tag:blogger.com,1999:blog-30258103851297324912024-03-14T10:49:16.486+11:00hobARTcritical commentary on the Hobart art scene and beyond (& the occasional self-indulgent musing or rant)Lucyhttp://www.blogger.com/profile/17428973718837465589noreply@blogger.comBlogger56125tag:blogger.com,1999:blog-3025810385129732491.post-71412339226908436472017-07-29T17:35:00.000+10:002017-07-29T17:35:09.937+10:00Instasaturated: the Tasmanian landscape on Instagram<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTi1-74NtCio789F42DMh1CoSwtVeMLiN7HUDstVCxVzrgRh_sbCBqKLpjhmkIG04auWp1WcxcmqRW7I5Ei-_B7QRRfXkWdY6n7wPNF8hsfOyfpH3NsYBF6b1L7t7zTl3zKzO6Qb64ogc/s1600/2.Instatassie+screenshot.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1099" data-original-width="640" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTi1-74NtCio789F42DMh1CoSwtVeMLiN7HUDstVCxVzrgRh_sbCBqKLpjhmkIG04auWp1WcxcmqRW7I5Ei-_B7QRRfXkWdY6n7wPNF8hsfOyfpH3NsYBF6b1L7t7zTl3zKzO6Qb64ogc/s320/2.Instatassie+screenshot.jpg" width="186" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The tag #Instatassie on Instagram.</td></tr>
</tbody></table>
<div class="MsoNormal">
<span lang="EN-AU">Earlier this year, Instagram was littered
with ‘best of 2016’ posts.<span style="mso-spacerun: yes;"> </span>The site
2016bestnine.com catered to us narcissistic ‘grammers, trawling our accounts
for the most popular posts.<span style="mso-spacerun: yes;"> </span>I write ‘us’
because I too indulged.<span style="mso-spacerun: yes;"> </span>I did not,
however, post the grid.<span style="mso-spacerun: yes;"> </span>I was surprised
by the utter banality of my most ‘liked’ images.<span style="mso-spacerun: yes;"> </span>I expected they’d be happy snaps of Paris, a
photogenic artwork at the Venice Biennale, or perhaps even one of the dog, but
they were almost all landscapes – slightly oversaturated and utterly pleasant
landscapes.<span style="mso-spacerun: yes;"> </span>My grid was no different to
that of any other avid #Instatassie user.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-AU">While Instagram was once criticised for its
‘ye olde’ filters, which conjured up a false nostalgia through washed out
colours and mottled frames, it’s now dominated by over-saturated
hyper-photographs.<span style="mso-spacerun: yes;"> </span>Landscapes are
sharpened, brightened, saturated.<span style="mso-spacerun: yes;"> </span>Up the
contrast and you’ll up the likes.<span style="mso-spacerun: yes;">
</span>Sunsets in particular get the special treatment. Pinks become scarlets, greys
get bluer, and mountains become midnight silhouettes.<span style="mso-spacerun: yes;"> </span>Everything is dramatised. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYY52wG2ID_lR44H6Mz5I4K9MjM89XrPgLkFU2e1xVgEK7fHlXWOA5gmma_M3UeUeCkP6AN_6x6NyvGuSg65WKc65soDSH6bxQiSY3z0c0TUOHsgT8fuJD5dy5j5FmD6joDcGx5jCR1E8/s1600/1.Instagram-LimeBay-LucyHawthorne.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1080" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYY52wG2ID_lR44H6Mz5I4K9MjM89XrPgLkFU2e1xVgEK7fHlXWOA5gmma_M3UeUeCkP6AN_6x6NyvGuSg65WKc65soDSH6bxQiSY3z0c0TUOHsgT8fuJD5dy5j5FmD6joDcGx5jCR1E8/s200/1.Instagram-LimeBay-LucyHawthorne.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">My offending Lime Bay image.</td></tr>
</tbody></table>
<div class="MsoNormal">
<span lang="EN-AU">I’m guilty of these very sins.<span style="mso-spacerun: yes;"> </span>On a recent camping trip, I experienced an
incredible sunset over Lime Bay Lagoon in South Eastern Tasmania. <span style="mso-spacerun: yes;"> </span>I immediately got out my phone of course,
eager to share my experience with the world (or at least my 681 followers<o:p></o:p></span><span style="font-size: 12pt;">).</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">But the photograph could
not capture that sublime moment – how could it? I was standing ankle deep in
water with a stubbie of beer. The warm breeze that was exceptionally unusual
for a Tasmanian evening carried a slight tang of fish and burning eucalyptus.</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">Seagulls, and even a bird of prey, circled
our heads, and aside from their shrieks, there was just a soft lapping of
waves.</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">The pink of the sunset was
subtle, but it bathed us in mood-altering light, and while it sounds like a
cliché, the shallow lagoon really did sparkle.</span><span style="font-size: 12pt;">
</span><span style="font-size: 12pt;">When I uploaded the photograph later, I wanted to share this experience,
and faced with a square image of moderately-coloured seascape, I set to work
‘enhancing’ this projected experience.</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">I
upped the saturation, deepened the contrast, and played with a couple of
coloured filters.</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">The birds, which were
clearly visible to our eyes, were reduced to silhouettes against the purple
sky, and the sky was clearly reflected in the water.</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">I was rewarded with many ‘likes’, and a
request from one of the many saturated-landscape-loving Tasmanian Instagram
accounts to re-post the image under their account.</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">I would not have received these likes without
upping the saturation.</span></div>
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<br /></div>
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<!--StartFragment--><span lang="EN-AU" style="font-family: Cambria, serif;"><span style="font-size: x-small;">JMW Turner, <i>Snow Storm - Steam-Boat off a Harbour's
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Lucyhttp://www.blogger.com/profile/14606784865702317737noreply@blogger.com1tag:blogger.com,1999:blog-3025810385129732491.post-20299512311935263392017-04-08T13:13:00.000+10:002017-04-08T13:13:58.800+10:00Interview with Brigita Ozolins<b><a href="https://www.brigitaozolins.com/" target="_blank">Brigita Ozolins</a>’ <i><a href="https://www.brigitaozolins.com/kryptos-2011" target="_blank">Kryptos</a></i>
is one of the most liked artworks at Mona. The Hobart-based artist and academic
now has a second installation, <i><a href="https://www.brigitaozolins.com/graphos-2016" target="_blank">Graphos</a></i>, at the museum within Mark Changizi’s section of the current
exhibition, <i>On The Origin of Art</i>.
I talked to Ozolins about her lifelong fascination with language, 60s Minimalists,
her response to Changizi’s ‘nature harnessing’ theory, and the very reason why
she makes art.</b><br />
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<b>Tell me about your art practice.<o:p></o:p></b></div>
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It’s about exploring our relationship to language, to books,
to the way we store and sort information, to codification, and to an essential
mystery I see associated with the process of writing. It’s inspired by my love of books and literature and
libraries. My interest in all these things stems from growing up in a family
where we spoke Latvian as well as English, and my parents spoke a number of
different languages so I’ve been fascinated, or exposed always to this idea of
different ways people express themselves.
When I speak Latvian, something different that happens in my brain, the
way I express myself and my thinking. There’s something slightly different
there and I think it changes with each language. They’re the concepts underpin
my ideas, that I’m interested in conveying - our complex and paradoxical
relationship to language. On one hand language is an extraordinary tool. It enables
us to express our thoughts and ideas and our feelings, and to describe our
place in the world, but at the same time it’s not an accurate reflection of
reality. It’s something in a constant state of flux and change. And it changes as our perceptions of
the world and our understanding of the world changes. I’m interested in trying
to convey that gap between reality and what language does. That’s where the
mystery is for me. I think we have this paradoxical relationship to language as
a result of that. One of the key strategies I’ve used in my works is to promise
meaning but also deny access to meaning.</div>
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<b>Could you give me example?<o:p></o:p></b></div>
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In <i>Kryptos</i>, the walls
are lined with binary code. As you enter <i>Kryptos</i> and experience it more and more, you start to see
there are some English words in amongst the code. There is this promise of
meaning embedded in this code, that it’s not simply patterns of zeros and ones
on the walls… but ultimately the viewer’s access to that meaning is denied.
Hopefully you get a tantalising glimpse where you may start to question your
own relationship to language. </div>
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<br /></div>
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<b>Does that mean the artist statement is key to interpreting
the work?<o:p></o:p></b></div>
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I like to think that people can have an experience in my
work that affects them. They can have an experience about the work – a rich
experience – without having to know my specific intentions. People might go
into <i>Kryptos</i> and say ‘oh wow, I loved
being in that work’, but they don’t need to know that the text is from the <i>Epic
of Gilgamesh</i>, and that it’s to do with a
man coming face to face with his own mortality as Gilgamesh does.</div>
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<b>I think that’s an indicator of a successful artwork, and one
of the things I like about <i>Kryptos</i></b><b>:
you can read the artist statement if you wish, but really you can enter the
work from any level. <o:p></o:p></b></div>
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And that’s my aim. People say ‘oh wow, now you’ve told me
about the <i>Epic of Gilgamesh</i>, I feel as
if I really understand what the work is about.’ But I don’t think that way.
Reading my artist statement and finding out what I was thinking and so on may
add some other dimensions to your understanding of the work, but I really don’t
think it’s necessary to get that work. <o:p></o:p></div>
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I’m not sure if it’s the same with my new installation. <i>Graphos</i> is a response to Mark Changizi’s ideas [on the
origin of art], which are very specific and from a scientist’s point of view.
I’ve tried to create another experience that evokes his ideas but is also
poetic in some way.</div>
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<br /></div>
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He tells us that language is all around us. We develop it
because of our relationship to nature and the world around us. We see certain
objects in relation to each other... we see angles and lines and intersections
that then become the basis of an alphabet in any language. [However, his
interest is in] the formal structure of language, whereas I’m more interested
in the content and meaning of what we say. </div>
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<br /></div>
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I was drawn to Changizi’s minimalist diagrams in his book [<i>The
Vision Revolution</i>], and the three large
objects [in <i>Graphos</i>] come
directly from his diagrams. The first thing I thought of … was the work of the
1960s Minimalists like Robert Morris and Donald Judd. </div>
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<b>Yeah, I was reminded of Robert Morris’ <i>L Beams</i></b><b> when seeing your work. <o:p></o:p></b></div>
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It’s an obvious conversation that I’m having with 60s
Minimalists. But my work’s created out of wood, so that’s my reference to
nature and the world around us. The objects also contain sound. One thing
Changizi says is that the actual forms of language come from seeing objects in
relationship to nature in the natural world. He says the actual sounds of
language come from the sound of body in motion in the world, and basically from
three types of sound: hits, slides and rings. It might be the stamp of a foot,
a body hitting something and the reverberations that come from that. I
interpreted those things as quite percussive sounds, and so they’re the sounds
you get in <i>Graphos</i>. I think they’re a
little avant-garde, a little bit 50s and 60s. They have an experimental beatnik
sound to them. But then you get voices intermingled with that that are sounding
out the phonemes of the words that line the walls of <i>Graphos</i>, which say ‘around us everything is writing’. Those
words are a direct quote… from a beautifully poetic work by the late Marguerite
Duras … about what it is to be a writer and the process of writing. </div>
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<br /></div>
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Changizi says a similar thing, but from the viewpoint of the
scientist: that writing is everywhere. I think writing is embedded in the world
around us. So <i>Graphos</i> is the merging of
the scientist, the writer and the visual artist. They’re three different ways
of thinking about writing, but they have interconnections.</div>
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<b>Both works have a really interesting relationship to the
human body through scale and movement. That was something the Minimalists were
doing too – <i>L-Beams </i></b><b>was
designed to be walked around and viewed in relation to the space and the body.<o:p></o:p></b></div>
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I was thinking about the relationship people would have to
the forms in the space, but I was also thinking about the dimensions of the
space and the size you would need to command the space in a particular
way. <o:p></o:p></div>
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But I’m also quite practical as an artist, and I designed
them to the standard sizes that the plywood panels come in because it makes it
so much easier to construct. It’d be really interesting to look at the origin
of those dimensions. It’d be related to what the human body can make
practically and also handle. <o:p></o:p></div>
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<br /></div>
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<b>It’s similar to the standardisation of photographs and
paintings. Why are they usually rectangular and hung in ‘landscape’ or
‘portrait’ orientations?<o:p></o:p></b></div>
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Yes exactly. So my objects work with those standard
dimensions, which also gives them a sense of proportion.<o:p></o:p></div>
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<br /></div>
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<b>One thing that I notice in your installations is a sense
of excitement, play and anticipation. <o:p></o:p></b></div>
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I think that really works in <i>Kryptos</i>. In <i>Graphos</i> it’s a different experience because you don’t have separate spaces.
It’s one big all-encompassing space. A number of people have said to me that
they enjoy being in there, that it feels very warm and comforting. The wood
makes them reasonably sensuous objects that you would like to go up and stroke.
It’s quite different to <i>Kryptos</i>
which creates a little bit of anxiety.</div>
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<b><br /></b></div>
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</b></div>
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<b>One is very cold and the other very warm.</b></div>
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Yeah, one’s a crypt really. It uses concrete steel and glass
– materials that are naturally cold. Whereas <i>Graphos</i> uses organic materials –
it’s all wood. There’s this idea
that it’s still breathing and contracting and changing with the environment in
a different way to steel and concrete, which are manmade materials.</div>
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<br /></div>
<div class="MsoNormal">
<b>Although to be fair, plywood is manmade. </b></div>
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<br /></div>
<div class="MsoNormal">
Yes, but it’s still made of wood.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>I was buying my sister’s new baby a toy the other day, and I
thought back to Roland Barthes’ essay on plastic where he talks about wood with
its warmth and soft sound.</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We do respond to wood. I don’t like glass tables. I think
it’s slightly scary. That timber and the rich grain in parts of it with those
embedded letters feels inviting and all encompassing. It’s that idea of ‘around
us everything is writing’.</div>
<div class="MsoNormal">
<br /></div>
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<b>Lastly, why do you make art?<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
For me, it’s a way of thinking in three or four dimensions.
It’s a way of realising my thoughts physically, and it’s a way of distilling a
lot of seemingly disparate thoughts, or seemingly disparate thoughts and
interconnections between ideas. Art can
be a combination of anything and everything that you’re thinking and that
you’re interested in. In art, I can combine my love of literature, my love of
film, a phrase that I’ve read in a book, or heard in a film that evokes a
powerful idea about something. It can combine all my interests and passions.
Then the great challenge as an artist is to distil those ideas into something
three-dimensional - or four-dimensional if I’m using sound or time-based media -
into something that makes your thinking concrete. It’s like the process of
writing. Writing allows me to think. <a href="https://www.blogger.com/null" name="_GoBack"></a>It’s only through
the process of writing that my thoughts become real. [Making art is] a similar process in that it enables me to see my ideas
and extend them even further. And sometimes when you make art you don’t realise
what those thoughts are until years later. You review the work in a different
way from what you did at the time you were making it. You do some writing at
some point in time, and then you express thoughts at that time, and then later
on you read it and you go ‘oh hey, there’s some really interesting ideas –
things that I haven’t quite expanded on.’ It’s a form of thinking and
understanding your place in the world. </div>
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<div class="MsoNormal">
Visit <a href="http://www.brigitaozolins.com/">www.brigitaozolins.com</a> for images.</div>
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<br /></div>
<div class="MsoNormal">
A shorter version of this interview was published in Warp Magazine, December 2016.</div>
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<br /></div>
<div class="MsoNormal">
Disclosure note: The interviewer is a Mona employee.</div>
Lucyhttp://www.blogger.com/profile/14606784865702317737noreply@blogger.com0tag:blogger.com,1999:blog-3025810385129732491.post-27720209844607033542016-11-02T17:30:00.000+11:002017-05-11T13:24:41.694+10:00Leo Albert Kelly and the Three Days Darkness<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1abB9Xm8a5lmAmTR8S7W9Ulf1wZaXBR42eA0RV-faSM2-uoZPv_5DPn3Lkml5W1V_WdEUZIqrCbl2Oc5bMgdTPL3ML5BncBSz27ZgLu0WZZzA22MCMNaZ41jfNDyBMRECffU5ChcXjac/s1600/6.LeoKelly-rocks.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1abB9Xm8a5lmAmTR8S7W9Ulf1wZaXBR42eA0RV-faSM2-uoZPv_5DPn3Lkml5W1V_WdEUZIqrCbl2Oc5bMgdTPL3ML5BncBSz27ZgLu0WZZzA22MCMNaZ41jfNDyBMRECffU5ChcXjac/s200/6.LeoKelly-rocks.JPG" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Part of Kelly's rock collection, <br />
many of them labelled with <br />
hand-engraved metal tags.</td></tr>
</tbody></table>
<div class="MsoNormal">
A few years ago, the British artist Lindsay Seers and Queenstown-based Raymond Arnold visited the reclusive Leo Albert Kelly in his Queenstown home, videoing the tour of his extraordinary self-built corrugated iron house, complete with circular chapel and observatory. During their visit, Kelly revealed a great number of paintings and his collection of found objects - the full extent of which was only discovered on his death shortly after.</div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQx_SJNa2k3ja41fcl4PSs9t1TCRZudued92zcXaN3xg9ka8DnBYzGwrAkyfSbQGO2yflg_xTixujqQtzH6JDkUsLIQGwuvClMjQJQhrB4Idt9VB2kiOeyDprToafpu32B8I25eghiqFg/s1600/IMG_6420.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQx_SJNa2k3ja41fcl4PSs9t1TCRZudued92zcXaN3xg9ka8DnBYzGwrAkyfSbQGO2yflg_xTixujqQtzH6JDkUsLIQGwuvClMjQJQhrB4Idt9VB2kiOeyDprToafpu32B8I25eghiqFg/s200/IMG_6420.JPG" width="200" /></a><o:p> </o:p></div>
<div class="MsoNormal">
The resulting video was shown as part of Seers’
installation, <i style="mso-bidi-font-style: normal;">Suffering</i>, at <i style="mso-bidi-font-style: normal;">The Unconformity</i> festival last month alongside
Kelly’s many paintings and collections of memorabilia, rocks and other
ephemera. It was exhibited in the Queenstown’s Uniting Church building and Country
Women’s Association hall. While the once devoutly Catholic Kelly would have
probably rolled in his grave at the thought, the hall provided the perfect
architectural environment for Seers’ replica iron house and video, which looked
like it was shoehorned into the main hall. Kelly’s paintings also suited this
humble environment perfectly, hung against the roughly hewn, white-painted
wooden interior of the rear hall and kitchenette. Seers’ creative edit of the
video (which included interviews with local residents, images of the landscape,
and even the building that burnt down next to the CWA only three weeks before
the opening) was interesting, but it left me wanting more information on Kelly’s
life and work.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Lindsay Seers' installation, 2016.</td></tr>
</tbody></table>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRuKTYchyq1paeUtU4VekwUx50d4jHw1kiKif8OOVwLzYVvpBdPHNPKzgjRl5Fm6_SBmAqYs_GaPM4yUPCuUYfGsOS0YneemVil5C6oIrBiOSc2TNiXaF978ifeX2pCMSELGNIO163K3U/s1600/8.LeoKelly-SatansHand.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRuKTYchyq1paeUtU4VekwUx50d4jHw1kiKif8OOVwLzYVvpBdPHNPKzgjRl5Fm6_SBmAqYs_GaPM4yUPCuUYfGsOS0YneemVil5C6oIrBiOSc2TNiXaF978ifeX2pCMSELGNIO163K3U/s320/8.LeoKelly-SatansHand.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Leo Kelly, 'Satan's Hand'.</td></tr>
</tbody></table>
<br />
<div class="MsoNormal">
Kelly left the church when Catholicism “didn’t match his
opinions” (such as the rapture that’s supposedly due to occur in 2018), and he had
a falling out with a local priest. His rumoured plans to join the priesthood fell
through following a mental breakdown, and it’s assumed he had psychological
issues and autism. He was described as ‘very reverent, very humble, and very
quiet and private’, and at one point he worked as the town’s postman. While the
exterior of his house indicated an eccentric individualism, there was little
known about his creative pursuits until just recently. <o:p></o:p></div>
<div class="MsoNormal">
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMOvo0OYYq7U6qA1k7qhiPus_bz4_4KEMCoJFVamHkMBmZ3TarrXZmGYGv2EkUISwc1x4OuaVuyS9qsDpAfEsNgegl5Z70_BT5iTcka9rgFsDV-x5c0t6WF9ai78z1HZCWIBMebHGoQF8/s1600/5.LeoKelly-no.7.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMOvo0OYYq7U6qA1k7qhiPus_bz4_4KEMCoJFVamHkMBmZ3TarrXZmGYGv2EkUISwc1x4OuaVuyS9qsDpAfEsNgegl5Z70_BT5iTcka9rgFsDV-x5c0t6WF9ai78z1HZCWIBMebHGoQF8/s320/5.LeoKelly-no.7.jpg" width="297" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Leo Kelly, no.7</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Kelly’s paintings are a mix of mystic Catholicism, religious
figures, and Queenstown landscapes – both built and natural. They feature
rainbows, planets, angels, the Virgin Mary, and magic purple landscapes with
glittering temples. But many of them also include the relatively banal streets,
cars and houses that made up his everyday physical environment.</div>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO7G_-nIUxKU7j-8-lNoRWDkkZ84QHqMszT5O1dtV9AQgVGgKHhu81LsHjlyvA4o5ki776ZeIA52M6aYQQvVoq7Fdr_GILLR6W19ILPOxv4DkI22zReUiyfmhEAic4JIVNW3a5pdCEyQI/s1600/IMG_6461.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO7G_-nIUxKU7j-8-lNoRWDkkZ84QHqMszT5O1dtV9AQgVGgKHhu81LsHjlyvA4o5ki776ZeIA52M6aYQQvVoq7Fdr_GILLR6W19ILPOxv4DkI22zReUiyfmhEAic4JIVNW3a5pdCEyQI/s320/IMG_6461.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Leo Kelly, no. 36.</td></tr>
</tbody></table>
<br />
<div class="MsoNormal">
The paintings are individually numbered and hand-framed with
offcuts from doorframes and other scrap wood. Number 36 is painted on Masonite
with handwritten notes roughly screwed to the top. It portrays a group of
people and their cars at the edge of a lookout, seemingly oblivious to the
looming storm. The sky is ominously split in two, with the clear blue sky (with
an oddly bright moon) on the right threatened by stormy grey clouds on the left
(albeit with an accompanying rainbow). Number 35 depicts a central angel
wielding a bloody sword, with a line of angels descending from the sky behind
her - the mystical scene countered by the Queenstown townscape in the
foreground. The recognisable grid of streets, complete with central roundabout,
traffic and houses, are painted in flattened, map-like style. The paper tags
attached to the frame echo this conflict between the everyday and the mystical:
a couple of notes read “The Holy Trinity. The father. The Son. The holy Sprit”
and “They will seek God’s face In there (sic) misery”, while another identifies
the subject of the painting as “The Greate (sic) Red Cut Back”.</div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYv4D4Qdv7ooVdKgdYxaaVdYi-WpuQS76hjA9d9yy_UvRFQtGZsi_9FIZbIcfMEadhIRHRLTjtairkbDfjto3wrK5JaDjebQiAOSQLCcGXyPo0vWWXFWUMLYbM8i0DdJLYwLcMfBymi-8/s1600/IMG_6465.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYv4D4Qdv7ooVdKgdYxaaVdYi-WpuQS76hjA9d9yy_UvRFQtGZsi_9FIZbIcfMEadhIRHRLTjtairkbDfjto3wrK5JaDjebQiAOSQLCcGXyPo0vWWXFWUMLYbM8i0DdJLYwLcMfBymi-8/s320/IMG_6465.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Leo Kelly, no. 35</td></tr>
</tbody></table>
<o:p></o:p><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9G-Tq4FR7AU_iAv1p-fpkdhPDsW7OgR5VDnUJMfPe-Qkq3YXRatVtVRWuMvwhqxdz-oBR-1D0gxtCzoKZCeh4KhdujZTdwHXbCDYfJx6e_qqyet1zE0raCGHUnAxZAeXX3zOO5D9MGPg/s1600/IMG_6673.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9G-Tq4FR7AU_iAv1p-fpkdhPDsW7OgR5VDnUJMfPe-Qkq3YXRatVtVRWuMvwhqxdz-oBR-1D0gxtCzoKZCeh4KhdujZTdwHXbCDYfJx6e_qqyet1zE0raCGHUnAxZAeXX3zOO5D9MGPg/s320/IMG_6673.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Leo Kelly, no. 29.</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU0GqR0LYrD9ZyKJbd3ePDBs500HYezf73WhW8Ak0iYfQfZ5xXWtBfxpy0qXidkJEzi6_fqi6FwtnQyRM5mCoJo9rdpoz17NB4oF-P5YROF3t-G7xL5yw5xkjGPzYYKE5JN4W5PPIO-e4/s1600/4.LeoKelly-paintingcaption.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU0GqR0LYrD9ZyKJbd3ePDBs500HYezf73WhW8Ak0iYfQfZ5xXWtBfxpy0qXidkJEzi6_fqi6FwtnQyRM5mCoJo9rdpoz17NB4oF-P5YROF3t-G7xL5yw5xkjGPzYYKE5JN4W5PPIO-e4/s200/4.LeoKelly-paintingcaption.JPG" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Caption to painting no. 2: <br />
"Jesus and Mary Greeting Leo". </td></tr>
</tbody></table>
<div class="MsoNormal">
Number 29 is a little more grounded, but again, mixes
Catholic iconography with a depiction of Kelly’s everyday surroundings. A
walled house and garden sits in the foreground of an expansive natural
landscape, its isolation exaggerated by the contrast between the flattened grid
of the domestic plot and the illusion of depth in the surrounding landscape. An
angel (or Jesus?) tends to a small bush, while a nun (or is it Mary?) works in
the garden. Another painting (no.4) is captioned “Inviting Leo to look into Her
stone”, recalling the time he was “given a gift” of a rock in the shape of the
Virgin Mary while wandering along a beach. The rock, which is framed in a glass
and wooden pod with doorstoppers as supports, does indeed look like the Virgin
Mary.<o:p></o:p></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH5l1zFCwj_DDN-eqt_iQteiZeZ99YddQCryyy8edA0k6SW2craXyiB20r_A3rJTXhXObf51loavYrN9Lljr5IRif8OuAz4ILM79xe2DJBXGK2V2TKhqqE75ezR8MQ8_PvXZ1cROu-omc/s1600/7.LeoKelly-MaryRock.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH5l1zFCwj_DDN-eqt_iQteiZeZ99YddQCryyy8edA0k6SW2craXyiB20r_A3rJTXhXObf51loavYrN9Lljr5IRif8OuAz4ILM79xe2DJBXGK2V2TKhqqE75ezR8MQ8_PvXZ1cROu-omc/s320/7.LeoKelly-MaryRock.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Leo Kelly's 'gift': Virgin Mary rock.</td></tr>
</tbody></table>
<div class="MsoNormal">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfLljXXCEy-YBUjsNhBL9hTDkpTf3vd18Fly8bQcyCca2AKDqhzmusbD-NljmV6Cg2HbeCHHCikVy6bgreBKBsufyu62Ylue4bRBkSmpk4xoS1oPoTbRymn3_jRkydAzwz17m5H9m3Zns/s1600/IMG_6470.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfLljXXCEy-YBUjsNhBL9hTDkpTf3vd18Fly8bQcyCca2AKDqhzmusbD-NljmV6Cg2HbeCHHCikVy6bgreBKBsufyu62Ylue4bRBkSmpk4xoS1oPoTbRymn3_jRkydAzwz17m5H9m3Zns/s320/IMG_6470.JPG" width="320" /></a></div>
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No one seems to know what is going to happen to this
incredible body of work, and a few locals I spoke to worried it would just go
back into the church’s basement. I’d love to see
it acquired by our state museum. Kelly’s work was never intended for exhibition
or public display. They were created for himself and for his God, which is why
they’re so intriguingly personal and revealing. It would be a great shame if his
work wasn't preserved for the future.<br />
<br />
<b>Update: 9 November 2016 </b><br />
The original version of this post incorrectly quoted that there are no plans to keep the collection intact. The festival organisers have stated that there are plans to keep the collection intact, and the post has been changed accordingly. The article might have also implied a lack of community care about the collection. I should stress that the people I spoke to were in fact passionate about the work, but were unsure of any plans for the collection and were understandably worried about its future. The wording has been changed accordingly.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqHr9ebycm3BBf6S-imbkNGcgFgIy19FeDoGZAu8u334yKrZEpOv1zzBzEASn-m8TK1SNw88d7LMaT5O_eKKOdMRDPyuU-K42VrxdTRfP-e-5m9yKo-raycjwhXATcRVeKyRuzc2hndkw/s1600/9.LeoKelly-installationshot.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqHr9ebycm3BBf6S-imbkNGcgFgIy19FeDoGZAu8u334yKrZEpOv1zzBzEASn-m8TK1SNw88d7LMaT5O_eKKOdMRDPyuU-K42VrxdTRfP-e-5m9yKo-raycjwhXATcRVeKyRuzc2hndkw/s320/9.LeoKelly-installationshot.JPG" width="320" /></a></div>
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Lindsay Seers' <i>Suffering</i> was part of <i>The Unconformity Festival </i>in Queenstown, Tasmania, 14-16 November, 2016. See my previous post for an interview with the festival director, Travis Tiddy.<br />
<br />
For a more extensive review of <i>The Unconformity</i>, see my article '<a href="http://www.realtimearts.net/article/issue135/12436" target="_blank">Festival for a town that doesn't conform</a>' in <i>Realtime</i> 135, 2016.</div>
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This review was originally published in the November edition of <i>Warp Magazine.</i></div>
Lucyhttp://www.blogger.com/profile/14606784865702317737noreply@blogger.com0tag:blogger.com,1999:blog-3025810385129732491.post-17056176851761158512016-10-26T18:00:00.000+11:002016-10-26T18:00:03.687+11:00Interview: Travis Tiddy, director of The Unconformity<div class="MsoNormal">
Ahead of Queenstown’s third arts festival, I spoke to
founding director and 5<sup>th</sup> generation Queenstowner, Travis Tiddy,
about the festival’s development, his own involvement, and the name change from
<i style="mso-bidi-font-style: normal;">The Queenstown Heritage and Arts Festival</i>
to the more ambiguous <i style="mso-bidi-font-style: normal;">The Unconformity</i>.<o:p></o:p></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA0tydReb1M2WEoF7E3SsDzZNUsgNGEB9RzXhjID7Lgjbp9cXSp5HzR38Tw5O82GfDWS-uuamjtPmAtYAyYMP7gSJWAZPKu0MFrrmHO7M_e1GfBAEShMx04OCEM8YvYn7aYVDqy1jTJeQ/s1600/30018504760_573711efa1_o.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA0tydReb1M2WEoF7E3SsDzZNUsgNGEB9RzXhjID7Lgjbp9cXSp5HzR38Tw5O82GfDWS-uuamjtPmAtYAyYMP7gSJWAZPKu0MFrrmHO7M_e1GfBAEShMx04OCEM8YvYn7aYVDqy1jTJeQ/s320/30018504760_573711efa1_o.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Queenstown and Mt Owen at sundown. <span style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: xx-small; text-align: left;">© Lucy Hawthorne</span></td></tr>
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<b style="mso-bidi-font-weight: normal;">LH: How did the
festival start?<o:p></o:p></b></div>
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TT: It started initially in 2009. [I was part of an]
organisation called ‘Project Queenstown’ – a local tourism organisation that’s
existed for 25 years.<span style="mso-spacerun: yes;"> </span>We put out a
municipal survey to ask local people where thought the direction of the town
was going, or where it should be going.<span style="mso-spacerun: yes;">
</span>The survey told us people wanted a festival.<span style="mso-spacerun: yes;"> </span>So we took on the challenge of developing a
cultural festival for Queenstown with a mandate from local research.<span style="mso-spacerun: yes;"> </span>There was a gap and a need.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">LH: The first two iterations
were called <i style="mso-bidi-font-style: normal;">The Queenstown Heritage and Arts
Festival</i>. Tell me about this original name.<o:p></o:p></b></div>
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TT: When we started there was a bit of momentum and energy
around Raymond Arnold and what he was creating in Queenstown with many visiting
international and national well-known artists. He had a rigorous artistic
program, and so we wanted to capture that and build upon it. <o:p></o:p></div>
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We had no experience in event management when we
started.<span style="mso-spacerun: yes;"> </span>We built these skills from the
ground up.<span style="mso-spacerun: yes;"> </span>So <i style="mso-bidi-font-style: normal;">The Queenstown Heritage and Arts Festival</i> was a very literal
title.<span style="mso-spacerun: yes;"> </span>In a way it was incongruous at
the time. It was self-referential in the absurdity of having an arts festival
in Queenstown - a regional backwater on the fringes of cultural activity in the
state.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">LH: At the first
festival, I noticed that there was a really broad spectrum of activities, from
more traditional and conservative celebrations of cultural heritage to
cutting-edge contemporary art. <o:p></o:p></b></div>
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TT: Previous programs have represented our diverse
audience.<span style="mso-spacerun: yes;"> </span>The festival has been a very
strong home coming event [for] people who have had a very strong connection
with the region.<span style="mso-spacerun: yes;"> </span>The festival is an
opportunity to reconnect.<span style="mso-spacerun: yes;"> </span>We have historically
had an older audience - a heritage-loving audience - who use it as an
opportunity to connect to the place.<span style="mso-spacerun: yes;"> </span>So
we have a broad program [that appeals to this older audience] and also captures
the interest of the contemporary art community. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
There’s an incredible amount of goodwill and interest in the
West Coast and Queenstown.<span style="mso-spacerun: yes;"> </span>We have to
remember that the region was really booming only decades ago. There was a point
in time where Zeehan was supposed to be the capital of the state.<span style="mso-spacerun: yes;"> </span>Earlier than that in The Depression, the West
Coast was firing all cylinders while the rest of the state was really hurting.<span style="mso-spacerun: yes;"> </span>In 1902, Mt Lyall company’s gross turnover
was greater than the state government’s so we’re talking about a region that’s pivotal
in the formation of the state, and illustrious on a national and international
scale from a mining perspective. It means that as the mining industry has
become more subdued, as people have moved away, there are still these fundamental
connections that people still have to the region.<span style="mso-spacerun: yes;"> </span>There’s still a memory or emotional
response.<span style="mso-spacerun: yes;"> </span>So our audience is made up of
all those people. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyRffmG6bkkIDjBFndqycXSVCCEGqMQi3CW7X7eEQJF7JNebbQ1mClmqV9-ROJntGQHrgyedQZXsxGoM2wQSxPZTEwTLgS5VSX5joAOnoTvBBbkUfUVx3sqbHe4ocxoSACMUc2x4DwBlA/s1600/30328888825_76637a171a_o.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyRffmG6bkkIDjBFndqycXSVCCEGqMQi3CW7X7eEQJF7JNebbQ1mClmqV9-ROJntGQHrgyedQZXsxGoM2wQSxPZTEwTLgS5VSX5joAOnoTvBBbkUfUVx3sqbHe4ocxoSACMUc2x4DwBlA/s320/30328888825_76637a171a_o.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">View of the famous gravel footy oval from the Spion Kopf Lookout, Queenstown.<span style="font-size: xx-small;"> <span style="background-color: white; color: #222222; font-family: arial, sans-serif; text-align: left;">© Lucy Hawthorne</span></span></td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">LH: Where does the
name <i style="mso-bidi-font-style: normal;">The Unconformity</i> come from?<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
TT: Personally, I think that at the 7-year mark it’s almost
at a renewal phase for any organisation. It’s the fatigue point from a staffing
point of view and from a brand point of view, but maybe also artistically. So
we thought it was time to refresh the organisation.<span style="mso-spacerun: yes;"> </span>When we looked at where we wanted to head
with the festival, where artistically where we think it should be based, it
came back to the geological story because it sort of unifies. It’s the reason
why we’re still there. It unifies the mining story. It brings the natural
landscape - the surrounding heritage wilderness - into the story. <span style="mso-spacerun: yes;"> </span>It also lets us talk about the hydroelectric
industry, which is really important to us as well.<span style="mso-spacerun: yes;"> </span>So on a number of levels, the geological
story gives us a lot to work with.<span style="mso-spacerun: yes;"> </span>When
doing research into the local geology, we came across this local rock form: the
Haulage Unconformity.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">LH: So it’s actually a
rock form?<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
TT: Yes, you’ve probably seen it on our posters<span style="mso-spacerun: yes;"> </span>- a detail of the rock face.<span style="mso-spacerun: yes;"> </span>It’s an exposed wall of rock at the Mt Lyall
mining field. It represents the touching point of three geological agents.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It’s a really dynamic representation of local geology. It
tells the story of why there are so many minerals on the West Coast. It has a
sense of immeasurable force - forces that are in opposition but coexist. So artistically,
when we were thinking of this feature as a thematic basis for the event we
realised that the Unconformity speaks about the people… people with a very keen
sense of identity… <span style="mso-spacerun: yes;"> </span>an isolated community
that essentially does things its own way and in its way doesn’t conform. <span style="mso-spacerun: yes;"> </span>We had a lightbulb moment. <span style="mso-spacerun: yes;"> </span>Not only does it speak about industry, it also
speaks about the people and is something of a statement about where we live and
how we live.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">LH: Queenstown is
such a unique place visually, particularly the contrast between the world
heritage area and the landscape immediately surrounding Queenstown. Its social
history is so interesting too – it’s a tale of changing fortunes.<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
TT: There’s quite a tragic narrative to the place. When we
held the last festival [in 2014], only 10 months earlier we had devastating
news that there had been multiple fatalities underground in the local mine. It
rippled through the entire community. It really impacted everybody. Six months
later, the mine temporarily closed.<span style="mso-spacerun: yes;"> </span>In that
context, we decided to make the entire festival free. We also changed our
opening ceremony to feature a sculpture called The Angel of the West, a
symbolic feature of ‘let’s get through this’. However, during the opening
ceremony it caught on fire…<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">LH: That wasn’t
deliberate?<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
TT: It wasn’t deliberate.<span style="mso-spacerun: yes;">
</span>We were disappointed by the outcome but afterwards as we were reviewing
it, we thought the idea of a community creating a symbolic five-meter tall angel
and yet her face burns off… it sort of fits with the tragic narrative. I was
doing the speech at the time so I quickly changed the speech to make it seem
like it was intentional with a few references to the phoenix coming from the
ashes and that sort of thing. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
At the moment there’s a lot of interest in the fringes.
