This might just pass the time

by Annabel Brown

• Exhibition Essay for This Might Just Pass the Time at Blindside • December 2023 | Digital only |
• Click here to read •

“This project takes the film theorist’s Leo Charney’s notion of the ‘drift’ as a point of departure to build upon this notion and to work around this central question: how does the drift materialise in today’s technological disposition? Charney envisions the drift as an “ungovernable, mercurial activity,” teeming with possibilities and heterogenous in tone, drift enables one to sense the vertigo-laden uncertainty of the present.”


Telltale Signs: From Observer to Algorithm
by Tim Hall

• Art+Australia • Issue 59 | Digital only |
• Click here to read •

“ I attempted to take in Telltale as an unbiased blank slate, but I failed. I now realise that in the same way Google’s neural network algorithm DeepDream sees eyes and dogs in every unknown pixel, I see what I am trained to see. I could not put aside my programming. I am running an operating system developed over centuries, patched and updated by ongoing community feedback. I am a machine, learning. ”

Artlink Magazine

City of the gimmick: AI at Melbourne Now
by Cameron Hurst

• Artlink Magazine • Issue 43:2 | pg. 60-69 | Print and digital |
• Click here to read •

“ In Telltale, Lindo opens the box. All the videos in the work are sourced via MTurk. Rather than following the lead of Amazon, which purposely alienates Requesters from Turkers, and Turkers from each other, the artwork prompts the viewer to see Turkers as unique individuals with vivid life-worlds. The artwork makes an invisible, global, networked labour force visible, revealing the Turkers’ banal surrounds and staging connections between them.”

Artist Profile

Awkward Visions: Melbourne Now 
by Roslyn Orlando

• Artist Profile Magazine • Issue 63 | pg. 150-153 | Print and digital | 
• Click here to read •

“The overall effect is of being subsumed in a matrix of simultaneous, flowing content, a construction of the world that has been organised with a logic that can only be glimpsed monetarily, in small pieces by the viewer. This disembodied sensation sparks questions of the who, what, and where of each video. How have they been sourced, organised, and disseminated? As a collective body of data, what are they telling us?”

Memo Review

Melbourne Now
by Giles Fielke

• Memo Review • Digital only |

• Click here to read •

“Amalia Lindo’s staggering showing of a circular ring of vertically installed screens displaying 1820 subcontracted worker submissions, Telltale: Economies of Time (2022–23) is as impressive and serious as Nick Mangan’s Core Coralations (2023), a monumental (video) work about coral bleaching and bioluminescence on that massive metonym for our exhausted environment, the Great Barrier Reef. Both are considerable commissions for the NGV.”

Memo Review

Melbourne Now 
by Cameron Hurst

• Memo Review • Digital only |

• Click here to read •

“Amalia Lindo’s Telltale: Economies of Time (2022–23) is a more impressive version of a four-screen work shown at the Spring1883 art fair in 2021. Here, we step into a panopticon-like structure of twelve vertical screens attached to steel beams.”

NGV Magazine

Art in the [Post-] Digital Age
by Harriet Flavel

• NGV Magazine • March/April 2023 issue 39 | pg. 60-63 | Print and digital | 

 • Click here to read •

“Technology has changed and is changing art, but are we ready to embrace it? In this Deep Read, we explore the influence of the digital through works from Melbourne Now.”

Art Guide Australia 

Telltale: Economies of Time
by Amalia Lindo

• Art Guide Australia • March/April 2023 issue 39 | pg. 86 | Print and digital |

• Click here to read •

“As a durational and collective exercise, this project operates as a tell-tale for the evolution of the algorithm—an economic process that has divided human time, space and labour throughout recent history.”


Issue No. 3 
ed. Justin Andrews & Kyle Jenkins

• SPHERE • No. 3 2022 • Thermally bound artist book • Edition of 20 + 2xA/P • Printed, collated, bound and trimmed by hand on Dja Dja Wurrung Country | 104 pages | 21 x 29.7cm | Print only |
• Issue Contributors •
Vicente Butron | Michael Boelt Fischer | Melinda Harper | Amalia Lindo | Russell Maltz | Guido Münch | Victoria Munro | Elizabeth Newman | David Thomas | Jens Wolf 

• Editors •
Justin Andrews | Kyle Jenkins

City of Melville  

Media Release
by City of Melville, Western Australia

• Media Release for the City of Melville and Goolugatup Heathcote’s National Digital Art Prize • September 2022 | Digital only |

• Click here to read •

“Blurring the lines between work and consumption, artist Amalia Lindo has taken home first prize in the Digital Art Prize with her work Two Marionettes Collide.”

