Without talking, no value is produced is a curatorial collaboration conceived by Kylie Johnson and Sarah Jones.  Without talking, supports open-ended, reflective and speculative creative practices through a program of discourse, provocation, exchange and exhibition.


The model, following in the footsteps of the ‘gallery as practice’ privileges the characteristics of art making and therefore the qualities of the artists’ studio, in which patrons play a range of important roles. Patronage describes a support system of artists, art enthusiasts, curators, writers and creative thinkers whose support comes in multiple forms; be it intellectual, practical and/or financial. Patrons are the artists, audiences, collectors and philanthropists that are drawn together through the work of Without talkingto form an intimate and diverse artistic community. This curatorial collaboration aims at sustainability of practice for artists, curators and galleries through a unique curatorial commissioning structure.


Working closely with artists and their individual ways of making has implications that shape the way that art activity and art objects are perceived. Without talking, facilitates discourse, critique, thinking, making and acquiring with the patron’s perception in mind. Focusing on generative and courteous communication, we operate equally as a making, conversation and exhibition space. 


Without talking, no value is produced works for ongoing collaboration, convergence and challenge with a focus on intimacy and knowledge production for all of its users.




Kylie Johnson –Director– has a de-materialised art practice - very rarely resulting in the production of art objects – most often concentrated within curatorship towards developing long-term supportive relationships with artists. She uses curatorship as a means of enabling and shaping the social relationships through which art is generated. Kylie has had a long-standing interest in developing a model of ‘gallery as practice’ and in 2017 she was awarded an Arts Tasmania Professional Development Fellowship for research into innovative contemporary art organisation models. Research occurred at Matt’s Gallery and other progressive art spaces in London.


She received her MFA from the University of Tasmania in Hobart during which time she also studied at the Glasgow School of Art, Scotland. Kylie was part of the team that set-up the Hobart Artist Run Initiative, Inflight (now Constance) and has contributed to various art advisory committees and panels in Australia.


Kylie has worked at Artspace in Sydney and is now at Contemporary Art Tasmania (CAT) in Hobart. She has facilitated the Shotgun program at CAT since its inception in 2010 and worked with project partners Detached Cultural Organisation and the Museum of Old and New Art (Mona) to deliver targeted support and opportunity to Tasmanian artists through industry access, critical engagement and the provision of new work.


Sarah Jones —Director— is a curator, writer and artist. She has worked for several contemporary artists and arts organizations in Tasmania, Slovakia and Berlin. Sarah’s research-based practice explores text and exhibition as a medium, through which critical theory performs as the material of practice. She is currently examining the ways in which publishing can be redefined through the embodied exhibition event. 


Sarah received her BFA from the University of Tasmania and her MFA from the Dutch Art Institute (DAI), The Netherlands. Sarah is a current PhD candidate with the University of New South Wales, School of Art and Design. She was the art coordinator for the Glenorchy Art and Sculpture Park (GASP), Tasmania, working with New York based artist Natalie Jeremijenko on the commissioning of Amphibious Architecture, 2016.


Sarah has returned to Hobart from a period of international research at: Banska St A NICA, Slovakia; The Meetfactory, Czech Republic; and ACC Galerie, Germany. Whilst abroad she was invited to present her research to the Associate PhD Research Collective at the DAI, and at University for the Creative Arts, Canterbury, UK for the symposium, Work and Art: How Artists Make a Living. In 2012 she was the recipient of the Alcorso Foundation Italian Arts Residency for which she worked with artists at the Bevilaqua La Masa Foundation, Venice, Italy.  



Our name, Without talking, no value is produced is a quote from Isabelle Graw’s Talk ‘Til You Drop: The Art Conversation and the Communication Imperative, published in Mousse Magazine, 38.

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