Category Archives: Art Galleries & Exhibitions

Body of Work

When I arrived at Dark Horse Experiment Casey Jenkins, dressed in her metallic jumpsuit and high leather boots, was talking to a friend and having a smoke out the front of the gallery. It was at the end of her lunch break and she soon returned to start her work in the gallery.

Casey Jenkins, Body of Work

Casey Jenkins’s Body of Work is a three week durational, community-engagement performance artwork. Jenkins really works the idea of ‘work’ and ‘body’ and to some extent it worked.

Work is an important subject for a contemporary artist to examine; it defines us and in some cases, shapes our bodies. There are so many issues about work, from identity and gender to comparative rates of pay, that it was hard to find a focus in Jenkins, Body of Work.

Jenkins was setting different pay rates on days, this ranged from a negative fine of $1,200 (the amount street artist, HaHa was fined for about an hours work) to $1,586,852 p/h (the amount Mark Zuckerberg accrues per hour). These extreme differences did give Jenkins a couple of days off in the three weeks.

The difference between this work and reality tv shows, like World’s Toughest Jobs, is the gallery and the employers.

The gallery for Jenkins this was more of an installation, the antique punch clock, typewriter, the workbench, the bed. Sometimes she was hooked up to microphones to amplify her heart beat as she worked and the labour was screened live during working hours via the CCTV cameras. In someways the windowless gallery space appeared as a dystopian work environment with objects arranged for display rather than function.

The choice of jobs for Jenkins was more of an interaction with the employer. It required the engagement with people, provoking the public to invent short jobs that required no skills and could be done in the gallery space. In this respect both the jobs and the employers were less real than on a reality tv show. The poverty of the public imagination explains much of Jenkins work: sex acts, body painting and erotic polaroid photographs to compile tax receipts. Jenkins said many of these employee relationships were idealised, representing how the participant would like their boss to behave.

I wonder what would have happened if nobody had employed her? Is there much use for unskilled labour these days? I left the gallery as Jenkins got back to her ‘work’ updating someone’s Twitter account.

Jenkins has been a lot of news articles about the piece in The Guardian and The Melbourne Broadsheet. Jenkins is not a stranger to publicity the SBS2 The Feed’s report ‘Vaginal Knitting’ on her earlier work Casting Off My Womb has be viewed on YouTube 6,481,137+ times.

I have a growing interest in tenacious, hard-working performance artists. I have been seeing a lot of performance artists work hard recently from Amy-Jo Jory breaking rocks in Listening to Stones II and Matto Lucas working out in Endomorph, with dreams of becoming a Mesomorph. Maybe this is sympathy, because of they are amongst the losers in the art world along with art critics. Probably more due to being particularly impressed by local performance artworks by Stuart Ringholt, Michael Meneghetti, Peter Burke and others further away, like Tania Bruguera.


Hearing Disconnections

Academic and multimedia artist, Dr Trish Adams wanted to share her own experience of hearing loss in art. Disconnections are two works incorporating video and audio elements. She warned the viewers/listeners that this might not be a pleasant experience and the intent was to create a degree of anxiety and discomfort.

Trish Adams, Inaudible City

Trish Adams, Inaudible City

In the first video, Inaudible City is a large-scale projection of video sequences with four audio options with four sets of headphones. Each of the headphones simulated a type of hearing loss; loss of low and high frequencies, loss of both and tinnitus. On the video there are scenes from St. Kilda Road and the Yarra River; the sound focuses on the highlighted visuals, the familiar sound of a tram going past or a banner flapping in the wind. Now I would recognise the sound of a tram under any conditions but other sounds, like the banners or the river, lost a much of their individual character and just became noise.

The second video, Fractured_Message, is a slice of life piece of a young man asking for directions to the bus stop. It is a familiar scenario, even if you can hear you might have experienced something similar when you don’t speak the language. The viewer placed in front of the portrait-style video cannot easily understand the attempt at communication due to an inaudible and slightly distorted soundtrack. When I concentrated I could understand him.

