On Friday night I went to the opening of Obecjkt (new sculpture) at Michael Koro Galleries. Adrian Doyle and Joel Gailer curated the exhibition; selecting a wide variety of contemporary sculptures from notable sculptors ranging from the monolithic to the street.
The opening was worth attending not just to drink the wine and to talk to the curators and artists. I was shown work in progress in Blender Studios out the back, watched Michael Meneghetti’s performance and the live spraying in the laneway. I almost forgot to look at the Melbourne Propaganda Window by video artist Pip Ryan; this is the first time I’ve been there after dark.
Michael Meneghetti did a performance of “Vixen”; body art is another type of contemporary sculpture. The leather and pine wood harness that Meneghetti uses in his performance are displayed vestigial remnants propped up against the gallery wall. The actual performance was impressive for the modification of human movement and Meneghetti’s half-hour endurance. Meneghetti did not restrict his performance to the art gallery; he dodging traffic crossing Franklin Street and wandered around. The performance incorporated sado-masochistic references in the saddle and headwear and also the idea of objectifying the body.
I had seen Natalie Ryan flocked animals earlier in the year at her solo exhibition at Diane Tanzer Gallery. Combining the kitsch aesthetics of flock covered toys and taxidermy Ryan has produced uncanny sculptures – a pink fox, a white skunk and a black hare. Taxidermy only preserves the skin of the animal, the eyes, the tongue and the form of the animal underneath the skin is artificial. Ryan has replaced the skin with synthetic flock fibers. The viewer might want to stroke the flocked covered animal forms but is stopped by the artificially unremittingly gaze of their lidless prosthetic eyes.
Ben Fasham has been a finalist in the Helen Lempriere National Sculpture Award 2008 and the Montalto Sculpture Prize (2009). His elegant formal geometric sculpture is exhibited in a study maquette and in monolithic scale in white painted aluminum. His “Unexpected interruption” is a geometric phallic erection.
There were three of the bent skateboards of Jason Waterhouse from the Federation Square Skateboard Series. The worn decks had been carefully sawn up and reassembled so that the plywood decks bent around corners.
English culture-jammer street-artist, D*Face Big Mouth Project was previously on exhibition at Lunar Park. It had been moved to the end of the laneway adjacent to Blender Studios. Big Mouth is a large open mouth. This is an old take on an old image: the mouth as a gate, like the mouth of Hell in medieval mystery plays or Melbourne’s own Lunar Park entrance. It is crude but effective.
I was un-impressed by Tim Sterling post-minimal assemblages of white paper clips, black cable ties and colored pins form rectilinear areas on the wall particularly as I had seen many better works by him. I also felt indifferent towards Andrew Gutteridge’s basic sculptures; in “Twisted Ink” the dynamic ribbon of twisted aluminum spans two points.