Category Archives: Culture Notes

Wilson Avenue Urban Bouldering

The construction has been going on for months but the small new park off Sydney Road has opened in time for the school holidays. There is still work going on, a bit more paving and a wall for Makatron, Itch and Otis to finish painting but lots of people are already using it. I enjoyed the temporary pop-up park in Wilson Avenue February and March 2014 and I was keen to see the finished park. From a simple intersection, a more complex area has been created and at the centre of the complexity is a physical puzzle, an urban bouldering form.

Wilson Avenue Park

The plan for the small 700 square metre park won the Planning Institute of Australia (Victorian Division) Best Planning Ideas – Small Projects 2014 award. The initial public reaction has been just as enthusiastic. I spent almost an hour there just sitting in the sun, talking with people, watching how they used the space.

When I arrived a couple of little girls had found that the springy surface around the urban bouldering form was perfect for turning cartwheels. They were a bit too small to really climb the boulder but they had found their own use for the area. I talked to a skateboarder who hoped that they were not going to be put in skate stoppers as the moulded concrete seats and benches as they have excellent skating potential. Adding complexity to an area means that more people will different find uses for it.

Sam, a bouldering enthusiast explained the concept to me. “Bouldering is rock climbing for people, like me, who are scared of heights.” The short routes are close to the ground (under 3m.) so ropes are not required. The boulder terrain is suitable for novice to advanced climbers, with different trails of coloured holds. Sam told me that he normally climbs informal urban bouldering walls, like the one that used to be under the Burnley Bridge, and was unsure about “doing it in public”.

The Wilson Avenue urban boulder will be the first public art piece designed for bouldering. The boulder was designed Stuart Beekmeyer of Bouldergeist and fabricated by Big Fish.

Knowing that I was interested in micro-parks Stuart Beekmeyer started sending me emails and photographs from his Brunswick studio. Beekmeyer wrote, “I think people will be fascinated by the movement on the sculpture. It is a beautiful activity to watch.” And, after watching the people climb the sculpture today I agree with him.

Stuart Beekmeyer

Looking at one of the photos of the top of the boulder with the sunlight shining through making it glow golden it was easy to see the connection between it’s angular planes and a well known Melbourne sculpture, Ron Robertson-Swann’s Vault. At the time I received the email with the photo I was looking at photographs of Emily Floyd’s Public Art Strategy on EastLink. At the park the drains and forms are yellow, as are the native flowers. (Are these more references to Vault? Denton Corker and Marshall would love it.)

Stuart Beekmeyer has more ideas for the urban bouldering installations. “I really like the idea if getting artists to sculpt climbing holds in the  future so its sculpture on sculpture.” What would be better if Beekmeyer got artists to choose the colours for the hand holds because the selection of candy colours looks like hundreds-and-thousands.

There is a small mound of grass, a few small trees and a lot of complex paving in the park, a mix of concrete, asphalt, cobbles, wooden decking and the spongy surface around the boulder. The sculptural aesthetics of the boulder, in its central position, surrounded by seating determines the look of the small urban park and the way that people move around it. The new park at Wilson Avenue appears to be very successful and fun.

Sewers and the City

Capitalising on fear of the bubonic plague in 1901 the suburb of Haberfield was built in Sydney. Australia’s first planned model suburb had limited height, there were no pubs and no back lanes. The back lanes were used for the ‘night-soil cart’; you can still see the low doors in the brick fences in some of the lanes in Fitzroy. We can assume from the absence of lanes that houses in Haberfield was connected to main sewers. (For more on Haberfield read Art and Architecture for more on bubonic plague and its effects on Sydney see the digital records of NSW.)

A lane in Brunswick

                  A lane in Brunswick

In his book The Australian Ugliness, Robin Boyd was appalled at the tangle of overhead wires but he doesn’t get beneath the surface ugliness to notice that although these suburban homes that were now connected to telephone and electricity had not yet been connected to the sewers. That Melbourne had a telephone system before a sewerage system is a striking fact. In 1880 a telephone exchange opened in Collins Street and seven years later, in 1887 the first Melbourne homes to be connected to sewers. Some homes in the suburb of Frankston were only connected to the sewerage in 1991.

Bootscraper in Carlton

Bootscraper in Carlton

The architectural evidence for nineteenth century Smellbourne’s muddy, shit covered streets and open sewers is still evident, not just with network of back lanes, but in the iron boot scrapers, a necessary architectural feature, built into the entrances of its older buildings.