I wanted to experience Disconnections because it was away from the usual art gallery scene on a Thursday night at the HEARing Cooperative Research Centre in Carlton. And, because I am personally interested in what is it like to have a hearing disability? Not that I have a hearing disability, apart from occasional  This is remarkable after all the years of playing in bands, going to gigs and raves, mind you I was wearing ear protection most of the time. However, my wife has a hearing disability and after the second work I understood what she means when she tells me that she gets tired of concentrating on listening to people.

It is hard to imagine how your life might change with diminished hearing. Yes, sure you would get hearing aids but that wouldn’t be everything, how would it impact on social interactions? There would be changes in your social interactions, perhaps also loss of confidence. Remember to wear ear protection.


Space and Waves @ Tinning Street

Tinning Street presents Tateru, an exhibition of sculpture by Paul Gorman and Takahiko Sugawara.

Paul Gorman is exhibiting several photographs. Why is a sculptor exhibiting photographs? Although the photographs are not simply documentary images of Gorman’s sculpture, they do document ephemeral sculptural moments, moments of space and form. Ring of Confidence is a time-lapse photograph of the movement of light around a tree creating a sculptural form. This is why, in art-speak refers to contemporary sculpture as ‘spatial practice’ because it is art that uses three dimensional space.

Paul Gorman Home Built; Lego House (1,II, III)

Paul Gorman Home Built; Lego House (1,II, III)

Home Built; Lego House (1,II, III) are three simplified blocky familiar forms cast in bronze. It is Gorman’s sculptures of houses in his exhibition really hit me because I was thinking about the suburbs with all the neighbourhood events on the day I visited. (For more about that day read my post Neighbourhood.) Although Jason Waterhouse has covered similar territory with sculptures, Gorman brings his lyrical and critical thinking to the subject.

Takahiko Sugawara, Wave (detail)

Takahiko Sugawara, Wave (detail)

The dozen sculptures of Takahiko Sugawara are post-minimalist, made up of small wooden pieces that brought together create complex rhythmic waves like a composition by Steve Reich. These are mostly wall works and a couple of small free standing block sculptures that take the post-minimalism back to a minimalist cube.

Apart from variations in size or shape Sugawara’s sculptures are of such an even quality that my attention was drawn to a large wall piece, Circles wondering why it didn’t work as well as the others. It’s flatter and the roughly circular pieces of pinewood are a less definite form. Putting these together lacked both the rhythm and the geometric complexity of Sugawara’s other sculptures.

Although both Gorman and Sugawara’s sculptures are very different they find a harmonious combination in this exhibition. Both Gorman and Sugawara are members of the committee of the Contemporary Sculptures Association.


Desire Lines @ Brunswick Arts

On Friday night there was an opening at Brunswick Arts Space, an artist-run-space. In the main gallery there is a group exhibition, “Desire Lines” with thirty-five works by Jo Waite, Leon Van De Graaff, Alex Clark, Martin Nixon, Jess Parker, Sarah Howell, David Blumenstein, Michael Fikaris, and many other artists. ‘Desire lines’ are informal paths that people make to get where they want to go.

The exhibition was mix of contemporary art, psychogeography, illustration, comics and zines that all remember and record Brunswick. It might sound like an odd mix but the local details illustrations of the suburb in the pages of comic books are a rich vein of psychogeographical research. There is a whole wall of art work for comic books that illustrate this point, like Martin Nixon’s “The way to the entrance to the entry to Squishface” (Squishface is an open comic artists studio in Brunswick). Melbourne underground comics have a long tradition of mapping the city, going back to, as far as I can remember, Yell Olé! by Brendan Tolley and Bernard Caleo where the heroes battled the architecture of the city.

The most comprehensive and democratic map of Brunswick ever constructed.

The most comprehensive and democratic map of Brunswick ever constructed.

At the opening the focus of attention and discussion was an open collaboration on a wall sized map of the suburb: “The Most Comprehensive and Democratic Map of Brunswick Ever Constructed.” Everyone at the opening was writing and drawing on it, adding their landmarks and details. The local artists are aware how much Brunswick is changing as apartment blocks are built around the gallery in the former factory space.

It was good to see Victor Gris, the curator of the Counihan Gallery in Brunswick, at the opening, not just personally but also that he is engaged with the local art community.