There’s a lot of interest in authenticity, in stories and connections within
regional settings and I think artistically we can see a bit of a move in that
direction.<span style="mso-spacerun: yes;"> </span>We recognise the world is
coming to Queenstown.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /><span style="mso-spacerun: yes;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8DaeQZJ4H5ljRDcBsAnxkh0EzLuiy4gkpKpiU24-vETDKwsNvNz9HScMarj26bSFlDkx03TZHQo4uWG6uFg3cgXG1GOB-M5s4ONEu1CL9acyvciUCqovl-17xv7M9X7UYJOvezUoDBnY/s1600/29716698543_03a295e275_b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8DaeQZJ4H5ljRDcBsAnxkh0EzLuiy4gkpKpiU24-vETDKwsNvNz9HScMarj26bSFlDkx03TZHQo4uWG6uFg3cgXG1GOB-M5s4ONEu1CL9acyvciUCqovl-17xv7M9X7UYJOvezUoDBnY/s320/29716698543_03a295e275_b.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Queenstown's famous Empire Hotel and a very handsome vehicle. <span style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: xx-small; text-align: left;">© Lucy Hawthorne</span></td></tr>
</tbody></table>
</span><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">The Unconformity</i>,
Queenstown, Tasmania. 14-16 October, 2016.<o:p></o:p></div>
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<div class="MsoNormal">
Visit <a href="http://theunconformity.com.au/">theunconformity.com.au</a> for program information and
ticketing.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This interview was originally published in <i>Warp Magazine,</i> October 2016.</div>
Lucyhttp://www.blogger.com/profile/14606784865702317737noreply@blogger.com0tag:blogger.com,1999:blog-3025810385129732491.post-34344271836352733072016-10-26T17:15:00.000+11:002016-10-26T17:15:05.291+11:00Review: Tesselating in the Slips at Visual Bulk<div class="MsoNormal">
Jonny Rowden and Alexandra Hullah’s energetic performance, <i style="mso-bidi-font-style: normal;">Tesselating in the Slips</i>, followed a
month-long residency at Visual Bulk.<span style="mso-spacerun: yes;">
</span>It’s a testament to their performance that they sustained an engaged
audience for nearly two hours on a freezing Hobart evening.<span style="mso-spacerun: yes;"> </span>The performance was bookended by
participatory damper making, then damper cooking and consumption.<span style="mso-spacerun: yes;"> </span>When I arrived, visitors were kneeling in the
gallery, mixing ingredients according to laminated instructions.<span style="mso-spacerun: yes;"> </span>In a small vestibule, sat the ‘common loaf’ –
a lump of dough kneaded by any and all.<span style="mso-spacerun: yes;">
</span>Later, the common loaf took on almost religious status when the uncooked
mound, shrouded in a tea towel, was taken from its plinth as part of the
performance. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The room of the common loaf was lined with documented
thought experiments, notes for short performance ideas, and photographic documentation
running up to the public performance.<span style="mso-spacerun: yes;">
</span>The ideas range from the banal to the utterly absurd.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzjjTlsrsDkJgF5eSo2QgMoEWMpAA9Ea9GY3T6Bu_dEpklRsjJzwFksEf3JnZxuZXYzE3WLtVLhOuiVagvg2xFX3_EzOe7jdZQJUFFEadprgMrgw-oaCR5iX5J3aL3FO7gm1e0VOflNn8/s1600/30453427212_e019b7d929_z.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzjjTlsrsDkJgF5eSo2QgMoEWMpAA9Ea9GY3T6Bu_dEpklRsjJzwFksEf3JnZxuZXYzE3WLtVLhOuiVagvg2xFX3_EzOe7jdZQJUFFEadprgMrgw-oaCR5iX5J3aL3FO7gm1e0VOflNn8/s200/30453427212_e019b7d929_z.jpg" width="167" /></a>The start of the performance (or at least the first of the
short back-to-back performance ‘vignettes’) was down the banal end of the
spectrum.<span style="mso-spacerun: yes;"> </span>I couldn’t quite hear the
chanting, but it was something about energy transference I think.<span style="mso-spacerun: yes;"> </span>It was a lengthy and participatory affair
that led me to flee into the dark corners of the courtyard lest I be picked as
a vessel for energy transfer.<span style="mso-spacerun: yes;"> </span>I was
reminded of a similar activity at a meditation retreat I attended in the Blue
Mountains fourteen years ago (my first and last).<o:p></o:p></div>
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<br /></div>
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As the performance moved inside it picked up pace,
incorporating sound, light and projected images, a costume change, a sandstone
block, and eventually the absence of clothing altogether (as previewed on the
Facebook event photograph that remarkably dodged the site’s ban on nudity for an
entire week).<span style="mso-spacerun: yes;"> </span>The relationship between
the two artists altered with each vignette.<span style="mso-spacerun: yes;">
</span>One moment they’d be hurting each other until the safe word ‘sufficient’
was mentioned, and in another, they’d be diligently oiling and powdering each
other’s naked bodies as if applying some kind of protective layer. <span style="mso-spacerun: yes;"> </span>While passing the burden of the loaf-like
sandstone, they exchanged confessions: “last year I dropped a bottle of whiskey
on my hand and it broke my finger”, “I use to pray every night until I was 21”,
“I can speak four languages”, “I never liked Disney films because there are too
many songs”, “watching Disney films made me want to be an artist”, “I hate
making bread” [cue laughs from the audience].<span style="mso-spacerun: yes;">
</span>The activities were ritualistic and little a bit Catholic with all the
confessions and the breaking of bread. <span style="mso-spacerun: yes;"> </span>Unlike
most performance art, the seriousness was relieved by small moments of
humour.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhboNVkjo2n_f3jewk6WBVYFG52NLYJH99YcTzQV5inH0TvlKcRluTYvcYNWO-82H04sb_6zZ0hrFKBcK8SfDdEt8BK8aceIXzdXchLNc3l47YONQRtKVv3n10UmHhLN6yJR0ngb7nptdQ/s1600/29938828344_d868fb863d_z.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhboNVkjo2n_f3jewk6WBVYFG52NLYJH99YcTzQV5inH0TvlKcRluTYvcYNWO-82H04sb_6zZ0hrFKBcK8SfDdEt8BK8aceIXzdXchLNc3l47YONQRtKVv3n10UmHhLN6yJR0ngb7nptdQ/s320/29938828344_d868fb863d_z.jpg" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="MsoNormal">
The last vignette, however, was extraordinarily
confronting.<span style="mso-spacerun: yes;"> </span>Although the context
suggested otherwise, the naked wrestling in which Alex was forcibly pinned to
the ground looked non-consensual.<span style="mso-spacerun: yes;"> </span>Distressed,
I ended up exiting the gallery. <span style="mso-spacerun: yes;"> </span>I’ve sat
through some pretty challenging performances, but <i style="mso-bidi-font-style: normal;">Tesselating in the Slips</i> crossed a line at that point.<span style="mso-spacerun: yes;"> </span>As one friend later asked, “at what point
should the audience intervene?”<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Visual Bulk attendees are a diverse bunch who seem to linger
at openings (based on my observation and absolutely nothing else), making it a
perfect venue for extended performative works like <i style="mso-bidi-font-style: normal;">Tesselating in the Slips</i>. <span style="mso-spacerun: yes;"> </span>As
always, I look forward to the next event. <o:p></o:p></div>
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<i style="mso-bidi-font-style: normal;">Tesselating in the
Slips</i> was performed on the 17<sup>th</sup> September at Visual Bulk, Argyle
Street, Hobart. <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
This review was originally published in <i>Warp Magazine</i>, October 2016.</div>
Lucyhttp://www.blogger.com/profile/14606784865702317737noreply@blogger.com0tag:blogger.com,1999:blog-3025810385129732491.post-1330079656120724472016-10-05T18:00:00.000+11:002016-10-05T18:00:13.631+11:00When Words Fail Emotion<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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“The young people these days… they can’t write, they can’t
spell.<span style="mso-spacerun: yes;"> </span>They’re always on their phones,
spelling words however they please, using smiley faces and children’s pictures
instead of words… what’s the world coming to….” I’m sure you’ve heard these words
uttered at some point.<span style="mso-spacerun: yes;"> </span>But is the world
really coming to an end because we’ve found a way to communicate quickly and
succinctly through the written word?<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
I’ll say it upfront: I love text speak. I love emojis and
emoticons.<span style="mso-spacerun: yes;"> </span>They allow us to quickly and
succinctly convey tone and nuanced emotion in written form.<span style="mso-spacerun: yes;"> </span>When we speak face-to-face, we read each
other’s body language, facial expressions and vocal tone.<span style="mso-spacerun: yes;"> </span>However, thanks to the internet and the rise
in email, text messaging and social media as preferred methods of
communication, our ability to express ourselves via the written word is more
important than ever.<o:p></o:p></div>
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<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoFFKcedArXHFBjwwP3ZkVpCjzohgUsd0Y0Usqlfoy_0TH2n1Qi8wo4MEKQw7tzb4VtsYO6xYwur-r4NVgrrwXXeh5q3Le-STd9_N6pcUVHNVAxJv5XWz83UE1GaGFsv2B5KMsn4jJmZ0/s1600/6b.Emoticons.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoFFKcedArXHFBjwwP3ZkVpCjzohgUsd0Y0Usqlfoy_0TH2n1Qi8wo4MEKQw7tzb4VtsYO6xYwur-r4NVgrrwXXeh5q3Le-STd9_N6pcUVHNVAxJv5XWz83UE1GaGFsv2B5KMsn4jJmZ0/s320/6b.Emoticons.jpg" width="268" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">Emoticons generated by the iPhone’s Romaji
keyboard </span> </td></tr>
</tbody></table>
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Most of us have, at some point, sent an email or a text
message where the tone or intention has been misinterpreted by the person at the
other end.<span style="mso-spacerun: yes;"> </span>It’s hard to communicate
sarcasm via text message, but in some instances a couple of characters, such as
(; can overcome this barrier.<span style="mso-spacerun: yes;"> </span>If I text
a friend with “I went out last night. I have so many regrets”, they might
panic. If I pop a wink at the end, they’ll probably know that I probably just
had a couple of pints too many. Basically, two simple characters can turn a
serious statement into a light-hearted one. Emoticons can also help tell a
story.<span style="mso-spacerun: yes;"> </span>“I spent the day with a cat” is
rather banal.<span style="mso-spacerun: yes;"> </span>If I write “I spent the
day with a cat :/”, it indicates that the day really didn’t go to well (FYI
this is based on a true story: I spent the day with a cat. In true cat form, it
bit me).<o:p></o:p></div>
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<br /></div>
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<!--StartFragment--><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">Tears of joy emoji</span><!--EndFragment-->
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<div class="MsoNormal">
ICYWW, there is a difference between an emoji and emoticon. <span style="mso-spacerun: yes;"> </span>They’re often used interchangeably, but in
short, emoticons are a typographical expression using only text, such as the
examples above.<span style="mso-spacerun: yes;"> </span>Emojis on the other hand
are pictograms. The term emoji stems from two Japanese words -<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">e </i>and
<i style="mso-bidi-font-style: normal;">moji </i><span style="mso-spacerun: yes;"> </span>- and translates roughly to ‘picture
character’ or ‘picture letter’. Unlike most written languages, emojis are
generally easily interpretable (I say <i style="mso-bidi-font-style: normal;">most</i>
because after Oxford Dictionaries declared the ‘Face With Tears of Joy’ emoji/LOL
emoji/laughing emoji as their 2015 word of the year, a couple of academic
studies concluded that the symbol is sometimes interpreted as grief-stricken
emoji.).<o:p></o:p></div>
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<br /></div>
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Of course, there’s a time and a place for emoticons, text
speak and the like.<span style="mso-spacerun: yes;"> </span>We haven’t got to
the stage where it’s appropriate to use smiley faces in an email to your boss,
or an academic essay or exam (I once marked a university art theory exam in
which a student had described the <i style="mso-bidi-font-style: normal;">Raft of
the Medusa </i>with a <span style="font-family: "wingdings"; mso-ascii-font-family: Cambria; mso-ascii-theme-font: minor-latin; mso-char-type: symbol; mso-hansi-font-family: Cambria; mso-hansi-theme-font: minor-latin; mso-symbol-font-family: Wingdings;"><span style="mso-char-type: symbol; mso-symbol-font-family: Wingdings;">L</span></span>.
He didn’t pass.)<span style="mso-spacerun: yes;"> </span>Perhaps we need to
think of these new methods of expression as another language of sorts.<span style="mso-spacerun: yes;"> </span>Language is constantly evolving, and text
speak in particular is already affecting all languages, not just English.</div>
<br />
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The fact that we use acronyms like LOL and IMHO doesn’t mean
that the English language is dying.<span style="mso-spacerun: yes;"> </span>To
illustrate the evolution of language, (as well as our treatment of geese) consider
this passage from the 1653 that exalts the joy of using a goose as an ‘arsewisp’
(now commonly called toilet paper):<o:p></o:p></div>
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<span style="background: white; color: #222222; font-family: "arial"; font-size: 9.5pt;">“...o conclude, I say and maintain, that
of all torcheculs, arsewisps, bumfodders, tail-napkins, bunghole-cleansers and
wipe-breeches, there is none in the world comparable to the neck of a goose,
that is well douned, if you hold her head betwixt your legs: and beleeve me
therein upon mine honour, for you will thereby feele in your nockhole a most
wonderful pleasure, both in regard of the softnesse of the said doune, and of
the temperate heat of the goose, which is easily communicated to the bum-gut,
and the rest of the inwards, insofarre as to come even to the regions of the
heart and braines; and think not, that the felicity of the heroes and demigods
in the Elysian fields, consisteth either in their Asphodele, Ambrosia, or
Nectar, as our old women here use to say; but in this, (according to my judgement)
that they wipe their tailes with the neck of a goose, holding her head betwixt
their legs, and such is the opinion of Master John of Scotland, aliàs Scotus.”</span><span style="font-family: "times"; font-size: 10.0pt;"><o:p></o:p></span></div>
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<!--StartFragment--><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">Not quite a swan, but close enough. Jan
Asselijn, <i>The Threatened Swan</i>
(c.1650). Google Cultural Institute.</span></td></tr>
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When people launch into a generational superiority rant like
“young people don’t know how to write properly”, they reveal their ignorance as
to the way language evolves.<span style="mso-spacerun: yes;"> </span>If text
speak, emoticons and emojis are the most efficient way of communicating then
let’s embrace this evolution (IMHO).<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This article was originally published in the September edition of <i>Warp Magazine</i>. </div>
Lucyhttp://www.blogger.com/profile/14606784865702317737noreply@blogger.com0tag:blogger.com,1999:blog-3025810385129732491.post-23104488447474273772016-08-04T18:00:00.000+10:002016-08-05T14:56:36.439+10:00Pokémon... it's not cute by accident.<div class="MsoNormal">
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month.<span style="mso-spacerun: yes;"> </span>Thanks in part to the media
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walking off cliffs etc. etc. The pro camp cites the number of people getting
out into the world, away from the couch and the telly (although from personal
experience, if you sit on the couch long enough the Pokémons come to you).
Friendships flourish among the hunters, who bond over the shared goal of
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</span><o:p></o:p></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhggy3dRejnkuulMX3OeqXgnaJqmDfLpfkR0ik8ezDh439LXEeQqYPuh6ak15mbMCegC2FGQyxMWCat3jMDiToW3IJfHnnpT1NGVFS8zeBj7q0SqRJblTezOQdqruxuBnUk45LFP6fVSvw/s1600/4c.Pokemon.Hawthorne.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhggy3dRejnkuulMX3OeqXgnaJqmDfLpfkR0ik8ezDh439LXEeQqYPuh6ak15mbMCegC2FGQyxMWCat3jMDiToW3IJfHnnpT1NGVFS8zeBj7q0SqRJblTezOQdqruxuBnUk45LFP6fVSvw/s320/4c.Pokemon.Hawthorne.jpg" width="320"></a></td></tr>
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<!--StartFragment--><span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">Proof that you don’t have to leave the
couch. The Pokémons will come to you. Originally posted on Instagram @stealthpooch </span><br>
<!--EndFragment--></td></tr>
</tbody></table>
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Obviously, I’m not a hater, but I’m not obsessed either.<span style="mso-spacerun: yes;"> </span>Call me a semi-enthusiastic dabbler. <span style="mso-spacerun: yes;"> </span>I like the thrill of the hunt, and I’m a user
of other geo-location activities, like the games Ingress and Munzee, as well as
the more grounded Geocaching, orienteering and rogaining.<span style="mso-spacerun: yes;"> </span>With the exception of Munzee, I’d say that
these other platforms are just as, if not more, enjoyable than Pokémon
Go.<span style="mso-spacerun: yes;"> </span>So why has Pokémon Go received so
much more attention?<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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<br></div>
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One obvious answer is that Pokémon is a well-known franchise.
Pikachu appears on our cereal boxes, on our TV screens, and even on the sides
of planes.<span style="mso-spacerun: yes;"> </span>Pokémon cards have been
traded in Australian schoolyards since the 1990s, which means gen Y is not only
familiar with Pokémon characters, but have a great deal affection for these
cute creatures.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>The original Gameboy game from the mid-90s had
a similar basic premise: hunt the Pokémons for points (although in the
original there’s an endgame: you train your captured Pokémons for the ultimate
battle with the Elite Four - but that’s another article).<span style="mso-spacerun: yes;"> </span>The Gameboy Pokémons were pixelated and
black and white - far from the brightly-coloured creatures of today’s game - but
it appealed to the part of us that likes to collect, explore, collect and
collect some more.<o:p></o:p></div>
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<br></div>
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However, Pokémon Go’s popularity cannot be explained brand
saturation alone.<span style="mso-spacerun: yes;"> </span>Nor is it solely due
to the novelty of having our surrounding environment turned into magical hubs,
or the human urge to collect and classify. <span style="mso-spacerun: yes;"> </span>Collecting and problem solving is a key part
of Munzee, but its interface is based on scanning boring old QR codes.
Similarly, Ingress turns our surrounding environment into a web of portals: sites
of battle and exchange. Ingress has a dedicated community, but its mass appeal
is limited by the complexity of the game and the rather hostile
machine-aesthetic graphics (I always think of the 90s movie <i style="mso-bidi-font-style: normal;">Hackers</i> when I open Ingress).<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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<br></div>
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Essentially, I think the popularity of Pokémon Go is
largely about aesthetics.<span style="mso-spacerun: yes;"> </span>Pokémon is <i style="mso-bidi-font-style: normal;">cute</i> and humans like cute. <span style="mso-spacerun: yes;"> </span>This isn’t just a
learned-in-the-schoolyard-over-obsessive-card-swapping thing either.<span style="mso-spacerun: yes;"> </span>Humans are naturally attracted to and want to
care for animals with juvenile features - ‘cute’ features - such as large eyes,
large foreheads and retreating chins.<span style="mso-spacerun: yes;">
</span>Within the Pokémon universe, even the most hostile animals are
manipulated for appeal.<span style="mso-spacerun: yes;"> </span>The snake,
Ekans, for instance, has an unusually stunted snout, making it appear cuter
than a snake ever should.<span style="mso-spacerun: yes;"> </span>And don’t get
me started on the mouse, Pikachu. <span style="mso-spacerun: yes;"> </span>Pokémon
Go therefore has hit on a winning combo, appealing to our biological attraction
to cute, our urge to collect and classify, the novelty of augmented reality
gaming on a widely used platform, existing brand awareness, and, of course, a
significant leg up from the media.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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<span style="mso-spacerun: yes;"><br></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjXNWY-3H-giuC06C5mtbDmqjcxwIIbXyQW_6yIFdoyQIj2EK5wAAkZ9BbRcrN9FuYOjUxN_qcgt_utpMlkhVEa6ddwlqjMyXLtJmg68cDEM146IBKd2sc-n0waqjN_mWRQ41YIg0mNM0/s1600/4b.Animal_human_growth_skull_neoteny_cuteness_maturation.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjXNWY-3H-giuC06C5mtbDmqjcxwIIbXyQW_6yIFdoyQIj2EK5wAAkZ9BbRcrN9FuYOjUxN_qcgt_utpMlkhVEa6ddwlqjMyXLtJmg68cDEM146IBKd2sc-n0waqjN_mWRQ41YIg0mNM0/s320/4b.Animal_human_growth_skull_neoteny_cuteness_maturation.png" width="284"></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">"Humans feel affection for animals with
juvenile features: large eyes, bulging craniums, retreating chins (left
column). </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">Small-eyed, long-snouted animals (right column) do not elicit the same
response." </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">Drawn by Ephert from a diagram diagram in "Studies in
Animal and Human Behavior, vol. II" by Konrad Lorenz. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">Downloaded from
<a href="https://www.blogger.com/By%20Ephert%20-%20Own%20work,%20CC%20BY-SA%204.0,%20https://commons.wikimedia.org/w/index.php?curid=37338332" target="_blank">Wikimedia Commons</a>. CC BY-SA 4.0</span></div>
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We have also convinced ourselves that Pokémon Go is somehow
a healthy game, a morally acceptable game. <span style="mso-spacerun: yes;"> </span>I don’t know how many friendships or social
encounters have really been facilitated by the game, but my dog has definitely
benefited.<span style="mso-spacerun: yes;"> </span>The dog park and oval at the
end of my street seems to be quite a hub for all things Pokémon.<span style="mso-spacerun: yes;"> </span>There’s a ‘gym’ at the seniors centre (no
joke), and multiple Pokéstops.<span style="mso-spacerun: yes;"> </span>There
are few lights in the park and, at this time of the year when our nights are
long and cold, there are also very few people.<span style="mso-spacerun: yes;">
</span>Since Pokémon was released, however, the park is filled with ‘fairy
lights’, as groups of people (and their dogs) chase elusive Pokémon, phone
screens glowing.<span style="mso-spacerun: yes;"> </span>For the first time in
memory, I’ve been happy to take the dog there at night, rather than sticking to
the safe, brightly lit streets.<span style="mso-spacerun: yes;">
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This article was originally published in the August edition of <i>Warp Magazine</i>, 2016.</div>
Lucyhttp://www.blogger.com/profile/14606784865702317737noreply@blogger.com0tag:blogger.com,1999:blog-3025810385129732491.post-38547112870705870022016-07-04T10:21:00.000+10:002016-07-04T10:21:15.147+10:00Review: Brainstorm at the Plimsoll Gallery<div class="MsoNormal">
On opening night,<i style="mso-bidi-font-style: normal;">
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way to Dark Park in the adjacent former shipping yards. The Plimsoll Gallery
exhibition, curated by John Vella, is part of the official Dark Mofo program,
and manages to both mimic the aesthetics and themes of the winter festival, but
hold its own as a separate exhibition.<span style="mso-spacerun: yes;">
</span>It’s dark, novel, and entertaining. <o:p></o:p></div>
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<br /></div>
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From the art school’s tunnel entrance, I follow a deep
growling sound coming from the wood yard. <span style="mso-spacerun: yes;"> </span>I’ve always thought it bizarre that the gallery’s
adjacent courtyard garden and other surrounding areas are never used,
particularly considering the current popularity of site-responsive art, which
is why <i style="mso-bidi-font-style: normal;">Brainstorm </i>appeals to me
almost immediately. The exhibition spills into the adjacent wood yard, the art
school’s delivery bay, and gallery storeroom.</div>
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<o:p> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<span style="font-size: x-small;"><span style="font-family: Cambria;">Andrew Harper, <i>Fort Evil</i>, 2016. </span></span><span style="font-size: x-small;"><span style="font-family: Cambria;">Image credit: Gerrard Dixon</span> </span><span style="font-size: 12.8px;"> </span></h4>
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The wood yard, with its high brick fence and metal bars,
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materials, mostly a mishmash of roughly nailed wood and corrugated iron, with
sharp wooden ‘teeth’ from which a small doll hangs.<span style="mso-spacerun: yes;"> </span>The artist later tells me that for OH&S
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsg2-5LOCpZjfo7xKdQW3fvLwZOP6MRDHdMcTTCvJ0y0fJOefCD4XZvTs3TRF5solPtY41KLf1rYdxoFwuTzk7Jqk7y5OXCIJbBlz8fVD8tefUPpXWeeRGVdLjnd8ramSd7U-HknropfI/s1600/5.ScotCotterell.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsg2-5LOCpZjfo7xKdQW3fvLwZOP6MRDHdMcTTCvJ0y0fJOefCD4XZvTs3TRF5solPtY41KLf1rYdxoFwuTzk7Jqk7y5OXCIJbBlz8fVD8tefUPpXWeeRGVdLjnd8ramSd7U-HknropfI/s320/5.ScotCotterell.JPG" width="320" /></a><br /></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV5NFe4BVwryx4rHIsyH2Ey2vVGwf1ew1GBBHQuL2Xp_OXZW8YvvozzPNJL5VNR8mH4ADzAIEj593u6qNRY9qiuI6Wdv2YLotlF9MzLI1tPDFSSVmKuW3hHLwhLZFs2UYUWLxmE2bPmw4/s1600/5.ScotCotterell2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV5NFe4BVwryx4rHIsyH2Ey2vVGwf1ew1GBBHQuL2Xp_OXZW8YvvozzPNJL5VNR8mH4ADzAIEj593u6qNRY9qiuI6Wdv2YLotlF9MzLI1tPDFSSVmKuW3hHLwhLZFs2UYUWLxmE2bPmw4/s320/5.ScotCotterell2.jpg" width="320" /></a></div>
<h4 style="text-align: left;">
<span style="font-family: Cambria;"><span style="font-size: x-small;">Scot Cotterell, <i>Shitstorm (Compromised Version),</i> 2016. Installed on the building facade top level
from 0200hr 08.06.16 until 0700hr 10.06.16.
Image credit: Scot Cotterell.</span></span></h4>
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One of Cotterell’s other works received a great deal of
attention when it was controversially removed from its original location - the
top windows of the art school – and partially installed in the Plimsoll Gallery.
The artist stated it was “removed with urgency due to student and bureaucratic
request,” primarily “due to student wellbeing and institutional public
safety concerns around decency and offence.” The subsequent (and surely
inevitable) media attention was therefore a bit of an own goal for the university,
plus the drama made an interesting work even more so.<span style="mso-spacerun: yes;"> </span>I’m wary of wading into the cesspit of rumours
that currently surrounds the incident, but apparently a small number of
painting and/or printmaking students took offense at the corflute boards in
their studio windows, which scream in fluoro ink: ‘your work is shit’.