My own suburb of Coburg, in Melbourne’s inner north, contains many examples of nineteenth and early twentieth century suburban development, most with back lanes but a few without. Lincoln Street and the adjoining street have a single house block, instead of the usual double blocks with a laneway down the middle. In “Lascelles Park” development there only a lane between the houses on Jamieson and Lascelles streets and two very short lanes behind the four larger lots at the Reynard Gosling Road ends.

Over last century suburban planners were turning against lanes as more suburbs were connected to sewers. In the nineteen-eighties and nineties the Moreland City Council was sell off several of the lanes in Coburg as they were no longer used except for fly-tipping and discreet access for burglars. The bluestone cobbles are expensive to repair and make traversing the lanes uncomfortable, difficult or even impossible especially for people with disabilities, cyclist and even ordinary pedestrians.

In spite of all of this the inhabitants of Moreland now want to preserve the lanes. After a 2,400-signature petition was presented to Moreland City Council in September 2013 the Council resolved to maintain Moreland’s bluestone laneways and there is now a plan to preserve these lanes. The Council explains on it web page devoted to bluestone lanes that “Moreland values the network of bluestone laneways as a community asset which is an important part of Moreland’s heritage and urban character.”

Unlike the lanes in the inner city Melbourne that are famous for their street art, little bars and boutiques these back lanes are amongst the least attractive features of the suburb, generally backing onto old rusted corrugated iron fences and old sheds. Maybe someone is hoping that their historic ambience of Coburg and Brunswick before sewers will add to their property value.

Coburg lane painted

                   Coburg lane painted

Memories of David Bowie

I remember that David Bowie Is… a touring exhibition from the Victoria and Albert Museum that will be at ACMI in Melbourne from 16th July and 1 November. Not that I’ve seen the exhibition, I remember seeing the exhibition in the film. My brain felt like a warehouse… the lyrics sheets of familiar songs, the photographs, models of stage sets, over 50 costumes, memorabilia and lots of videos.

Installation Shot courtesy David Bowie Archive (c) V&A London

Installation Shot courtesy David Bowie Archive (c) V&A London

Russell Briggs, Head of Exhibitions & Collections at ACMI described the media preview as “a Russian doll, a film of an exhibition of a biography…” There are a lot of Russian doll aspects to anything about Bowie, the actor playing an alien rock star, as you unpack one doll it is revealed to contain another and another. And David Bowie is hyperreal, he is more real in simulacra than actually.

During the film I remember thinking that blockbuster exhibitions and stadium rock have a lot in common and even with the audience for the exhibition capped at 200 visitors per hour the experience will be similar. Do I want another experience like Bowie’s Serious Moonlight concert in a packed (40,000+) at VFL Park, the Waverley Football stadium? From my position in the stands I saw most of it on the big screen, so maybe it would have been just as good to have watched it on TV. Andrew Peacock, the then Liberal opposition leader was also in the audience and Bowie was going through a 50s retro phase. Even though they are on the cutting edge there is something conservative about successful trend spotters, like Bowie.

Original photography for the Earthling album cover, 1997. Photograph by Frank W Ockenfels 3, © Frank W Ockenfels

Original photography for the Earthling album cover, 1997. Photograph by Frank W Ockenfels 3, © Frank W Ockenfels

The exhibition does over hype Bowie and it would like you to forget that Bowie with Mick Jagger ever sung a cover of “Dancing in the Streets”. I’d like to forget that too but having seen it I can’t. After watching David Bowie Is… (the movie) and during the writing of this post I avoided listening to any classic Bowie hits and restricted myself to an aural diet of his soundtrack for Labyrinth, the Laughing Gnome and Rubber Band. I started to wonder if Bowie hadn’t changed the whole history of the novelty song; taking it from a statistical minority of pop songs to the majority.

But remember that with all this novelty Bowie demonstrates the art/politics of constructed identities. The constructed identity is opposed to both the idea of a given or a natural identity and this is a very important contribution that liberated many people. The diversity of Bowie’s artist practice, from actor to visual artist defies assumptions about work and identity, but also a celebrity art practice in the role of producer/director and collaborator. But does this qualify as genius?

The discourse on this subject and the greater discourse around Bowie is another layer of Bowie’s much vaunted collaborations. The absence of Bowie is significant, the long periods between albums, the points where his only presence is in the public discourse about his career. Along with the exhibition there will be a two day symposium on The Stardom and Celebrity of David Bowie, presented in partnership with The University of Melbourne and Deakin University with the support of the Naomi Milgrom Foundation.

David Bowie Is… would like to define how David Bowie will be remembered, a creation of art and design. I expect that in 2050 a scholarly book on the history of a century of rock music will be published but how many references to David Bowie will there be in the index? It depends on the way that author tells the history. If the book is about popularity, the mass effect of rock music or icons of rock then there may be a many references to Bowie. If the book is about the development of rock then there may less; there is only one reference to Bowie in the index of Greil Marcus’s Lipstick Traces.

