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West Space

@westspace

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atmospheres for sharing ~
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𝘭𝘢𝘯𝘨𝘶𝘢𝘨𝘦 𝘵𝘰 𝘳𝘦𝘢𝘤𝘩 𝘸𝘪𝘵𝘩 𝗮𝗿𝘁𝗶𝘀𝘁 𝘀𝘆𝗺𝗽𝗼𝘀𝗶𝘂𝗺 💭

𝗧𝗵𝘂𝗿𝘀𝗱𝗮𝘆 𝟮𝟮 𝗢𝗰𝘁𝗼𝗯𝗲𝗿, 𝟭.𝟯𝟬 → 𝟳.𝟯𝟬𝗽𝗺

Join us for a day of sharing and discussion to close out the final week of 𝘭𝘢𝘯𝘨𝘶𝘢𝘨𝘦 𝘵𝘰 𝘳𝘦𝘢𝘤𝘩 𝘸𝘪𝘵𝘩. The symposium will feature artist talks, knowledge sharing, performance, chai and chaat with:

• 𝗠𝗼𝗼𝗿𝗶𝗻𝗮 𝗕𝗼𝗻𝗶𝗻𝗶 discussing 𝘛𝘩𝘦 𝘭𝘢𝘯𝘨𝘶𝘢𝘨𝘦 𝘰𝘧 𝘞𝘰𝘬𝘢 alongside contributor 𝗛𝗮𝘆𝗱𝗲𝗻 𝗥𝘆𝗮𝗻

• 𝗖𝗵𝗶 𝗧𝗿𝗮𝗻 discussing the various musings, failures and research that filtered into 𝘜𝘯𝘢𝘣𝘭𝘦 𝘵𝘰 𝘳𝘦𝘴𝘵 𝘣𝘦𝘤𝘢𝘶𝘴𝘦 𝘶𝘯𝘢𝘣𝘭𝘦 𝘵𝘰 𝘬𝘯𝘰𝘸

• A presentation by internationally based 𝗡𝗶𝘁𝗵𝘆𝗮 𝗜𝘆𝗲𝗿 who will share the process and research that informed 𝘔𝘶𝘴𝘢 𝘨𝘦𝘯𝘶𝘴

• Performances expressing modalities of language by invited artists 𝗡𝗮𝗱𝗲𝗲𝗺 𝗧𝗶𝗮𝗳𝗮𝘂 𝗘𝘀𝗵𝗿𝗮𝗴𝗵𝗶, 𝗥𝗶𝗮𝗻𝗮 𝗛𝗲𝗮𝗱-𝗧𝗼𝘂𝘀𝘀𝗮𝗶𝗻𝘁 and a keynote by 𝗟𝗮𝗻𝗶𝘆𝘂𝗸 ✨✨✨

Tickets by donation at the link in our bio 🎟️🔗💌
__

This event is presented as part of @creative.australia AusArt Day, a nation-wide call to support the art that impacts you with a donation.

While West Space endeavours to provide free programming throughout our artistic program, we are often required to request registration to cover costs associated with ensuring we can continue supporting artists and providing these types of gatherings.

Pay what you can/want 🫰 taken in West Space by @westspace

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2

12 days ago

i’ve just shared the recording from my performance at brunswick mechanics institute on 16/10/25 for liquid architecture’s poly-rhythmic #6 ~ queer time / migrant time, curated by dear @azizisohail.

it was the first of this line of improvised performance lead by the body, and birthed from period when iranian involvement in the relentless news cycles just hit so different.

i was thinking lots about the connective rituals of tea amongst families and time. amongst the spirals and swirls, léuli added a v potent thought; of tea we never got the beauty to share.

i filled the tub with tea, and submerged myself in it. i froze that tea, and suspended it above glass bowls with hydrophones inside ~ allowing the persistent, irregular melt to guide the offering.

three bowls, each in dialogue with a specific recording:
• baba, léuli, naysan and i, from 1994 ~ us, across time
• baba chanting in the baháʼí temple in samoa, 2022 ~ continuity and echoes amongst the dispersed
• penny wong’s statement of support for israel bombing iran, 2025 ~ a blip of outsider commentary amongst the blurred, conflicting lines between people, government, and history

thanks to @liquid_architecture + @next_wave for their support while i felt through this process, and willan octave-emile for the footage.

+ i’m doing a workshop next weekend at @dukkana.hardingst, which is heavily informed by this thread ~ hit the link if you’re curious by @westspace

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19 days ago

Dukkana is excited to share the eighth of fourteen workshops as part of a new public program series by SWANA creatives called Counter Practice.

