The global (financial) system is a dangerously fragile equilibrium achieved through competition, risk, and (financial) vulnerability. This economic Prisoner’s Dilemma was highlighted durning the Cold War, when the optimal scenario was global corporation, nuclear non-proliferation, and disarmament; however, nuclear armament and uncertainty was instead chosen. This non-cooperation—fuelled by the theory of deterrence and mutually assured destruction—resulted in an absurd state of peace that existed not in the absence of conflict, but on the knife edge of volatility—and with huge risk to the survival of human civilisation.
What is interesting about volatility is that it is the same in financial markets, nature, and life. Like the central banks, who are
Art awards, especially in Australia, don’t reward risk, vulnerability, or change. Curators and judges, who usually source work for shows from the same few commercial galleries—who in safe sell commercial work for people to hang above their mantlepiece—are afraid of volatility. They choose works that are easy to understand, but at the expense of pushing the boundaries of contemporary art.
Global Capitalism has reached its own Prisoner’s Dilemma; 44 years after the end of the Bretton Woods System Global central banks have manipulated the cost of risk in a competition of devaluation. We are nearing the end of a 30-year “monetary super-cycle” that created a “debt super-cycle”, a giant tower of babel in the capitalist system. Never forgot – peace is not the absence of conflict – peace can exist on the very edge of volatility.
Joseph Alois Schumpeter, the Austrian-born American economist and political scientist, understood capitalism an historical process of change. Without uncertain and volatile change, the world is stagnate.
The volatility of nature and the internal volatility of capitalism
So volatility is no different in markets than it is to life. It is an instrument of truth, and regardless of how it is measured, it just reflects the difference between the world as we imagine it to be and the world that actually exists. We are only going to prosper if we relentlessly search for the truth. Otherwise the truth will come to us through volatility. The world has gone mad, and the truth is coming. Thank you.
Volatility is an instrument of truth—it reflects the difference between the world as we imagine it and the world that actually exists.
It is an instrument of truth, and regardless of how it is measured, it just reflects the difference between the world as we imagine it to be and the world that actually exists.
Joseph Alois Schumpeter, the Austrian-born American economist and political scientist, understood capitalism an historical process of change.
The subjectivity and volatility of expectations thus make financial asset prices more volatile than other prices in the economy (Keynes: 1936  chapter 12, Strange: 1998). Secondly, given the inherent volatility of financial asset values, liquidity provides an important “protective device” or “defensive strategy” to manage uncertainty, for two reasons. First, since money is the unit of account its value is less volatile and more certain in terms of other goods than other financial assets; thus it represents a refuge from price volatility. Second, it provides assurance that future cash commitments can be met with certainty. Thus firms whose incomes flows are subject to fluctuation may want to hold cash cushions to make sure that they can meet recurrent cash commitments. This is the basis of Minsky’s theory of financial fragility.
The entire global financial system is based on an (anti-)correlation between stocks and bonds.
Volatility is an instrument of truth that reflects the difference between the world as we imagine it to be, and the world that actually exists.
Kailum Graves is an anatomically modern human.
He seeks experiences over materialism.
He is perpetually poor, yet infinitely happy.
He suffers from anxiety attacks.
This is his website.
He wrote this in the third person.
Kailum Graves is an emerging Australian artist critically obsessed with the artifactual digital object. He works predominantly in the medium of photography and within the sphere of the photographic process, including large-scale video installations. His practice reflects the influence of technology on the photographic medium and sits resolutely within the context of future movements of contemporary photography. He studied art history, philosophy, archaeology, and photography at the University of Queensland and the Queensland College of Art, Griffith University. He graduated from both degrees with distinction and dean’s commendations, which ranked him in the top five percent. Upon graduation, he spent three years researching, experimenting, and creating a body of work. He only began entering art awards and exhibitions in 2016, and has been a finalist in 27 state, national, and international art awards, had 24 exhibitions, including a public art commission, and was selected to participate in SOMA Summer, an eight-week program for international artists, curators, critics, and art historians, conducted in Mexico City. In 2016, he won the Clayton Utz Art Award and the Toowoomba Biennial Emerging Artists Award, and exhibited at the National Portrait Gallery, the Fremantle Arts Centre, the Murray Art Museum Albury, the Incinerator Gallery, Kensington Contemporary, the Stanthorpe Regional Art Gallery, the Noosa Regional Gallery, and the Pine Rivers Art Gallery. He is the founder and totalitarian head honcho of An Evolving Thesis—a website established to investigate and debate the cultural economy—and is the Director and Dictator of The Goodwink Conspiracy, an online exhibition residency program and curatorial platform. His work is held in the Toowoomba Regional Art Gallery’s permanent collection.
