REWORLDING PUBLICS or “WHO IS RESPONSIBLE FOR THE FUTURE?” This is not the project. It exists outside in a time past and in a time not yet arrived in the minds of those who were there. The work does not exist here in the gallery or the studio, it exists on the street, between buildings. It persists in conversation and negotiation. What you see here is an attempt to capture my 9 to 5 and my 5 to 9 in a 2 by 3 space. It asks walking to stand still, talking to be silent and the imagination to stay on one train, one thought. Even if this project were made entirely by me and me alone it would still no be all my own. It is collaborative, it is a making with. With what is there, in space, the place and what might yet be. With others, peoples, critters, bricks and the intangible narrative we walk and talk in to being every moment together. For most of my time in MAPS (sans one introductory step and one side step that turned into a slip that landed me back here) I have been working with RMIT’s Future Play Lab to design, deliver and bring to life LARPs and urban role play experiences that serve as a methodology for reworlding and research. Between the nexus of game design, art, resistance and civic-codesign we have been making games, envisioning the future and telling new stories of what could be so that we (that includes you and me) might have a more kaleidoscopic direction to set our jibs to. Unless of course you’re having a good time right now on this ride on its course set for the end. The unidirectional pinpoint rail road of the story of progress. Feel free to step off, stretch your legs come and play with what is, so we can make real what could be.
Billy Zeik Kelleher is a Creative Producer, Placemaker, Game Designer and Artist. His work is sometimes one and often all of these things. The creative practice you see here has been a collaboration with Future Play Lab led by Troy Innocent. Billy has taken on many creative roles within the suite of projects, involving the design of live action role playing games, also performing in them, also making props and costumes, negotiating legislation and regulation as one attempts to hack and reprogram public space. Billy’s practice is a little sculptural, a little improv theatre and a lot of story telling, world building and creative planning.