The Fox and the Many Cities

On my way to Fitzroy one night, I saw confused a fox looking out over the back fence of Parliament at all the traffic on MacArthur Street. I understood why the fox looked confused it was just after a daylight saving started and the fox had not adjusted its clock.

guerilla territory - baby guerilla

Wandering the city, the feeling of knowing the city, the sense of familiarity leads to ideas of possession. It is not my city, I am aware that I share it. There are many cities within the city, the urban foxes and all the other animals in the urban environment live in a different city. Different inhabitants have different paths through the city and different uses for the spaces in it.

As Alison Young in her book Street Art, Public City points out that there are multiple cities: the tangible, the “kaleidoscope of images, which jointly and singly communicate the identity of the space as ‘urban’” (p.41), the city as site of cultural production and the legal architecture. “Legal architecture produces a certain conceptualisation of urban space: the ‘legislated city” as space in which a particular kind of experience is encapsulated and produced through the regulation of space, temporalities and behaviours. Within the legislated city, citizens experiences are framed by discourses of cartography, planning, criminal law, municipal regulations and civility. The legislated city has mappability, it has aspirational qualities expressed through social policies, statutes, local laws and strategic plans.” (p.41)

There are of course gaps in the map of legislated city; temporary autonomous zones as described by Hakim Bay The Temporary Autonomous Zone, from large areas like Christiania in Copenhagen to smaller anarchic areas. The CCTV, the police and the state cannot control all the areas. And there are always gaps in timing of the patrol, time for the urban foxes and other unofficial inhabitants.

A modern city requires an after hours city whatever the business hours. The after hours city reminds us that there are different forms of life. The Waiter’s Restaurant in Meyers Place, started as a place for Italian waiters and other hospitality workers to have somewhere to eat after hours.

At the end of nineteenth centuryMelbourne had trams running up St. Kilda Road twenty-four hours a day. There are plans for a return to twenty-four hour public transport after a century of limited hours.

For the inhabitants the city, including the fox, their city is made of routes, hubs, landmarks and other esoteric and eccentric features. Esoteric features are known only to the insiders, vinyl record fans will have a mental map of the stores that still stock them and what routes to take to get there.

Platform Degraves St Underpass

Routes are paths that are common to a number of people but it only takes as few as 15 people to make a recognisable path.  I find myself falling into familiar routes around the city and forgetting that the artist run space, Platform is no more and there is just empty vitrines in the Degraves Street underpass to Flinders Street Station.  When I started blogging I would often write about the exhibitions at Platform and I have neglected to note the end of this unusual artist run space.

The fox listened politely to my advice about the dangers of cross the road at this time and changing it clock for daylight saving. It then retreated behind the fence and disappeared from my view.

Evolving Scene 2015

Hosier Lane continues to subtly change, even though the major development has been stopped by the new government, and the smell of aerosol paint still lingers in the air. Hosier Lane was once part of Melbourne’s garment district and Melbourne’s Communist Party Headquarters was at 3 Hosier Lane from 1936 to 1939. Old school graffiti writers and old lefties, like Jeff Sparrow bemoan the changes but I enjoy the vitality of the lane.

Hosier Lane

Now the sound of a busker is now common in the lane, not surprising given the amount of foot traffic in the area.

You can get a take-away coffee in the lane from Good to Go, a social enterprise cafe providing barista experience to long term unemployed, definitely a good improvement.

Guerrilla gardening has started in the lane; the sticker suggests that it is a project by Signal.

Guerrilla Garden, Hosier Lane

Looking at the art in lane is now like seeing an exhibition opening. It is hard to see the art for all the people, mostly taking photographs.

Hosier Lane must now be the most photographed place in Melbourne, there are so many people with all kinds of cameras taking photographs every day. You can hardly move without stepping in front of someone’s shot. Wedding photographs, selfies, tourist snap shots, videos, creating a hyperreal digital version of the lane for Facebook, Instagram and other social media. Street art is now influence on commercial photography.

Camera stencil

It is not surprising, the lane is spectacular and centrally located and other municipalities in Melbourne are starting to realise the potential for street art as a tourist attraction. This week the City of Yarra is calling for street art tours of the area. The City of Yarra has had this potential for years, I went on a short tour given by Makatron a couple of years ago and back in 2007 the Melbourne Stencil Festival was running booked out tours of Collingwood and Fitzroy.

Makatron Fitzroy

Melbourne’s street art is now part of Australia’s foreign policy. Most recently with notable street artists Adnate, Civil, HaHa, Vexta, Makatron and others painting murals in Singapore for the Australian government to celebrate 50 years of diplomatic relations with Singapore.