Kailum is critically obsessed with the Web and born-digital content. He is particularly interested in image-rich technologies and the way global media communication—a landscape controlled by a handful of multidimensional oligopolistic corporate-run networks—can be sampled, organised, and considered in new philosophical, sociological, and political terms. Nonetheless, while these issues are political and economic in nature, Kailum believes anti-capitalist art offers no real alternative to the economic and ideological discourses of multinational capitalism. In its place, he is interested in examining the politics of the image and the construction of truth. To do this, he uses the Internet, which has normalised the act of collecting and compiling information, to preserve and curate found images and raw material. The aim is to engage with the cultural space and aesthetics of the Internet—and the vast amount of digital information it contains—as a subject, material, and tool of artistic production.
Kailum’s photographic practice, which is an extension of his web-based appropriation work, explores the disappearance of clear boundaries between culture, environment, and technology. He is particularly interested in the way humans use technology to transform, manipulate, and transcend natural environmental limits. There isn’t a one-way correlation between culture, technology, and environment; instead, a culture develops a technology, such as agriculture, to change the environment, and this technology, in turn, changes the culture and society that created it. The three—culture, technology, and the environment—are in a circular relationship, where the last object references the first, resulting in a closed loop. He explores the closed loop by creating large-scale prints that sit somewhere between imagined landscapes and abstract portraits.
MrKailumGraves [at] gmail [dot] com
2013 Bachelor of Photography, Queensland College of Art, Griffith University
– Graduated early with a Diploma of Photography, Southbank Institute of Technology
2011 Bachelor of Arts (Honours), Art History, The University of Queensland
– Dissertation: ‘Culture Jamming: Extreme Capitalism and Art’
2008 Bachelor of Arts, Art History and Philosophy, The University of Queensland
2005 Diploma of Business, Southbank Institute of Technology
AWARDS & GRANTS
2017 Shortlisted, John Fries Award (top 40 of 600+ entries), UNSW Galleries
2017 Users’ Choice, Digital Project of the Month, Kunstbulletin 4/2017, Zürich
2017 Finalist, Paramor Prize: Art + Innovation, Casula Powerhouse Arts Centre
2017 Finalist, The Wyndham Art Prize, Wyndham Cultural Centre
2017 Finalist, Contemporary Art Awards, Online Exhibition
2016 Finalist, Digital Portraiture Award, National Portrait Gallery
2016 Winner, Clayton Utz Art Award, Clayton Utz
2016 Finalist, MAMA Art Foundation National Photography Prize, Murray Art Museum Albury
2016 Finalist, Fremantle Arts Centre Print Award, Fremantle Arts Centre
2016 Finalist, Uncover: Emerging Artist Award, Perth Centre of Photography
2016 Winner, Toowoomba Biennial Emerging Artists Award, Toowoomba Regional Art Gallery
2016 Shortlisted, Royal Ulster Academy’s 135th Annual Exhibition, Ulster Museum
2016 Finalist, Incinerator Art Award, Incinerator Gallery
2016 Finalist, Chippendale New World Art Prize, Kensington Contemporary
2016 Finalist, Stanthorpe Art Festival Art Prize, Stanthorpe Regional Art Gallery
2016 Finalist, Contemporary Art Awards, Online Exhibition
2016 Unanimously Voted Artist, (dis)placement project, London
2016 Finalist, Noosa Art Award, Noosa Regional Gallery
2016 Finalist, Moreton Bay Art Awards, Pine Rivers Art Gallery
2016 Finalist, International Residency, Bitamine Faktoria, Basque Country
2016 Funding Recipient, Creative Individuals Career Fund, Copyright Agency
2016 Showcase Winner, 9th 2016 ArtSlant Prize, ArtSlant
2016 Showcase Winner, 4th 2016 ArtSlant Prize, ArtSlant
2016 Showcase Winner, 3rd 2016 ArtSlant Prize, ArtSlant
2016 Juried Winner, 2nd 2016 ArtSlant Prize, ArtSlant
2016 Showcase Winner, 1st 2016 ArtSlant Prize, ArtSlant
2015 Finalist, Incinerator Art Award, Incinerator Gallery
2013 Griffith Award for Academic Excellence – Ranked Top 5%, Griffith University
2008 Commonwealth Government Scholarship, The University of Queensland