Interestingly, the boards did not face the students, but instead faced outwards
towards the half-constructed Federal hotel, the disused shipping yards, and
Dark Mofo’s Dark Park.<span style="mso-spacerun: yes;"> </span>The aesthetic is
akin to the hate signs of the Westboro Baptist Church, but while the message, repeated
over and over, can be seen as derogatory, it can equally be interpreted as a
form of self-talk.<span style="mso-spacerun: yes;"> </span>I don’t know a single
artist who isn’t plagued by self-doubt.<span style="mso-spacerun: yes;">
</span>On my desk at home, there’s a drawing by David Shrigley’s that reads in
bold: “your work is terrible and you are an imbecile”.<span style="mso-spacerun: yes;"> </span>It’s followed by “they said” in tiny
writing.<span style="mso-spacerun: yes;"> </span>It’s a good reminder that everyone
has an opinion. <o:p></o:p></div>
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<!--StartFragment--><span style="font-family: Cambria;"><b><span style="font-size: x-small;">David Shrigley, <i>Your Artwork is Terrible and You are an Imbecile</i>, 2013. <br />Copyright:
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I’m entranced by Pat Brassington’s enigmatic <i style="mso-bidi-font-style: normal;">Chambre Vide</i>.<span style="mso-spacerun: yes;"> </span>The raised curtain of slightly translucent
red plastic is deliciously shiny.<span style="mso-spacerun: yes;"> </span>A
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clockwise direction, each person stopping at the end, hesitating, trying to
decide whether they want to break the spell and look under the curtain.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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<!--StartFragment--><span style="font-size: x-small;"><b><span style="font-family: Cambria;">Pat Brassington, <i>Chambre Vide</i>, 2016. <br />Image credit: Pat Brassington</span><!--EndFragment--> </b> </span> </td></tr>
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So many of the works are defined by barriers, fences and
walls – frames of a sort.<span style="mso-spacerun: yes;"> </span>In addition to
Harper’s fort, we view Michael Schlitz’s prints through Entrepot bookshop’s
storefront, Jacob Leary’s blacklit installation through Entrepot Gallery’s
gridded windows, and Matt Warren’s sound and video works from behind the
loading bay barriers. <span style="mso-spacerun: yes;"> </span>Darren Cook’s
multimedia installation is also viewed behind the gallery’s storeroom fence,
with the plinths, screens, and other paraphernalia, acting as a canvas for his
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<!--StartFragment--><span style="font-family: Cambria;"><b><span style="font-size: x-small;">Installation shot of the gallery storeroom showing
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<br />Image credit: Gerrard Dixon</span></b></span></td></tr>
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<b><i style="mso-bidi-font-style: normal;">Brainstorm</i>, 10
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<div class="MsoNormal">
Disclosure note: The author is employed by Mona, but has no
direct involvement in this year’s Dark Mofo or the Plimsoll Gallery.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>This review was first published in the July edition of Warp Magazine.</i></div>
Lucyhttp://www.blogger.com/profile/14606784865702317737noreply@blogger.com0tag:blogger.com,1999:blog-3025810385129732491.post-84043899299550922862016-06-03T09:46:00.000+10:002016-06-03T09:46:06.949+10:00Arts funding: budgeting for the soul<div class="MsoNormal">
When it was suggested to Winston Churchill that he cut the
arts budget to fund the war effort, he replied, “then what are we fighting
for?” Well, so the meme goes. The fact that the then British Prime Minister
didn’t actually say this doesn’t really matter. It’s remained a favourite
social media meme and oft (mis)quoted moment because it’s not an arts advocate,
an artist, a curator or an arts-loving writer arguing for arts funding – it’s a
politician. It seems so unusual that a
politician would care about the arts. </div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
On the whole, politicians are considered philistines when it
comes to the arts.<span style="mso-spacerun: yes;"> </span>As we come into the
federal election, it’s evidently not a priority.<span style="mso-spacerun: yes;"> </span>The headlines are all about wealth-creation
(or barriers to it): surplus, superannuation, taxes, housing, ‘boat people’,
dole bludgers, construction, unions, penalty rates etc. etc.…. And that’s why
the arts community gave a collective sigh of relief when Malcolm Turnbull<span style="mso-spacerun: yes;"> </span>- a known art-collector and supporter of the
arts - was elected PM. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The arts community was thus understandably upset when the
new arts minister appointed by Turnbull announced that the changes to arts
funding brought in by the conservative, ballet-loving George Brandis were not
going to be reversed. Over the last year, the arts community has waged an
admirable war against the changes.<span style="mso-spacerun: yes;"> </span>Last
year’s senate enquiry into the Liberal’s art budgets, for instance, received a
record 2719 submissions, leading one LNP senator to label the response as a
conspiracy.<span style="mso-spacerun: yes;"> </span>Evidently, our politicians
underestimated the passion and sheer doggedness of the Australian arts
community.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Last month the effects of the arts changes became
particularly obvious when around 65 arts organisations, many of them
established and respected, were de-funded in part as a result of the funding
changes.<span style="mso-spacerun: yes;"> </span>Because of the Australia
Council’s funding structure, the cuts in funding have disproportionately
affected the visual arts and writing communities.<span style="mso-spacerun: yes;"> </span>As Alison Croggon pointed out in <i style="mso-bidi-font-style: normal;">The Guardian</i>, there’s been a massive 70%
reduction in individual grants since the 2013/14 financial year. I don’t want
to go into too much detail about the changes, and I recommend you google
Croggon’s articles in <i style="mso-bidi-font-style: normal;">The Monthly</i> (16
May) and <i style="mso-bidi-font-style: normal;">The Guardian</i> (19 May) for a
more detailed account. Instead, I want to emphasise <i style="mso-bidi-font-style: normal;">why </i>we should fund the arts, and more specifically the visual arts
(I’ll let my fellow columnist, Paige Turner, argue on behalf of literature). <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I strongly believe one of the major errors we’ve made in our
argument for greater investment in the arts is to use the language of
conservative economics.<span style="mso-spacerun: yes;"> </span>Our arguments
have been based on financial return and job creation.<span style="mso-spacerun: yes;"> </span>Let’s be honest, no one goes into the visual
arts in order to make money.<span style="mso-spacerun: yes;"> </span>We make,
support and view art because it makes us happy and fulfils our intellectual
curiosity.<span style="mso-spacerun: yes;"> </span>This is also backed up by
science. According to Neuroscientist Jaak Panskepp, the key to human happiness
is the act of <i style="mso-bidi-font-style: normal;">seeking</i>, which
encompasses the quest for knowledge, anticipation, and the creation of new
forms of expression. <span style="mso-spacerun: yes;"> </span>For an easy
dopamine hit, create some art. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Visual art a method of storytelling that we can trace back
to our early ancestors.<span style="mso-spacerun: yes;"> </span>Archaeologists
have discovered figurative cave painting in Indonesia and Australia that
pre-dates the famous caves in Europe, and this concurrent emergence of visual
expression suggests that art is something innate in us all.<span style="mso-spacerun: yes;"> </span>It defines us as humans.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Art has also long-served as an important pre-literate method
of communication.<span style="mso-spacerun: yes;"> </span>The pre-Modern
frescoes and stained glass windows in the churches and palaces of Europe, for
instance, were in part designed to communicate biblical stories, local history,
and political authority to a largely illiterate public.<span style="mso-spacerun: yes;"> </span>Art has the ability to express stories, ideas
and emotions in ways that words simply cannot.<span style="mso-spacerun: yes;">
</span>Even now that we live in a highly literate society dominated by written
language, we’re incorporating emoticons and other forms of pictorial
communication to convey nuanced emotion where words fail.<span style="mso-spacerun: yes;"> </span><span style="font-family: Times; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9XTsqnxoyKc8oBhfeKcE8OKcrNAT3PHPqlR9O_rJTfYq5kdu01ziWnqDCZ-Zt0w9WeUxdDJT1t8EV_YCfFaxTGZ98V6gFEESUprzfgpP4Yb2vlg2d8GZush7euzqSzCkZdlgk5cpdMVw/s1600/4.Vitrail_Chartres_210209_07.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9XTsqnxoyKc8oBhfeKcE8OKcrNAT3PHPqlR9O_rJTfYq5kdu01ziWnqDCZ-Zt0w9WeUxdDJT1t8EV_YCfFaxTGZ98V6gFEESUprzfgpP4Yb2vlg2d8GZush7euzqSzCkZdlgk5cpdMVw/s400/4.Vitrail_Chartres_210209_07.jpg" width="400" /></a></td></tr>
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<!--StartFragment--><span style="font-family: Cambria;"><span style="font-size: x-small;">Detail of the stained glass window called <i>Notre-Dame de la Belle Verrière</i>, a
section from the 13th century, in <a href="https://en.wikipedia.org/wiki/Chartres_cathedral" title="en:Chartres cathedral"><span style="color: windowtext; text-decoration: none; text-underline: none;">Notre-Dame de Chartres cathedral</span></a>. This is
the central image of a section depicting the <a href="https://en.wikipedia.org/wiki/Marriage_at_Cana" title="en:Marriage at Cana"><span style="color: windowtext; text-decoration: none; text-underline: none;">Marriage at Cana</span></a>. <br />Source: Wikimedia</span></span><!--EndFragment--></td></tr>
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<!--StartFragment--><span style="font-family: Cambria;"><span style="font-size: x-small;">Carl Spitzweg, <i>The Poor Poet</i> (1839). Source: <a href="https://en.wikipedia.org/wiki/Carl_Spitzweg#/media/File:Carl_Spitzweg_-_Der_arme_Poet_(Neue_Pinakothek).jpg" target="_blank">Wikimedia</a></span></span><!--EndFragment--></td></tr>
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It benefits society to have ready access to art both in
galleries and public spaces, and therefore we need to support the
producers.<span style="mso-spacerun: yes;"> </span>If you ask an artist why they
make art, they’re not going to respond ‘to increase tourism to the
region’.<span style="mso-spacerun: yes;"> </span>Increased tourism is great for Hobart’s
many coffee shops, hotels and high-end restaurants, but it doesn’t change the
fact that some local galleries do not even pay artists to exhibit or even
provide material allowances.<span style="mso-spacerun: yes;"> </span>It’s
particularly galling when you consider that the gallery’s cleaner gets paid in
money, rather than the oft-cited ‘exposure’.<span style="mso-spacerun: yes;">
</span>We shouldn’t ask artists exhibiting in public galleries to work for
free, and public galleries need to be funded so that they can pay artists
fairly, just like they do the cleaners, plumbers and other workers.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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<br /></div>
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Art should be seen as a public good like health or roads,
and it should not be expected to be financially self-sustainable.<span style="mso-spacerun: yes;"> </span>Art departments in schools and universities
need to be better funded. We know creative expression can be therapeutic, so we
need to use it as a method of healing in hospitals and prisons, and provide
cheap and easily accessible spaces for community groups to create
together.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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Many years ago I worked as an art therapist, and I remember
one non-verbal client who would silently wrap objects in string, over and over
with precise rhythm, resulting in a delicate cocoon.<span style="mso-spacerun: yes;"> </span>A few years later I attended art school and
watched as a fellow student did the same thing.<span style="mso-spacerun: yes;">
</span>The instinct was the same, but only one needed an artist statement (or
so the university’s unit outline stated).<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We invest far too much money in the worst parts of ourselves (the recent
$50 billion on military submarines immediately comes to mind). It’s time to
better fund the better side of our nature. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This article was originally printed in the June issue of <i>Warp Magazine.</i></div>
Lucyhttp://www.blogger.com/profile/14606784865702317737noreply@blogger.com0tag:blogger.com,1999:blog-3025810385129732491.post-30725461013728063262016-05-23T09:55:00.001+10:002016-08-04T14:51:28.366+10:00Review: Birchs Bay Sculpture Trail<div class="MsoNormal">
This year marks the eleventh anniversary of the Birchs Bay sculpture
trail.<span style="mso-spacerun: yes;"> </span>Originally called ‘Benchmarking
Birchs Bay’, the recent name change to ‘Art Farm Birchs Bay’ reflects the expansion
of their art program, which now includes art and craft workshops and an indoor
art gallery: the Old Distillery.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I’ve visited a number of their previous trails, and have
watched it mature and develop into a diverse and thought-provoking exhibition.
Of course, there are a few of the usual twee sculpture trail offerings, such as
mosaic flowers, and stick and shell constructions. But on the whole, the
current exhibition easily rivals major public sculpture events in terms of
scope and artistic engagement with the surrounding environment.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It’s about a 45 minute walk through the bush. We initially wind
our way through the working farm, including a pear orchard, which is quite appropriately
scattered with oversized ceramic pears.<span style="mso-spacerun: yes;"> </span>After
crossing a plantation of Tasmanian native pepperberry trees, we wind our way up
to the natural bush trail.<span style="mso-spacerun: yes;"> </span>I walk with
my small dog, who seems particularly attracted to the sculptures with a
lingering smell (especially the caged oyster shells).<span style="mso-spacerun: yes;"> </span>The trail is on private land and presumably
relies on their café revenue to partly fund the initiative, but visitors are
nonetheless encouraged to bring their dogs, their kids, and a picnic.<span style="mso-spacerun: yes;"> </span>At one point I encounter a family of
picnickers (including a happy Labrador) enjoying the incredible view over the
Great Bay to Bruny Island.<span style="mso-spacerun: yes;"> </span>For awhile,
I’m followed by a family who’s playing a game of ‘guess the price of the
artwork’, with the ‘answer’ printed in the accompanying catalogue.<span style="mso-spacerun: yes;"> </span>Artwork sales are obviously important to the
exhibition’s financial sustainability, but I also have a tendency to get
distracted by price tags. As a result, I walk the rest of the trail without reference
to the catalogue, enjoying the unexpected artwork encounters sans map.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlEq9Smu40vUjHsncczOWr9PIl7Xc2SyeR9WzUaoN77k01QHaIpZgSqXZDzAWZVVETVIvWPrg5Rxr_FM8Ch1d0DHj7VeDLpeuTN93RgTDbuHy24O2NrVgNl7KTDiX-yxtN1uHleYkA7rw/s1600/1.Chatwin-NaturesWay.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlEq9Smu40vUjHsncczOWr9PIl7Xc2SyeR9WzUaoN77k01QHaIpZgSqXZDzAWZVVETVIvWPrg5Rxr_FM8Ch1d0DHj7VeDLpeuTN93RgTDbuHy24O2NrVgNl7KTDiX-yxtN1uHleYkA7rw/s400/1.Chatwin-NaturesWay.JPG" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dean Chatwin, <i>Nature's Way</i>, 2016. Image credit: the artist.</td></tr>
</tbody></table>
<div class="MsoNormal">
The standout for me is Dean Chatwin’s witty installation, <i style="mso-bidi-font-style: normal;">Nature’s Way</i>. <span style="mso-spacerun: yes;"> </span>His sculpture mimics the design of Tasmanian
street signs with one exception: like a weathervane, a gust of wind will alter
the sign’s orientation.<span style="mso-spacerun: yes;"> </span>On one hand, the
structure is an unexpected aesthetic intrusion, but it’s also such an everyday
object that it’s comfortingly familiar, even natural. At the time of my visit,
‘Nature’s Way’ points to a barrier of bush scrub, although it could just as
easily be pointing in the direction of the working farm.<span style="mso-spacerun: yes;"> </span>We might think we can control the world
around us, but as the sign suggestions, nature will ultimately have its way.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Unlike Chatwin’s work, which deliberately stands out against
its surroundings, Sally Brown’s <i style="mso-bidi-font-style: normal;">Web,
Net, Lace</i> (2007) has weathered and faded over the years.<span style="mso-spacerun: yes;"> </span>The cobweb-like structure high between two
trees is easily missed, particularly if you’re buried in the sculpture map. <span style="mso-spacerun: yes;"> </span>Each year, a couple of sculptures are acquired
by the owners and remain permanently along the trail, aging sympathetically to
their surroundings.<span style="mso-spacerun: yes;"> </span>There are sculptures
by a number of fairly high-profile Tasmanian artists, such as Brown and Marcus
Tatton.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Brown’s other permanent work is a field of
metal flowers dotted around the upper trail.<span style="mso-spacerun: yes;">
</span>Like <i style="mso-bidi-font-style: normal;">Web, Net, Lace</i>, the
flowers are weathering and rusting, blending with the surrounding environment
despite the material’s industrial roots. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuW16tq9GPyiLWQ3taVpsUQrnU8aJ4FJKlo4PUabD2mqroN2U3GfsiAMt1Qkz6TcC8TUT2qt7NMJRazm3OsaTF34iFKL9uoe_hr6jaV0_rUs8Sngp0gO0UTl1ls_v5u7mC4Bd-6W5tb6E/s1600/7.Limb-Cello-Hawthorne.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuW16tq9GPyiLWQ3taVpsUQrnU8aJ4FJKlo4PUabD2mqroN2U3GfsiAMt1Qkz6TcC8TUT2qt7NMJRazm3OsaTF34iFKL9uoe_hr6jaV0_rUs8Sngp0gO0UTl1ls_v5u7mC4Bd-6W5tb6E/s200/7.Limb-Cello-Hawthorne.JPG" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mike Limb, <i>Cello</i></td></tr>
</tbody></table>
<div class="MsoNormal">
I’m conflicted over Mike Limb’s descriptively titled <i style="mso-bidi-font-style: normal;">Cello</i>.<span style="mso-spacerun: yes;">
</span>While the subject leaves me cold, there’s a lovely relationship between the
curled strips of rusted steel around the instrument’s bridge and the scraps of
bark littered around its base.<span style="mso-spacerun: yes;"> </span>Julie
Milton’s <i style="mso-bidi-font-style: normal;">Eucalion</i> mimics the
surrounding environment more directly – a steel and acrylic version of the
surrounding natural grasses. <span style="mso-spacerun: yes;"> </span>I also
enjoy Keith Smith’s <i style="mso-bidi-font-style: normal;">Cuckoo Nest</i> made
from ‘beach float-some’, including shoes, rope, fishing nets, and hats,
although I wonder if the awkwardly-located rusted metal birds are really
necessary.<span style="mso-spacerun: yes;"> </span>The sound and light elements
of Edith Perrenot’s towering sculpture aren’t working on my visit, but I’m
nonetheless intrigued by the cheeky figures peering out from the golden
vestibules. <o:p></o:p></div>
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<br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTYODAme8BYpT6i26TO26aQ6yehP4xVLp3eykVZK51GSqojNTksMLrJcI5ctI3p-6ES5YW55pwBzsPAc3d-yKrek4fRL-ny8bAA54UTiU56y905tL7F8Kdjz9Jvf85Thnmj82cFyPOn4g/s1600/6.Smith-nest-c.Hawthorne.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTYODAme8BYpT6i26TO26aQ6yehP4xVLp3eykVZK51GSqojNTksMLrJcI5ctI3p-6ES5YW55pwBzsPAc3d-yKrek4fRL-ny8bAA54UTiU56y905tL7F8Kdjz9Jvf85Thnmj82cFyPOn4g/s400/6.Smith-nest-c.Hawthorne.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="text-align: start;">Keith Smith’s </span><i style="text-align: start;">Cuckoo Nest </i><span style="text-align: start;">(with my dog Pip)</span></span></td></tr>
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We have a couple of high-profile art philanthropists in
Tasmania who understandably receive a lot of media attention, but we’re also
lucky to have a lot of smaller, privately-run art initiatives, such as Art Farm
Birchs Bay. <span style="mso-spacerun: yes;"> </span>I urge you to check it out.<o:p></o:p></div>
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This review was originally published in the May edition of <i>Warp Magazine.</i></div>
Lucyhttp://www.blogger.com/profile/14606784865702317737noreply@blogger.com1tag:blogger.com,1999:blog-3025810385129732491.post-29067380136904601092015-06-12T04:51:00.002+10:002015-06-12T04:52:06.375+10:00On the Recent Changes to Australian Arts Funding<div class="p1">
I started this piece at the opening of the Venice Biennale. It was going to be about all the tote bags I’d scored, the outrageous outfits, and my lack of party invitations. The fact that Arts Minister Michael Brandis opened the new Australia pavilion didn’t even register until the following week when he announced massive changes to arts funding.</div>
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The changes include the establishment of the ‘National Program for Excellence in the Arts’ (it deserves inverted commas), the funding of which will be transferred from the Australia Council for the Arts (Ozco) – a move that will disproportionately and deliberately affect individual artists, particularly visual artists, filmmakers, writers, and small and/or regional arts organisations. Tasmanian artists and audiences should be concerned. </div>
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In Venice, Brandis basked in the reflected cultural prestige of the world’s largest visual arts event, rubbing shoulders with the Australian art world’s most influential players. I guess it wasn’t the place to announce cuts to the very organisation that administers Australia’s involvement in the biennale. To give him the benefit of the doubt, perhaps he hadn’t decided yet. One of the stated aims of NPEA is to encourage cultural philanthropy, and as the pavilion was largely funded with private money, perhaps it inspired Brandis’ scheme. Unfortunately, it's only ever financial donations that are acknowledged on golden plaques and programs, not the in-kind support provided by artists who often go unpaid or underpaid for their essential work. If we stopped participating tomorrow, the cultural economy would collapse, which explains why last year’s Sydney Biennale boycotts were so threatening to the status quo.</div>
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I did attend one party at the biennale by the way. I wasn’t invited, but the champagne was flowing and the art was terrible. I guess I was a welcome rent-a-crowd. The Sheikh had evidently paid a large amount to stage the exhibition (it costs $30,000 just to <i>register</i> as a collateral event), but as the saying goes, money doesn’t buy taste. Ozco isn’t perfect, but if we leave it to rich individuals to decide what is and isn’t supported, the diversity of Australia’s art scene will undoubtedly suffer.</div>
Lucyhttp://www.blogger.com/profile/14606784865702317737noreply@blogger.com0tag:blogger.com,1999:blog-3025810385129732491.post-40998057746171384342015-03-01T12:04:00.001+11:002015-03-01T12:07:11.520+11:00Paris beckonsIn a few months, I'll be off to Paris to stay at the Rosamond McCulloch studio at the Cite Internationale des Arts. The studio was a bequest by the late artist to the Tasmanian School of Art (now Tasmanian College of the Arts) to allow former students to undertake residencies in the oh-so-cultural city. <br />
<br />
My time in Paris will be spent examining the dialogue between
pre-Modern art and architecture in a number of key buildings, including
churches and palaces, in order to expand my existing knowledge on contemporary
site-specific art practice. My PhD thesis, which I submitted in late 2012, examined site-specific art in Australia’s public museums. One of the aspects of site-specificity that I
have become interested in, but for many reasons was unable to pursue in my thesis, is the
pre-twentieth century relationship between art and architecture, as well as
other models of site-specificity such as Visionary Environments (large scale
installations, often defined by the maker’s lack of formal art training, and
are thus often associated with Outsider Art).<br />
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<span lang="EN-AU">When theorists define or describe
site-specific art, they usually look at art from the 1960s onwards, viewing the
art form as a relatively recent trend that followed the art ideals of
Modernism. However, my belief is that we
can extend our knowledge on contemporary site-specific art by examining the way
in which pre-twentieth century art was usually made for a particular site,
purpose, and most importantly, made in dialogue with architecture. For instance, the altar pieces that we so
often see in museums, cut-off from their original environment, were not
designed as stand alone artworks, but as an integral part of the church and
site. My intention for Paris is to
examine the relationships between altarpiece and museum (such as the Louvre),
and in sites such as the Saint Chappelle, altarpiece and church.<o:p></o:p></span></div>
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<span lang="EN-AU">The two other models of site-specificity
that sit outside the contemporary notion of the term are the before mentioned
Visionary Environments, and the studio as museum. For some reason France has many of the most famous Visionary Environments. A few of the sites are close to Paris, so I
will also do at least one day trip during the residency period. The ones high on my list Ferdinand Cheval's <i>Palais Idéal</i> (Ideal Palace) in
Hauterives, south of Lyon; Adolphe-Julien Fouré’s <i>Les
Rochers Sculptés</i> (Sculpted Rocks) in Saint Malo, Brittany; Raymond
Isidore’s <i>la Maison de Picassiette</i> in
Chartres (an easy day trip from Paris). These environments are built
around existing structures, often using local found materials, and while they
are not site-specific in the critical sense of the term, they have an interesting relationship to site.
Similarly, I am interested in examining the relationship between art and
environment in Paris’ studio museums, such as the “l’atelier Brancusi” outside
the Pompidou museum, which is an exact reproduction of Constantin Brancusi’s
studio as dictated by the artist in his will.<o:p></o:p></span></div>
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<span lang="EN-AU"><br /></span></div>
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<span lang="EN-AU">My other key aim is to not turn into a blimp thanks to a surplus of eclairs and cheese. Exciting times.</span></div>
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<br />Lucyhttp://www.blogger.com/profile/14606784865702317737noreply@blogger.com0tag:blogger.com,1999:blog-3025810385129732491.post-75816260263450896702013-09-18T16:40:00.000+10:002013-09-18T16:40:11.325+10:00The Commercial SceneTonight I'm heading to Sydney to help set up the <a href="http://constanceari.org/">Constance ARI</a> stall at the <a href="http://sydneycontemporary.com.au/">Sydney Contemporary</a> art fair. Constance was invited as one of two ARIs to showcase work by local emerging artists, which is an indicator of the gallery's national reputation (unfortunately, we just found out that the recognition doesn't extend to the state funding body - the gallery will not be financially supported from January next year. But that's another story...). I've never been to an art fair, but I've wanted to ever since reading Sarah Thornton's <i>Seven Days in the Art World</i>, which profiles over seven 'days' the auction, the crit, the fair, the prize, the magazine, the studio visit, and the biennale. It's an amusing snapshot at a world full of contradictions, myths, personalities, and most fascinatingly for me, the commercial art scene. I read it in 2008, the year I commenced my PhD. I realised that although I had an honours degree in fine arts and was a budding arts writer and artist, I really had no idea what went on in the commercial art world. I had never been to a high-profile art auction, the Venice Biennale or an art fair, and most commercial galleries I entered made me as nervous as entering, say, an Hermès shop.<br />
<br />
Five years on and I have a PhD, I've been to the Venice Biennale twice, and I write for Australian Art Collector. I feel more comfortable walking into a contemporary commercial art gallery (the ones with Picasso paintings on the wall like the one I ventured into on Rodeo Drive earlier this year still freak me out), and I've been to one dodgy art auction. Hell, I've even bought art from a commercial gallery, even if minor. But I still feel very much an outsider. I am part of the academic edge of the art world; I'm a maker, a writer, a museum invigilator, an ARI committee member and, most significantly, I live at the end of the world: Hobart (or at least that's how some of the international articles about MONA like to call it). <br />
<br />
My first Venice Biennale visit was in 2009. I was lucky enough to receive a travel grant from the University of Tasmania to present a paper at a conference held in conjunction with the biennale. It was during the peak visiting season - late July - and it was crowded, hot, massive, and super exciting. My second visit was in 2011. I worked as a team leader at the Australia pavilion during the opening month. The vernissage - the three days of private viewing before the hoi poloi are let in - was overwhelming. It was a scene that not even Thornton's book had prepared me for. You could smell the wealth and exclusivity. Women stumbled over the gravel giardini in their ridiculous heels, men in full suits sweated (artfully, of course) in the June sun (although one man made a point of wearing a toilet seat around his neck), and I even saw one collector walk through the curated pavilion with what was presumably their buyer, pointing at a sculpture meaningfully. Mega yachts parked outside the giardini venue, the largest of which was occupied by a single man wearing a pair of gold speedos to match his bronzed and buffed skin. Openings were held in ornate of Venetian palaces, and the guests were largely those who had donated enough money to the art foundation in question, which essentially 'buys' you a ticket.<br />
<br />
Will the Sydney Contemporary art fair be like the Venice Biennale? Of course not. We don't have that kind of wealth in Australia, nor the draw of the biennale itself. However, I predict I will feel like an outsider. I'm looking forward to expanding my art education by attending the four day event. I look forward to people watching, some of the talks (if I have time), and of course viewing the hundreds of artworks on display.Lucyhttp://www.blogger.com/profile/14606784865702317737noreply@blogger.com2tag:blogger.com,1999:blog-3025810385129732491.post-46165877188711123382012-09-17T20:44:00.000+10:002012-09-17T20:44:58.892+10:00The Museum as Art: site-specific art in Australia's public museumsI'm finally at the pointy end of my PhD - the bit where you're trying to decipher the doorstop Chicago Manual of Style, work out how to resize images, and battle Microsoft Word's tendency to switch back to US English spelling half way through a spell check. I know it's not my usual blog writing style, but here's my abstract anyway:<br />
<br />
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This thesis critically examines
site-specific art projects in Australian museums from the late 1960s
onwards.<span style="mso-spacerun: yes;"> </span>Despite the fact that
site-specific art practice is relatively widespread, there have been few
in-depth or systematic studies published on this subject, particularly in terms
of its historical and theoretical foundations.<span style="mso-spacerun: yes;"> </span>More importantly, there have been no in-depth studies
explicitly on <i>Australian</i><span style="font-style: normal;"> site-specific
art, and so my research aims to extend the existing knowledge on this art form
while applying it to an Australian context.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: -1.0cm; margin-right: -12.05pt; margin-top: 0cm;">
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<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: -1.0cm; margin-right: -12.05pt; margin-top: 0cm;">
Because the site-specific field
is vast, I narrowed my research to focus on artworks located in museums,
including art, natural history, cultural history museums, historic houses and
sites, and botanic gardens.<span style="mso-spacerun: yes;"> </span>The
inclusion of such a wide range of museums is in part due to the fact that the
artistic projects in these institutions vary greatly. <span style="mso-spacerun: yes;"> </span>Additionally, the comparisons between
art museums, and those in which art is a (usually) temporary visitor reveal
certain aspects of Australian culture, values and colonial history, than
discussing art museums alone.<span style="mso-spacerun: yes;"> </span>The
title, ‘the museum as art’, refers to the role of the museum as site, subject
and medium in the site-specific works of art under examination. It reinforces
the significant relationship and dialogue with the museum in question - the
museum is an integral part of the artwork.</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: -1.0cm; margin-right: -12.05pt; margin-top: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: -1.0cm; margin-right: -12.05pt; margin-top: 0cm;">
The key aim of this thesis is to identify
and critically analyse significant site-specific art projects undertaken in
Australian museums by both local and international artists.<span style="mso-spacerun: yes;"> </span>I also critique existing theoretical
writings about site-specific art, particularly the paradigms established by
Miwon Kwon and James Meyer and devise my own working models as applicable to
museum-based site-specific art.<span style="mso-spacerun: yes;">
</span>The aim is not to replace these paradigms, but to expand on existing
models using local and more recent examples.<span style="mso-spacerun: yes;"> </span>Although this thesis focuses on Australian site-specific art
practice, and the way in which Australian museums construct knowledge and reflect
national values, my models are equally relevant to international museums.</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: -1.0cm; margin-right: -12.05pt; margin-top: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: -1.0cm; margin-right: -12.05pt; margin-top: 0cm;">
The chapters in this thesis are
arranged thematically, centred around significant art examples which are in
turn used to illustrate wider issues relating to site-specific art
practice.<span style="mso-spacerun: yes;"> </span>In analysing a large
number of art projects, I have observed a range of strategies used by artists working
in museums. Firstly, an artwork may respond to the physical or spatial aspects
of the museum.<span style="mso-spacerun: yes;"> </span>Artworks also
frequently interact with a museum’s collection or archives, or question the
institution’s representation of history or social constructions of nature.<span style="mso-spacerun: yes;"> </span>Others mimic museum classification
strategies or highlight ingrained display methods that have become normalised,
almost invisible, to the average visitor. <span style="mso-spacerun: yes;"> </span>More functionally, the work might be used by curators to
enliven tired museum spaces or communicate aspects of history poetically,
allowing for speculative histories or subjective responses – methods unavailable
to regular historians. <span style="mso-spacerun: yes;"> </span>Lastly, an
artwork may seek to preserve intangible heritage or highlight gaps in knowledge
or history, particularly when it comes to the representation of Aboriginal
Australians or women.</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: -1.0cm; margin-right: -12.05pt; margin-top: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: -1.0cm; margin-right: -12.05pt; margin-top: 0cm;">
I argue that current
site-specific art practice reflects a move away from the Modernist frame,
illustrated by the growing popularity of non-art museum sites and converted
ex-industrial ‘raw’ spaces, particularly since the mid-1990s.<span style="mso-spacerun: yes;"> </span>Theorists such as Kwon and Meyer tend
to ignore the pre-Modernist philosophy towards art, where art frequently sat in
dialogue with the site.<span style="mso-spacerun: yes;"> </span>However, contemporary
site-specific art practice, although distinctly different to the pre-Modern
site/art relationship, indicates an acknowledgment and celebration of the
unavoidable influence of exhibition environments on works of art.</div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: -1.0cm; margin-right: -12.05pt; margin-top: 0cm;">
At the start of this research, I
questioned the notion of an ‘Australian art’; however, I can now demonstrate
that site-specific art, more than any other art form, has the ability to
address distinctly Australian concerns. <span style="mso-spacerun: yes;"> </span>It can reveal how a nation’s museums not only reflect, but
also develop and promote particular values and knowledge.<span style="mso-spacerun: yes;"> </span>The very marginality of art practice
makes it an ideal method in which to critically examine cultural assumptions
and norms, and despite the risk of site-specific art projects becoming a form
of institutionalised institutional critique, I have demonstrated how artworks
can question institutional authority and highlight gaps in knowledge in a way
that curators, historians and museum directors simply cannot.<span style="mso-spacerun: yes;"> </span>By recording a range of artistic
interventions in Australia’s public museums, and analysing them in relation to
both existing site-specific theories as well as my new extended models, this
thesis demonstrates not only the complexities of site-specific art practice,
but also the role that art can play in interpreting, challenging and
re-presenting existing knowledge as mediated by the museum.</div>
Lucyhttp://www.blogger.com/profile/14606784865702317737noreply@blogger.com5tag:blogger.com,1999:blog-3025810385129732491.post-3534626442192872912012-07-05T00:42:00.003+10:002012-07-05T00:43:53.599+10:0018th Biennale of Sydney: a walk on the island<div class="separator" style="clear: both; text-align: center;">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp1792Y4T8GaqakoU-cWbKoY7qWfARe1eVYPbOtUnWB4L7dd4xYnzKvwyz5DxjLSlqJa8GEzIUBbtG_jlUiIUWZSnlWTiAgttgsPUKo0m29BjA3gCd0nbwadWxgesGZF4bjZFhF7JkVdM/s1600/IMG_6356.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp1792Y4T8GaqakoU-cWbKoY7qWfARe1eVYPbOtUnWB4L7dd4xYnzKvwyz5DxjLSlqJa8GEzIUBbtG_jlUiIUWZSnlWTiAgttgsPUKo0m29BjA3gCd0nbwadWxgesGZF4bjZFhF7JkVdM/s320/IMG_6356.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">My contribution to Ewa Partum's courtyard installation</td></tr>
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I spent last week traipsing around the Sydney Biennale – an exhibition that seems to be growing larger every year. The popular Cockatoo Island is used as
a site for the 3<sup>rd</sup> event running, as is Pier 2/3, the Museum of
Contemporary Art (MCA), the Art Gallery of New South Wales (AGNSW), and a new
addition: Carriageworks.
Unfortunately, there is nothing in the botanic gardens, which is
disappointing because many of my favourite works from the last biennales were sited
there.
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<tr><td class="tr-caption" style="text-align: center;">Ricardo Lanzarini, Cockatoo Island</td></tr>
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The artworks on Cockatoo Island this year are, on the whole,
far more in dialogue with the site than previous years. We’re so used to viewing art against
‘neutral’ white walls that the constructed environment of the Modern museum has
almost become invisible.
Comparatively, when art is placed in complex semiotic sites where the
surrounding environment is very obvious and at risk of overwhelming the art,
it’s important that artists and curators take this into account. <a href="http://hobartart.blogspot.com.au/2008/10/site-specificity-at-2008-sydney.html">Four years ago</a>, I commented on the
Biennale’s promotion of ‘more than 30 site-specific’ artworks supposedly on
Cockatoo Island. As a buzzword,
site-specific art makes for good press releases, however punters are confused
when the works don’t actually relate to the site. This year’s Cockatoo Island artworks include some site-specific
artworks, but far more that are suitably installed in dialogue with the site
without being strictly site-specific.
For instance, Ricardo Lanzarini’s drawings in a utilitarian-looking room
on the top of the island are clustered near the pipes, doorways and other
existing features (The artist also has a series of intricately drawn books made
from cigarette papers displayed at the AGNSW). </div>
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<tr><td class="tr-caption" style="text-align: center;">The roofless structure that houses Tiffany Singh's installation</td></tr>
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Also notable is Tiffany Singh’s colourful wind
chime artwork installed in an oddly-shaped roofless structure on the western end of
the island. From the outside, the
bamboo chimes are barely audible, yet within the sandstone walled structure,
accessed by a small opening that requires the viewers to crouch on entry, the
hundreds of chimes clatter loudly with the movement of the wind. On a sunny day, the dark shadows cast
by the grid of coloured chimes and reverberating sound completely surrounds and
involves the viewer</div>
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<tr><td class="tr-caption" style="text-align: center;">Tiffany Singh, <i>Knock on the Sky Listen to the Sound</i></td></tr>
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In keeping
with my obsession with artworks that construct the lives of fictional people
within exhibition spaces, I appreciate Iris Haussler’s <i>He Dreamed Overtime,</i><span style="font-style: normal;"> sited in a cracked sandstone house on the top
island. However, when I challenge
the invigilators on the story of the mysterious island caretaker, it is obvious
they needed a bit more lying practice.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Iris Haussler's <i>He Dreamed Overtime</i> (installation shot)</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Nicholas Hlobo, <i>Ingubo Yesizwe</i></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPwhMSSdVTnuUs-rDlA1mcrpci1ADKAeaOR-IWpJvZQHle9YDgX84pYcg-0PM3GduxcceyyYLXwEQzeDFuCQXvIZ3KJkP0Q6Wzb8sbn6x1uWyr6vk8mmipOJkMyBu30do7eXjC0YxMur0/s1600/IMG_6235.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPwhMSSdVTnuUs-rDlA1mcrpci1ADKAeaOR-IWpJvZQHle9YDgX84pYcg-0PM3GduxcceyyYLXwEQzeDFuCQXvIZ3KJkP0Q6Wzb8sbn6x1uWyr6vk8mmipOJkMyBu30do7eXjC0YxMur0/s320/IMG_6235.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Peter Robinson, <i>Gravitas Lite</i></td></tr>
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I also enjoy Nicholas Hlobo’s kelp-like installation, <i>Ingubo
Yesizwe</i><span style="font-style: normal;"> in the Docks Precinct, where it’s
initially unclear whether the mound of sewn black rubber, slumped on a boat
ramp, is an artwork. There’s no
fancy lighting or plinths here.
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<span style="font-style: normal;">Peter Robinson’s epic mound of carved polystyrene chains, which sit on,
around, and within the rusty machinery in the Industrial Precinct, also relates
nicely to the site, the (for now) white plastic contrasting with the darkened
waste. Once I get over my initial
‘yeah, so, you can carve a chain, so what?’ (yes, I’m petty), it’s clear that in its scale and material,
the installation is very successful.