All of this is what could be called an organic development; it has not been directed or controlled, it has even and continues to be resisted on some levels. Back in 2008 I would hear street art insiders saying that the scene had peaked years before; what ever they meant by ‘peaked’ maybe just when they and their mates did their best stuff. Melbourne’s street art and graffiti scene continues to change and evolve (I don’t want to write for the better or worse) to take advantage of new walls, spaces, ideas and opportunities.

Hot Metal in Reservoir

On Saturday I went to the opening of Mal Woods Foundry in Reservoir. Sculptors, foundry workers, friends and interested people gathering to watch bronze being poured along with nibbles and drinks.

The weather was great, a pleasant sunny day, I bicycled to the foundry from Coburg. “This must be the place.” I thought as I cycled along Kurnai Ave. The factory and even its carpark was an oasis of tasteful design in the industrial area.

Mal Woods Foundry

The professionals were talking about their work including another Boer War Memorial with one and half sized equestrian statues. I can see why the sculptor, Louis Laumen and the foundry workers are keen on the project, more work for them. I can also see why the people behind the project might be having difficulty raising funds for it. Why does Australia need more Boer War Memorials?

There were amateur backyard foundry enthusiasts talking about their hair dryer or vacuum cleaner fanned furnaces. I didn’t know that there were amateur backyard foundries casting small objects in plaster moulds.


At the back of Mal Woods Foundry the moulds that had been drying out in a kiln and were then placed in a large metal trough and secured in place with sand.

Mal Wood added an ingot of tin and two large ingots of copper to the furnace, the tin first and then the copper. These two soft metals when combined produce an alloy that is harder than either of them.

Removing crucible from furnace

The roar of furnace dies away and in front of the assembled crowd the crucible was removed. The temperature of the bronze tested and then the bronze was poured into the moulds. I didn’t see the results of these castings, you couldn’t tell from the moulds, not with all the venting pipes. When I left the bronze was turning from florescent pink to dark purple in the moulds, still hot enough to warm a person standing nearby.

Bronze pouring into cast

Sculpture moulds cooling

For more on foundries read my 2012 post Casting Sculpture in Melbourne.

Free Identity

“Hello, My Name Is…” the excess conference stickers were long ago colonised by the taggers, to the point where it is now a commercial standard and Martha Cooper has a whole book focused on it, Name Tagging (Mark Batty, 2010).

Mini Graff

I want to look more closely at taggers and identity. Identity is not a trivial nor a simple issue. Is it enough to live, consume, work and die? The right to an identity comes with the right to express your identity? How do you have an identity if you don’t have the right to express your identity through any media? Not secretly in a diary like Winston Smith but on a public wall. What is the point in having an identity if you can’t live and express it?

The common desire for fame is a desire for an identity, to be a somebody rather than a nobody for to be famous is to be known. The right to an identity not only belongs to those who can financially afford to, or are politically allowed, or happen to become famous to express their identity but to all. These rights cannot be expressed in dollar terms.

Does the right to an identity also imply a right to anonymity? For if an identity cannot be set aside then it is not a right but a burden and an imposition. An identity is different from being an identifier of a data set about an individual. The right to an identity implies the freedom to rewrite the autobiographical fiction of the self; to have multiple identities, personalities, different costumes; to adopt an open identities, like that of the Neo-Dadaist, Luther Blisset.

Hello My Name Is

Superheroes all have secret identities; by day a mild mannered clerk but at night…

Outing the secret identity of graffiti and street artists is an inevitable plot line, like someone about to discover the identity of Spiderman. The media is waiting for Banksy’s real identity to be discovered because it is a story that they know.

Outing graffiti and street artists aside there are other complex moral issues around identity and street art. There is the moral right of an artist to be identified with their work presents a conundrum with uncommissioned work and the secret identities of graffiti and street artists. It is a problem for me too when writing about them or photographing them, endless shots of the backs of artists at work, and thinking about when to use what name to use when. There are a contrary rights in the case of a juvenile graffiti artist where there legal right for the juvenile not to continue to be identified with their crimes in their adult life and the moral right of an artist to be identified with their work. At this point the legal and moral rights diverge along with the legal and artistic identity of the work.

Ultimately does it really matter the exact identity of all these street artists? Aside from the moral right of the artist to have their work correctly attributed and issues of attribution for art historians. Sometimes attribution feels like bird watching with my father or a game for the insiders. There are plenty of proto-Renaissance artists who are simply known as “The Master of” X. We know nothing of their life and only a couple of their works survive.

My Name Is Subre1


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