2007 Dean’s Commendation for High Achievement, The University of Queensland
2007 Commonwealth Government Scholarship, The University of Queensland
2005 Dean’s Commendation for High Achievement, The University of Queensland
2017 After Hiroshima, B#SIDE WAR & IoDeposito [with funding from UNESCO and the Hiroshima Peace Memorial Museum], Treviso (August-October)
2017 Children of Hiroshima, B#SIDE WAR & IoDeposito [with funding from UNESCO and the Hiroshima Peace Memorial Museum], Venice (August)
2017 (dis)placement [curated by Gabriela Davies], Arte Clube Jacarandá, Rio de Janeiro (July-August)
2017 Artist-led: Crates on Wheels [touring exhibition], Toowoomba Regional Art Gallery, Toowoomba (February-November)
2017 Paramor Prize: Art + Innovation, Casula Powerhouse Arts Centre (February-April)
2017 (dis)placement [curated by Gabriela Davies], Ugly Duck Off Quay, London (February-March)
2017 Contemporary Art Awards, Online Exhibition, Brisbane (January-June)
2016-17 Digital Portraiture Award, National Portrait Gallery, Canberra (December-April)
2016-17 Clayton Utz Art Award, Clayton Utz, Brisbane (October-November)
2016 Incinerator Art Award, Incinerator Gallery, Melbourne (October-December)
2016 Fremantle Arts Centre Print Award, Fremantle Arts Centre, Fremantle (September-November)
2016 Contemporary Localised Survey, Brunswick Street Gallery, Melbourne (September-October)
2016 CLICK 2016 Photography Art Prize, Brunswick Street Gallery, Melbourne (September)
2016 Toowoomba Biennial Emerging Artists Award, Toowoomba Regional Art Gallery, Toowoomba (August-October)
2016 Miércoles de SOMA, SOMA, Mexico City (August)
2016 Contemporary Art Awards, Online Exhibition, Brisbane (July-December)
2016 Four Walls [curated by Bethany O’Connor], Brunswick Street Gallery, Melbourne (June-July)
2016 Art Now Revisited, Kensington Contemporary, Chippendale Creative Precinct, Sydney (June-July)
2016 Stanthorpe Art Festival, Stanthorpe Regional Art Gallery, Stanthorpe (June-July)
2016 Chippendale New World Art Prize, Kensington Contemporary, Chippendale Creative Precinct, Sydney (June)
2016 MAMA Art Foundation National Photography Prize, Murray Art Museum Albury, Albury (May-August)
2016 Noosa Art Award, Noosa Regional Gallery, Noosa (May-June)
2016 Moreton Bay Art Awards, Pine Rivers Art Gallery, Moreton Bay (May)
2015 Incinerator Art Award, Incinerator Gallery, Melbourne (October-December)
2013 Happy Birthday To Me, Queensland College of Art, Griffith University (September)
RESIDENCES & CONFERENCES
2017 Artist-in-residence, PILOTENKUECHE, Leipzig, Germany
2017 Artist-in-residence, NES Artist Residency, Skagaströnd, Iceland
2016 Artist-in-residence, Rights of Nature Tribunal, Australian Earth Laws Alliance, Brisbane, Australia
2016 SOMA Summer: Archive Fever, SOMA, Mexico City, Mexico
2016 Public Art Commission, unFramed, Coolum Beach
Toowoomba Regional Art Gallery, Toowoomba
CATALOGUES & PUBLICATIONS
2017 (dis)placement [curated by Gabriela Davies], London and Rio de Janeiro (Catalogue)
2017 Digital Project of the Month [curated by Raffael Dörig], Kunstbulletin 4/2017, Zürich (Journal)
2017 In The Uncanny Valley [curated by Domenico Quaranta], International (Research blog)
2017 Contemporary Art Awards, Brisbane (Catalogue)
2016 ARTiculAction Art Review, Anniversary Edition, International (Interview/Publication)
2016 Transilluminating work wins 2016 Clayton Utz Art Award, Clayton Utz, Brisbane (Media Release)
2016 Incinerator Art Award, Incinerator Gallery, Melbourne (Catalogue)
2016 Artist-Led, Toowoomba Regional Art Gallery, Toowoomba (Catalogue)
2016 Fremantle Arts Centre Print Award, Fremantle Arts Centre, Fremantle (Catalogue)
2016 Contemporary Art Awards, Brisbane (Catalogue)
2016 D.U.M.P., SOMA, Mexico City (Publication)
2016 MAMA Art Foundation National Photography Prize, Murray Art Museum Albury, Albury (Catalogue)
2015 Incinerator Art Award, Incinerator Gallery, Melbourne (Catalogue)
WORK EXPERIENCE & CURATORIAL PROJECTS
2017 Director and Dictator, The Goodwink Conspiracy, Online curatorial platform (thegoodwinkconspiracy.com)
2016-17 Founder and Totalitarian Head Honcho, An Evolving Thesis, Brisbane (anevolvingthesis.com)
2016-17 Art Installer (Volunteer), Flying Arts Alliance, Brisbane
2015-17 Curator, ‘I Don’t Understand Modern Art,’ Twitter (@wtfmodernart)