Nearby are Philip Beesley’s Avatar-like hanging objects, </span><i>Hylozoic
Series</i><span style="font-style: normal;">, which react to the viewers’ touch
and movement.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Philip Beezley, <i>Hylozoic Series</i> (detail)</td></tr>
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As one of my friends remarked, the island is populated with
‘floaty’ artworks. Adjacent to
Beesley’s work are Ed Pien and Tanya Tagaq’s hanging fabric and rope mazes
(supposedly representing rain), and Monika Grzymala’s installation completed
with the Euraba Artists and Papermakers, which looks like seedpods being blown
away in the wind in suspended animation.
While these three installations aren’t site-specific, they sit
comfortably in the tall warehouse spaces</div>
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<tr><td class="tr-caption" style="text-align: center;">Erin Manning, <i>Stitch in Time - A Collective Fashioning</i>, installation shot</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Li Hongbo, <i>Ocean of Flowers</i></td></tr>
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The ‘floaty’ artwork by Erin Manning, on the other hand, looks like
something unfortunate washed up from Byron Bay, where scraps of hanging fabric
and tulle surround a project table set up with thread and needles. The work on the warehouse floor below –
Li Hongbo’s <i>Ocean of Flowers</i><span style="font-style: normal;"> - is more
considered. The clusters of
colourful accordion paper sculptures form a cartoon-like landscape though which
viewers are allowed to walk.
Later, we are shown the shapes that form the basis of these happy
looking objects: guns and bullets.
To be honest, I’m disappointed that the work can’t just be about the
objects, that it had to be made out of war-associated objects. Like Pien and Tagaq’s artwork, the
installation is made more complex than it needs to be.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">The basis of Li Hongbo's paper sculptures</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Jonathan Jones, <i>Untitled (Oysters and Teacups)</i></td></tr>
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As with the 2008 biennale, the iconic island tunnels are
used for site-specific artworks.
Clustered around the bend in the Dog-Leg tunnel, Daan Roosegaarde’s
light poles interact with the viewers’ movement. Jonathan Jones’ ubiquitous geometrically arranged
fluorescent lights are also triggered by our passage through the shorter Tunnel
1 (his other artwork is pictured left). Jon Pylypchuk’s Esky miner
creatures digging away at the northern end of the Dog-Leg are a humorous
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4EhcM_j76WR7qUcE8lVyXgZqYCtMDkmN-apDYVo73yMnG7Sb5cVTUn9O-dsscWhIaEEadln1a5_fVbed0Ae6P0Ocf8y8KcORQ5GP3vsnO0Gu_SRZ9_wCrfrIrTrN0EcfilRE3zfKnCFs/s1600/IMG_6161.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4EhcM_j76WR7qUcE8lVyXgZqYCtMDkmN-apDYVo73yMnG7Sb5cVTUn9O-dsscWhIaEEadln1a5_fVbed0Ae6P0Ocf8y8KcORQ5GP3vsnO0Gu_SRZ9_wCrfrIrTrN0EcfilRE3zfKnCFs/s400/IMG_6161.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jon Pylypchuk, <i>Spend the Rest of Your Life Mining this Death and it Will Only Bring You Dispair</i></td></tr>
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Near the entrance to the tunnel is part of Fujiko Nakaya’s moody fog
sculpture, which follows a similar work by the artist exhibited in the 1976
Sydney Biennale. (Now for some
trivia:) The 1976 work was renamed and installed site-specifically in the
sculpture garden at the National Gallery of Australia in Canberra – a place
that, unlike Cockatoo Island, probably doesn’t need any more fog.</div>
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<tr><td class="tr-caption" style="text-align: center;">Looking out of the warehouse towards Fujiko Nakaya's fog sculpture (clouds extra)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxU00F3-SqlphT5pJQm0lMxs6ulD4N6NwvbMEjPoQAh9F-0ytnbNInoMTOPV0HTLwgvABTqFH3TWSIORkvUXL53x5Nk8Dwox4jMZsM-z7nCqfqXIsvTlHu47VINfd4rHYHO-8W2zrOX44/s1600/IMG_6462.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxU00F3-SqlphT5pJQm0lMxs6ulD4N6NwvbMEjPoQAh9F-0ytnbNInoMTOPV0HTLwgvABTqFH3TWSIORkvUXL53x5Nk8Dwox4jMZsM-z7nCqfqXIsvTlHu47VINfd4rHYHO-8W2zrOX44/s320/IMG_6462.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pinaree Sanpitak, <i>Anything Can Break</i>, MCA</td></tr>
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As I wrote earlier, the Biennale includes a substantial
number of works, and while the island’s scale to an extent relieves the
perception of overcrowding, the MCA is not so lucky. Crowding aside, the MCA’s exhibition is pretty
disappointing. The comparison
between the excellent exhibition of the museum’s acquisitions on level 2, and
the underwhelming and congested biennale installation on 1 and 3, is pretty
indicative.</div>
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The Biennale exhibition at the AGNSW is separately titled <i>In
Finite Blue Planet</i><span style="font-style: normal;">, complying with the art
world’s current love of separ at ing wo rds (and its rarely for obvious
reasons). Evidently, the
exhibition’s focus is on environmental concerns, however, there seems to be far
stronger threads relating to craft, labour and work. Gao Rong’s trompe l'oeil life-sized domestic interior
diorama is painstakingly hand embroidered, Hassan Sharif’s installation
consists colourful piles (each a separate artwork) of obsessively wrapped found objects, and Nipan
Oranniwesna’s fragile </span><i>City of Ghost</i><span style="font-style: normal;">
is an intricate map formed with scented baby powder (I witness a child write
his name in it on the biennale’s second day. Good luck, invigilators). Then there are the delicate cut-outs: Yuken Teuya’s </span><i>Notice-Forest:
Six Jewels</i><span style="font-style: normal;"> carved out of branded paper
shopping bags, and Jorge’s Macchi’s altered world map.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTWGo78KbsJgBvJVnxONL5f9kxfMfS9W0rhRYZkSvsTkvDI0Tp7RyiznSvMuQZiYl8at55sJzFVUloQF18u3Z3kiHHAfT_zhyphenhyphenwESZEU90q2H2blbaEko_epQFUC5gTM-NilNqQwlQ7Yoo/s1600/IMG_6406.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTWGo78KbsJgBvJVnxONL5f9kxfMfS9W0rhRYZkSvsTkvDI0Tp7RyiznSvMuQZiYl8at55sJzFVUloQF18u3Z3kiHHAfT_zhyphenhyphenwESZEU90q2H2blbaEko_epQFUC5gTM-NilNqQwlQ7Yoo/s400/IMG_6406.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hassan Sharif, various works (1985-2007)</td></tr>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">The star of the biennale is Cockatoo Island,
which has been the case for the last three events. Then again, perhaps it’s as much to do with the spectacular
machinery and nostalgic industrial fetish as the art itself.</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPUGBwPMLbEjuzrDn2qJggr2CJfjeolxE92ernS7UhGUobOBWnpyIZsmcpdMV8tZFFi1gcYs1-xwU0PzpxDk52mw65t-hZ2obOubFoQWBMdDpJ_Hb_aj-0ptibURWUhOHsgw00MRg5yeI/s1600/IMG_6568.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPUGBwPMLbEjuzrDn2qJggr2CJfjeolxE92ernS7UhGUobOBWnpyIZsmcpdMV8tZFFi1gcYs1-xwU0PzpxDk52mw65t-hZ2obOubFoQWBMdDpJ_Hb_aj-0ptibURWUhOHsgw00MRg5yeI/s400/IMG_6568.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">...and maybe the Island Bar. </td></tr>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: 12pt;"></span>Lucyhttp://www.blogger.com/profile/14606784865702317737noreply@blogger.com1tag:blogger.com,1999:blog-3025810385129732491.post-39911254527065289832012-03-13T22:49:00.000+11:002012-11-29T19:19:55.420+11:00The Glover Prize, The Mercury and a massive beat upOn Friday evening, the<a href="http://www.johnglover.com.au/"> Glover Prize</a> - a landscape art
competition initiated by the community of Evandale, Tasmania - was awarded to
Rodney Pople, who painted the Port Arthur historic site in the state’s
south. In this landscape stands
the figure of Martin Bryant, who in 1996 went on a mass shooting spree, killing
35 people and injuring 21, thereby adding another layer of brutal history to
the already notorious ex-penal settlement.
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This post is not exploring the merits of Rodney Pople’s
painting per se. Instead, I want to examine the media beat up by Hobart’s local paper, the <i>Mercury</i><span style="font-style: normal;">. The
newspaper has framed this story in a way that misleads readers and incites
anger.</span></div>
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The morning after the Glover Prize announcement, the paper
led with the story <a href="http://www.themercury.com.au/article/2012/03/10/308211_todays-news.html">‘Bryant Painting Prize Outrage.’</a> This headline is misleading, simply because at the time that
the story was uploaded to the <i>Mercury</i> website, 12.01 am, there was little
outrage; no outrage in Evandale, at least. In fact, there was no <i>time</i><span style="font-style: normal;"> for outrage, because it was uploaded only hours after the
announcement. Nick Clark does
quote two people who were unhappy with the subject of Pople’s painting, writing
that John Warren, ex-police inspector, is ‘outraged’. Warren is then quoted as saying he’s “outraged.” Warren also thinks that others should
be ‘outraged’. Anyway, you get the
point. </span></div>
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The <i>Mercury</i><span style="font-style: normal;"> wanted
their paper-selling story on the Glover Prize, and by selling ‘outrage’ they
got it (slight digression: in the Glover Prize’s nine years, this is the first
time that the </span><i>Mercury</i><span style="font-style: normal;"> has really
reported on it). In the comments
section under the online story, readers tell us they’re ‘outraged’ (funny
that), furious, offended, and horrified that a painting that includes Martin
Bryant could even be painted, let alone win a prize. What was most worrying, however, was that people expressed
their concern that Bryant’s figure took up the height of the painting. Why would they think that his figure
takes up the entire canvas, despite the fact that it’s barely visible on the
actual painting until examined close-up?
Well, it’s because the </span><i>Mercury</i><span style="font-style: normal;"> cropped the image so that Bryant’s figure is far more prominent than
it actually is. Additionally, they
have photoshopped the image to increase the contrast and brighten the
colours. The readers, therefore,
are basing their judgement of the work on a photoshopped image and incendiary
article. To be fair, another
smaller image is included with the online story – a photo of the artist and his
painting in the background.
However, the painting is angled and hard to view.</span></div>
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<tr><td style="text-align: center;"><img height="212" src="http://www.themercury.com.au/images/uploadedfiles/editorial/pictures/2012/03/10/BRYANTWIDE_CROP-1_DD186856_235765.JPG" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The cropped and photoshopped image on the <i>Mercury</i> website</td></tr>
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<tr><td style="text-align: center;"><img alt="Rodney Pople: 'It is an eerie landscape, possessed not by the visible but by the invisible.'" src="http://images.smh.com.au/2012/03/09/3113006/glover-prize-420x0.jpg" style="margin-left: auto; margin-right: auto;" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pople's painting as it appears on the Sydney Morning Herald website</td></tr>
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Comparatively, other news outlets were less hysterical. The <i>Sydney Morning Herald</i><span style="font-style: normal;"> (<a href="http://www.smh.com.au/entertainment/art-and-design/martin-bryant-painting-causes-controversy-20120310-1uqvi.html">Martin Bryant Painting Causes Controversy</a>; <a href="http://www.smh.com.au/entertainment/art-and-design/landscape-art-prize-for-seeming-idyll-harbouring-sinister-side-20120309-1upwd.html">Landscape art prize for seeming idyll harbouring sinister side</a>)</span><span style="font-style: normal;"> and the </span><i>ABC</i><span style="font-style: normal;"> websites used the word ‘controversial’ to describe Pople’s painting,
but both used the full image to illustrate the story, and neither of them used
the same incendiary language that the </span><i>Mercury</i><span style="font-style: normal;"> did.
Significantly, </span><i>The Examiner</i>,
which is Northern Tasmania’s main paper (and therefore Evandale’s local paper),
noted the painting’s notorious subject in their Saturday article (<a href="http://www.examiner.com.au/news/local/news/general/states-darkest-hour-wins-glover-prize/2483772.aspx">State's Darkest Hour Wins Glover Prize</a>), but described
the work relatively intelligently and quoted the judges and artist fairly. </div>
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On the Sunday, two days after the prize announcement, the <i>Mercury</i><span style="font-style: normal;"> (seeing it was on to something) printed yet another
inflammatory article, this time by Brandt Teale: <a href="http://www.themercury.com.au/article/2012/03/11/308501_tasmania-news.html">“Prize artist defiant onBryant”</a>. Not only did it give
weight to ridiculous suggestions that the artist donate his winnings to a
charity, but it also printed comments from the previous day’s online article.
Now, everyone knows that for optimum mental health you shouldn’t read online
news comments, let alone take them seriously. The </span><i>Mercury</i><span style="font-style: normal;"> is
notorious for its ill-informed and trolling comments, and as far as I know, has
never reprinted comments in news articles. So why did the paper give these people column space? With
the exception of one (questionably) supportive comment, the reporter quotes
their most ‘outraged’ readers. Oh,
and they again accompany the story with the cropped, photoshopped version of
Pople’s painting. In the comments
section, the more subtle readers placed inverted commas around the word
‘artist’; others called for the painting to be burned, that what Pople had made
was not art, that the judges were unqualified fools, and that it wasn’t a
landscape painting because it had a person in it. Yesterday (Monday), they found another ‘horrified’ person to
interview, and ran with the headline <a href="http://www.themercury.com.au/article/2012/03/12/308671_todays-news.html">“Killing ‘should never’ be art.”</a> Like the other stories, they paint the
artist as heartless, intent on causing unparalleled pain to the community. Again, the </span><i>Mercury</i><span style="font-style: normal;"> accompanied it with the cropped image.</span></div>
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What the <i>Mercury</i><span style="font-style: normal;"> has
done is frame the story and public knowledge of this painting in a way that
encourages controversy, anger, and what is looking like Australia’s favourite
pastime: artist bashing. We saw
this same media beat-up in 2008 over an exhibition by well-known Australian
photographer, <a href="http://www.roslynoxley9.com.au/artists/18/Bill_Henson/profile/">Bill Henson</a>. It
should have been a non-story, an exhibition by an excellent artist who has
exhibited unchallenged in galleries around Australia and overseas, including a
large survey show at the National Gallery Victoria and Art Gallery of New South
Wales in 2005. However, after a vocal
activist complained about the works (without even viewing them), Henson’s
photographs were confiscated by the police for further investigation, and he
was labelled a paedophile by the many hysterical talkback radio callers and
letter writers. The media </span><i>loved
</i><span style="font-style: normal;">it.
One of the trashy morning shows surprised the then Prime Minister Kevin
Rudd with the blown-up exhibition invitation image of a naked child, to which
Rudd, without taking a breath (or asking for context) judged as “absolutely
revolting,” which of course fuelled the media flame further.</span></div>
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I’m not dismissing the pain of the Tasmanian people. The horrific incident at Port Arthur is
a sensitive issue in our relatively small community. Many Hobartians know someone affected by the massacre and
it’s added to Port Arthur’s already bloody history as a penal colony. The painting speaks the truth in saying
that Martin Bryant is and will always be part of the Port Arthur landscape,
which is why it’s so important to have grown-up discussions on this topic. Nothing is solved by censoring artworks
that address difficult or controversial topics, by calling artists ‘evil’ or
calling for canvases to be burned.
However, I must admit that part of me questions the necessity of a
pictorial representation of Bryant’s presence, and from many of the comments on
the <i>Mercury</i><span style="font-style: normal;"> website, it’s this literal
representation that worries them.</span></div>
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But why, if an image of Bryant is so apparently offensive
and harmful to <i>Mercury</i><span style="font-style: normal;"> readers, do they
not question the motives of the paper when they put a full-page image of the
killer on the front page every year on the anniversary of the event? A good friend’s dad, who was injured in
the shooting, told me once that he stayed home each anniversary because he
couldn’t stand seeing Bryant’s face littering the city, courtesy of the </span><i>Mercury</i><span style="font-style: normal;">.</span></div>
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Pople’s painting is not the first to address the Port Arthur
shooting. A recent exhibition at
Hobart’s Inflight gallery focussed on the event. Another artwork, Matt Warren’s <i>Cantus 35, </i><span style="font-style: normal;">was part of the 2007 Port Arthur Project, an
exhibition at the historic site with an emphasis on site-specificity and
place. His work was the only one
out of 23 that addressed the more recent but no less present tragedy. A couple of years ago, he wrote in
response to a question of mine:</span></div>
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<span lang="EN-US">When responding to a place, it is important to
me have some kind of empathy or </span></div>
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<span lang="EN-US">find some personal relation to it. My family
may or may not have a convict history, it's </span></div>
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<span lang="EN-US">fairly unknown to me. But … there was a very
distinct reason why I chose the massacre as a subject. I had been haunted by a memory
from the time it happened.</span></div>
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<i>Cantus 35</i><span style="font-style: normal;"> stemmed
from his own memories of hearing the sounds of gunshots over the radio on the
28<sup>th</sup> April 1996, recorded by a dropped and therefore image-less
video camera. Sited in the Sentry
Box on the picturesque waterfront, the work used a gentle composition of
harmonic sounds to try and “‘exorcise’ this memory and … instant negative
response to the place and … somehow give respect to those who lost their lives
as a result of the massacre.’
Warren’s use of sound and the isolation of each visitor as they stepped
into the tiny Sentry Box were integral to the notions of respect and peace
embedded in </span><i>Cantus 35</i><span style="font-style: normal;">. By not drawing attention to individual
victims or statistics and creating an abstracted, but meaningful soundtrack
(the thirty-five tones used in the piece represented those had died in the
massacre), the work drew ‘little opposition.’</span></div>
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Is the difference between the public reception of the work
simply due to Pople’s pictorial representation of Bryant? I doubt it. I also doubt that the darkened painting is more harmful than
the <i>Mercury</i>’s annual front-page portraits. The <i>Mercury</i> needs to wake up to their hypocrisy and consider
whether they are doing their readers, Tasmanian artists and exhibitions justice
when they mislead readers and frame debate with such a deliberate intention to
mislead.</div>
Lucyhttp://www.blogger.com/profile/14606784865702317737noreply@blogger.com4tag:blogger.com,1999:blog-3025810385129732491.post-56279219772606400012011-12-09T16:14:00.001+11:002011-12-09T17:44:50.213+11:00The New Museum Architecture (updated)I started forming this list in a <a href="http://hobartart.blogspot.com/2011/05/contemporary-art-galleries-in-rome-and.html">previous post</a> this year
following a visit to a number of galleries in Rome, which all showcased innovative
architecture while retaining novel elements of the site's original function, such as slaughterhouse or factory.<span style="mso-spacerun: yes;"> </span>I noted that the identity of
many new museums is very much connected to this new style of architecture, yet the declarations of ‘innovation’, ‘difference’ and in some cases
‘challenging the notion of the white cube’, are ironically very similar.<span style="mso-spacerun: yes;"> </span>While I wrote the original post in May, the ideas
had been brewing for quite some time, particularly the notion of rust fetish in
architecture.<span style="mso-spacerun: yes;"> </span>Since I wrote the
post, I’ve collected a number of images to illustrate my point, and rather than
add them to the old post, I thought it’d be preferable to dedicate a whole post
to the features of new museum architecture.
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh7ni9wxFYpXdExHQyRL0T9sLkGbmY-tuUKoI9ZPwTw1ouv39AL7y1Dw7GHbL3pQeUsBaSgP9p2y-J4zSUjfAh78_cZz4Zruqw1MAgFXCT993YJeNFvjmbFwtthjhrOEqCzQzj8MWRiq4/s1600/FrontAGNSW-440x290.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="131" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh7ni9wxFYpXdExHQyRL0T9sLkGbmY-tuUKoI9ZPwTw1ouv39AL7y1Dw7GHbL3pQeUsBaSgP9p2y-J4zSUjfAh78_cZz4Zruqw1MAgFXCT993YJeNFvjmbFwtthjhrOEqCzQzj8MWRiq4/s200/FrontAGNSW-440x290.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Art Gallery of NSW</td></tr>
</tbody></table>
<div class="MsoNormal">
Before I start on the new museum architecture, I’d like to highlight the epitome of the old/traditional museum architecture – the
neo-classical sandstone building.<span style="mso-spacerun: yes;">
</span>This could be the National Gallery in London, the Modern Art museum in
Rome, or the Art Gallery of New South Wales in Sydney.<span style="mso-spacerun: yes;"> </span>The latter is a classic sandstone portico entranceway
similar to that of a Greek temple, is flanked by bronze statues of horses and
their riders, and surrounded by the greenery of the city’s domain and botanic
gardens. Before the viewer even steps inside the gallery therefore, the very
exterior of the gallery has suggested notions of reverence and devotion.<span style="mso-spacerun: yes;"> </span>I’ve examined the semiotics of the
AGNSW for my PhD and could bang on about it for pages, but I’ll save you and
move on to the contemporary stuff. I just want to emphasise the fact that
art institutions have always conveyed messages through their architecture; the new museum style may look different but the intentions are not all that
dissimilar. While the newer white-walled galleries appear relatively neutral
and unobtrusive in comparison to the distinct and heavy aesthetics of the older
galleries and exterior, this neutrality is merely a façade, an illusion.</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnkekCOHZI9x4a_M3lzfz5h7-EF8-6CnW7s6hJ4Wjc-N3ltZ89hftGQFoLjL_rmUZPw4zlA6BD0ci-j2L4UNHAM-vtbhmY0IZtSESQMoZJyHhs0iYIhu3kCIeX04cSDIrTqr2iLStinwA/s1600/white_wall.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="161" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnkekCOHZI9x4a_M3lzfz5h7-EF8-6CnW7s6hJ4Wjc-N3ltZ89hftGQFoLjL_rmUZPw4zlA6BD0ci-j2L4UNHAM-vtbhmY0IZtSESQMoZJyHhs0iYIhu3kCIeX04cSDIrTqr2iLStinwA/s200/white_wall.jpg" width="200" /></a></div>
<div class="MsoNormal">
I’ve been to more than one lecture or specialised tour led
by Museum staff, where they’ve stressed that “we’re not the usual white cube
gallery”.<span style="mso-spacerun: yes;"> </span>One such gallery was the
Istanbul Modern.<span style="mso-spacerun: yes;"> </span>Their reasoning?
The gallery, which has prime views over the Bosphorus, used to be a shipping
warehouse. They’d retained the exposed pipes on the ceiling, emphasising their
presence by painting them red. Yet, their walls were white, the painting areas
neatly partitioned off, and the video works were tucked away in what might be called
a ‘black cube’. The gallery used the same strategies of neutralising the space
as most contemporary art galleries. What I found most interesting was the
anxiety about being labelled a ‘white cube’ space, and perhaps the
misconceptions about the term.<span style="mso-spacerun: yes;"> </span>I
think it also explains the popularity of industrial to art centre conversions,
where original features are retained.<span style="mso-spacerun: yes;">
</span>By retaining original pipes, machinery, railway tracks, roughly hewn
wood pillars, scarred walls, they distance themselves from the most literal
interpretation of ‘the white cube’, and the ideology explained in Brian
O’Doherty’s influential text.<span style="mso-spacerun: yes;"> </span>But
maybe industrial nostalgia is the new ‘white cube’?<span style="mso-spacerun: yes;"> </span>The art world has a rust fetish.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Here are some of the features of the new museum:</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
1. Angles. Not right angles, other angles.</div>
<div class="MsoNormal">
<br />
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTTyEmcbtiiy7FwhzbKJY6spfeUaTBmO9JwbsZk_4D9BvUhyZcGGvL7pIVj2S_ZIQKrXD0ZhCaF5U_9yeSCDouQB1-8Hg3OJZaSLNnyRURoVJ_msFM68qQLj7K8RJ8S1jTSgrR9qDlpjQ/s1600/IMG_4258.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTTyEmcbtiiy7FwhzbKJY6spfeUaTBmO9JwbsZk_4D9BvUhyZcGGvL7pIVj2S_ZIQKrXD0ZhCaF5U_9yeSCDouQB1-8Hg3OJZaSLNnyRURoVJ_msFM68qQLj7K8RJ8S1jTSgrR9qDlpjQ/s400/IMG_4258.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">NGV Australia, Melbourne</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnuTlUXoBRSaQ7JlUj1lW1h3V6evn9LbCp5xLVURBIuzdW7kPacO4Zrxp-kE4oWHNg-rt1OfOtNKnO78WjGUrnD8759qckpD73SNCTWk5BtMoMvkAYZtIOLu5hV4iTdwgJOs-2wOz4p2I/s1600/IMG_1200.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnuTlUXoBRSaQ7JlUj1lW1h3V6evn9LbCp5xLVURBIuzdW7kPacO4Zrxp-kE4oWHNg-rt1OfOtNKnO78WjGUrnD8759qckpD73SNCTWk5BtMoMvkAYZtIOLu5hV4iTdwgJOs-2wOz4p2I/s400/IMG_1200.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Australian Centre for Contemporary Art (ACCA), Melbourne</td></tr>
</tbody></table>
<div class="MsoNormal">
<br />
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4rYrnvb41goli-DPULYoPNEy3gANssCS_mA6HtxSSBhylE3CZOP_hTv56bp4f1lT9Osx65HNVO-TNGj_rFuqqMpE9lD8eCMXN-ql7hjAfgVUDs0pNSNj8QHBVj1kZBkriu7LEWWBvDLQ/s1600/DSCN7839.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4rYrnvb41goli-DPULYoPNEy3gANssCS_mA6HtxSSBhylE3CZOP_hTv56bp4f1lT9Osx65HNVO-TNGj_rFuqqMpE9lD8eCMXN-ql7hjAfgVUDs0pNSNj8QHBVj1kZBkriu7LEWWBvDLQ/s400/DSCN7839.JPG" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">MAXXI, Rome</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJMShNnQvFpjEG_gqQ1mZ-E8u223dc6Uhp-BGvPO8jg2MU31ICnZmfcXgReqHWGCdMA0zFTtU7wIEkbzkqSalSAF5JZhiAUHpBmwNwCmZCp-9i4UVkJ1gyv8KyH_48NIFisk0aK-w5nfw/s1600/DSCN0669.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJMShNnQvFpjEG_gqQ1mZ-E8u223dc6Uhp-BGvPO8jg2MU31ICnZmfcXgReqHWGCdMA0zFTtU7wIEkbzkqSalSAF5JZhiAUHpBmwNwCmZCp-9i4UVkJ1gyv8KyH_48NIFisk0aK-w5nfw/s400/DSCN0669.JPG" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Guggenheim, Bilbao</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmX8EjJ-sInZ-xVFmJuhVzX5K4g_2JjvyL6z9o7_ohFPzaWn04frUPwgOwBJko40_am5nXHH4iwBGB2eaBjqV8lSuZ8KFq3z6nuI66xzjmd5fvqB1TyD6mm7ydlDalQDH0Z9E3zELOz-0/s1600/10121_original_558x837.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmX8EjJ-sInZ-xVFmJuhVzX5K4g_2JjvyL6z9o7_ohFPzaWn04frUPwgOwBJko40_am5nXHH4iwBGB2eaBjqV8lSuZ8KFq3z6nuI66xzjmd5fvqB1TyD6mm7ydlDalQDH0Z9E3zELOz-0/s400/10121_original_558x837.jpg" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tel Aviv Museum of Art (source: <a href="http://www.visi.co.za/content/article/1342/tel-aviv-museum-of-art">VISI</a>)</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsXaBgiQHJNDa26Q9SL2XXV0LCyrnX2AFHs3OrM3aw5ibPvMm6sDI1mejChq-5_59ZVAO-So8vG2tkmqH2MSCzrdOwdGtm2gGVTZGmLBs6taJwIyIfRPvxQm8eE2aRyBZrwRQnaqbjuKA/s1600/DSCN0527.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsXaBgiQHJNDa26Q9SL2XXV0LCyrnX2AFHs3OrM3aw5ibPvMm6sDI1mejChq-5_59ZVAO-So8vG2tkmqH2MSCzrdOwdGtm2gGVTZGmLBs6taJwIyIfRPvxQm8eE2aRyBZrwRQnaqbjuKA/s320/DSCN0527.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">staircase, CaixaForum Madrid</td></tr>
</tbody></table>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
2. Floating (or unlikely) staircases.</div>
<div class="MsoNormal">
<br />
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFGXOPAdzUGd7dvCYQPAuTJYaYylGWnSDB_GwDnABWu9V-K7UflL9gXxEraelujquZGc28IJfWeldGP5_kMOheRLDxSHrZn88IBhNTSXMPi6xIOwJylRoRhMPB1BGIaUDRm182VmL5t1s/s1600/DSCN7847.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFGXOPAdzUGd7dvCYQPAuTJYaYylGWnSDB_GwDnABWu9V-K7UflL9gXxEraelujquZGc28IJfWeldGP5_kMOheRLDxSHrZn88IBhNTSXMPi6xIOwJylRoRhMPB1BGIaUDRm182VmL5t1s/s400/DSCN7847.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">MAXXI, Rome</td></tr>
</tbody></table>
<div class="MsoNormal">
<br />