In the upstairs gallery was Denise Hall’s series of five paintings “Creature”. Hall’s expressionist paintings with a limited palette have been torn apart and reassembled, like the butchered meat they depict.


A Hipster Conversion

I love the way that real estate agents describe the city. “In the heart of Brunswick bridal district.” There is a poetry to their succinct phrases flavoured with slight exaggerations. “For Lease, A Hipster Conversion” sign on the factory in Albert Street that previous was the studio of 3 Phase Design. “Ideally suited for cafe/restaurant/brewery” the sign continues, describing the range of larger hipster businesses. Hipster fashion boutiques, coffee shops and barbers would be looking for smaller premises.

DSC00202

This is not a sign of the apocalypse. I don’t object to the gentrification of a suburb, but I prefer the hipsterfication because it improves cycling and other things. It is interesting that ‘hipster’ has entered real estate agent’s vocabulary. (See my post on Hipsters.) The long term industrial decline in Brunswick and Coburg, two suburbs in the north of Melbourne, left vacant many shops and factory spaces that were used as art galleries and studios.

I thought that the sign would be a good a way of introducing a list of art galleries in the area that no longer exist; I couldn’t list all the artist’s studios in the area, like 3 Phase Design, as that would be a very long list. For the all the local art historians; this is probably not an exhaustive list and corrections and additions are welcome. It does not include all the pop up gallery spaces that had one or two exhibitions nor business, such as cafes or bookshops that exhibit art.

696

696

696, 696 Sydney Road, from 2008 to 2009 street art shop and alternative commercial art gallery that stocked one off artist creations along with spray paints and magazines. It had a small back room exhibition space with bi-weekly exhibitions and events. 696 also had one-night only exhibitions in “the Yard” in the backyard. Toby and Melika went on to establish “Just Another Agency” representing illustrators and organising exhibitions. 696 then became 696 Ink, a tattoo parlour with exhibitions of pop surrealism. Some of the street art the 696 commission can still be seen in the alley way along one side of the shop.

Circus Gallery in North Coburg (2004-2008), a single room shop front gallery that has to be the most northern art gallery ever in Melbourne. It was up the hill from the old Kodak factory in North Coburg amongst a culture of old shops. The shopfront room alternates as a studio space for Andrew May and an exhibition space; a heavy curtain is drawn across the front window to make it a studio. The gallery had the Starving Artist Prize; the cost of entry for the prize was a can of food and the winners received the cans of food.

Eisenberg Gallery – The Victorian Museum of Experimental Art was at 126A Nicholson St. in East Brunswick on the intersection of Nicholson and Harrison streets. It was an artist run initiative that ran for a few years in a former shop space. The small space was not open but visible from the street through the large shop windows. Exhibitions changed regularly but mostly they were seen by the passing drivers stopped at the lights.

Dudespace was an ordinary private suburban house at 22 Cassels Road, Brunswick. Run by Geoff Newton who went on to open Neon Parc in the city. The house would become an art gallery when a t-shirt bearing the word “Dudespace” hung out the front. The exhibitions in a room in the house would only last a day and featured some notable artists including Juan Ford in 2006.

Pan Gallery was a small commercial gallery in the corner of a pottery supply shop specialising in ceramics that closed in 2011. (See my blog post.)

Ocular Lab, 2003-2010 an artist run initiative, meaning “a site for experimental and alternative models of artistic representation and activity that encouraged the development of professional practice” in a converted shop space in Brunswick with an external ‘billboard’ space.

OM Gallery, was well located opposite the Brunswick Town Hall and ran for many years. It was both a photographic studio and rental exhibition space in a converted factory.

Rinaldi Gallery on Victoria St., Brunswick was an attractive single shop front white room gallery with some one-off designer furniture and objet d’art also for sale. It was run by a very tasteful Italian woman for several years and exhibited serious emerging and mid-career artists.


Slap Pals Potato Art

I love exhibition where I leave with free numbered artwork, even if I had to stamp and tear it out from the pad myself. It is more efficient that way.