📆Saturday 10th October
🕚12pm - 5pm
📍Dukkana, 99 Harding St, Coburg
⭐️Free entry, register via link in bio
🤍All are welcome to attend

The eighth instalment of Counter Practice, Improvisational Sound for Collapse Metabolism, explores the interactive space between our lived experiences, digital media, environments and objects. Expanding on the frameworks and methodologies within their installation and performance practices, artist Nadeem Tiafau Eshraghi will guide conversations and processes on sound as experience, memory, and ritual. Participants are invited to bring their own artefacts and screen/field recordings. We will then prepare a performance environment, creating a dialogue between the objects, media, elements and bodies in the room. We will be working with contact mics, hydrophones, microphones, an audio interface, and then processing the audio in Ableton. This is an experimental practice for sound-based pursuits outside of music. There are no musical foundations required to engage with this workshop, just bring your most curious sensitivities.

About the Artist:
Nadeem Tiafau Eshraghi (Tagata Sāmoa, Persian) is an artist and arts worker living and working between Naarm, Meanjin and Samoa. Their creative practice delves into cultural knowledge and memory to navigate the nuanced modes and mutations of diaspora on unceded lands. Through sound, body and space, they mediate personal and collective experiences into ritual, reflective offerings that function as living archives.

This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body. by @westspace

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20 days ago

Inviting you to the second rendition of a Siyah Mashq (سیاه مشق) inspired series. Improvisational performances by:

DARYOOSH (@daryoosh.ka)
ENTER (@enter__other)
GREER (@greer_____)
JACK WHU (@jack.whu)

Join us on Saturday 19 September at Extrasensory (@exs_space)

Flexible pricing (humanitix link in bio)

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'Siyah Mashq' is a traditional Persian calligraphy technique where the participants practice their craft by continuously repeating the same line throughout the page. This idea originally started out of limitation (access to paper) but ultimately became a form of process-based art where improvisation becomes the outcome. by @westspace

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4

a month ago

“i came to the red centre with the intent to create works that mediate the news cycles through the living environment (having definitely doom scrolled into states of paralysis over the last few years).

but when i arrived to arrernte country, so too did the media cycles ~ in a sudden moment of raw, collective trauma and grief; right here. a new necessity for a depth of sensitivity and care that i was not ready or equipped for. mostly, i was trying not to impose, and this signalled a deviation.

i took to the senses ~ to listening, hearing, and feeling through ~ the elements, the debris, and the people amongst them. i’d been quite drawn to the clay pans; the winds and unexpected waters, tapping into reverent forms of environmental attunement and archiving.

thinking lots about my position on these lands, i found a pile of burnt out cars (a sightly more NT-ubiquitous scene than i’d first thought), and felt a strong resonance, like they were a reflection of me, in this place.”

Nadeem’s journal is now online, accompanying their audiovisual work here. Read the rest of this very special reflection (link in our bio).

@enter__other taken in Watch This Space by @westspace

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3 months ago

one month in the red centre nearly over and it’s been immense :’)

feeling lots of ways; beyond crumble and transience; earthed, grateful — to have been on arrernte country; with its rock, fire, winds, waters, and amongst the beauty of this small town, nuanced, generative, generous.

beautiful people, everywhere ~ and all doing the same things, differently

in my residency at @watchthisspace_ari, i connected lots with the ilparpa claypans; archiving natural resonances, and improvising with uninvited debris. i’m leaving some documentation of this process (slides 5, 8, 9) in the pantry space for the next lil while if you’re curious ~

so much love / time / futures for this place by @westspace

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5 months ago

Meet our next TAiR artist ▸ Nadeem Tiafau Eshraghi, joining us May 3-18.

Nadeem Tiafau Eshraghi (Tagata Sāmoa, Persian) is an artist and arts worker living and working between Naarm, Meanjin and Samoa. Their creative practice delves into cultural knowledge and memory to navigate the nuanced modes and mutations amongst diaspora. Through sound, body and space, they mark rituals of time, memory and distance, distilling personal and collective experiences into living, reflective archives.

Nadeem aims to engage deeper states of environmental listening and attunement. By creating and implementing a number of improvised sounding machines in differing conditions, they will capture and translate the natural forces and inhabitants of the red centre. Witnessing, observing, and giving attention to the rhythms and textures both in, and beyond our human hearing ranges.

Additionally, in metabolising collective grief and evolving collapse, Nadeem would like to create a dialogue between these living environments, and geopolitical doom scroll spectacles.

This is an expansion of more recent performance practices, which have given space to navigate different memories and cultural experiences through improvisation, however in this case, Nadeem hopes the environment takes the body’s place.

A very warm welcome to Nadeem! 💫 by @westspace

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6 months ago

my first solo exhibition is on rn at @firstdraft_ in woolloomooloo, on unceded gadigal country ~ it’s an offering of cultural production, of & from sāmoa, through a lens of survival; born through periods of hi-vis collar work in the dire underemployment of the last year

it’s an autobiographical offering, and i’m honestly still working through the words that speak to the layers of why it presents, sounds, and feels the way it does

if you’re around sydney, it’s on for the next four weeks (til march 21), available to be with, wednesday to saturday

endless gratitude to my āiga, the @firstdraft_ team, @sirc_uit, @tommymisa & @louli_louli_louli_louli for the immense help & support i’ve had to materialise these ideas

documentation from jessica maurer & me by @westspace

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26

8 months ago

eeeeeeeeeeeeeeeee ~~~ in my performance era ???