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8PYFAnzxJa_Jpj47Ztvlp7Y405SSGYMVMRkJQAHwejwmFUXN4oxQtDEc2-y7DaLJvNahVuO2MzhhACjZgoWMiZHQ6PiJiv65NkWrhYz12pZRLOOUGTLUiR26Je7Xym6f3EK5SA7CxK3w/s1600/DSCN7894.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8PYFAnzxJa_Jpj47Ztvlp7Y405SSGYMVMRkJQAHwejwmFUXN4oxQtDEc2-y7DaLJvNahVuO2MzhhACjZgoWMiZHQ6PiJiv65NkWrhYz12pZRLOOUGTLUiR26Je7Xym6f3EK5SA7CxK3w/s400/DSCN7894.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Macro, Rome</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_AkhzmplSsAWnH4X5aT67Cpx9xuOkEYTEMtlik2cnYdTjlO3OSwl5z3CiW-dbcaQzRA-wtCObiihY52gumdNQ1gpGqj1hG0m3dly_qdUZWVa6vzWgygdWljGv-amLWSZeauRZFxm0_j8/s1600/staircase+3+istanbul+modern.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_AkhzmplSsAWnH4X5aT67Cpx9xuOkEYTEMtlik2cnYdTjlO3OSwl5z3CiW-dbcaQzRA-wtCObiihY52gumdNQ1gpGqj1hG0m3dly_qdUZWVa6vzWgygdWljGv-amLWSZeauRZFxm0_j8/s400/staircase+3+istanbul+modern.JPG" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">cage staircase, Istanbul Modern, Istanbul</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5izNiAddE80T1QAIBY69ssxkWyzAqgj5KysWJVgxIorKsQKu6gOfGqwsmqLLBHEdJUDe9hoKDhf_wkl_K8J8fNqsDev6uPc_rAORmnfca5YOX51odihYHZELl2iEvelcmfemzi7o7lR0/s1600/DSCF2793.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5izNiAddE80T1QAIBY69ssxkWyzAqgj5KysWJVgxIorKsQKu6gOfGqwsmqLLBHEdJUDe9hoKDhf_wkl_K8J8fNqsDev6uPc_rAORmnfca5YOX51odihYHZELl2iEvelcmfemzi7o7lR0/s320/DSCF2793.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Spiral Staircase, MONA, Hobart</td></tr>
</tbody></table>
<div class="MsoNormal">
<br />
</div>
<div class="MsoNormal">
3. The walls are mostly white, even if they’re self-aware of the white.<span> </span>Sometimes they’ll have a few coloured walls just to show that they’re slightly subversive.</div>
<div class="MsoNormal">
<br />
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhScFcA5hlY0azM3zxjas-Ac0LfPPGUiMaynfAXPNI2kMOKfU-h4C9OUSAK1swAY79alU9w8JRoFGE0MfiVXkXQdZxJY4ebjagf1kSJSNYEn5e4MELsNdtA8adef5NwH_F6bWg1vI5-q1g/s1600/DSCN6089.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhScFcA5hlY0azM3zxjas-Ac0LfPPGUiMaynfAXPNI2kMOKfU-h4C9OUSAK1swAY79alU9w8JRoFGE0MfiVXkXQdZxJY4ebjagf1kSJSNYEn5e4MELsNdtA8adef5NwH_F6bWg1vI5-q1g/s400/DSCN6089.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">GOMA, Brisbane<br />
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlujetycqmzTV4y6zdiwZFred3pFDu0z4bKnEG28FrCymirga0J5MqhStgg0bVMbOpDF7DeHz6rgCmPJVC8_UtkLJJfb14d2o1vRYWL8kIfEFXPrRERhg2h6Jiq36ZshxUrDIDDkfPEGs/s1600/DSCN7913.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlujetycqmzTV4y6zdiwZFred3pFDu0z4bKnEG28FrCymirga0J5MqhStgg0bVMbOpDF7DeHz6rgCmPJVC8_UtkLJJfb14d2o1vRYWL8kIfEFXPrRERhg2h6Jiq36ZshxUrDIDDkfPEGs/s400/DSCN7913.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Macro, Rome<br />
</td></tr>
</tbody></table>
<div class="MsoNormal">
<br />
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpEoKNfkzuFp_4RtmPTa3mcLGJauZ7DM93b7pxVpCf1NrkNtIGc2kZQVZbx01Ar4Y3WrlEgptA_R89BaJhNfKaxbN3BAcY96dg-OoVq6YHp8IYERtGBFJKBIxC4h6Tcayv3uO827j3TA4/s1600/DSCN7975.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpEoKNfkzuFp_4RtmPTa3mcLGJauZ7DM93b7pxVpCf1NrkNtIGc2kZQVZbx01Ar4Y3WrlEgptA_R89BaJhNfKaxbN3BAcY96dg-OoVq6YHp8IYERtGBFJKBIxC4h6Tcayv3uO827j3TA4/s400/DSCN7975.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The red to break up the white, Macro, Rome</td></tr>
</tbody></table>
<div class="MsoNormal">
<br />
</div>
<div class="MsoNormal">
4. (speaking of which...) A touch of red.</div>
<div class="MsoNormal">
<br />
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEva7z2K2ZIzxg6RHxALBP8MGy-H9yU1oIYaRx8hj3VkRYzvYRUbs7TDXZNxtc6yxTYrYSA32BoOIPzYPWt_aaummGQmPT9yQ1WAKWjfZedbFMQ3EXb8f_2DVI-8BRrBclWE9oObY5c7c/s1600/DSCN7844.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEva7z2K2ZIzxg6RHxALBP8MGy-H9yU1oIYaRx8hj3VkRYzvYRUbs7TDXZNxtc6yxTYrYSA32BoOIPzYPWt_aaummGQmPT9yQ1WAKWjfZedbFMQ3EXb8f_2DVI-8BRrBclWE9oObY5c7c/s400/DSCN7844.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">MAXXI, Rome</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpuiUFK8pyTm2Qq2i5eiX4wUrxRVXNs6x3x4IXocB2sXsVIF5IhLrb70wXBuj4gTKEXbTq2lJU6SpbTS5RyMNomk_9iJZwVTe4xvQcb_muuPf3AwXiNs3lcdRvHyqMzJx-TvYj0Q9ro1w/s1600/IMG_0734.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpuiUFK8pyTm2Qq2i5eiX4wUrxRVXNs6x3x4IXocB2sXsVIF5IhLrb70wXBuj4gTKEXbTq2lJU6SpbTS5RyMNomk_9iJZwVTe4xvQcb_muuPf3AwXiNs3lcdRvHyqMzJx-TvYj0Q9ro1w/s400/IMG_0734.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ceiling, Istanbul Modern</td></tr>
</tbody></table>
<br />
5. Sexy concrete: polished for the floor; brutally raw or curved for the walls/exterior.<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyNSWnLHnAkuqaUkuRm3EI2YEJgM2n5c7J3m3qpOtAaL_JZwuxTI6uPKrI6B1WaY0ZufHate94VBcIsTTr6wCOam6JBwYwfe6eaMCsgKvP1iUJqLhLCSyQN0lXgJZvQlH8XbTessuUxOk/s1600/DSCN7835.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyNSWnLHnAkuqaUkuRm3EI2YEJgM2n5c7J3m3qpOtAaL_JZwuxTI6uPKrI6B1WaY0ZufHate94VBcIsTTr6wCOam6JBwYwfe6eaMCsgKvP1iUJqLhLCSyQN0lXgJZvQlH8XbTessuUxOk/s400/DSCN7835.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">MAXXI, Rome</td><td class="tr-caption" style="text-align: center;"><br />
</td><td class="tr-caption" style="text-align: center;"><br />
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_brHNJWq_HOHYAB2j2l08TWvrZPypeaCvBgJ1solaBtIk9JlDXpMwxmPevC-FmOCgPHgL_Oa-nHQ21zu0aFkPCVPC2JJbwZ6YRCjdx1pz5elNMPQuUsfs42lg2LjGri14G9CKbaXgNjo/s1600/IMG_0771.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_brHNJWq_HOHYAB2j2l08TWvrZPypeaCvBgJ1solaBtIk9JlDXpMwxmPevC-FmOCgPHgL_Oa-nHQ21zu0aFkPCVPC2JJbwZ6YRCjdx1pz5elNMPQuUsfs42lg2LjGri14G9CKbaXgNjo/s400/IMG_0771.JPG" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Istanbul Modern</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj19ZHCd17ciyyhXFc-VCc9_cxllHqbw8n2KMrBgpE4hmk3AhnynCP9OFgS349DJPmO65pSKaF_GCA6sTcn3Yt5LY78rZy1w-WGgnGp1t_1kfzV2aO0FIfcv0CY1cvLgToYQZ13Q70mxn8/s1600/DSCN6926.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj19ZHCd17ciyyhXFc-VCc9_cxllHqbw8n2KMrBgpE4hmk3AhnynCP9OFgS349DJPmO65pSKaF_GCA6sTcn3Yt5LY78rZy1w-WGgnGp1t_1kfzV2aO0FIfcv0CY1cvLgToYQZ13Q70mxn8/s400/DSCN6926.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cer Modern, Ankara, Turkey</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip7dcG3_bKl09dImM5iZ73Skpf8ujyHT9kRB37Ak8MoqBkJA6GNIt-4hGtnnnW_HyDvhzUQwL89Ns2PvVo90asIv2O5fpHmPQhqEvPzgRvlCGK5NzdULNl6QLTnmDXPnSUii4JFn3FpdE/s1600/10115_original_558x786.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip7dcG3_bKl09dImM5iZ73Skpf8ujyHT9kRB37Ak8MoqBkJA6GNIt-4hGtnnnW_HyDvhzUQwL89Ns2PvVo90asIv2O5fpHmPQhqEvPzgRvlCGK5NzdULNl6QLTnmDXPnSUii4JFn3FpdE/s400/10115_original_558x786.jpg" width="283" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Tel Aviv Museum of Art (source: <a href="http://www.visi.co.za/content/article/1342/tel-aviv-museum-of-art">VISI</a>)</td></tr>
</tbody></table>
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6. At least one ridiculously large room,
which will often accommodate small objects. You will look up at the
skylights or beams on the roof (oh, so far, far away) like you would in
a church. The room will make you feel insignificant and humble. Art
is god.</div>
<div class="MsoNormal">
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXxM0qa7hwaK1KUxeeh41wIM6jB2NVPvS9fCgaSF_bOfpekpF6qaILyiSnWoqAcnbWhRoJVXQy72Z0uhF5gt612aUaJZYtBylw_KyXFHrL1pfVJQr64i5U-2-3t6dqjt-A-1zpKCz1l-Y/s1600/DSCN7907.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXxM0qa7hwaK1KUxeeh41wIM6jB2NVPvS9fCgaSF_bOfpekpF6qaILyiSnWoqAcnbWhRoJVXQy72Z0uhF5gt612aUaJZYtBylw_KyXFHrL1pfVJQr64i5U-2-3t6dqjt-A-1zpKCz1l-Y/s400/DSCN7907.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Macro, Rome</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga3Piad_rd8UY8KNc4f8kPQVVqR_seDRuLBbSHqT5qDxl82JGsvkFH8bv-zB1lbB588Vkbxys4007sjkoCZPww4zmQyjO_qFcq_g6bYHB1sIiC3ibjeZE4ZaTRp42vMFZREzQm6E5b4bY/s1600/DSCN7886.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga3Piad_rd8UY8KNc4f8kPQVVqR_seDRuLBbSHqT5qDxl82JGsvkFH8bv-zB1lbB588Vkbxys4007sjkoCZPww4zmQyjO_qFcq_g6bYHB1sIiC3ibjeZE4ZaTRp42vMFZREzQm6E5b4bY/s400/DSCN7886.JPG" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Macro, Rome</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.tate.org.uk/modern/exhibitions/eliasson/about.htm" style="margin-left: auto; margin-right: auto;"><img alt="Olafur Eliasson, The Weather Project. © Olafur Eliasson. Photo © 2003 Tate, London" border="0" height="360" src="http://www.tate.org.uk/modern/exhibitions/eliasson/images/hallsun4.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Olafur Eliasson, <i>The Weather Project</i> (2004), Tate Modern, in the turbine hall</td></tr>
</tbody></table>
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<br />
</div>
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7. They have toilets with weird sinks. You
may or may not get them to function. (I wish I'd taken a photo of the
Macro sinks, but I feel a bit uncomfortable taking photos in bathrooms)</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLutQuCCHWVwaVKNF9KHxzDsoNrI-lhUCWgNSJOYznhoIgwGuZ_-OR9wZxHsSIIXr5bKhfsnkwFEnhV5bc52HCIgIIABxt54goclGp-p3_0o4dprf9wZ7I-vGe7Hn-g4rftFg3MYkz5jA/s1600/DSCN5990.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLutQuCCHWVwaVKNF9KHxzDsoNrI-lhUCWgNSJOYznhoIgwGuZ_-OR9wZxHsSIIXr5bKhfsnkwFEnhV5bc52HCIgIIABxt54goclGp-p3_0o4dprf9wZ7I-vGe7Hn-g4rftFg3MYkz5jA/s400/DSCN5990.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Gallery of Modern Art (GOMA), Brisbane</td></tr>
</tbody></table>
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<br />
</div>
<div class="MsoNormal">
8. The building has an industrial past, popular past functions include slaughterhouses, factories, power stations or shipping warehouses:</div>
<div class="MsoNormal">
<br />
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD-f2iV9jcu7eNhkJdkKS47nCqYI86N3ao6gAuELvfNBs9IVIWkA29mqpypVLU0JmEZ9vt8VKqJyZnNQTiACi39YAXUyKfyqRbJFcTJwph5ZoqjRPH6wde2a6eZCIT1gf7FhS48j-I82I/s1600/DSCN7917.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD-f2iV9jcu7eNhkJdkKS47nCqYI86N3ao6gAuELvfNBs9IVIWkA29mqpypVLU0JmEZ9vt8VKqJyZnNQTiACi39YAXUyKfyqRbJFcTJwph5ZoqjRPH6wde2a6eZCIT1gf7FhS48j-I82I/s400/DSCN7917.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Macro (ex-slaughterhouse, Peroni factory)</td><td class="tr-caption" style="text-align: center;"><br />
</td></tr>
</tbody></table>
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</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEY4PVG71TktNUeLuOlImgzPtjZkcSXC3Rcw7e8BFuhUQhchUsvH3-w8MtEiiJ4XrGO_Z4FRf1cqfbFBvc-2rhqoomenKW98KzP5ZqKFYZ-q06Qqw5i6oDGngm9GmYZOkRlD4WX96LujjF/s1600/Istanbul+Modern.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEY4PVG71TktNUeLuOlImgzPtjZkcSXC3Rcw7e8BFuhUQhchUsvH3-w8MtEiiJ4XrGO_Z4FRf1cqfbFBvc-2rhqoomenKW98KzP5ZqKFYZ-q06Qqw5i6oDGngm9GmYZOkRlD4WX96LujjF/s320/Istanbul+Modern.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Istanbul Modern (ex-shipping warehouse)</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBeqo7P5dxCCPC5crvHaZ_SjOiDAEiPu4CNRC9AV9nKN5eEXd_0fP1f2FdhwRmQhk37eZGEVAakklm9GluA-C4L5Pen6yf90DxP9Pi0ibznXvmsGej9bYEr9L0lu8oENdcMRKn8uaIuYA/s1600/IMG_2036.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBeqo7P5dxCCPC5crvHaZ_SjOiDAEiPu4CNRC9AV9nKN5eEXd_0fP1f2FdhwRmQhk37eZGEVAakklm9GluA-C4L5Pen6yf90DxP9Pi0ibznXvmsGej9bYEr9L0lu8oENdcMRKn8uaIuYA/s400/IMG_2036.jpg" width="300" /> </a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detached, Hobart (ex-Church)</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg77tHcGveLvU597Ayc8ZJuK4EYD1HY0eNKmFC8Kk3ZL9Zm-2l9LxoVOzv2AO2GcYz7WviWAntZy74v6yi_Sib8LV_66hT4EplzGNPRwL1cn7R0IShiyQTp5ipabQMwOxjWU7wSGH0VYeM/s1600/DSCN6924.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg77tHcGveLvU597Ayc8ZJuK4EYD1HY0eNKmFC8Kk3ZL9Zm-2l9LxoVOzv2AO2GcYz7WviWAntZy74v6yi_Sib8LV_66hT4EplzGNPRwL1cn7R0IShiyQTp5ipabQMwOxjWU7wSGH0VYeM/s400/DSCN6924.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cer Modern, Ankara, Turkey (ex-railyards)</td><td class="tr-caption" style="text-align: center;"><br />
</td><td class="tr-caption" style="text-align: center;"><br />
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.tate.org.uk/modern/images/homepage/gallery.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Tate Modern" border="0" height="273" src="http://www.tate.org.uk/modern/images/homepage/gallery.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tate Modern, London (ex-powerstation)</td><td class="tr-caption" style="text-align: center;"> </td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitw1PkJ8P23eoMneiKyVDnyn0n-Cjv8xWLc7DBGQaXishWx1w0H5ZhmpnLaCDfj-k5Wn4mny0AhiDfkWCB-trTKPzk9rMz3WCedxpKNgzFRa022HNLo8yQ_yME7s4taKPy7G_J-rU2WEo/s1600/IMG_0875.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitw1PkJ8P23eoMneiKyVDnyn0n-Cjv8xWLc7DBGQaXishWx1w0H5ZhmpnLaCDfj-k5Wn4mny0AhiDfkWCB-trTKPzk9rMz3WCedxpKNgzFRa022HNLo8yQ_yME7s4taKPy7G_J-rU2WEo/s400/IMG_0875.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">okay, it's not a
gallery per se, but Cockatoo Island's a popular venue for the Sydney
Biennale (ex-shipyards, gaol). It's similar to the Venice Biennale's
arsenale in this way. The use of industrial structures for temporary
exhibitions is a whole other post...</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUkiYMib4EcpJ38tWWThv6jUfHQl1TQEsMzO1ZIkoORQoxjgwizI0hKXD1FFRn-ER-nIiGK6TpLQG78eON654VfDpvDLdaYn3JlgSF7CjVvxJhvfyAXlGASrKbguwkqlutPa6kmAGyfis/s1600/Darlington_Carriageworks_1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUkiYMib4EcpJ38tWWThv6jUfHQl1TQEsMzO1ZIkoORQoxjgwizI0hKXD1FFRn-ER-nIiGK6TpLQG78eON654VfDpvDLdaYn3JlgSF7CjVvxJhvfyAXlGASrKbguwkqlutPa6kmAGyfis/s320/Darlington_Carriageworks_1.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Carriageworks, Sydney, multi-arts centre (the old Eveleigh Rail Yards)</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPOQHwEIgXq5fT_99BdIDm933WD1WXOyJkdD4-UmbN5py6XDvVKdMqj7_-MMBZFHt_IX4wM7w7MBTYU33YsiCy910smpUWvwJOQ84SUTHwETcPzGt6hLINTEVW-eqcazA3olYGkzvBctg/s1600/MASSMoCA2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPOQHwEIgXq5fT_99BdIDm933WD1WXOyJkdD4-UmbN5py6XDvVKdMqj7_-MMBZFHt_IX4wM7w7MBTYU33YsiCy910smpUWvwJOQ84SUTHwETcPzGt6hLINTEVW-eqcazA3olYGkzvBctg/s320/MASSMoCA2.jpg" width="252" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="st">Massachusetts Museum of Contemporary Art (MASS MoCA)</span></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4lAvdye1ve4Br3tyDXVFqV7aRxmbAhpXY_Z7Ad2zfRuUIJXDq0LjL2VZSbLOafcVoqbGUGFbT3MTPm91T5jbUiN3m2lJr00-yg-hPM5mHKiGKVHD4y8YJmeGu2ATcJyioSYgRQqjRytY/s1600/DSCN0542.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4lAvdye1ve4Br3tyDXVFqV7aRxmbAhpXY_Z7Ad2zfRuUIJXDq0LjL2VZSbLOafcVoqbGUGFbT3MTPm91T5jbUiN3m2lJr00-yg-hPM5mHKiGKVHD4y8YJmeGu2ATcJyioSYgRQqjRytY/s320/DSCN0542.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Matadero de Madrid, old municipal slaughterhouse</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLeeOuMwc84YF7-xeP1OWLHYqD9IUddodzT7k0HABnjwpQWVC-CuLAiiY-KGV2pH242K7oY3RFRuz9M2onV5pmnVVKX06-IH2EDHccF7Wn08DT60TReDUrh5FW1A46HRIFrwogrgGut4M/s1600/DSCN0522.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLeeOuMwc84YF7-xeP1OWLHYqD9IUddodzT7k0HABnjwpQWVC-CuLAiiY-KGV2pH242K7oY3RFRuz9M2onV5pmnVVKX06-IH2EDHccF7Wn08DT60TReDUrh5FW1A46HRIFrwogrgGut4M/s320/DSCN0522.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">CaixaForum Madrid (former electric powerstation). A fantastic mix of rust, old brick, and living wall</td></tr>
</tbody></table>
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9. Exposed plumbing or other functional parts of the gallery (also to show awareness of the white cube shiz) </div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBf0HaTJH3tOwT9Te1BPJt6MR_5t8aImTxeeo7FC-LClHljUd-6SAY0yLOZk7tcdoxZid0F65v3Ibzyp2dOPerLrIdUI3BA35aGoPYXSV2nw2_Sg8xf03175OBIs7eW_0fQojPxKrSZbQ/s1600/DSCN1392.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBf0HaTJH3tOwT9Te1BPJt6MR_5t8aImTxeeo7FC-LClHljUd-6SAY0yLOZk7tcdoxZid0F65v3Ibzyp2dOPerLrIdUI3BA35aGoPYXSV2nw2_Sg8xf03175OBIs7eW_0fQojPxKrSZbQ/s400/DSCN1392.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pompidou, Paris</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidfNcr6PQrmDl-BVHhpAzSKRCRoEu-PF0NX2i4Wd83HgU66tw0l3JAty-phjquVu5fJtw2n85FkhNXA7px8WZxxeeyM5MK02OcvL3T154SRyQBeZRBADcASa8uqdc4hXTPKIzslr5agzY/s1600/Istanbul+Modern+Ceiling+2.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidfNcr6PQrmDl-BVHhpAzSKRCRoEu-PF0NX2i4Wd83HgU66tw0l3JAty-phjquVu5fJtw2n85FkhNXA7px8WZxxeeyM5MK02OcvL3T154SRyQBeZRBADcASa8uqdc4hXTPKIzslr5agzY/s400/Istanbul+Modern+Ceiling+2.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Istanbul Modern</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-77SXT-nZosTGiK47zb10YZwXePstFFvmv3NNnygJoG44sxPvnQEJM7ZTjiELWHZwjRkkKRQo9XixINTcnQ92jQQK3lt9OJMofsWT6spntVhRixUVM5V2Bj3Qk_iusgQXZdVh2KC-B-I/s1600/IMG_2227.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-77SXT-nZosTGiK47zb10YZwXePstFFvmv3NNnygJoG44sxPvnQEJM7ZTjiELWHZwjRkkKRQo9XixINTcnQ92jQQK3lt9OJMofsWT6spntVhRixUVM5V2Bj3Qk_iusgQXZdVh2KC-B-I/s400/IMG_2227.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">MONA, Hobart</td></tr>
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10. Rust fetish.<span> </span>If the rust
was not already part of the building prior to its current function as a
gallery, ‘new’ rust is manufactured. Rust fetish not only refers to
literal rust, but also aged features in general - old machinery,
crumbling bricks, old graffiti...</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjamwK1EyTs3NqM-ve5w82dV8TIWTAPIrGlfN4fIYHXO60qMOqs0S3SGB4iYHyj1iriLxS9SmedW3w8zvlEPd2xTNko3P-ep_QbaGfBseQyrxnC7MRwH19l3dUHItMCNGTOAwjQQv9TLtE/s1600/IMG_1207.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjamwK1EyTs3NqM-ve5w82dV8TIWTAPIrGlfN4fIYHXO60qMOqs0S3SGB4iYHyj1iriLxS9SmedW3w8zvlEPd2xTNko3P-ep_QbaGfBseQyrxnC7MRwH19l3dUHItMCNGTOAwjQQv9TLtE/s400/IMG_1207.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">ACCA, Melbourne (new rust)</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8USI6sJuBmYlQp4SA_-vVdkuq1ktwgk6qw_6kCj3M39I7O0r9dRuH0Orz4jjvyfhVkdxB_F-8J7POZdfFr0DO8Ikwfg_jYtFZ4uZjJnSnx7jP3hMIwQ1hXOc_ewM-SsPKR10RTIoErMQ/s1600/Carriage_Works_foyer_news1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8USI6sJuBmYlQp4SA_-vVdkuq1ktwgk6qw_6kCj3M39I7O0r9dRuH0Orz4jjvyfhVkdxB_F-8J7POZdfFr0DO8Ikwfg_jYtFZ4uZjJnSnx7jP3hMIwQ1hXOc_ewM-SsPKR10RTIoErMQ/s1600/Carriage_Works_foyer_news1.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Carriageworks, Sydney</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNTpPDwTwLahPMP_-nKzcYiG9Dywy5J-pRt56mAseaIwRnoBRIRGmPiKSACsq_NcoPLnPjs5liXTNUOdKmOy_pZ3TIW5EwF8LILK28v2mbRZq0Ch00U5VhoaxUseUrCYVcAKFJ8FTvABs/s1600/DSCN0532.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNTpPDwTwLahPMP_-nKzcYiG9Dywy5J-pRt56mAseaIwRnoBRIRGmPiKSACsq_NcoPLnPjs5liXTNUOdKmOy_pZ3TIW5EwF8LILK28v2mbRZq0Ch00U5VhoaxUseUrCYVcAKFJ8FTvABs/s320/DSCN0532.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Matadero, Madrid</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc5Wu4udmDjcydrupp8B1U6nXLs7Ur7JzW-h3RGyzLEsLSNt2ywM2eu6-lLNwgT2ah1xNVWad2H7q0Dek6k5OWXc1LOd4PNAKqvRS3I6oodz6v8BXa0fc9PZWcMdgLMf_BI3H8JU1JqzM/s1600/DSCN0520.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc5Wu4udmDjcydrupp8B1U6nXLs7Ur7JzW-h3RGyzLEsLSNt2ywM2eu6-lLNwgT2ah1xNVWad2H7q0Dek6k5OWXc1LOd4PNAKqvRS3I6oodz6v8BXa0fc9PZWcMdgLMf_BI3H8JU1JqzM/s400/DSCN0520.JPG" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">CaixaForum, Madrid</td></tr>
</tbody></table>
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10. Site-specific art that responds to unusual or novel aspects of the architecture.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrP1Q3tEyKqLpX2DOxB4uPXc9MEVspWASsvgVe1Z0lo8kJcQFUPIa5FLh8R_9HdOW_FJ1pavRri4B4syREUpIGD2iX0mCuds7owJl7hq6s_yfnjNMziQQOGnbuJSxBie0W6fEOkNk1UVU/s1600/DSCN6080.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrP1Q3tEyKqLpX2DOxB4uPXc9MEVspWASsvgVe1Z0lo8kJcQFUPIa5FLh8R_9HdOW_FJ1pavRri4B4syREUpIGD2iX0mCuds7owJl7hq6s_yfnjNMziQQOGnbuJSxBie0W6fEOkNk1UVU/s400/DSCN6080.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">GOMA, Brisbane</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxIWxJwrrlkm0MfUQ4vAUjrWxHoLpR4f4Na2PdqvbPRjFoSIKwZe9_ext75cTflXP5aiQqbCKPoc7rC230XS-bb4vOLi2GZDr0kEMO2vb98yWppC74OpRnY9zgqJ7OZHLBq6pUT-3JjCs/s1600/DSCN7968.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxIWxJwrrlkm0MfUQ4vAUjrWxHoLpR4f4Na2PdqvbPRjFoSIKwZe9_ext75cTflXP5aiQqbCKPoc7rC230XS-bb4vOLi2GZDr0kEMO2vb98yWppC74OpRnY9zgqJ7OZHLBq6pUT-3JjCs/s400/DSCN7968.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Daniel Buren, <i>Dance Between Triangles and Lozenges for Three Colours, Work in Situ</i> (2010)</td><td class="tr-caption" style="text-align: center;"><br />
</td><td class="tr-caption" style="text-align: center;">, Macro</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx7lDujU80bguPtebx0_BTWGQGjqAd3jKixVh58XmhJTmCRR5V6SCY7-zgoh9D35pqVsQ0-9h8YX8aUjgVPORlrM0K89LAYYeo_yirx-AI3X8u17OldQGfm1aWm0w4JvjyKz69NaMrEj4/s1600/DSCF2797.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx7lDujU80bguPtebx0_BTWGQGjqAd3jKixVh58XmhJTmCRR5V6SCY7-zgoh9D35pqVsQ0-9h8YX8aUjgVPORlrM0K89LAYYeo_yirx-AI3X8u17OldQGfm1aWm0w4JvjyKz69NaMrEj4/s320/DSCF2797.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="st">Julius Popp, <i>Bit.Fall</i> (2007) MONA</span></td></tr>
</tbody></table>
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11. A will to get visitors lost.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSNhiejFZ6VL0CE_zhAcYIFCVKnyT0mTRwV0t3ZSdOFxccpGL2EAjLSeaggktq7oX48uVVgDthUUzfM3afh3YRbFD0t8hu9VHK4m65pfVx6tKL8q3O6ot-Nt-bVTZJPAh0tFq7fyduYGU/s1600/DSCN7850.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSNhiejFZ6VL0CE_zhAcYIFCVKnyT0mTRwV0t3ZSdOFxccpGL2EAjLSeaggktq7oX48uVVgDthUUzfM3afh3YRbFD0t8hu9VHK4m65pfVx6tKL8q3O6ot-Nt-bVTZJPAh0tFq7fyduYGU/s400/DSCN7850.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">MAXXI</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8yTHVDjza-MwuUDpmylBKuvdbAQN52D42mG62eMaV0PSk8xb4Ra2fLAUaBIUfj65dM3-ZwWxf5YhUodWWZu2doNmZyLHSdtqOo6vfL01UkfyWxWrTpOFJfskMJOfDv3YtHX6Qm8cE180/s1600/9005690_i2_l.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8yTHVDjza-MwuUDpmylBKuvdbAQN52D42mG62eMaV0PSk8xb4Ra2fLAUaBIUfj65dM3-ZwWxf5YhUodWWZu2doNmZyLHSdtqOo6vfL01UkfyWxWrTpOFJfskMJOfDv3YtHX6Qm8cE180/s1600/9005690_i2_l.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">MONA</td></tr>
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12. A funky gift shop, expensive restaurant, and similarly overpriced café.<span> </span>It will have all three.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN4QudisP26PEKwq71jzMKwxC74guDc9RF1hjAD1g4x157Uh4UZBubbBKfosGHTIOnVUmesjICqq0gR0s0287MnAZX8gmsCsdM4ck8GExGYlHGDvtDclXJCJsdE0ijG8cJnJfhv5ubA3o/s1600/DSCN6922.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN4QudisP26PEKwq71jzMKwxC74guDc9RF1hjAD1g4x157Uh4UZBubbBKfosGHTIOnVUmesjICqq0gR0s0287MnAZX8gmsCsdM4ck8GExGYlHGDvtDclXJCJsdE0ijG8cJnJfhv5ubA3o/s400/DSCN6922.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cer Modern</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://media.lasplash.com/3/visitbritain.com_review-19.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" id="il_fi" src="http://media.lasplash.com/3/visitbritain.com_review-19.jpg" style="padding-bottom: 8px; padding-right: 8px; padding-top: 8px;" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tate Modern (image credit: <a href="http://www.lasplash.com/publish/International_151/VisitBritain_Com_Review_-_Be_a_Brit_Different_printer.php">Splash Magazines</a>)</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy6XPvaksJrFTmUHAnGKsO5ptFYfSdHDOebsGjVw5KlrNPYDunEGIPMhXduFkw5spOKSj90htIYSwLMDPcTgkqR3oqfkZHLCJTqHfNFNFEdOannKacNINQBpX0jPl2m6qt_xvedIOsr_Q/s1600/IMG_0265.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy6XPvaksJrFTmUHAnGKsO5ptFYfSdHDOebsGjVw5KlrNPYDunEGIPMhXduFkw5spOKSj90htIYSwLMDPcTgkqR3oqfkZHLCJTqHfNFNFEdOannKacNINQBpX0jPl2m6qt_xvedIOsr_Q/s400/IMG_0265.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">GOMA, Brisbane (with water dragon)<br />
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbQHD_S84SHQT3gKEEbTf0197q4gU61b40UDfxoACiQ6ykg4gynOHanIS004BmffMxkneXXL0TcU3pprdZbjBFcLalaMxadabT2FNljLDqKAP_Yu710fwJpQomRV4R8qvRKa-uYTuaE5A/s1600/istanbulModern.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbQHD_S84SHQT3gKEEbTf0197q4gU61b40UDfxoACiQ6ykg4gynOHanIS004BmffMxkneXXL0TcU3pprdZbjBFcLalaMxadabT2FNljLDqKAP_Yu710fwJpQomRV4R8qvRKa-uYTuaE5A/s320/istanbulModern.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Istanbul Modern (image credit: <a href="http://www.tekser.com/Default.aspx?Parents=IDI0ICwgMjEgLCAxMiAsIDYgLCA1ICwgMSA=&MenuId=MjQ=&PageId=NzM=&LanguageId=MQ==">Tesker</a>)</td></tr>
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</div>Lucyhttp://www.blogger.com/profile/14606784865702317737noreply@blogger.com5tag:blogger.com,1999:blog-3025810385129732491.post-79484034638750308442011-11-25T14:14:00.001+11:002011-11-25T14:26:15.113+11:00Shotgun. Do it now<div class="separator" style="clear: both; text-align: center;">
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<br />
This is just a quick note about the current exhibition at
<a href="http://www.castgallery.org/">CAST</a>, the inaugural <i>Shotgun</i><span style="font-style: normal;"> exhibition
featuring two local artists: Andrew Harper and Amanda Davies.<span style="mso-spacerun: yes;"> </span>It’s a fantastic exhibition and I only wish </span><span style="font-style: normal;">I’d seen it earlier because it closes on Sunday.<span style="mso-spacerun: yes;"> </span>This is not a review, but more a firm nudge.<span style="mso-spacerun: yes;"> </span>If you haven’t seen it and live
locally, you must.</span>
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Andrew Harper’s video <i>Hieronymus</i><span style="font-style: normal;"> (2011) combines two of my favourite things: weird
religious rituals and beer.<span style="mso-spacerun: yes;"> </span>It’s
one of those few videos that have commanded my attention for multiple
loops.<span style="mso-spacerun: yes;"> </span>Oh and it contains a naked artist.</span></div>
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<tr><td style="text-align: center;"><a href="http://www.castgallery.org/files/events/125/harper_1_001.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="267" src="http://www.castgallery.org/files/events/125/harper_1_001.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Andrew Harper, Hieronymus (2011), Video Still. Source: <a href="http://www.castgallery.org/">CAST</a></td></tr>
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<tr><td style="text-align: center;"><a href="http://www.castgallery.org/files/events/125/davies_installjpg.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="192" src="http://www.castgallery.org/files/events/125/davies_installjpg.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Amanda Davies, installation shot, source: <a href="http://www.castgallery.org/">CAST</a></td></tr>
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Amanda Davies’ paintings seemed a bit static and dull in
comparison, but once you shake off the dark, the noise, and the movement from
Harper’s work, they’re a bit more engaging.<span style="mso-spacerun: yes;"> </span>The work that stood out was the ghostly <i>Incapacity </i><span style="font-style: normal;">(2011), and I also enjoyed the abstract work next to
the entrance, which seemed to be the eventual conclusion to the otherwise
figurative collection.<span style="mso-spacerun: yes;">
</span>Unfortunately, the abstracted painting is not in the catalogue.</span></div>
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You have two more days, Hobartians!<span style="mso-spacerun: yes;"> </span></div>
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<a href="http://www.castgallery.org/files/events/125/shotgun_2011_a2posterinvite_001.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" height="200" src="http://www.castgallery.org/files/events/125/shotgun_2011_a2posterinvite_001.jpg" width="141" /></a>Shotgun </div>
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29 October – 27 November 2011</div>
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Contemporary Art Spaces Tasmania (CAST), 27 Tasma Street,
North Hobart</div>
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Open 12-5pm</div>
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All images from the <a href="http://www.castgallery.org/">CAST</a> website </div>Lucyhttp://www.blogger.com/profile/14606784865702317737noreply@blogger.com0tag:blogger.com,1999:blog-3025810385129732491.post-40297112231309172192011-10-09T17:47:00.001+11:002011-12-24T17:15:20.323+11:00Iteration: Again - public art for the art worldWe’re three weeks into the iterations. <a href="http://www.blogger.com/goog_1135073352"><i>Iteration: Again</i></a><span style="font-style: normal;"><a href="http://www.iterationagain.com/"> </a>is a four week public art project in Hobart
initiated by curator David Cross, which involves seven local curators who have
between them commissioned thirteen art projects around Tasmania. As the title suggests, the art projects
have four ‘iterations,’ with most projects evolving each week. </span><br />
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<span style="font-style: normal;">I’m not going to review the project
here, because I’m writing a piece for another publication, but I thought I’d
outline a couple of the projects that are worth checking out during this last and final week. They’re also the artworks that I think
