“Paparazzi Dogs” was specially commissioned and made for Federation Square. It was intended as a backdrop for more selfies (photos of yourself). “Visitors can go there to take their own photos with the paparazzi, allowing them to become their own celebrity.” (Gillie and Marc’s website.) Do tourists really measure their enjoyment of a place in photos? Is a photo opportunity the best function for a public sculpture?
The street artist CDH subverted “Paparazzi Dogs” by replacing the plaque with his own notice using the same layout and font as the official Federation Square notices. (See his website under reviews.) CDH’s notice read:
“The sculpture equivalent of ‘dogs playing poker’, the work is symbolic of the culturally vapid public art commissioned by Melbourne’s civic institutions. / The dog/human mutations in suits reference the base and deficient character of a bureaucracy as a system of selecting art. / The cameras pointing outward invite the viewer to go into Melbourne’s laneways in search of the authentic and organic street art culture that the city is internationally renowned for.”
Instead of committing to a single image for Federation Square it keeps on changing with temporary sculpture. Instead of committing to a single public sculpture when tastes will change in another decade or two Federation Square has decided to have a series of temporary sculpture exhibitions. Now this might be a good strategy and some of these sculptures have been good, like Theo Jansen’s “Strandbeest” in 2012, but recently the sculptures have been kitsch, like Gillie and Marc’s “Paparazzi Dogs” or Xu Hongfei’s “Chubby Women” sculptures.
Xu Hongfei series of fat women sculptures is currently in Federation Square. Xu Hongfei is the president of the Guangzhou Academy of Sculpture and the Chinese government sponsors his sculpture tour of Australia. His “Chubby Woman” series was exhibited earlier this year in Sydney and at the National Art Museum of China. In this case the bureaucracy of selecting sculpture for Federation Square has gone for diplomacy over taste.
As Xu Hongfei said about his sculptures on Radio Australia: “Many people enjoy this type of artwork very much, it’s very direct, not very deep nor complicated.” (Girish Sawlani, “Chinese sculptor brings ‘Chubby women’ exhibition to Australia”, Radio Australia 16/7/2013)
Deep and complicated do not preclude being enjoyable to many people. Theo Jansen’s walking machines was fascinating to all ages. And Jansen’s work can lead to deep and complicated thinking about kinetic art, engineering, wind power and biology as well as being enjoyable aesthetic experience. Xu Hongfei’s work leads to nothing but more selfies, BBW sculpture porn and filling Federation Square.
Kitsch functions as a cultural gap-filler, ersatzes culture filling the spaces instead of work that might lead to thought. In filling the gap it excludes better work.