16/10 (tomorrow) ~ @liquid_architecture poly-rhythmic #6, curated by @azizisohail at the brunswick mechanics institute ~ amongst beautiful company, conversations, food & sound. will be channeling a portal through time, and of displacement.

24/10 (next fri) ~ ‘thresholds’ at @parramattalanes, curated by @_aakkaa. 30 min consecutive experimental magicks. at this stage it’s drone chai from me !

been thinking a lot about memories, about ice and its storing capacities, and about tea, and it’s connective rituals both experienced, and missed.

will also be catching @tommymisa’s ‘working class clown’ while i’m on gadigal country, at @performancespace liveworks, from 22-26 oct. @__lakatoi and i collaborated on the sound, and i am v excited to see it all come to life ~ it’s a potent offering of grief, joy, crumbling & rebuilding (how v relatable lol) x

( self-portrait in the afternoon rays, house-sitting at nays & lorelle’s ) by @westspace

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a year ago

in the living room light of a fresh day, the next @un_projects edition, guest edited by @lucrecciaquintanilla

ripley and i contributed to this book; some hazed philosophies, processes and speculations of great ocean volumes

tomorrow we enter that state again to launch the compilation of voices, practices and sound at hope st ~

we also just posted the first half of the recording from our last performance (a little red line oops for the first)

all of the sounds in this practice come from a spectrum of diasporic circumstance and genealogical memory; lived, archived, recontextualised and transmutated. deepest gratitude to @auralarchipelago & the archive of māori & pacific sound / @hunisofia for facilitating access to our pasts

bio link to listen if you want, and it starts at 3pm tomorrow :’) by @westspace

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a year ago

late last year, ripley and i started a project together during our culturelab residency at arts house. we’d connected because of how aligned our our sound sensitivities are, and this was an opportunity to define a practice of ancestral potential, one that flows through the great ocean and the spaces inbetween. specifically, it’s a project of diasporic complexity, and nuanced cultural transmissions; for ripley, of papua new guinea, and for me, of sāmoa.

through this process we engaged with field recordings, sound archives (the archive of māori and pacific pacific sound at the university of auckland), museum collections (museums victoria’s moana wan-solwara collection), oceanic thinking, as well as instrument making, playing, and mutating practices.

what has become clear is that this is an enduring process, and while we have gleaned much already, we have more questions than answers. especially amongst the dispersed, hybrid forms of creativity draw in from many sources in the experiments of oceanic futures.

tonight (oops) from 6:30pm, we’ll be sharing some glimmers over a three hour live performance at arts house for their 20th anniversary blow out; an improvised mix of compositions, recordings, elements and mutations. it’s in it’s infancy (and a bit of a mess as you might imagine), but it’s the first time we’ll be sharing a lot of this, and it comes from deep places ~ across seas, time, and relational space.

gratitude to the sovereign indigenous lands that have held this project so far; wurundjeri, boonwurrung, dharawal, dhurga, turrbal, yuggera, whadjuk noongar.

and to our collaborators, supporters and friends, especially @hunisofia, @orquideacollective, @jaded_h, @pania.of.the.reef, @soundguyguy_, @_ninabuchanan_, @thelostcoconut, @sayrahmay & @artshouse, and @kate_britton & @performancespace.

love to u and your ancestors x by @westspace

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a year ago

Presenting ‘Enter’ @enter__other ~ It’s both a title and an open invitation—for the expressive practices of Nadeem Tiafau Eshraghi, and to the frontiers of shared potential 🌊🌊🌊

Nadeem is a Samoan/Iranian artist, designer, DJ and organiser living on Turrbal and Yuggera country, Meanjin/Brisbane. They’ve been actively engaged in community evolutions across a range of music and arts contexts for almost a decade, with current contributions to music/arts organisations Echo & Bounce and Outer Space.

Their expressive practices are multidisciplinary and experimental, conjuring atmospheres through sound, sight and space to explore the human condition, invite sensory experiences, and offer contemporary rituals ✨

We are so honoured to bring them to Naarm and experience their offering. Get ready to be taken on a journey ❤️‍🔥

CRIP RAVE THEORY - SAT 15 JUNE @ THE SUBSTATION!

Don’t miss out - get your ticket now! link in bio 🔥
[IDs in alt text] Photo of Enter in a river standing with water up to their waist. Their chest is bare and eyes closed. There are large rocks on either side of them, and green bushes behind them. taken in The Substation by @westspace

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10

2 years ago