engage most with the public, as opposed to the people who are 'in the know', that is, the local art scene. Most
(in my opinion) are not worth the effort, although </span><i>Iteration: Again</i><span style="font-style: normal;"> will make a nice coffee table book afterwards, no
doubt.</span>
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<a href="http://www.iterationagain.com/pages/projects/john-vella">John Vella, <i>Best Practice</i>, curated by Jane Stewart</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2fyg3o1B2CLLv0PTcFPlU064IY1ALNhCZu90I9ufm1OCWm-vRdECdLQhIM4vG_Zy7L38b5krtPQ43W1Fe2TvP8jlNXBhlGmez22QquzeBj774ZzJh415tWuikW9sXDRzJOkKqBRcHVzM/s1600/IMG_3865.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2fyg3o1B2CLLv0PTcFPlU064IY1ALNhCZu90I9ufm1OCWm-vRdECdLQhIM4vG_Zy7L38b5krtPQ43W1Fe2TvP8jlNXBhlGmez22QquzeBj774ZzJh415tWuikW9sXDRzJOkKqBRcHVzM/s320/IMG_3865.jpg" width="240" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSbhRv8p869PIxAW_c-g7ZHhdEyxl4x9p697Adm1WEHNLBkojUXbkpzjMbUH3EqMui3RzG9rOenmBRuhKvoyb-zJOBbG-2YxmPISyAxc4jaPwl5IO7bpUdCZWb_0_P9OsLof-txZYkpVM/s1600/IMG_3993.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSbhRv8p869PIxAW_c-g7ZHhdEyxl4x9p697Adm1WEHNLBkojUXbkpzjMbUH3EqMui3RzG9rOenmBRuhKvoyb-zJOBbG-2YxmPISyAxc4jaPwl5IO7bpUdCZWb_0_P9OsLof-txZYkpVM/s200/IMG_3993.jpg" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Column with my section absent</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4mz3EESOISITrPFLmVOi_QOHR9XIHCd31XlFwI4psjfsuuWB_1R2PvUjkP4Hgp_97rfpUnTcsRlfx2h8PS_ytQpdflhluepBO1himHz8RzEvDDjP4z_ejQ2I2acsQUBUEKJEQZyVehyphenhyphenc/s1600/IMG_3981.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4mz3EESOISITrPFLmVOi_QOHR9XIHCd31XlFwI4psjfsuuWB_1R2PvUjkP4Hgp_97rfpUnTcsRlfx2h8PS_ytQpdflhluepBO1himHz8RzEvDDjP4z_ejQ2I2acsQUBUEKJEQZyVehyphenhyphenc/s200/IMG_3981.jpg" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">traded balloon wall</td></tr>
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On the first day of the project, I trotted along to Vella’s
Salamanca Market stall and after a small standoff I left with a helium balloon,
which I traded two weeks later for a small section of Vella’s fantastic
Clarendon House artwork, or at least a section of the column that was site-specifically installed at the
historic house on Tasmania’s midlands in 2009. Circular sections have been ritually cut from Vella's past artworks over the four weeks, and participants are invited to select a circular piece in exchange for a marked balloon, or alternatively they can bid for them. A survey show with a twist. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjImwcr4HJanrNQaNMba9aq0LemDmrEbx6Eq01GATkGayPvIw-80SMFnJSG7m1b0lhhq8e6S7_Ts_A9ixmM4slffh4MmAqUVxEJCphYXDKLpTj0wgzoyzma9CCYXa6HLBT8SMQovYgxLks/s1600/IMG_3989.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjImwcr4HJanrNQaNMba9aq0LemDmrEbx6Eq01GATkGayPvIw-80SMFnJSG7m1b0lhhq8e6S7_Ts_A9ixmM4slffh4MmAqUVxEJCphYXDKLpTj0wgzoyzma9CCYXa6HLBT8SMQovYgxLks/s400/IMG_3989.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<a href="http://www.iterationagain.com/pages/projects/james-newitt">James Newitt <i>My Succession Party </i><span style="font-style: normal;">by David Cross</span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjUOxQvr5pYbvQKBGzbbT7KijwMSlC3lAFlgdar4lZXiIIU6YiTXL2xDzoE42u4WWHwTzGXIkjcYFwDNrj462Poo8VeTchNO0NIn3ukqXza7qbmCyEPotA3EoVawgimM4q8du5wlqAcqs/s1600/IMG_3963.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjUOxQvr5pYbvQKBGzbbT7KijwMSlC3lAFlgdar4lZXiIIU6YiTXL2xDzoE42u4WWHwTzGXIkjcYFwDNrj462Poo8VeTchNO0NIn3ukqXza7qbmCyEPotA3EoVawgimM4q8du5wlqAcqs/s200/IMG_3963.jpg" width="150" /></a>Who doesn’t want to live on their own private island on the
Derwent River, and be sent off to a marching band and cheerleaders? I’ve had
non-art Hobart locals send me questions on Twitter about the amusing project, which
is situated in Hobart’s northern suburbs.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjHrXP58GMWwX2nF2K5-5FyOQRcGkVoz5mYOgKhlMMw_n5r9iawayaT9Bo8qx1oSPq2sWf8Kl5sINqk3dc4I2RHyhjtUB9OyX4LukOXyDnKnSR3zTn054QPbx1-V0T3y7wWMiAkFytICw/s1600/IMG_3950.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjHrXP58GMWwX2nF2K5-5FyOQRcGkVoz5mYOgKhlMMw_n5r9iawayaT9Bo8qx1oSPq2sWf8Kl5sINqk3dc4I2RHyhjtUB9OyX4LukOXyDnKnSR3zTn054QPbx1-V0T3y7wWMiAkFytICw/s320/IMG_3950.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Departure. You can see the island on the left.</td></tr>
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<a href="http://www.iterationagain.com/pages/projects/marley-dawson-christopher-hanrahan">Marley Dawson and Christopher Hanrahan, <i>MCR</i><span style="font-style: normal;">, curated by Nicole Durling</span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi90s3WTJh8eOl013A8BP0ZZrC39KVEAM0mcxaAo0reR3-UoKRxw1agDhlQxRmwfk2b7euSLA-kG6TTxSxnOuDkcZpIELH5I3OZjWemZpX8Pj7EuWml4CO6an4H3wJuPbBHhyuWgylMfNo/s1600/IMG_3870.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi90s3WTJh8eOl013A8BP0ZZrC39KVEAM0mcxaAo0reR3-UoKRxw1agDhlQxRmwfk2b7euSLA-kG6TTxSxnOuDkcZpIELH5I3OZjWemZpX8Pj7EuWml4CO6an4H3wJuPbBHhyuWgylMfNo/s400/IMG_3870.JPG" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTwkieRNRBWhDQqo9zn9YOtxAjxD8-FLrmR1Ll8uHq4rkOz4JSfmfdSSY8L6lK8YPd4BAa0MPYY1tXX9vWCT5FKcRU4q7fApbl_wAw1D45w6hXquUifK6HQEb_ZmcAZlnCR-DGU9vcV4U/s1600/DSCN1241.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTwkieRNRBWhDQqo9zn9YOtxAjxD8-FLrmR1Ll8uHq4rkOz4JSfmfdSSY8L6lK8YPd4BAa0MPYY1tXX9vWCT5FKcRU4q7fApbl_wAw1D45w6hXquUifK6HQEb_ZmcAZlnCR-DGU9vcV4U/s200/DSCN1241.JPG" width="200" /></a><i>MCR</i>, or the MONA Motocross Raceway, is a bit cringeworthy, but it's fun and worth seeing. I
had the crazy experience of riding one of the tiny bikes yesterday and walked away in more pieces than the bike. Dagwood Dogs for effect.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgehptjOEWUHWcjvU009sWvgSW0GgY2XK57wEm2wNRwN5AnPOzowcKcC9BelFVwKayhnWkEb4Bhp2DuLRnHvRjyLOCpZgICKH7owklW_xeP12XtSuUznpeXb4IXiLLTy-ybgTiaYNDu7zI/s1600/DSCN1340.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgehptjOEWUHWcjvU009sWvgSW0GgY2XK57wEm2wNRwN5AnPOzowcKcC9BelFVwKayhnWkEb4Bhp2DuLRnHvRjyLOCpZgICKH7owklW_xeP12XtSuUznpeXb4IXiLLTy-ybgTiaYNDu7zI/s400/DSCN1340.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">calling it</td></tr>
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<i>Iteration: Again</i> runs from the 18th September to the 15th October. The calendar of events can be found <a href="http://www.iterationagain.com/calendar">here</a>. The ability to decode the calendar is a whole other kettle of fish.<br />
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[Update: the online version of my full published review in Realtime can be found <a href="http://www.realtimearts.net/article/106/10522">here</a>]Lucyhttp://www.blogger.com/profile/14606784865702317737noreply@blogger.com6tag:blogger.com,1999:blog-3025810385129732491.post-77911116637933252522011-09-17T22:46:00.002+10:002011-09-17T22:46:47.733+10:00Venice Biennale: Best of 2011<style>
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I know lists are a little tacky, but I want to share my top five favourite pavilions at this year's Venice Biennale. Egypt, the USA and France are inside the Giardini, while Singapore and Lithuania are near San Marco Square and the Arsenale, respectively.</div>
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<span style="font-size: x-large;"><b>Singapore</b></span></div>
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I stay for three loops of this ambiguous cinematic work by
artist <span class="st">Ho Tzu Nyen</span>, a total of 90 mins.<span> </span>This is a record for me, because I
usually have little patience for video art.<span> </span>And no, it isn’t just because of the massive white beanbags.<span> </span>The artist presents a number of tragic
figures, some of which in a way redeem themselves towards the end, all of
different nationalities, ages, and weights – perhaps a reflection of the
cultural melting pot that is Singapore.<span>
</span>The work was dark and dramatic, and beautifully shot.<span> </span>I only wish at least one of the female
characters were presented in a powerful position in the end.</div>
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<span style="font-size: x-large;"><b>Egypt</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjquFl4Fk1FDMiMJdaimM0WRthyphenhyphenyzrSE_RSdT7DkMEq2Fu1WvB96BAE_FfX1tDTkN_I5E9er2-Rrj0Gq1p1vAcw4VYnhk99jCIPXylcKiL9aRN9mNpEUrw2otmxNpd7gyvO3vmDViPcwI/s1600/IMG_2810.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjquFl4Fk1FDMiMJdaimM0WRthyphenhyphenyzrSE_RSdT7DkMEq2Fu1WvB96BAE_FfX1tDTkN_I5E9er2-Rrj0Gq1p1vAcw4VYnhk99jCIPXylcKiL9aRN9mNpEUrw2otmxNpd7gyvO3vmDViPcwI/s320/IMG_2810.JPG" width="320" /></a></div>
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Ahmed Basiony was shot in the Egyptian riots in January,
after being selected to represent his country at the Biennale.<span> </span>In his memory, a videoed endurance
performance <i>30 Days of Running in the Space</i><span style="font-style: normal;">
(2010), where he jogged for an hour a day in a suit that measured his sweat
levels, is shown beside footage of the riots – a political but effective
move.<span> </span>At the entrance to the
pavilion is the best ‘hook’ I’ve seen at any of the biennale exhibitions: the
last Facebook update by the artist, urging his fellow Egyptian to not give up
the fight.<span> </span>Watching the artist jog
up and down, sweating in a body-shaped plastic bag, knowing his future and the
consequences of recent political events is certainly affecting.</span></div>
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<span style="font-size: x-large;"><b>USA</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9UZ3EtgdhCGVHdaE7VPT1hO-l53vtoOlXIblxrJ6lFUtBAPkOQAreqKDAIxPzeHq7Lo5ti0VGozs_z1urTOXR7_tPmARF8WiKzRyU5ZerTkkYBRMwdmJGT_VeHdepdrMQKrD52ioM9iM/s1600/IMG_2687.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9UZ3EtgdhCGVHdaE7VPT1hO-l53vtoOlXIblxrJ6lFUtBAPkOQAreqKDAIxPzeHq7Lo5ti0VGozs_z1urTOXR7_tPmARF8WiKzRyU5ZerTkkYBRMwdmJGT_VeHdepdrMQKrD52ioM9iM/s320/IMG_2687.JPG" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgeFa0sZJxCHidNnegEcT_VZSVmB31Twz3Ga6cg7laK9irHse9ywH65r5UH1-v-iAP55YAnfN2QdgUvGwiMbvq2Kq-TsebGTXhb0OApyR9Ftjqi9STEYCvlJUFSIUXetFy_GclrcbxfNU/s1600/DSCN8463.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgeFa0sZJxCHidNnegEcT_VZSVmB31Twz3Ga6cg7laK9irHse9ywH65r5UH1-v-iAP55YAnfN2QdgUvGwiMbvq2Kq-TsebGTXhb0OApyR9Ftjqi9STEYCvlJUFSIUXetFy_GclrcbxfNU/s200/DSCN8463.JPG" width="150" /></a>The art itself is not the best, but I appreciate the dry
humour in Jennifer Allora and Guillermo Calzadilla’s <i>Glory</i><span style="font-style: normal;">.<span> </span>The
performances on the mock American Airline and Delta business class seats by the
country’s Olympic gymnasts are intriguing but perhaps a little novel, as is the
ATM organ that plays music based on random algorithms when people withdraw
cash. I list the pavilion in my ‘top’ list because of the tank performance
outside the pavilion.<span> </span>Svelte
Olympic athletes intermittently run on the treadmill atop an upturned tank,
seemingly turning the wheels.<span> </span>Not
only does the fuck-off tank demand extra public space outside their pavilion,
but the sound of the frequent performances can be heard across the Giardini,
demanding everyone take notice of the monument to sporting/military/artistic
glory.<span> </span>Art imitating life, or
rather country, really. </span></div>
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<span style="font-size: x-large;"><b>Lithuania</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzT8S0gSLaVQMH7gSeHTKYWj3eiEvAw-of6KsFRsNtWUZxsC_41SaVYYCoFx-yngX5-O9BIUqwW-Hz5TkevMtR_eQsB1YdUsEjXfsE_62gpD6b3zu6IH0ZN4ZOIZ4K_FPbT8w7_hMlTK8/s1600/DSCN0224.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzT8S0gSLaVQMH7gSeHTKYWj3eiEvAw-of6KsFRsNtWUZxsC_41SaVYYCoFx-yngX5-O9BIUqwW-Hz5TkevMtR_eQsB1YdUsEjXfsE_62gpD6b3zu6IH0ZN4ZOIZ4K_FPbT8w7_hMlTK8/s320/DSCN0224.JPG" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh77FhcT2D2M-xubdhepirMagbDz6jn4mnykqSliMAV9kqIWzJc7CMmNY-l-WT6E6Cz4WAuAaMJDrvMF-UpX3RoITUk4jFwZ6O2Xlhd9BoR7dcx-Aiqe8QjISbt3BCT6PdgNJJERYAZR-0/s1600/DSCN0214.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh77FhcT2D2M-xubdhepirMagbDz6jn4mnykqSliMAV9kqIWzJc7CMmNY-l-WT6E6Cz4WAuAaMJDrvMF-UpX3RoITUk4jFwZ6O2Xlhd9BoR7dcx-Aiqe8QjISbt3BCT6PdgNJJERYAZR-0/s200/DSCN0214.JPG" width="200" /></a>Darius Miksys’ project <i>Behind the White Curtain</i><span style="font-style: normal;">, is part performance, part installation.<span> </span>He has gathered works by Lithuanian
artists who have received grants from the country’s Ministry of Culture.<span> </span>Viewers are asked to choose works from
the extensive catalogue, which the artist brings out from behind the white curtain
that separates the room.<span> </span>As a
visitor, I’m asked to help curate, to help arrange the works amongst those
previously chosen, some of which are removed if the aesthetic’s not quite
right.<span> </span>Most of the works in the
catalogue are pretty banal, which probably explains why the artist’s asking
whether it represents ‘real’ Lithuanian art.<span> </span>Serendipitously, a week later I come upon a small gallery, <a href="http://www.noguerasblanchard.com/">Nogueras Blanchard</a>, in Barcelona, where once a week Miksys has been sending a list of
works chosen by visitors (otherwise undisclosed), to be hung unframed on the wall as part of the group
exhibition, </span><i>Somewhere Else</i><span style="font-style: normal;">.<span> </span>After the over-publicised hype of the
Biennale, it’s nice to find this unofficial spin-off.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCevAaVWrFgVpR2vuTxC2knTK4ycbPJZKPLhzshjnR9gqHf919-m8fiQ5wYAjzoZ7XqaJpV6hXPtsC1Uqhtx_kJ03geZ9Hhn6hyphenhyphengWbKO9ADTKG_PbURHhvyNyyyG1I53QRme_SB2NMxe4/s1600/IMG_3550.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCevAaVWrFgVpR2vuTxC2knTK4ycbPJZKPLhzshjnR9gqHf919-m8fiQ5wYAjzoZ7XqaJpV6hXPtsC1Uqhtx_kJ03geZ9Hhn6hyphenhyphengWbKO9ADTKG_PbURHhvyNyyyG1I53QRme_SB2NMxe4/s320/IMG_3550.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Miksys at Nogueras Blanchard</td></tr>
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<span style="font-size: x-large;"><b>France</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCZn_sUd0ym42NXqmvIhWnOrQkvceC8H0OvJImhYq2h5b3PiVp1kVA8PjjqhZon60tXBUDN4_HEcn7mcdT_kr2eBFW7PFAv50k7JCqEuw2zuDHTs76DJ7sOG8GKrRP2rwj8aYytj3-5WU/s1600/IMG_2715.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCZn_sUd0ym42NXqmvIhWnOrQkvceC8H0OvJImhYq2h5b3PiVp1kVA8PjjqhZon60tXBUDN4_HEcn7mcdT_kr2eBFW7PFAv50k7JCqEuw2zuDHTs76DJ7sOG8GKrRP2rwj8aYytj3-5WU/s200/IMG_2715.jpg" width="150" /></a>I’ve had multiple arguments with people over Christian
Boltanski’s installation, <i>Chance</i><span style="font-style: normal;">, in the
French Pavilion.<span> </span>Apparently, most
don’t share my enthusiasm for the work.<span>
</span></span><i>Chance</i><span style="font-style: normal;"> works well with
symmetricality of the neo-classical building, the central section dominated by
a reel of black and white photographed faces threading themselves over, under
and around a heavy structure of scaffolding and rollers.<span> </span>I’ve been watching the artist work in
his studio all year via live video link at MONA in Hobart, so perhaps that’s
why I feel the connection.<span> </span>You
don’t need to be in Venice to win at Boltanski’s chance game either, you can
play at his website <a href="http://www.boltanski-chance.com/">www.boltanski-chance.com</a></span></div>
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<b><span style="font-style: normal;"><span style="font-size: x-large;">Worst Pavilions</span></span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRHVFBptLXeuEG7F1f2amzYhjslWTf-dGiEAzrD9XJFCCmMTBEuxAUYt-Ou-HvRN55EqU9jF-xl0hJnBRtv-4zYfoanRFPq_t9V0rk13WedKerig-e9LpaSP9uiaTOo_ADE-XAyW_2Y2k/s1600/DSCN8548.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRHVFBptLXeuEG7F1f2amzYhjslWTf-dGiEAzrD9XJFCCmMTBEuxAUYt-Ou-HvRN55EqU9jF-xl0hJnBRtv-4zYfoanRFPq_t9V0rk13WedKerig-e9LpaSP9uiaTOo_ADE-XAyW_2Y2k/s200/DSCN8548.JPG" width="200" /></a><span style="font-style: normal;">I wouldn't single them out as the <i>two</i> worst, but you can probably give Latvia and Canada a miss.</span>
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<span style="font-family: "Times New Roman"; font-size: 12pt;">It’s hard to use
blacklights in art well, and Latvian representative Kristaps Gelzis didn’t succeed in his exhibition <i>Artificial Peace</i>. The Canadian Stephen Shearer's paintings were cringeworthy to the extreme. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJRmD4ZgCy-SHo0kJfkx1FbvWDCnG0NC6e-sAlJnGFXw1H1F2CwISpLxD2q-OG6GvWQ6oB5u7Jewiy-cmBgtEKBhifgud65tPx-EenJkHdGGra-X9quSsu6-1HS6cDZ47sDZ2K8kjdMx4/s1600/DSCN9614.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJRmD4ZgCy-SHo0kJfkx1FbvWDCnG0NC6e-sAlJnGFXw1H1F2CwISpLxD2q-OG6GvWQ6oB5u7Jewiy-cmBgtEKBhifgud65tPx-EenJkHdGGra-X9quSsu6-1HS6cDZ47sDZ2K8kjdMx4/s200/DSCN9614.JPG" width="150" /></a></div>
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<span style="font-family: "Times New Roman"; font-size: 12pt;">The Italian Pavilion was a definite case of quantity over quality, with a closer resemblance to an amateur community art exhibition than a biennale. The works were crowded on cheap-looking metal racks, and as a result the better works tended to get lost.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRGkJ5xddBRqB1gy6EFS7GOvj527b2v2wnRzWM7UFXlgK8lRgZYIOtjl4ZGNYQLBskaCvlKUEi0vAvMy0bQLlBILXk6d9h551H5W82b-ZGV9I7yji3Btj-JGuhMTtsqJE3fznLYA-x2Mw/s1600/DSCN9598.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRGkJ5xddBRqB1gy6EFS7GOvj527b2v2wnRzWM7UFXlgK8lRgZYIOtjl4ZGNYQLBskaCvlKUEi0vAvMy0bQLlBILXk6d9h551H5W82b-ZGV9I7yji3Btj-JGuhMTtsqJE3fznLYA-x2Mw/s320/DSCN9598.JPG" width="320" /></a></div>
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<span style="font-size: x-large;"><b>Best Satellite Exhibitions</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdX6vbdvG-foJY9RqOhVL5hjbeNLecSttc2wal3n7pcof0tPCil0ld0631yYYUo5CNuFVZ2UGrwi9rRArWq1LFWed5S1AABGVFLkgoU305Ew3_U0Lgs6hAhA_ulsIhPaYDnhHSBnEV9hA/s1600/IMG_3289.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdX6vbdvG-foJY9RqOhVL5hjbeNLecSttc2wal3n7pcof0tPCil0ld0631yYYUo5CNuFVZ2UGrwi9rRArWq1LFWed5S1AABGVFLkgoU305Ew3_U0Lgs6hAhA_ulsIhPaYDnhHSBnEV9hA/s200/IMG_3289.jpg" width="150" /></a></div>
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<b><i>Tra</i>, at the Palazzo Fortuny</b></div>
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Like the site's excellent 2009 Biennale exhibition, the works in <i>Tra</i> sit in dialogue with the decorative and loaded space that is the Palazzo Fortuny. My only criticism is that the catalogue’s images show the
works in isolation, not in the palace space, despite importance of site to the curatorial
premise.</div>
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<b><i>Memory of Books</i></b>. </div>
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Stay away from Chiharu Shiota's installation if you don't like spiders. The maze of string is similar to her work at Detached in Hobart earlier this year.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz4lle_PNab9PyDUEh6FaMtRgsxmPsBhzPYA5qqYFZ_EhAw6V-NgmHj2NLohU7W-FT4JAYsvBaA-drh_tnRJlYQaKwQkentxiqrJyBVRYXdZA2KmU8JcrgH89IUIzOD6Qfg0FwY31ZT1I/s1600/DSCN9680.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz4lle_PNab9PyDUEh6FaMtRgsxmPsBhzPYA5qqYFZ_EhAw6V-NgmHj2NLohU7W-FT4JAYsvBaA-drh_tnRJlYQaKwQkentxiqrJyBVRYXdZA2KmU8JcrgH89IUIzOD6Qfg0FwY31ZT1I/s320/DSCN9680.JPG" width="320" /></a></div>
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<b><i>Afternoon Tea</i> at the Quaffers Pavilion</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-sOZmPhOc8Rx050bt49cVjhcn-9_NXlUAbssvE2c1GW9ZzjrdFfIos_dfKcodMmraZUCnf9gF_p7spKtUT3WuvEp1Rtyfv6-dnjZB3HyeM2dhXrIVCIbiQIGxH6-v3kjiTZr157ldthA/s1600/IMG_2987.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-sOZmPhOc8Rx050bt49cVjhcn-9_NXlUAbssvE2c1GW9ZzjrdFfIos_dfKcodMmraZUCnf9gF_p7spKtUT3WuvEp1Rtyfv6-dnjZB3HyeM2dhXrIVCIbiQIGxH6-v3kjiTZr157ldthA/s320/IMG_2987.JPG" width="320" /></a></div>
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Run by London-based WW Gallery. After viewing the drawing exhibition in this pop-up gallery, I'm invited upstairs to a traditional British afternoon tea. What's not to like?</div>
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<span style="font-size: x-large;"><b>Worst Satellite</b></span></div>
<span style="font-family: "Times New Roman"; font-size: 12pt;"><i><b> </b></i></span><br />
<span style="font-family: "Times New Roman"; font-size: 12pt;"><i><b>Future Pass</b></i><span> </span></span><br />
<span style="font-family: "Times New Roman"; font-size: 12pt;">Read my review of <i>Future Pass </i><a href="http://hobartart.blogspot.com/2011/06/future-pass-and-cracked-culture-at.html">here</a></span>
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Lucyhttp://www.blogger.com/profile/14606784865702317737noreply@blogger.com2Venice, Italy45.4343363 12.338784445.2560618 12.0229274 45.6126108 12.6546414tag:blogger.com,1999:blog-3025810385129732491.post-41580083499972864222011-06-14T21:39:00.001+10:002011-09-27T15:23:07.111+10:00Future Pass and Cracked Culture at the Venice Biennale<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ3J_vbojoX8GblzqiUttgLcz5_dYUzveLMWC3BeBTv-tsPZ1d5PDSYhgySYMRyvrUcBSULxDI5kygspvqcdfKruNsumLbEdqKKoh_TZFtu08JZkxgvhQHn_g1NaGV3-cFdaHGoJaQsPk/s1600/DSCN8556.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ3J_vbojoX8GblzqiUttgLcz5_dYUzveLMWC3BeBTv-tsPZ1d5PDSYhgySYMRyvrUcBSULxDI5kygspvqcdfKruNsumLbEdqKKoh_TZFtu08JZkxgvhQHn_g1NaGV3-cFdaHGoJaQsPk/s320/DSCN8556.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Courtyard in the Abbazia, <i>Future Pass</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Yoshitomo Nara, Future Pass</td></tr>
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In this post I want to discuss the exhibitions <i>Future Pass: From Asia to the World</i><span style="font-style: normal;"> and </span><i>Cracked Culture? The Quest for Identity in Contemporary Chinese Art</i><span style="font-style: normal;">, both satellite exhibitions to the Venice Biennale. However, the emphasis is going to be more on </span><i>Future Pass</i><span style="font-style: normal;"> – I’ve just included a brief comment on </span><i>Cracked Culture</i><span style="font-style: normal;"> because I found the links between the two quite interesting. Both exhibitions distinguish their curatorial strategy as being from an Asian or Chinese, respectively, point of view. However, while the catalogue and didactic texts (of </span><i>Cracked Culture</i><span style="font-style: normal;">, in particular), implied that this ‘different perspective’ would present quite a different exhibition to shows imagined by ‘investors and curators in the west’ (</span><i>Cracked Culture</i><span style="font-style: normal;"> catalogue), both </span><i>Future Pass</i><span style="font-style: normal;"> and </span><i>Cracked Culture</i><span style="font-style: normal;"> showcased the same familiar artists, styles, and iconography that I see in, say, Australia’s Asia Pacific Triennials.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwx1fWngBFQSC4L__Of7I5gk4hDBJcXD_BeuSUMSGqI2HL96Cw3_wPDqRra6xYlLblJuWYWIzlqwoj6_6qqyat6COyXnkos6CzYtIELkOjj__EppLUW203Jm9M3lB_haWSWZy7Skq0_b4/s1600/DSCN8589.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwx1fWngBFQSC4L__Of7I5gk4hDBJcXD_BeuSUMSGqI2HL96Cw3_wPDqRra6xYlLblJuWYWIzlqwoj6_6qqyat6COyXnkos6CzYtIELkOjj__EppLUW203Jm9M3lB_haWSWZy7Skq0_b4/s320/DSCN8589.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kwon Kisoo, in Future Pass</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoiSqu_0zHF9a1DaPTqUkqlV1s9BlvRfNSCM6k8wVE_Q_3_F13U6XD9tbD1fquifDqeYubFp9RPVyFiRHgkvc0vl2COlIZHp6ebOxJKX9qjgIC7GK1N3AM0QjEYYJ_PCPqyvTVoyjXm8k/s1600/DSCN8645.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoiSqu_0zHF9a1DaPTqUkqlV1s9BlvRfNSCM6k8wVE_Q_3_F13U6XD9tbD1fquifDqeYubFp9RPVyFiRHgkvc0vl2COlIZHp6ebOxJKX9qjgIC7GK1N3AM0QjEYYJ_PCPqyvTVoyjXm8k/s320/DSCN8645.JPG" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">In the garden, Cracked Culture</td></tr>
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The thing that surprised me the most about <i>Future Pass</i><span style="font-style: normal;"> was the proliferation of cute. If I’d read the short catalogue beforehand, I no doubt would have been more surprised. The curatorial statement is incredibly serious, which seems at odds to a lot of the seemingly depthless artwork on display. The exhibition is spread over two locations: Palazzo Mangilli-Valmarana in Cannaregio, and Abbazia di San Gregorio in Dorsoduro, and each location has a number of dichotomous themes. The Palazzo hosts the ‘Virtual/Real’, and ‘Cosplay’ [is Cosplay dichotomous in itself?], and the Abbazia focuses on ‘East/West’, ‘Past/Future’, ‘Yin/Yang’, ‘Universe/Self’. Because I hadn’t read the catalogue beforehand (which is normal for me), I didn’t realise that the curators had based the exhibition on such sober concepts, and even after flicking through the large number of photos I took during my visit, I still can’t quite resolve the relationship between the artworks and the above mentioned philosophical notions. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMHDZ6aM2XWi8RB3X0m6X8ZQtLMK-g_qzvwo2G1fd3_nK2z1RZF3coaFb3FBLKV5cAlRHStIZB1HP7M2WMEi-jmAwFNT-GJAp6IrhokzUx-APqI4kkex2j1CnBCq_u3VZsLAQMn3E5_bs/s1600/DSCN8576.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMHDZ6aM2XWi8RB3X0m6X8ZQtLMK-g_qzvwo2G1fd3_nK2z1RZF3coaFb3FBLKV5cAlRHStIZB1HP7M2WMEi-jmAwFNT-GJAp6IrhokzUx-APqI4kkex2j1CnBCq_u3VZsLAQMn3E5_bs/s200/DSCN8576.JPG" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Chang Chia-Ying</td></tr>
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<i>Future Pass</i><span style="font-style: normal;"> seemed overly painting heavy. The sculptures tended to be shiny, finished, and acrylic. Most works were self-contained, which was a departure from so many of the Biennale exhibitions that appear to favour installation or performance, ie. more immersive works of art. The emphasis on figuration was also noticeable, mostly human figures or cute robotic shapes, anime-like figures, cartoons (including a few Disney character pastiches – something that I think was exhausted a long time ago). </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmC_qW2fNPi2NtRKKQc7mfeh5e9Xw3dqlXKXdfloyvxw2raWLAI_3VhcHcYMfOIf9fXLhmxzv1PCQ8CmqjbB9rR9uV4eWQlPITYsEm-eVYq5Ad_Db_cp_uq-jAiVauU9xquECP1m056PY/s1600/DSCN8490.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmC_qW2fNPi2NtRKKQc7mfeh5e9Xw3dqlXKXdfloyvxw2raWLAI_3VhcHcYMfOIf9fXLhmxzv1PCQ8CmqjbB9rR9uV4eWQlPITYsEm-eVYq5Ad_Db_cp_uq-jAiVauU9xquECP1m056PY/s320/DSCN8490.JPG" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lelya Borisenko</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Angelo Volpe</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRppEyyUfg7RE1Zrlh9YrLBSVK7iIrP_Picue9WTzaxh68RCLOqs-yhxYyU7DNovCXrq2a3p1s2O7-4alBpGlj9YU7-4_GlW7F8aDsNWQsV_TvajhQqXcsIKybNWwP_zU5sh3nUwoVeEA/s1600/DSCN8508.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRppEyyUfg7RE1Zrlh9YrLBSVK7iIrP_Picue9WTzaxh68RCLOqs-yhxYyU7DNovCXrq2a3p1s2O7-4alBpGlj9YU7-4_GlW7F8aDsNWQsV_TvajhQqXcsIKybNWwP_zU5sh3nUwoVeEA/s320/DSCN8508.JPG" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Luo Dan</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdvQaXUlWsQ40c3032B4CEdvwPY31T3Iq0bP2VmKxNJfKP2Q8vvg0rfixu_WkJMPRc05RHX_fAGEg2IOe3Y9p7dIsIxml1EOeLK7nVJ0aLleAerwq13jIyWzQdmp7Rmo2KlUVrCIB22bA/s1600/DSCN8489.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdvQaXUlWsQ40c3032B4CEdvwPY31T3Iq0bP2VmKxNJfKP2Q8vvg0rfixu_WkJMPRc05RHX_fAGEg2IOe3Y9p7dIsIxml1EOeLK7nVJ0aLleAerwq13jIyWzQdmp7Rmo2KlUVrCIB22bA/s320/DSCN8489.JPG" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Chen Hongzhu</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2iIGj3Hxjxb8_-B2l0imbrs_a3oV5uXZSRMOgHCN-7E2yy7s_mDF7hdaDf6qbPBJNhZOGR8cn4SKPnW6V78wqkTBPToM1T-7yUjPjnc28DJ0q9clMnrO1VG4VxFOXH7Ezjl92L2CrhRg/s1600/DSCN8579.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2iIGj3Hxjxb8_-B2l0imbrs_a3oV5uXZSRMOgHCN-7E2yy7s_mDF7hdaDf6qbPBJNhZOGR8cn4SKPnW6V78wqkTBPToM1T-7yUjPjnc28DJ0q9clMnrO1VG4VxFOXH7Ezjl92L2CrhRg/s320/DSCN8579.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kaikai Kiki (Chiho Aoshima)</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Aldo Lanzini</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Joyce Ho & Craig Quintero</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">at the Abbazia</td></tr>
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Sometimes it’s good to make the viewer work a little, but there was little ambiguity in most of these works. I felt spoon-fed. </div>
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<tr><td class="tr-caption" style="text-align: center;">Palazzo</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9cVlME9Oc7fJ5c7ktd1jgYfhw48AwywTxXD61wJPOTDcvYxHrozrrNsaEwfVJfCGnBEMO6R-xDsbV75y2iaMMugecvHmLKpv7WOrkBoEU8zXkTc41CgxAoA_p9qlPx8cWwy-RayT5CJA/s1600/DSCN8522.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9cVlME9Oc7fJ5c7ktd1jgYfhw48AwywTxXD61wJPOTDcvYxHrozrrNsaEwfVJfCGnBEMO6R-xDsbV75y2iaMMugecvHmLKpv7WOrkBoEU8zXkTc41CgxAoA_p9qlPx8cWwy-RayT5CJA/s320/DSCN8522.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mapi Gill</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Mapi Gill</td></tr>
