union stronghold of Melbourne’s Trades Hall, four workers perform work in isolation, fueling an unseen ‘machine’ of platform capitalism: objects are delivered, unwrapped and accumulated en masse. An electric bike weaves around obstacles and entry points. The pace of work builds. Over time, through shared action, the workers transport themselves into a collective space, fleeting but real, of protest and resistance.
Mimicking the form of the eight-hour workday, DESTINY was presented as part of Who’s Afraid of Public Space? as a one-day only offsite project from 2-10pm at Cardigan House Carpark in Carlton. Screened on loop throughout the day, DESTINY concluded with a public panel discussion from 4-5pm with Amelia Wallin, Eugenia Lim, and worker–performers Cher Tan and Wasay, who reflected on the making of the work, the platform economy and how ‘convenience’ is shaping bodies, behaviours, and perceptions of time. You can listen to the panel discussion here.
Sissy Screens, Steadipalms, Antony Moore and all at Trades Hall, Folklore Sound & Music, Crayon, Jensen Cope, Eben Olson at Reel Locations, Amos Gebhardt, Truce Films, Benjamin Pitt, Ruben Pinzon, Darren Tan, Becky Sui Zhen, anonymous Amazon worker, Grace Herbert and all at Rising, APHIDS Board and Donors, Misha Lee, Nat Cursio, Jessie French, Chris Tomkins, our past EASY RIDERS Worker–Collaborators, Alan Macgill, Melbourne Fringe, Freya Waterson, Collingwood Yards, Jo Porter and QVWC, Max Delany, Miriam Kelly and Annika Kristensen at ACCA, Amelia Wallin, Lana Nguyen, Harpy Film Services, Karli Laredo and Stefan Polastri. Most importantly, we thank our entire team of collaborators and our loved ones for their collective support in realising this ‘labour of love’.
This work was made possible by the Restart Investment to Sustain and Expand (RISE) Fund – an Australian Government initiative; the Australia Council for the Arts, its funding and advisory body, The City of Melbourne through its Triennial Grants program 2018-2020, Creative Victoria through its Organisation Investment Program. APHIDS would also like to acknowledge the generous funding and support from partners; RISING Festival, the Centre of Visual Art, The University of Melbourne, the Australian Centre for Contemporary Art, West Space, Trades Hall and MPavilion.