Slap Pals, Sacked 2, video still

Slap Pals, Sacked 2, video still

“Slap Pals present Slap Pals get sacked – an art improvement program” in George Paton Gallery at the Union House, University of Melbourne. The art improvement program that Slap Pals is talking about, is not about improving the quality of the art but the efficiency of producing art. The exhibition text is a parody of contemporary corporate language and has the best written room sheet that I have read in years.

It is also a potato based exhibition opening a day late for St. Patrick’s Day. The potatoes used in the show was supplied by their sponsor Georgie’s Harvest at South Melbourne Market. There are many potato references in the exhibition including potato battery power and potato prints but You, Tuber, a beautiful and sickening work, uses both a YouTube tutorial on tuba playing and colour mashed potatoes. And Slap Pals know that video art projections are an efficient means of filling a gallery space.

“Ever feel like you’re being cheated?” Joe Strummer asked the audience at the Roundhouse, London on the 23 September 1976.

Sure we all might feel like we are being cheated but who is doing the cheating is the real question. Are Slap Pals cheating at creating art? Is Joe Strummer cheating the audience by asking that question instead of The Clash belting out another song? It is not as if the combined activities of Jeff Koons, Tracey Emin, Damien Hirst and every other contemporary artist that you might hate, caused the global financial crisis. That was done by very different people, who made vastly more money.

Do I make myself clear? It is a parody, a shock, a punk action and shooting the messenger is never solution when you listening to the message. “Ever feel like you’re being cheated?” Is this efficiency really an improvement? Is your manager talking complete bollocks? Fantastic work Slap Pals, who ever you are; you should get the sack in the next efficiency drive.

In the entrance gallery at George Paton Gallery there is Nik Lee’s “Polo for NASA: Listening to Lorde @ UniLodge”. Nik Lee’s sense of humour expressed in cryptic assemblies of commercial objects. His rearrangement of readymades creates a funky futuristic rootless world with strong sculptural qualities.


Marrnyula Mununuggurr @ Gertrude Contemporary

In the late 1980s and early 1990s Gertrude Street in Fitzroy only had only a single gallery on it at 200 Gertrude, the gallery remains although the name has changed, Gertrude Contemporary. A decade ago there were seven galleries on Gertrude Street and now there are only four, Gertrude Contemporary. The artists supply shops are a more stable feature of the street that the transient galleries. Throughout the decades it is the gallery where for contemporary art in Melbourne without any compromises for attendance, popularity or commercial.

Marrnyula Mununggurr, Ganybu, 2015

Marrnyula Mununggurr, Ganybu, 2015

I followed the window washer with his bucket and brushes into Gertrude Contemporary. It is strange to see the window washer at work in the front gallery with all the shavings of stringing bark (eucalyptus tetrodonta) on the wooden gallery floor. It is another world from the street or a gallery, it smells different and smell is something that visual artists rarely capture. The exhibition is Ganybu by Marrnyula Mununggurr.

Walking across the stringing bark, I notice that some of this stringing bark is the same as the pieces on the wall, except that the pieces on the wall have been painted with vertical and horizontal lines. The delicate geometric painted lines on the bark reminded me of post-minimalism with the small parts building up to a greater image. For this not just an arrangement of geometric lines in natural ochers Marrnyula Mununggurr is reproduces her Dajapu clan design of the fish trap and water. The greater image created with all the 252 bark paintings is the Ganybu, a fish trap.

Marrnyula Mununggurr caught me with the fish trap within the fish trap.

At the far end of the gallery, from the same string bark tree, is a larrakitj, a ceremonial pole painted with the same design. It all comes from the same tree, completing the beautiful minimalism of the exhibition.

There is a major difference between the esoteric use of Marrnyula Mununggurr’s clan design and the eccentric painting of David Egan. I was not as impressed with Egan’s Actually Energy Help Light in the main gallery of Gertrude Contemporary, not that I expect to instantly like every exhibition that I see. There was little catch my interest just incoherence. When I read the curators notes I find that five out of the seven footnotes were to David Egan. A couple of the paintings weren’t bad but I don’t have a clue why anyone would care about it, aside from Egan and the curator.

David Egan, Actually Energy Help Light, 2015

David Egan, Actually Energy Help Light, 2015

I forgot to look at Slide, the tiny space at the front door of Gertrude Contemporary. I am always forgetting to look at Slide.


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