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The works that I found the most interesting were those that had some relationship to their surroundings, something that happened more in the Palazzo than the Abbazia. Without reading the catalogue, I was a little unsure whether the heads of the frescos slightly visible above the Mapi Gill paintings were deliberate. I’m still not 100% sure, but I hope it was. Shy Gong’s <i>Baby Angel</i><span style="font-style: normal;"> was obviously deliberately placed against the ornate wall decorations. It probably would’ve looked better with a more creative plinth or other presentation, but I enjoyed the relationship between the site and ‘angel’. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5FFjVqtRU90OqsFVs70nCjUGoXwwjKn7ma-4XBqLZ5GQrCE99gfLymjj9mFBgZqavtcb19WcWHjLP7moxWp4LqlCD47OURqto9v_m8SywJZ6PKppvJsjfa3IXcYuUGSnwa69XYpW4-FA/s1600/DSCN8484.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5FFjVqtRU90OqsFVs70nCjUGoXwwjKn7ma-4XBqLZ5GQrCE99gfLymjj9mFBgZqavtcb19WcWHjLP7moxWp4LqlCD47OURqto9v_m8SywJZ6PKppvJsjfa3IXcYuUGSnwa69XYpW4-FA/s320/DSCN8484.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Shy Gong</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbKb1RoTOjJPB6Lal632vJyErpZc6IFD61j5SUuo9eO66JHW9PZscQ01sx9kOvIycO-KfgF7-vtTAvWn_EptYUknuo7BO03kQgHnvqwOrP1DwP4NeWPnulVZRpsRPculi0mrmZCiIUotc/s1600/DSCN8496.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbKb1RoTOjJPB6Lal632vJyErpZc6IFD61j5SUuo9eO66JHW9PZscQ01sx9kOvIycO-KfgF7-vtTAvWn_EptYUknuo7BO03kQgHnvqwOrP1DwP4NeWPnulVZRpsRPculi0mrmZCiIUotc/s200/DSCN8496.JPG" width="200" /></a></div>
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The rest of the works didn’t have enough of a dialogue with the palazzo to warrant the curators' strong reference to the ‘white cube’ in the catalogue. They declare that the ‘contemporary artworks interact with, and sometimes almost seamlessly blend into, the historic buildings in which they are installed’. Yet it seemed that most of the works sat in these buildings despite their historicism; they were plonked, not placed in any meaningful relationship to the space. I found myself reflecting on the New Zealand Pavilion exhibition I saw in the same Palazzo at the 2009 Biennale: Francis Upritchard’s beautifully fragile figures. They weren’t site-specific, but they sat in the space harmoniously, the elaborate surroundings subtly influencing the reading of the works. Unlike most of the <i>Future Pass</i><span style="font-style: normal;"> works, Upritchard's figures worked with, not against, their surroundings. It’s no doubt tricky to show works of art in such semiotically loaded spaces as the Palazzo, and I’ve noticed so far that almost no artworks at the Biennale attempt site-specificity (a wasted opportunity in my opinion), but when it’s stated in the catalogue that there is a deliberate ‘interaction’, it’s even more disappointing when the promise is not carried through. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzYG7JxGr43zlWwxtMTMSiHHg1wmbN224TenQrLlMpQnd_8Xw7KGkX2Tv-wrcrzzzmYAASebL-8Tn8Fp8llSWBbXUQr1AGMOOrE8iK0NNnhaYesapDvvfx0haPmNftDUryvUrRj9DBAHU/s1600/Upritchard.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzYG7JxGr43zlWwxtMTMSiHHg1wmbN224TenQrLlMpQnd_8Xw7KGkX2Tv-wrcrzzzmYAASebL-8Tn8Fp8llSWBbXUQr1AGMOOrE8iK0NNnhaYesapDvvfx0haPmNftDUryvUrRj9DBAHU/s320/Upritchard.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Francis Upritchard at the 2009 Venice Biennale</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ-fjQNHWH3En7vau6L3XFgTICTe7t20geS7dQZ2L6ITITszR6tUoXCB37Oo14pWIoHoBM2mBhtC3vSN0huJEt03ISIni_60QJtelxTvXLKcJuyDbm-ZwOuMVIvejsLqIYm5rxxuWD4FQ/s1600/DSCN8629.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ-fjQNHWH3En7vau6L3XFgTICTe7t20geS7dQZ2L6ITITszR6tUoXCB37Oo14pWIoHoBM2mBhtC3vSN0huJEt03ISIni_60QJtelxTvXLKcJuyDbm-ZwOuMVIvejsLqIYm5rxxuWD4FQ/s200/DSCN8629.JPG" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cracked Culture exhibition</td></tr>
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I sought out <i>Cracked Culture</i><span style="font-style: normal;"> in the back streets of Dorsoduro, because I have a particular interest in Mainland Chinese art, having studied in China. I was disappointed in the works, and I found it difficult to swallow the strong statement of difference mentioned at the beginning of this post. The work with water spewing out of a McDonald’s arch into a blow-up paddle pool, for instance, was about as predictable as the Mickey Mouse pastiches in </span><i>Future Pass</i><span style="font-style: normal;">. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji9Cjlv3EUycSbm_FBbFXLjRez8PGl6Tdx_XmSC4YR2nvAsnxjfVBHhf3ksIc86-Iwd4pHCuOsWtOaUOSZUErwPnQOhm_nH3-6LaP42z0gP5zo8QAQYCY4RjajxFa9Gb9kByHqaZSdHY0/s1600/DSCN8650.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji9Cjlv3EUycSbm_FBbFXLjRez8PGl6Tdx_XmSC4YR2nvAsnxjfVBHhf3ksIc86-Iwd4pHCuOsWtOaUOSZUErwPnQOhm_nH3-6LaP42z0gP5zo8QAQYCY4RjajxFa9Gb9kByHqaZSdHY0/s320/DSCN8650.JPG" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ_zF4OYpxbmazWoZXsIIrzrCx_vD5FwtHNZLTWHXZcLTWFkInIKebjycUBTyPNUSV8qfBLpKn0xHtJuNX1tyH33oeO0GtgnGVmJmi-hixso2p0tWMLUSJiV_dIS4nat5HG5OFH8BrnDo/s1600/DSCN8659.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ_zF4OYpxbmazWoZXsIIrzrCx_vD5FwtHNZLTWHXZcLTWFkInIKebjycUBTyPNUSV8qfBLpKn0xHtJuNX1tyH33oeO0GtgnGVmJmi-hixso2p0tWMLUSJiV_dIS4nat5HG5OFH8BrnDo/s200/DSCN8659.JPG" width="200" /></a><span style="font-style: normal;">However, there were a few works that I really enjoyed in <i>Cracked Culture</i>, such as the video projected on a pile of the university’s chairs (</span>the exhibition <span style="font-style: normal;">was spread over two university art campuses), and the flattened fire hydrants sitting in the stairwell, although I found the absence of labels for these two works odd (the opposite problem to </span><i>Future Pass</i><span style="font-style: normal;">’s invasive labelling habit). I was also amused at the ‘exhibition continues’ arrows that lead to a seemingly empty classroom. Were the confused visitors looking around the room part of an obscure performance artwork? </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpUnHecmXzEd-23PzvgVMd7G85_dXiTuJ-zhGcB-4gDpzC4SgzxKZlpS_-KjdVr4PEugJZSeuhJ3v3bPpNOGtFFeiND4Wu58MyeJrCarsiIe0cNzWNNKcTcYQolKIvXMCOfRB8eMdqjs0/s1600/DSCN8506.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpUnHecmXzEd-23PzvgVMd7G85_dXiTuJ-zhGcB-4gDpzC4SgzxKZlpS_-KjdVr4PEugJZSeuhJ3v3bPpNOGtFFeiND4Wu58MyeJrCarsiIe0cNzWNNKcTcYQolKIvXMCOfRB8eMdqjs0/s320/DSCN8506.JPG" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">a lovely label obscuring Wen San Su's chair, Future Pass</td></tr>
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Overall, <i>Future Pass</i><span style="font-style: normal;"> and </span><i>Cracked Culture</i><span style="font-style: normal;"> showcase an absurd number of artworks between them (</span><i>Future Pass</i><span style="font-style: normal;">, for instance, had 106 artists participate). Yet at the end of the day (literally. It takes almost a day to cover all four locations), I felt like I could probably count the number of artworks I vaguely enjoyed on both hands. Maybe I don’t get it, maybe you need to be ‘into’ cute to appreciate the </span><i>Future Pass</i><span style="font-style: normal;"> works, but basically, I found it difficult to swallow the hyperbole. I wish the exhibitions had lived up to their promise. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2N8v5dO7CC5eBEJCUNVHL7nTfUv8Z8hyphenhyphenx9LGUcD0PbpFW3k9FEODj0sg5H_U62Ef8hms4aN_fc_kTTn9EjNKaKd7982V55UFFvpDw1Cu6e5R9ZHrQjNUoPbZJ7DKMgc3qo8ezFhxIfTc/s1600/DSCN8572.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2N8v5dO7CC5eBEJCUNVHL7nTfUv8Z8hyphenhyphenx9LGUcD0PbpFW3k9FEODj0sg5H_U62Ef8hms4aN_fc_kTTn9EjNKaKd7982V55UFFvpDw1Cu6e5R9ZHrQjNUoPbZJ7DKMgc3qo8ezFhxIfTc/s400/DSCN8572.JPG" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Grand Canal rabbit, or officially <i>Fishing Rabbit</i> by No2good, Future Pass</td></tr>
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Lucyhttp://www.blogger.com/profile/14606784865702317737noreply@blogger.com1tag:blogger.com,1999:blog-3025810385129732491.post-2478871303750650352011-06-02T03:07:00.001+10:002011-06-02T21:13:10.071+10:00Day 1 at the 2011 Venice Biennale<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div>Yesterday was the pre-vernissage. The calm before the storm. The day where I should have seen more pavilions than I did, simply because today was crazy. Press weighed down by oversized cameras and/or minimalist leather-bound notebooks, VIPs and hipsters... all lugging dozens of superfluous tote (/show) bags, each pimping a country's artistic talents. It's art PR at its most obscene.<br />
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Anyway, here are some photos from the few pavilions I saw during my brief breaks. I'll return to these pavilions when I have a bit more time, but I just wanted to get these images published.<br />
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Please excuse the iphone quality photos too...<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD40g7qSWM5QhErzP9r1DWbeCUKO9PBnARikCi056bMC21gizveDtnQmHNvPtE7yv5I-JaonQRg6Kh0upFlFAKrM1DMKuajvf8pK8kvyQ0A4XLsvecqj5GAPQIVULMB9KcPaMPHisgoyY/s1600/IMG_2658.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD40g7qSWM5QhErzP9r1DWbeCUKO9PBnARikCi056bMC21gizveDtnQmHNvPtE7yv5I-JaonQRg6Kh0upFlFAKrM1DMKuajvf8pK8kvyQ0A4XLsvecqj5GAPQIVULMB9KcPaMPHisgoyY/s320/IMG_2658.JPG" width="320px" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">car crash liberetto at the Hungarian Pavilion</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTfXm-ChpSBJJd1sjkpStXscHa1ZVoE4GT-NZAk6ace5tg6-QAZVF_zLD39F1ap8GJttW8H9m7C7fa2lag69p_RrqY-IF5o-pbukeUxabaZ6Am1yStpssYABnwGpYebjP3I_zoqKeEJdE/s1600/IMG_2663.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTfXm-ChpSBJJd1sjkpStXscHa1ZVoE4GT-NZAk6ace5tg6-QAZVF_zLD39F1ap8GJttW8H9m7C7fa2lag69p_RrqY-IF5o-pbukeUxabaZ6Am1yStpssYABnwGpYebjP3I_zoqKeEJdE/s320/IMG_2663.JPG" width="320px" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">the words. Hot and red</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6snYmAysBU34P9x0T4l2zkPc2m_-Ewcu0u6Dio24TEgRYrOhyphenhyphenivfSPq_FYaQcw0aVM5Wd0eviq4GMDcNXuP2KmL3FMu3z6wS8B8iBfIkkWMDRXbfpu44P-UelhqP07ZNsiTUlLEa66H0/s1600/IMG_2666.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6snYmAysBU34P9x0T4l2zkPc2m_-Ewcu0u6Dio24TEgRYrOhyphenhyphenivfSPq_FYaQcw0aVM5Wd0eviq4GMDcNXuP2KmL3FMu3z6wS8B8iBfIkkWMDRXbfpu44P-UelhqP07ZNsiTUlLEa66H0/s320/IMG_2666.JPG" width="320px" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">my final encounter: the singers performing</td></tr>
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPVGA3Xx7T-n4tA_sdiEOCiogeFrmI76HqzLqFMF_IH97ul5lwR8bdWz-1-HXDZKL0BoSpN_Qb6Hn16zTZNkx7wehmEnfpPJSU-czfySepRoyK4p1h4qz-4sZvWSr8lAUgiSQSQK-6ONw/s1600/IMG_2668.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPVGA3Xx7T-n4tA_sdiEOCiogeFrmI76HqzLqFMF_IH97ul5lwR8bdWz-1-HXDZKL0BoSpN_Qb6Hn16zTZNkx7wehmEnfpPJSU-czfySepRoyK4p1h4qz-4sZvWSr8lAUgiSQSQK-6ONw/s320/IMG_2668.JPG" width="320px" /></a></div><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTbfbr71W4BQrhAzua0Vk04HaFMRYxTvesRKpL8WlSj1guUv3hyphenhyphenRkiWaJJLa3PY8ogIvY6aBi5j2GRMKtnNEkjELG61PALMLC0TnFZEhbpwxyQPIfyGhCXFS3Qn40ZBpzRQ38b88VPMqY/s1600/IMG_2672.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTbfbr71W4BQrhAzua0Vk04HaFMRYxTvesRKpL8WlSj1guUv3hyphenhyphenRkiWaJJLa3PY8ogIvY6aBi5j2GRMKtnNEkjELG61PALMLC0TnFZEhbpwxyQPIfyGhCXFS3Qn40ZBpzRQ38b88VPMqY/s320/IMG_2672.jpg" width="240px" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Disguised outside Israel's Pavilion</td></tr>
</tbody></table> Most of the objects in the US pavilion are 'stages' for performances, gymnastic and athletic performances. The only performance I've seen so far has been on the massive tank outside the pavilion. I'm itching to see the aeroplane seat performances, and withdraw money from the organ ATM. The exhibition is called <em>Gloria</em>, by the artists Allora and Calzadilla, and is delighfully humourous: a statue in a blindingly brigh sunbed, an ATM machine that dramatises a normally banal transaction, the elite athletes stretching in their sweabands and running shorts down the side of the pavilion before their turn on the monumental treadmill atop the upturned tank. I didn't like the US pavilion's exhibition at the last biennale, and I'm so glad to see that the US has a sense of humour at last.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzVyfsukLFTSpc26XfcrDy1LvevSsKMY9QuzTRW4gM1CrO0FSfNi5fVTGY8-aityK-dWKzo0FvzzzMoVkFuoPPSOccLbQeX5l5DgwD8lp-l1kq9br0sBENBYu531VdX_4Oe-DHXGZuguE/s1600/IMG_2674.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzVyfsukLFTSpc26XfcrDy1LvevSsKMY9QuzTRW4gM1CrO0FSfNi5fVTGY8-aityK-dWKzo0FvzzzMoVkFuoPPSOccLbQeX5l5DgwD8lp-l1kq9br0sBENBYu531VdX_4Oe-DHXGZuguE/s320/IMG_2674.JPG" width="320px" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em>Body in Flight (Delta)</em></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipGDMyjqzGwE9v5a-L-rGIVbkS6pIv1pkgeI_JsP33tYUeTWGg8LlSGOmxTvAmQy-dzJjlzCnjCx0vRy-Ou1g37e0xnoT2gbDB4FpheOMshNTz4H4ZsEsgy_EUQFp_DvYAeFxUAI8GVDY/s1600/IMG_2676.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipGDMyjqzGwE9v5a-L-rGIVbkS6pIv1pkgeI_JsP33tYUeTWGg8LlSGOmxTvAmQy-dzJjlzCnjCx0vRy-Ou1g37e0xnoT2gbDB4FpheOMshNTz4H4ZsEsgy_EUQFp_DvYAeFxUAI8GVDY/s320/IMG_2676.jpg" width="240px" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em>Body in Flight (American)</em></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeb3vqqQcARZRRDh1etO62r2rHJJDz4IrhuzlR4gvG_vkMkV1mT86kWjspasDwZ_ep3Z_EmcW9_5s95JdgRItmYc63mqgJx3QgTGfewIpD-4AHAtFYm04uaVoUw__cr75ypAiohfaPQOY/s1600/IMG_2679.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeb3vqqQcARZRRDh1etO62r2rHJJDz4IrhuzlR4gvG_vkMkV1mT86kWjspasDwZ_ep3Z_EmcW9_5s95JdgRItmYc63mqgJx3QgTGfewIpD-4AHAtFYm04uaVoUw__cr75ypAiohfaPQOY/s320/IMG_2679.jpg" width="240px" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em>Algorithm</em></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-SIFhyphenhyphenxRY0t6rRDalrZwPf6OQGbvQqHgsys-5y-g50WrdzcPvrAYBK4noXnBF2vpAaUI5SNYwsFsaItfZsWmJl8SdV6I82y0mQFL_xkLBvlWsTiwo7WLjy1x3Og3DR9KjFG3pQwn7BQQ/s1600/IMG_2680.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-SIFhyphenhyphenxRY0t6rRDalrZwPf6OQGbvQqHgsys-5y-g50WrdzcPvrAYBK4noXnBF2vpAaUI5SNYwsFsaItfZsWmJl8SdV6I82y0mQFL_xkLBvlWsTiwo7WLjy1x3Og3DR9KjFG3pQwn7BQQ/s320/IMG_2680.jpg" width="240px" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em>Algorithim</em> (detail)</td></tr>
</tbody></table><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicTOqd0w6UL4Gw_nhgQhyphenhyphenipeh5DO0OIbDcpkv4rlRiYISMn2hVXVde8-xvTJlGuJi6BlhvzFqo2SsWHEWFAUiWtuzPtWW5njebvveJl3cibmOZjCSymKvg9pnkSj_vqdyzpSiK5dXdl8U/s1600/IMG_2682.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicTOqd0w6UL4Gw_nhgQhyphenhyphenipeh5DO0OIbDcpkv4rlRiYISMn2hVXVde8-xvTJlGuJi6BlhvzFqo2SsWHEWFAUiWtuzPtWW5njebvveJl3cibmOZjCSymKvg9pnkSj_vqdyzpSiK5dXdl8U/s320/IMG_2682.jpg" width="240px" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em>Algorithm</em> in use</td></tr>
</tbody></table><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx0m5CP2_tq3yGtXIzw6amcA5jaQBYXIg5vj8gSEn0-N9UAYRqYhJvNQPhPZRUEhxt34txCiozLF-wC5U-aofGoOqLoKO6QC1LyKvKBgzoz6nqv9JNwGNRVcm-Lsw7r285KGT5AK_bhLw/s1600/IMG_2685.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx0m5CP2_tq3yGtXIzw6amcA5jaQBYXIg5vj8gSEn0-N9UAYRqYhJvNQPhPZRUEhxt34txCiozLF-wC5U-aofGoOqLoKO6QC1LyKvKBgzoz6nqv9JNwGNRVcm-Lsw7r285KGT5AK_bhLw/s320/IMG_2685.JPG" width="320px" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em>Statue of Freedom</em></td></tr>
</tbody></table><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7rSxTFnt6flVUvGSzZqWfIZovIz3QrWvEDaOSRzUS44SkE8-fSqErqd9yNvCmo-cT_SV22aMwS6__FgnT9Q1tDltaOZz3ojbcy32lNqj9gY73tjnT-PkPhKB6qumYEagC5l5lQQjwnjU/s1600/IMG_2687.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7rSxTFnt6flVUvGSzZqWfIZovIz3QrWvEDaOSRzUS44SkE8-fSqErqd9yNvCmo-cT_SV22aMwS6__FgnT9Q1tDltaOZz3ojbcy32lNqj9gY73tjnT-PkPhKB6qumYEagC5l5lQQjwnjU/s320/IMG_2687.JPG" width="320px" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em>Track and Field</em></td></tr>
</tbody></table> <br />
The United Kingdom's Pavilion was turned into a maze-like, claustrophobic space, which looked like a squat, or at least a building with confused identities. Mike Nelson apparently spent 3 months installing the work, which, after navigating the stairs up and around the comparmentailised pavilion, is easily believed. A darkroom in one upper corner of the building gives us the best clue as to the identity of the inhabitant (s?), and the photographs which hang on strings or on walls around the buildings cement this notion.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI3MnuSP4G7lRwrJoRYMzoqWAimP5JCjxenhJJNJHDNaVSj33YFg2XslmnI0Dkh-BMgjnCbYZltbFL5hy5_1SWxVaAiSeKRowNpy764Q42Z8BTlb1u4l9mhZUmWBoB9hxaCDPuyAvtYHo/s1600/IMG_2690.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI3MnuSP4G7lRwrJoRYMzoqWAimP5JCjxenhJJNJHDNaVSj33YFg2XslmnI0Dkh-BMgjnCbYZltbFL5hy5_1SWxVaAiSeKRowNpy764Q42Z8BTlb1u4l9mhZUmWBoB9hxaCDPuyAvtYHo/s320/IMG_2690.jpg" width="240px" /></a></div><br />
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Christian Boltanski's <em>Chance,</em> in the French Pavilion:<br />
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I was particularly drawn to this exhibition because I've been watching Boltanski work live from his studio via a webcam, at the local museum in Hobart, MONA. MONA's owner, David Walsh, pays a wage to Boltanski in exchange for the rights to install a webcam that is streamed 24/7 across the world, to his museum in Tasmania. <br />
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The catalogue for the exhibition has an illuminating discussion between Boltanski and Walsh. A must read. <br />
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The tired looking Czech Republic and Slovak Republic pavilion:<br />
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Dominik Lang's <em>The Sleeping City</em> in the Czech and Slovak Pavilion:<br />
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Christoph Schlingensief at the German Pavilion, a posthumous survey of his work.<br />
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Hany Armanious at the Australian Pavilion. All the works are meticulously cast in synthetic resin, and his choice of cast objects is strangely beautiful. Here are just a few of the works:<br />
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<tr><td class="tr-caption" style="text-align: center;">I had one of these tables at art school, I'm sure of it.<br />
<em>Effigy of an Effigy with Mirage</em> 2010</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKZ7O3i7KwgaEmapgJTpJQHYZQ42IuoQprGiQ-EJonSuNlu4SqqvtbqGB07atVCzYn3C_F0C3j1havc3OvnuC_MzqI7wxN9XOMIuNnFmLHo-m_L31BAweWIvRBRvZnBK7zfm0gGQk2HqY/s1600/IMG_2749.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKZ7O3i7KwgaEmapgJTpJQHYZQ42IuoQprGiQ-EJonSuNlu4SqqvtbqGB07atVCzYn3C_F0C3j1havc3OvnuC_MzqI7wxN9XOMIuNnFmLHo-m_L31BAweWIvRBRvZnBK7zfm0gGQk2HqY/s320/IMG_2749.jpg" width="240px" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em>Interface</em> 2011</td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><em>Birth of Venus</em> 2010 (probably my favourite)</td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><em>True Romance </em>2010</td></tr>
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKQVbDdNLS4hWCd7qtohruspI4Md0yhMWHt2u53uRAap8NWQuooOJrq1vLBrNR4vWAUZVDDjV89mxEji-ixNiyPfGaBihxDRTgCKMZBVWnC7U9o1XnkY0T3JXxGbY1hp9l1TnZCHO3Ycw/s1600/IMG_2757.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br />
</a></div>Lucyhttp://www.blogger.com/profile/14606784865702317737noreply@blogger.com0tag:blogger.com,1999:blog-3025810385129732491.post-43511707960701267942011-05-27T22:01:00.000+10:002011-05-27T22:01:59.682+10:00Macro, Rome<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-Zc2VEBccc9CuoW3xMt9af1If7jS-vZ7QA95dQSQxUto-PE4KZnIEXD1uGop8s-__gSnTlOuvmZpvOCzWYfsXwyS0lJQScU8eNGutOlDadZLBkJwDKM9YBSFdRJG1JxgyOQfzAGK2j3Q/s1600/DSCN7884.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-Zc2VEBccc9CuoW3xMt9af1If7jS-vZ7QA95dQSQxUto-PE4KZnIEXD1uGop8s-__gSnTlOuvmZpvOCzWYfsXwyS0lJQScU8eNGutOlDadZLBkJwDKM9YBSFdRJG1JxgyOQfzAGK2j3Q/s320/DSCN7884.JPG" width="240" /></a>After last week’s rant on museum architecture, triggered by two newly built Rome contemporary art galleries, I’m dedicating this comparatively uncritical post to a flaky discussion of some of the works I enjoyed at the contemporary art gallery, Macro.<span> </span>My original intention was to also discuss the work at MAXXI, the Galleria D’Arte Moderna and the Museo Bilotti, but I need to give my brain a brief reprieve before I start blogging about the Venice Biennale next week. I briefly discuss MAXXI’s architecture in the previous post, which will have to satisfy. <br />
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</div><div class="MsoNormal">Why Macro?<span> </span>Because unlike MAXXI, the gallery let me take photos of the art, which makes my life easier (It was made from plaster.<span> </span>It looked like a lobster. But it was green. It was the same size as a lobster. But perhaps one of the ones that grows off the coast of Tasmania. Oh, I’ve run out of space for anything other than description…).<span> </span>I can feel a rant on photography in galleries about to spill over, so I might just move on to the art….</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">As I noted in my previous post, Macro’s been built around a couple of ex-factories: the Peroni brewery and a slaughterhouse, and I’m going to confess now that it was my interest in museum architecture that triggered the pilgrimage to Macro, rather than the art.<span> </span>I had it in my head for some reason, that Macro was going to be fairly small, but I almost missed my train out of Rome trying to cover it all.<span> </span>It’s like a maze, a very spread-out maze, which gave the paradoxical impression of being a very empty gallery.<span> </span></div><div class="MsoNormal"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtxzap_jvZ7lSUMMjO5PGS-SFsWf-YNtgjwXKeno_svzOUpTbs-w2W8vPV5LpgDcdPNkccM3zRyxkWG0q804CHIiR26BFNFRy4sudnrXahLdZ5JPTqzxiB6LuqAOj0lk6LjEiIGKYMbV4/s1600/DSCN7887.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtxzap_jvZ7lSUMMjO5PGS-SFsWf-YNtgjwXKeno_svzOUpTbs-w2W8vPV5LpgDcdPNkccM3zRyxkWG0q804CHIiR26BFNFRy4sudnrXahLdZ5JPTqzxiB6LuqAOj0lk6LjEiIGKYMbV4/s320/DSCN7887.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ernesto Neto at Macro</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBoigXWzAsy9EgV4CEDC8YF-eUjj83xx5bh3_fEAzTDsec9-wC0onCP877Tiov8grC0ioHsGbMWA7wbdayfAwjSNh1E5A_13lzMBoFTlH2g9zfqdfxFI5YmytvftdFUqASFnulkCStkZY/s1600/DSCN7900.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBoigXWzAsy9EgV4CEDC8YF-eUjj83xx5bh3_fEAzTDsec9-wC0onCP877Tiov8grC0ioHsGbMWA7wbdayfAwjSNh1E5A_13lzMBoFTlH2g9zfqdfxFI5YmytvftdFUqASFnulkCStkZY/s400/DSCN7900.JPG" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ernesto Neto</td></tr>
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSXFOlxV27ko790FUPX6Qomx-82L5OjnPOOwoLVtXW2fUOF-UV6pJq9CkAI_YYTsQPt2B9RjjNN3203hozVpDKojy3mvOGGQAAxojpzK3HGz-JwDu9WVrY44qncpVMt_iYhZBJ88XLWhQ/s1600/DSCN7893.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSXFOlxV27ko790FUPX6Qomx-82L5OjnPOOwoLVtXW2fUOF-UV6pJq9CkAI_YYTsQPt2B9RjjNN3203hozVpDKojy3mvOGGQAAxojpzK3HGz-JwDu9WVrY44qncpVMt_iYhZBJ88XLWhQ/s200/DSCN7893.JPG" width="150" /></a></div><div class="MsoNormal">The first works visitors encounter are Ernesto Neto’s large ear splittingly loud silver cube, and one of his ubiquitous hanging spice-in-stockings work.<span> </span>The large space in which Neto’s work is installed is (I’m assuming) Macro’s ‘showcase’ area.<span> </span>For some bizarre reason, whenever I visit an overseas gallery I encounter one of his works.<span> </span>I enjoy his clove and cardamom-smelling installations, so perhaps the universe lures me to book tickets to certain locations based on this enthusiasm.<span> </span>While the scale of Macro’s key exhibition space forces a certain amount of humility in the viewer, it was nothing compared to my experience of his 2006 installation <i>Leviathan Thot</i><span style="font-style: normal;"> in Paris’ epic Panthéon.<span> </span>Neto’s white bulging organic shapes contrasted in the most bizarre way with the building’s strict symmetry, rich colours and indulgent ornamentation.<span> </span>The otherwise frosty space was filled with the warm smell of spices contained within Neto’s large bulbous stockings.<span> </span>In 2006, I’d just finished my undergrad degree in fine arts, and I think this installation was a catalyst for the subject of my PhD: site-specific art.<span> </span>Basically, what I’m trying to say is Neto’s work at Macro was brill, but I’ve been spoilt by my Paris experience.<span> </span></span></div><div class="MsoNormal"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit6KnprediZBvbpeQXydLgPxez7wK08OqV87jtgPywYhiDsetNN_TU8zhbtY76prxMb73oor-oqkfiSENRIKXqzQGrt8RTeW5C_wApsZtwYfviOFD9DFmufAqLgZd_Qf74C1k4LxPPFKQ/s1600/DSCN1403.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit6KnprediZBvbpeQXydLgPxez7wK08OqV87jtgPywYhiDsetNN_TU8zhbtY76prxMb73oor-oqkfiSENRIKXqzQGrt8RTeW5C_wApsZtwYfviOFD9DFmufAqLgZd_Qf74C1k4LxPPFKQ/s400/DSCN1403.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ernesto Neto, <i>Leviathan Thot</i> (2006), <span style="font-style: normal;">Panthéon</span><span style="font-style: normal;"> </span></td></tr>
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</div><div class="MsoNormal">Ridiculously, the other work in Macro’s large space, <i>The Crisis is (Not) Over.<span> </span>Drawings and Dioramas</i><span style="font-style: normal;">, was by Dan Perjovschi - another artist who seems to ‘follow me’ OS.<span> </span>I find his drawings amusing and topical, but I was a little disappointed that the work of a ‘new’ artist wasn’t in that monumental space.<span> </span></span></div><div class="MsoNormal"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip8Ul11La1AOIVw_3B5qVjSI8KsGIvX-qbZHJtMTU7udKYDV5Q2vH4fsbzOuryBrB-HN_CEFs8HqRpvAeXAYQSeEe4DNIAzAcyd4YCJANpxwmctdNybS6MLbMtWBFXJY7f3ryBzvSDBEM/s1600/DSCN7907.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip8Ul11La1AOIVw_3B5qVjSI8KsGIvX-qbZHJtMTU7udKYDV5Q2vH4fsbzOuryBrB-HN_CEFs8HqRpvAeXAYQSeEe4DNIAzAcyd4YCJANpxwmctdNybS6MLbMtWBFXJY7f3ryBzvSDBEM/s400/DSCN7907.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-style: normal;">Dan Perjovschi, </span><i>The Crisis is (Not) Over.<span> </span>Drawings and Dioramas</i><span style="font-style: normal;"></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDRcsPGNPfKZ0NrdDIjf6DGIpX26KtRGffVVb23OSnNWpD2hBSqyKbjevAtjX-qWCAvDVBqg2v_ARPF_4ywjC5aQuvTlP7artJsXzoODeLbkN-ztiiIEZeoBZks-MVRlIR5ETlvSPtOIU/s1600/DSCN7925.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDRcsPGNPfKZ0NrdDIjf6DGIpX26KtRGffVVb23OSnNWpD2hBSqyKbjevAtjX-qWCAvDVBqg2v_ARPF_4ywjC5aQuvTlP7artJsXzoODeLbkN-ztiiIEZeoBZks-MVRlIR5ETlvSPtOIU/s200/DSCN7925.JPG" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Perino and Vele, <i>Closed for This Week</i><span style="font-style: normal;"> (2002)</span></td></tr>
</tbody></table><div class="MsoNormal">I noticed the rough curved concrete supports on the next floor before any of the art.<span> </span>I was sooooo hoping by that stage that there’d be some sort of didactic text telling me whether they’d bottled beer or slaughtered cattle in the space, but no. <span> </span>Art was dotted throughout the respectfully white-painted space, such as Perino and Vele’s <i>Closed for This Week</i><span style="font-style: normal;"> (2002), hung between two pillars, and Mario Ceroli’s </span><i>Goldfinger (Miss)</i><span style="font-style: normal;"> (1965).<span> </span>I enjoyed the former because it was something that pretended to be another thing, and Ceroli’s work because the ‘back’ of his sculpture still showed the pencil and raw saw-marks of its production.<span> </span>I think I’ve mentioned my obsession with ‘things that pretend to be other things’ a few times in this blog.<span> </span>Being in Italy, I probably don’t need to tell you that I’m in </span><i>trompe l’oeil </i><span style="font-style: normal;">heaven right now.</span></div><div class="MsoNormal"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjazaqOludl-iGCdm8uO7Yhl0TQpM08EHvNZvjLIjaYEtsfO50XaXRJiJoB0IF4LbMThI3Kb2KOH8oaFAB6074Z-_p6CXOnj3U6IEfRuxcikxLBhyphenhypheni2DXPrCvxB9Y7oyHlYGeqQXsplwPM/s1600/DSCN7929.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjazaqOludl-iGCdm8uO7Yhl0TQpM08EHvNZvjLIjaYEtsfO50XaXRJiJoB0IF4LbMThI3Kb2KOH8oaFAB6074Z-_p6CXOnj3U6IEfRuxcikxLBhyphenhypheni2DXPrCvxB9Y7oyHlYGeqQXsplwPM/s400/DSCN7929.JPG" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-style: normal;">Mario Ceroli, </span><i>Goldfinger (Miss)</i><span style="font-style: normal;"> (1965)</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2k4WZ7XgqfHxSf0tuqvJ0FmxWVrZJIegSREEDalCn9ZvnhIBjQNVvSCl3OoYiN0IQ3rcWJLoVlFyyhIXI6C2YxiPEkb5Tx1hoIijB5HohZa_GDhvP7AZ_YjAWc7cm98o9RUFocKqWRvY/s1600/DSCN7937.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2k4WZ7XgqfHxSf0tuqvJ0FmxWVrZJIegSREEDalCn9ZvnhIBjQNVvSCl3OoYiN0IQ3rcWJLoVlFyyhIXI6C2YxiPEkb5Tx1hoIijB5HohZa_GDhvP7AZ_YjAWc7cm98o9RUFocKqWRvY/s400/DSCN7937.JPG" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Goldfinger (Miss), </i>detail</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-Q89LSBR5jUOfnGfCUu4Vdzo4WG_zZXgvXSAbuoEdal7So5d0tyH2F035eiGZCSnJVY_0IK-oC9GDAmqbbGUhkU3YKfiTnk6YRCFDo12YyHps212vaFdQBIB3oL1ZP-G1uEnab-2vn50/s1600/DSCN7938.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-Q89LSBR5jUOfnGfCUu4Vdzo4WG_zZXgvXSAbuoEdal7So5d0tyH2F035eiGZCSnJVY_0IK-oC9GDAmqbbGUhkU3YKfiTnk6YRCFDo12YyHps212vaFdQBIB3oL1ZP-G1uEnab-2vn50/s200/DSCN7938.JPG" style="cursor: move;" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Daniel Buren</td></tr>