Fremantle Herald  

Human Victory
by Dhanya Vimalan

• Fremantle Herald | Herald Arts • 7 October 2022 •  Interview with Fremantle Herald for the City of Melville and Goolugatup Heathcote’s National Digital Art Prize | Print and digital |

• Click here to read •

“My grandfather was a renowned geochemist who in 1969 was one of the co-investigators called upon to age-date the moon samples returned from the Apollo 11 mission,” Lindo says.
“He was also an avid collector and he showed me how chosen materials offered infinite possibilities for reinterpretation and presentation, a lesson that has remained important in my artistic practice.”


by Audrey Schmidt & Paris Lettau

• Memo Review • Issue 5, 8 August 2021 | pg. 166-169 | Print and digital |

• Click here to read •

“The three-hundred online workers commissioned by Lindo respond to the Human Intelligence Task (HITs) by submitting short videos of personal significance from their mobile phone archives. Edited by Lindo into four video installations, the liquid-crystal display panels each sit between acrylic perspex held upright by wavy, manipulated stainless steel tubes. As the title suggests, these works ground and solidify the illusive, gaseous “cloud” with all the real-life physicality of server centre geopolitics and human captchas.”

The Image Looks Back  

Exhibition Catalogue
by RMIT Gallery

• The Image Looks Back Digital Catalogue • Catalogue Essay by Rebecca Najowski | Graphic Design: Sean Hogan | Catalogue Coordinators: Helen Rayment & Theo Nguyen | Catalogue Photography: Mark Ashkanasy • Published by RMIT Gallery | March 2021  | pg. 20-21 | Digital only |  

• Click here to read •

“There are brief moments where we see a miniature toy flip-phone or the hands of young boys grappling over a dated mobile phone. Their presence is suggestive of how these devices are the connective tissue between the loose and messy human operators and the precise automation of algorithms. The content of Two Marionettes Collide, and its digital and physical materiality, speaks to how humans must contend with the contours of everyday activities merging with computational image terrains.”

Constant Ecology  

Chloé Hazelwood & Amalia Lindo

• Constant Ecology Residency Program | Initiated by BLINDSIDE, CAVES, KINGS Artist-Run and West Space • Interview with Chloé Hazelwood | 2020 | Digital only |

• Click here to read •

“When the pandemic was declared and people around the world started working from home, this project felt particularly urgent as I wanted to provide workers with a task that not only paid a fair wage but was also engaging and asked them to share an experience from their own life.”

Centre for

Full and Empty Gestures
by Daniel von Sturmer

• Exhibition Essay for Computer Shoulders at the Centre for Contemporary Photography • April 2019 | Digital only |

• Click here to read •

“We make gestures toward leaving the shell, courting a future where a self might flow free, but one wonders how far we could really travel. What new gestures could we produce? What new postures could we assume? Who else could we become?”


Computer Shoulders
by Stephen Palmer

• Memo Review • Issue 3, 27 April 2019 | pg. 68-71 | Print and digital |

• Click here to read •

“But what we should observe in this is not a lamentable loss of the sanctity of creative life, but that creative labour always necessarily operates through a program. Lindo reveals the programmatic nature of her own making process. Allowing a further degree of automation does not undermine her artistic prerogative but introduces possibilities in the selection and employment of footage that could otherwise only be discovered through an impossibly long process of viewing and experimentation.”

Cathedral Cabinet

The matter admits of no explanation
by Kara Baldwin

• Self published artist book for the exhibition The matter admits of no explanation at Cathedral Cabinet • October 2018 •  Edition of 50 + 2 A/P  | 8 pages | 14.8 x 21 cm | Print and digital |

• Click here to read •

“ We will turn our bodies, manipulate our shoulders, turn our heads, and follow. We may think we have the advantage, It is safer to believe in the false reign of control. The internet has changed. The humans have changed. Intelligence is but a state of being, not a state of mind. The only constant is change. The matter admits of no explanation. Alas, the day the computer talks through abstraction; we have given it cognitive multiplicity. Or enabled enough algorithms for it to potentially weigh in on the question of ethics.”

Federation Square

un viral moments
by Tamsin Green

• Exhibition Essay for Concrete Air at Federation Square | BLINDSIDE • September 2017 | Digital only |

• Click here to read •

“In her selection of fragments, Lindo was guided by the videos’ nominal timestamps. These films were not significant enough to be named by their authors. Instead, the fragments are identified by the date they were uploaded. The time marker has allowed the artist to follow the current moment, a vanishing present, as each day delivers fresh material.”

c3 Contemporary Art Space

A Catastrophe that Never Comes
by Katie Paine

• Exhibition Essay for Elast(i)city at c3 Contemporary Art Space  • June 2017 | Digital only |

• Click here to read •

“It looks like everything is obscured by a lens. Like an image draped in gauze. Now it begins to bubble - to liquefy. And yet the image is not eradicated... it returns in a series of appalling flashes.”

© Amalia Lindo 2024