</tbody></table><div class="MsoNormal">The Antony Gormley exhibition didn’t interest me very much, nor the sculptures of Sarah Braman, in fact, the room that interested me the most was what you could call a documentary art space, recording the activities of Rome’s alternative art space <i>Galleria L’Attico</i><span style="font-style: normal;"> in the 1960s and 70s. The gallery encouraged cross-disciplinary art, and as I learned from the archived photographs and exhibition posters, it hosted exhibitions by now well-known artists, such as Jannis Kounellis, Joseph Beuys and Robert Smithson.<span> </span>The posters of Kounellis’ horses particularly caught my attention because Hobart’s MONA has a slightly less high-maintenance work of his that consists of a chair, bowl with knife, and two live goldfish.<span> </span>If the staff at MONA thought the fish were hard enough, imagine how demanding the horses would be.</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">A couple of artworks played with the gallery’s architectural features: Daniel Buren’s site specific <i>Dance between triangles and lozenges for three colours</i><span style="font-style: normal;"> (2010) and the art in the two lift-wells, which could only be viewed in full by riding the elevator.<span> </span>I’m a bit of a Luddite when it comes to video, so you’ll just have to believe me when I write that it’s worth taking the lift.</span></div><div class="MsoNormal"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrmGxwzFJI8x5YfYFSHZA_0Z-Iz5y-p4raoCi6O32iXOI4iRDiJXH8Md3HNRhz_xOixKNFdZ-n2kVnKwbAU1uiEnznWh05Qm99arBi3OMx5brVh3QzpSIFFGAYm-uQZ60K5FFwfMvYNuw/s1600/DSCN7960.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrmGxwzFJI8x5YfYFSHZA_0Z-Iz5y-p4raoCi6O32iXOI4iRDiJXH8Md3HNRhz_xOixKNFdZ-n2kVnKwbAU1uiEnznWh05Qm99arBi3OMx5brVh3QzpSIFFGAYm-uQZ60K5FFwfMvYNuw/s400/DSCN7960.JPG" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">spotted in the Macro liftwell</td></tr>
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</div><div class="MsoNormal">Stay tuned for Venice Biennale posts…</div><div class="MsoNormal"><br />
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</div>Lucyhttp://www.blogger.com/profile/14606784865702317737noreply@blogger.com0tag:blogger.com,1999:blog-3025810385129732491.post-90505705500480063632011-05-19T21:58:00.000+10:002011-12-09T17:47:08.578+11:00Contemporary art galleries in Rome and the new museum architectureI’m so lucky. I’m about to experience the Venice Biennale for a second time as I’ll be working there next month. In the meantime, I’m studying Italian in Siena for a couple of weeks, and as the title of this post indicates, I just spent a couple of days in Rome. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqTREty_7aOlt8qD_lpmiksM-rM3-6uBweRhj_vEvEruwYvw_ryGOUbsOWKhGXh_3JxmODIBXtrS5M6W4jiqJJVSkBibr5NeFu47akh18I6pTdGEYRlf8h61ooaa0UKbBQDETj_qfWijg/s1600/DSCN7757.JPG" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqTREty_7aOlt8qD_lpmiksM-rM3-6uBweRhj_vEvEruwYvw_ryGOUbsOWKhGXh_3JxmODIBXtrS5M6W4jiqJJVSkBibr5NeFu47akh18I6pTdGEYRlf8h61ooaa0UKbBQDETj_qfWijg/s200/DSCN7757.JPG" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Galleria Nazionale d'Arte Moderna</td></tr>
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So, contemporary art in Rome… unfortunately, I didn’t find any small artist-run spaces (shout out if you know of any), but I visited the contemporary art space, <a href="http://www.macro.roma.museum/">Macro</a>, and Rome’s new mega museum: <a href="http://www.fondazionemaxxi.it/index.aspx">MAXXI</a> (as in art of the XXI century). I also visited the smaller private gallery, <a href="http://www.blogger.com/"><i>Museo Carlo Bilotti Aranceria di Villa Borghese</i></a><span style="font-style: normal;">, and the city’s Modern art museum, </span><a href="http://www.blogger.com/"><i>Galleria Nazionale d’Arte Moderna</i></a><span style="font-style: normal;">. I very much enjoyed seeing contemporary Italian art, and so I’ll write on the art contained within these museums in my next post, but in this post I’d like to talk about the architecture of contemporary art museums in relation to Macro and MAXXI.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2EhQcVL9QlNnB0-StGJXAxCssS9tNU3mGLToL3n7TqWcaNKOtM3u7xAg7Icy2OiQUjKtvCW6icdZTU_IxTCUy_3FEoeW3xHdc9n8tuHBCWiznHtfyN2b7qLKE6c8U5UKCpMnlmG5fJtc/s1600/DSCN7837.JPG" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2EhQcVL9QlNnB0-StGJXAxCssS9tNU3mGLToL3n7TqWcaNKOtM3u7xAg7Icy2OiQUjKtvCW6icdZTU_IxTCUy_3FEoeW3xHdc9n8tuHBCWiznHtfyN2b7qLKE6c8U5UKCpMnlmG5fJtc/s200/DSCN7837.JPG" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">MAXXI: the unassuming streetfront</td></tr>
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Macro and MAXXI epitomise the new museum architecture: they showcase innovative architecture while retaining novel elements of the respective original site. In the case of MAXXI, it’s really only the rather unremarkable (for Rome, at least) street front, but for Macro, it’s features of the gallery buildings’ past functions as slaughterhouse and Peroni brewery (don’t worry, they were separate factories). I enjoyed both museums, but after visiting a number of galleries whose identity is very much connected to this new style of architecture, I’ve noticed that the declarations of ‘innovation’, ‘difference’ and in some cases ‘challenging the notion of the white cube’, are ironically very similar.</div>
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<b>Here are some features of the new museum architecture:</b></div>
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[Update: Dec 2011. I have written a more thorough list at a later post <a href="http://hobartart.blogspot.com/2011/12/new-museum-architecture-updated.html">here</a>]</div>
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1. Angles. Not right angles, other angles.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEtX5Pj093Si6XlVn-RlAWgKxsd-MDQf46J1ZE9eOfkNeFjS4vm3vdyJhLBr66xMsHbFJL3ybw4fQt30uWDNbrbWq1J67C3EXSN_UW3XcMPaRwhs-DrHcfi6uhcHWTKuHrQPTcbHAUf3o/s1600/IMG_2039.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEtX5Pj093Si6XlVn-RlAWgKxsd-MDQf46J1ZE9eOfkNeFjS4vm3vdyJhLBr66xMsHbFJL3ybw4fQt30uWDNbrbWq1J67C3EXSN_UW3XcMPaRwhs-DrHcfi6uhcHWTKuHrQPTcbHAUf3o/s400/IMG_2039.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">National Gallery Victoria (NGV) Australia, Melbourne</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnuTlUXoBRSaQ7JlUj1lW1h3V6evn9LbCp5xLVURBIuzdW7kPacO4Zrxp-kE4oWHNg-rt1OfOtNKnO78WjGUrnD8759qckpD73SNCTWk5BtMoMvkAYZtIOLu5hV4iTdwgJOs-2wOz4p2I/s1600/IMG_1200.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnuTlUXoBRSaQ7JlUj1lW1h3V6evn9LbCp5xLVURBIuzdW7kPacO4Zrxp-kE4oWHNg-rt1OfOtNKnO78WjGUrnD8759qckpD73SNCTWk5BtMoMvkAYZtIOLu5hV4iTdwgJOs-2wOz4p2I/s400/IMG_1200.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Australian Centre for Contemporary Art (ACCA), Melbourne</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4rYrnvb41goli-DPULYoPNEy3gANssCS_mA6HtxSSBhylE3CZOP_hTv56bp4f1lT9Osx65HNVO-TNGj_rFuqqMpE9lD8eCMXN-ql7hjAfgVUDs0pNSNj8QHBVj1kZBkriu7LEWWBvDLQ/s1600/DSCN7839.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4rYrnvb41goli-DPULYoPNEy3gANssCS_mA6HtxSSBhylE3CZOP_hTv56bp4f1lT9Osx65HNVO-TNGj_rFuqqMpE9lD8eCMXN-ql7hjAfgVUDs0pNSNj8QHBVj1kZBkriu7LEWWBvDLQ/s400/DSCN7839.JPG" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">MAXXI, Rome</td></tr>
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2. Floating (or unlikely) staircases.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFGXOPAdzUGd7dvCYQPAuTJYaYylGWnSDB_GwDnABWu9V-K7UflL9gXxEraelujquZGc28IJfWeldGP5_kMOheRLDxSHrZn88IBhNTSXMPi6xIOwJylRoRhMPB1BGIaUDRm182VmL5t1s/s1600/DSCN7847.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFGXOPAdzUGd7dvCYQPAuTJYaYylGWnSDB_GwDnABWu9V-K7UflL9gXxEraelujquZGc28IJfWeldGP5_kMOheRLDxSHrZn88IBhNTSXMPi6xIOwJylRoRhMPB1BGIaUDRm182VmL5t1s/s400/DSCN7847.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">MAXXI, Rome</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8PYFAnzxJa_Jpj47Ztvlp7Y405SSGYMVMRkJQAHwejwmFUXN4oxQtDEc2-y7DaLJvNahVuO2MzhhACjZgoWMiZHQ6PiJiv65NkWrhYz12pZRLOOUGTLUiR26Je7Xym6f3EK5SA7CxK3w/s1600/DSCN7894.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8PYFAnzxJa_Jpj47Ztvlp7Y405SSGYMVMRkJQAHwejwmFUXN4oxQtDEc2-y7DaLJvNahVuO2MzhhACjZgoWMiZHQ6PiJiv65NkWrhYz12pZRLOOUGTLUiR26Je7Xym6f3EK5SA7CxK3w/s400/DSCN7894.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Macro, Rome</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_AkhzmplSsAWnH4X5aT67Cpx9xuOkEYTEMtlik2cnYdTjlO3OSwl5z3CiW-dbcaQzRA-wtCObiihY52gumdNQ1gpGqj1hG0m3dly_qdUZWVa6vzWgygdWljGv-amLWSZeauRZFxm0_j8/s1600/staircase+3+istanbul+modern.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_AkhzmplSsAWnH4X5aT67Cpx9xuOkEYTEMtlik2cnYdTjlO3OSwl5z3CiW-dbcaQzRA-wtCObiihY52gumdNQ1gpGqj1hG0m3dly_qdUZWVa6vzWgygdWljGv-amLWSZeauRZFxm0_j8/s400/staircase+3+istanbul+modern.JPG" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">cage staircase, Istanbul Modern, Istanbul</td></tr>
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3. The walls are mostly white, even if they’re self-aware of the white. Sometimes they’ll have a few coloured walls just to show that they’re slightly subversive.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhScFcA5hlY0azM3zxjas-Ac0LfPPGUiMaynfAXPNI2kMOKfU-h4C9OUSAK1swAY79alU9w8JRoFGE0MfiVXkXQdZxJY4ebjagf1kSJSNYEn5e4MELsNdtA8adef5NwH_F6bWg1vI5-q1g/s1600/DSCN6089.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhScFcA5hlY0azM3zxjas-Ac0LfPPGUiMaynfAXPNI2kMOKfU-h4C9OUSAK1swAY79alU9w8JRoFGE0MfiVXkXQdZxJY4ebjagf1kSJSNYEn5e4MELsNdtA8adef5NwH_F6bWg1vI5-q1g/s400/DSCN6089.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">GOMA, Brisbane</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlujetycqmzTV4y6zdiwZFred3pFDu0z4bKnEG28FrCymirga0J5MqhStgg0bVMbOpDF7DeHz6rgCmPJVC8_UtkLJJfb14d2o1vRYWL8kIfEFXPrRERhg2h6Jiq36ZshxUrDIDDkfPEGs/s1600/DSCN7913.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlujetycqmzTV4y6zdiwZFred3pFDu0z4bKnEG28FrCymirga0J5MqhStgg0bVMbOpDF7DeHz6rgCmPJVC8_UtkLJJfb14d2o1vRYWL8kIfEFXPrRERhg2h6Jiq36ZshxUrDIDDkfPEGs/s400/DSCN7913.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Macro, Rome</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpEoKNfkzuFp_4RtmPTa3mcLGJauZ7DM93b7pxVpCf1NrkNtIGc2kZQVZbx01Ar4Y3WrlEgptA_R89BaJhNfKaxbN3BAcY96dg-OoVq6YHp8IYERtGBFJKBIxC4h6Tcayv3uO827j3TA4/s1600/DSCN7975.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpEoKNfkzuFp_4RtmPTa3mcLGJauZ7DM93b7pxVpCf1NrkNtIGc2kZQVZbx01Ar4Y3WrlEgptA_R89BaJhNfKaxbN3BAcY96dg-OoVq6YHp8IYERtGBFJKBIxC4h6Tcayv3uO827j3TA4/s400/DSCN7975.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The red to break up the white, Macro, Rome</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
4. (speaking of which...) A touch of red.</div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEva7z2K2ZIzxg6RHxALBP8MGy-H9yU1oIYaRx8hj3VkRYzvYRUbs7TDXZNxtc6yxTYrYSA32BoOIPzYPWt_aaummGQmPT9yQ1WAKWjfZedbFMQ3EXb8f_2DVI-8BRrBclWE9oObY5c7c/s1600/DSCN7844.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEva7z2K2ZIzxg6RHxALBP8MGy-H9yU1oIYaRx8hj3VkRYzvYRUbs7TDXZNxtc6yxTYrYSA32BoOIPzYPWt_aaummGQmPT9yQ1WAKWjfZedbFMQ3EXb8f_2DVI-8BRrBclWE9oObY5c7c/s400/DSCN7844.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">MAXXI, Rome</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpuiUFK8pyTm2Qq2i5eiX4wUrxRVXNs6x3x4IXocB2sXsVIF5IhLrb70wXBuj4gTKEXbTq2lJU6SpbTS5RyMNomk_9iJZwVTe4xvQcb_muuPf3AwXiNs3lcdRvHyqMzJx-TvYj0Q9ro1w/s1600/IMG_0734.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpuiUFK8pyTm2Qq2i5eiX4wUrxRVXNs6x3x4IXocB2sXsVIF5IhLrb70wXBuj4gTKEXbTq2lJU6SpbTS5RyMNomk_9iJZwVTe4xvQcb_muuPf3AwXiNs3lcdRvHyqMzJx-TvYj0Q9ro1w/s400/IMG_0734.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ceiling, Istanbul Modern</td></tr>
</tbody></table>
5. Sexy concrete: polished for the floor; brutally raw or curved for the walls/exterior.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyNSWnLHnAkuqaUkuRm3EI2YEJgM2n5c7J3m3qpOtAaL_JZwuxTI6uPKrI6B1WaY0ZufHate94VBcIsTTr6wCOam6JBwYwfe6eaMCsgKvP1iUJqLhLCSyQN0lXgJZvQlH8XbTessuUxOk/s1600/DSCN7835.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyNSWnLHnAkuqaUkuRm3EI2YEJgM2n5c7J3m3qpOtAaL_JZwuxTI6uPKrI6B1WaY0ZufHate94VBcIsTTr6wCOam6JBwYwfe6eaMCsgKvP1iUJqLhLCSyQN0lXgJZvQlH8XbTessuUxOk/s400/DSCN7835.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">MAXXI, Rome</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_brHNJWq_HOHYAB2j2l08TWvrZPypeaCvBgJ1solaBtIk9JlDXpMwxmPevC-FmOCgPHgL_Oa-nHQ21zu0aFkPCVPC2JJbwZ6YRCjdx1pz5elNMPQuUsfs42lg2LjGri14G9CKbaXgNjo/s1600/IMG_0771.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_brHNJWq_HOHYAB2j2l08TWvrZPypeaCvBgJ1solaBtIk9JlDXpMwxmPevC-FmOCgPHgL_Oa-nHQ21zu0aFkPCVPC2JJbwZ6YRCjdx1pz5elNMPQuUsfs42lg2LjGri14G9CKbaXgNjo/s400/IMG_0771.JPG" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Istanbul Modern</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj19ZHCd17ciyyhXFc-VCc9_cxllHqbw8n2KMrBgpE4hmk3AhnynCP9OFgS349DJPmO65pSKaF_GCA6sTcn3Yt5LY78rZy1w-WGgnGp1t_1kfzV2aO0FIfcv0CY1cvLgToYQZ13Q70mxn8/s1600/DSCN6926.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj19ZHCd17ciyyhXFc-VCc9_cxllHqbw8n2KMrBgpE4hmk3AhnynCP9OFgS349DJPmO65pSKaF_GCA6sTcn3Yt5LY78rZy1w-WGgnGp1t_1kfzV2aO0FIfcv0CY1cvLgToYQZ13Q70mxn8/s400/DSCN6926.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cer Modern, Ankara, Turkey</td></tr>
</tbody></table>
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<br /></div>
<div class="MsoNormal">
6. At least one ridiculously large room, which will often accommodate small objects. You will look up at the skylights or beams on the roof (oh, so far, far away) like you would in a church. The room will make you feel insignificant and humble. Art is god.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXxM0qa7hwaK1KUxeeh41wIM6jB2NVPvS9fCgaSF_bOfpekpF6qaILyiSnWoqAcnbWhRoJVXQy72Z0uhF5gt612aUaJZYtBylw_KyXFHrL1pfVJQr64i5U-2-3t6dqjt-A-1zpKCz1l-Y/s1600/DSCN7907.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXxM0qa7hwaK1KUxeeh41wIM6jB2NVPvS9fCgaSF_bOfpekpF6qaILyiSnWoqAcnbWhRoJVXQy72Z0uhF5gt612aUaJZYtBylw_KyXFHrL1pfVJQr64i5U-2-3t6dqjt-A-1zpKCz1l-Y/s400/DSCN7907.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Macro, Rome</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga3Piad_rd8UY8KNc4f8kPQVVqR_seDRuLBbSHqT5qDxl82JGsvkFH8bv-zB1lbB588Vkbxys4007sjkoCZPww4zmQyjO_qFcq_g6bYHB1sIiC3ibjeZE4ZaTRp42vMFZREzQm6E5b4bY/s1600/DSCN7886.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga3Piad_rd8UY8KNc4f8kPQVVqR_seDRuLBbSHqT5qDxl82JGsvkFH8bv-zB1lbB588Vkbxys4007sjkoCZPww4zmQyjO_qFcq_g6bYHB1sIiC3ibjeZE4ZaTRp42vMFZREzQm6E5b4bY/s400/DSCN7886.JPG" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Macro, Rome</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.tate.org.uk/modern/exhibitions/eliasson/about.htm" style="margin-left: auto; margin-right: auto;"><img alt="Olafur Eliasson, The Weather Project. © Olafur Eliasson. Photo © 2003 Tate, London" border="0" height="360" src="http://www.tate.org.uk/modern/exhibitions/eliasson/images/hallsun4.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Olafur Eliasson, <i>The Weather Project</i> (2004), Tate Modern, in the turbine hall</td></tr>
</tbody></table>
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<br /></div>
<div class="MsoNormal">
7. They have toilets with weird sinks. You may or may not get them to function. (I wish I'd taken a photo of the Macro sinks, but it's a bit uncomfortable taking photos in bathrooms)</div>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLutQuCCHWVwaVKNF9KHxzDsoNrI-lhUCWgNSJOYznhoIgwGuZ_-OR9wZxHsSIIXr5bKhfsnkwFEnhV5bc52HCIgIIABxt54goclGp-p3_0o4dprf9wZ7I-vGe7Hn-g4rftFg3MYkz5jA/s1600/DSCN5990.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLutQuCCHWVwaVKNF9KHxzDsoNrI-lhUCWgNSJOYznhoIgwGuZ_-OR9wZxHsSIIXr5bKhfsnkwFEnhV5bc52HCIgIIABxt54goclGp-p3_0o4dprf9wZ7I-vGe7Hn-g4rftFg3MYkz5jA/s400/DSCN5990.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Gallery of Modern Art (GOMA), Brisbane</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
8. The building has a previous function as a slaughterhouse, factory or similar (usually) industrial structure:</div>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD-f2iV9jcu7eNhkJdkKS47nCqYI86N3ao6gAuELvfNBs9IVIWkA29mqpypVLU0JmEZ9vt8VKqJyZnNQTiACi39YAXUyKfyqRbJFcTJwph5ZoqjRPH6wde2a6eZCIT1gf7FhS48j-I82I/s1600/DSCN7917.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD-f2iV9jcu7eNhkJdkKS47nCqYI86N3ao6gAuELvfNBs9IVIWkA29mqpypVLU0JmEZ9vt8VKqJyZnNQTiACi39YAXUyKfyqRbJFcTJwph5ZoqjRPH6wde2a6eZCIT1gf7FhS48j-I82I/s400/DSCN7917.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Macro (ex-slaughterhouse, Peroni factory)</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEY4PVG71TktNUeLuOlImgzPtjZkcSXC3Rcw7e8BFuhUQhchUsvH3-w8MtEiiJ4XrGO_Z4FRf1cqfbFBvc-2rhqoomenKW98KzP5ZqKFYZ-q06Qqw5i6oDGngm9GmYZOkRlD4WX96LujjF/s1600/Istanbul+Modern.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEY4PVG71TktNUeLuOlImgzPtjZkcSXC3Rcw7e8BFuhUQhchUsvH3-w8MtEiiJ4XrGO_Z4FRf1cqfbFBvc-2rhqoomenKW98KzP5ZqKFYZ-q06Qqw5i6oDGngm9GmYZOkRlD4WX96LujjF/s320/Istanbul+Modern.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Istanbul Modern (ex-shipping warehouse)</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBeqo7P5dxCCPC5crvHaZ_SjOiDAEiPu4CNRC9AV9nKN5eEXd_0fP1f2FdhwRmQhk37eZGEVAakklm9GluA-C4L5Pen6yf90DxP9Pi0ibznXvmsGej9bYEr9L0lu8oENdcMRKn8uaIuYA/s1600/IMG_2036.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBeqo7P5dxCCPC5crvHaZ_SjOiDAEiPu4CNRC9AV9nKN5eEXd_0fP1f2FdhwRmQhk37eZGEVAakklm9GluA-C4L5Pen6yf90DxP9Pi0ibznXvmsGej9bYEr9L0lu8oENdcMRKn8uaIuYA/s400/IMG_2036.jpg" width="300" /> </a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detached, Hobart (ex-Church)</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg77tHcGveLvU597Ayc8ZJuK4EYD1HY0eNKmFC8Kk3ZL9Zm-2l9LxoVOzv2AO2GcYz7WviWAntZy74v6yi_Sib8LV_66hT4EplzGNPRwL1cn7R0IShiyQTp5ipabQMwOxjWU7wSGH0VYeM/s1600/DSCN6924.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg77tHcGveLvU597Ayc8ZJuK4EYD1HY0eNKmFC8Kk3ZL9Zm-2l9LxoVOzv2AO2GcYz7WviWAntZy74v6yi_Sib8LV_66hT4EplzGNPRwL1cn7R0IShiyQTp5ipabQMwOxjWU7wSGH0VYeM/s400/DSCN6924.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cer Modern, Ankara, Turkey (ex-railyards)</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.tate.org.uk/modern/images/homepage/gallery.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Tate Modern" border="0" height="273" src="http://www.tate.org.uk/modern/images/homepage/gallery.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tate Modern, London (ex-powerstation)</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitw1PkJ8P23eoMneiKyVDnyn0n-Cjv8xWLc7DBGQaXishWx1w0H5ZhmpnLaCDfj-k5Wn4mny0AhiDfkWCB-trTKPzk9rMz3WCedxpKNgzFRa022HNLo8yQ_yME7s4taKPy7G_J-rU2WEo/s1600/IMG_0875.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitw1PkJ8P23eoMneiKyVDnyn0n-Cjv8xWLc7DBGQaXishWx1w0H5ZhmpnLaCDfj-k5Wn4mny0AhiDfkWCB-trTKPzk9rMz3WCedxpKNgzFRa022HNLo8yQ_yME7s4taKPy7G_J-rU2WEo/s400/IMG_0875.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">okay, it's not a gallery per se, but Cockatoo Island's a popular venue for the Sydney Biennale (ex-shipyards, gaol). It's similar to the Venice Biennale's arsenale in this way. The use of industrial structures for temporary exhibitions is a whole other post...</td></tr>
</tbody></table>
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<div class="MsoNormal">
9. Exposed plumbing or other functional parts of the gallery (also to show awareness of the white cube shiz) </div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBf0HaTJH3tOwT9Te1BPJt6MR_5t8aImTxeeo7FC-LClHljUd-6SAY0yLOZk7tcdoxZid0F65v3Ibzyp2dOPerLrIdUI3BA35aGoPYXSV2nw2_Sg8xf03175OBIs7eW_0fQojPxKrSZbQ/s1600/DSCN1392.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBf0HaTJH3tOwT9Te1BPJt6MR_5t8aImTxeeo7FC-LClHljUd-6SAY0yLOZk7tcdoxZid0F65v3Ibzyp2dOPerLrIdUI3BA35aGoPYXSV2nw2_Sg8xf03175OBIs7eW_0fQojPxKrSZbQ/s400/DSCN1392.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pompidou, Paris</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidfNcr6PQrmDl-BVHhpAzSKRCRoEu-PF0NX2i4Wd83HgU66tw0l3JAty-phjquVu5fJtw2n85FkhNXA7px8WZxxeeyM5MK02OcvL3T154SRyQBeZRBADcASa8uqdc4hXTPKIzslr5agzY/s1600/Istanbul+Modern+Ceiling+2.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidfNcr6PQrmDl-BVHhpAzSKRCRoEu-PF0NX2i4Wd83HgU66tw0l3JAty-phjquVu5fJtw2n85FkhNXA7px8WZxxeeyM5MK02OcvL3T154SRyQBeZRBADcASa8uqdc4hXTPKIzslr5agzY/s400/Istanbul+Modern+Ceiling+2.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Istanbul Modern</td></tr>
</tbody></table>
<div class="MsoNormal">
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-77SXT-nZosTGiK47zb10YZwXePstFFvmv3NNnygJoG44sxPvnQEJM7ZTjiELWHZwjRkkKRQo9XixINTcnQ92jQQK3lt9OJMofsWT6spntVhRixUVM5V2Bj3Qk_iusgQXZdVh2KC-B-I/s1600/IMG_2227.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-77SXT-nZosTGiK47zb10YZwXePstFFvmv3NNnygJoG44sxPvnQEJM7ZTjiELWHZwjRkkKRQo9XixINTcnQ92jQQK3lt9OJMofsWT6spntVhRixUVM5V2Bj3Qk_iusgQXZdVh2KC-B-I/s400/IMG_2227.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">MONA, Hobart</td></tr>
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10. Rust fetish. If the rust was not already part of the building prior to its current function as a gallery, ‘new’ rust is manufactured. Rust fetish not only refers to literal rust, but also aged features in general - old machinery, crumbling bricks, old graffiti...</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjamwK1EyTs3NqM-ve5w82dV8TIWTAPIrGlfN4fIYHXO60qMOqs0S3SGB4iYHyj1iriLxS9SmedW3w8zvlEPd2xTNko3P-ep_QbaGfBseQyrxnC7MRwH19l3dUHItMCNGTOAwjQQv9TLtE/s1600/IMG_1207.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjamwK1EyTs3NqM-ve5w82dV8TIWTAPIrGlfN4fIYHXO60qMOqs0S3SGB4iYHyj1iriLxS9SmedW3w8zvlEPd2xTNko3P-ep_QbaGfBseQyrxnC7MRwH19l3dUHItMCNGTOAwjQQv9TLtE/s400/IMG_1207.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">ACCA, Melbourne (new rust)</td></tr>
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10. Site-specific art that responds to unusual or novel aspects of the architecture.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrP1Q3tEyKqLpX2DOxB4uPXc9MEVspWASsvgVe1Z0lo8kJcQFUPIa5FLh8R_9HdOW_FJ1pavRri4B4syREUpIGD2iX0mCuds7owJl7hq6s_yfnjNMziQQOGnbuJSxBie0W6fEOkNk1UVU/s1600/DSCN6080.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrP1Q3tEyKqLpX2DOxB4uPXc9MEVspWASsvgVe1Z0lo8kJcQFUPIa5FLh8R_9HdOW_FJ1pavRri4B4syREUpIGD2iX0mCuds7owJl7hq6s_yfnjNMziQQOGnbuJSxBie0W6fEOkNk1UVU/s400/DSCN6080.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">GOMA, Brisbane</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxIWxJwrrlkm0MfUQ4vAUjrWxHoLpR4f4Na2PdqvbPRjFoSIKwZe9_ext75cTflXP5aiQqbCKPoc7rC230XS-bb4vOLi2GZDr0kEMO2vb98yWppC74OpRnY9zgqJ7OZHLBq6pUT-3JjCs/s1600/DSCN7968.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxIWxJwrrlkm0MfUQ4vAUjrWxHoLpR4f4Na2PdqvbPRjFoSIKwZe9_ext75cTflXP5aiQqbCKPoc7rC230XS-bb4vOLi2GZDr0kEMO2vb98yWppC74OpRnY9zgqJ7OZHLBq6pUT-3JjCs/s400/DSCN7968.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Daniel Buren, <i>Dance Between Triangles and Lozenges for Three Colours, Work in Situ</i> (2010)</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;">, Macro</td></tr>
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11. A will to get visitors lost.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSNhiejFZ6VL0CE_zhAcYIFCVKnyT0mTRwV0t3ZSdOFxccpGL2EAjLSeaggktq7oX48uVVgDthUUzfM3afh3YRbFD0t8hu9VHK4m65pfVx6tKL8q3O6ot-Nt-bVTZJPAh0tFq7fyduYGU/s1600/DSCN7850.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSNhiejFZ6VL0CE_zhAcYIFCVKnyT0mTRwV0t3ZSdOFxccpGL2EAjLSeaggktq7oX48uVVgDthUUzfM3afh3YRbFD0t8hu9VHK4m65pfVx6tKL8q3O6ot-Nt-bVTZJPAh0tFq7fyduYGU/s400/DSCN7850.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">MAXXI</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8yTHVDjza-MwuUDpmylBKuvdbAQN52D42mG62eMaV0PSk8xb4Ra2fLAUaBIUfj65dM3-ZwWxf5YhUodWWZu2doNmZyLHSdtqOo6vfL01UkfyWxWrTpOFJfskMJOfDv3YtHX6Qm8cE180/s1600/9005690_i2_l.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8yTHVDjza-MwuUDpmylBKuvdbAQN52D42mG62eMaV0PSk8xb4Ra2fLAUaBIUfj65dM3-ZwWxf5YhUodWWZu2doNmZyLHSdtqOo6vfL01UkfyWxWrTpOFJfskMJOfDv3YtHX6Qm8cE180/s1600/9005690_i2_l.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">MONA</td></tr>
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12. A funky gift shop, expensive restaurant, and similarly overpriced café. It will have all three.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN4QudisP26PEKwq71jzMKwxC74guDc9RF1hjAD1g4x157Uh4UZBubbBKfosGHTIOnVUmesjICqq0gR0s0287MnAZX8gmsCsdM4ck8GExGYlHGDvtDclXJCJsdE0ijG8cJnJfhv5ubA3o/s1600/DSCN6922.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN4QudisP26PEKwq71jzMKwxC74guDc9RF1hjAD1g4x157Uh4UZBubbBKfosGHTIOnVUmesjICqq0gR0s0287MnAZX8gmsCsdM4ck8GExGYlHGDvtDclXJCJsdE0ijG8cJnJfhv5ubA3o/s400/DSCN6922.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cer Modern</td></tr>
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<tr><td style="text-align: center;"><a href="http://media.lasplash.com/3/visitbritain.com_review-19.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" id="il_fi" src="http://media.lasplash.com/3/visitbritain.com_review-19.jpg" style="padding-bottom: 8px; padding-right: 8px; padding-top: 8px;" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tate Modern (image credit: <a href="http://www.lasplash.com/publish/International_151/VisitBritain_Com_Review_-_Be_a_Brit_Different_printer.php">Splash Magazines</a>)</td></tr>
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<tr><td style="text-align: center;"><a href="http://www.tekser.com/download/new++/Venues/IstanbulV/istanbulModern.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="332" id="il_fi" src="http://www.tekser.com/download/new++/Venues/IstanbulV/istanbulModern.jpg" style="padding-bottom: 8px; padding-right: 8px; padding-top: 8px;" width="500" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Istanbul Modern (image credit: <a href="http://www.tekser.com/Default.aspx?Parents=IDI0ICwgMjEgLCAxMiAsIDYgLCA1ICwgMSA=&MenuId=MjQ=&PageId=NzM=&LanguageId=MQ==">Tesker</a>)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy6XPvaksJrFTmUHAnGKsO5ptFYfSdHDOebsGjVw5KlrNPYDunEGIPMhXduFkw5spOKSj90htIYSwLMDPcTgkqR3oqfkZHLCJTqHfNFNFEdOannKacNINQBpX0jPl2m6qt_xvedIOsr_Q/s1600/IMG_0265.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy6XPvaksJrFTmUHAnGKsO5ptFYfSdHDOebsGjVw5KlrNPYDunEGIPMhXduFkw5spOKSj90htIYSwLMDPcTgkqR3oqfkZHLCJTqHfNFNFEdOannKacNINQBpX0jPl2m6qt_xvedIOsr_Q/s400/IMG_0265.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">GOMA, Brisbane (with water dragon)</td></tr>
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As I wrote earlier, my next post will be on the art contained within the respective museums, but I just had to get this ‘new museum architecture’ theory out there.</div>Lucyhttp://www.blogger.com/profile/14606784865702317737noreply@blogger.com2tag:blogger.com,1999:blog-3025810385129732491.post-696668227138027212011-03-25T12:07:00.003+11:002011-03-25T12:29:42.423+11:0010 Days on the Island starts today<a href="http://tendaysontheisland.org/">10 Days on the Island</a>, Tassie's hyperactively-promoted biennial arts festival starts today. Well, unless you're a visual arts event, in which case you've been up and away for up to a week. 20 Days on the Island? I calculated yesterday that I'm personally 2584 days on the Island. You can probably tell I'm doing a PhD (or similar procrastination-rich study).<br /><br />This is not a critiquing post, because I've been hibernating and haven't seen anything yet. It's more a 'this is what's on, and this is what I plan to see' post. The major constraint, as I've mentioned in other posts, to seeing 10 Days events is cost. I can't afford to attend most events. The one paid event I'm making my priority is <a href="http://tendaysontheisland.org/_webapp_727990/Power_Plant">Power Plant</a> at the Botanic Gardens. It's $15 concess, $25 full, which is on the very low end of the paid scale. I'd love to see some of the music events and the theatre, but on a student wage, the cost is prohibitive. I think MONA FOMA has spoiled me! The cost structures are incredibly strange. Take one music event, <a href="http://tendaysontheisland.org/_webapp_727963/DBR_and_DJ_Scientific_with_Emeline_Michel"><strong style="font-weight: normal;">DBR and DJ Scientific with Emeline Michel</strong></a>: It costs $25 in Hobart, but it's free in Launceston. If you have 5 people in the car, it's far cheaper to drive to Launceston from Hobart to see the show. If anyone can explain the reasoning behind this discrepancy, please do! <br /><br />Anyhoo, I shouldn't really have a whine. There are free events, such as the visual art events (because visual artists aren't paid as much as other performers?). In the south, <a href="http://tendaysontheisland.org/_webapp_727993/Reconstructing_the_Animal"><span style="font-style: italic;">Reconstructing the Animal</span></a>, curated by Yvette Watt, and held at the Plimsoll Gallery, and interestingly, the old Beaumaris Zoo site. Craig Walsh's <span style="font-style: italic;">Digital Odyssey</span> is also at the top of the list. Rather than just be a 'gonna', I need to crack my cocoon and go see some of this stuff. Will post reviews soon....<span style="font-style: italic;"> </span>Lucyhttp://www.blogger.com/profile/14606784865702317737noreply@blogger.com1