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Tag Archives: Counihan Gallery

The Intervention 10 Years On

“A Widening Gap: The Intervention 10 Years On” at the Counihan Gallery in Brunswick is an exhibition marking the tenth anniversary of “the Intervention”.

Jacky Green, Seán Kerins and Therese Richie, Open Cut, 2017

Jacky Green, Seán Kerins and Therese Richie, Open Cut, 2017

“The Intervention.” it sounds like something that might be staged for an alcoholic friend. The Norther Territory National Emergency Response, as it is officially called, sounds like it might be doing something urgent however when it only implementing two of the ninety-seven recommendations in the NT Government’s Little Children are Sacred Report (2007) in a decade, you know that it is bullshit. So let’s call it for what it is a racist abuse of human rights and a land grab for miners that both the ALP and LNP support.

Curated by Jo Holder and Djon Mundine, from Cross Art Projects in Sydney, the exhibition is a wide examination of the issues imposed on the Aboriginal people in the NT from inadequate housing to inadequate justice; including artwork by an anonymous young artist from the infamous Don Dale Detention Centre.

Holder and Mundine have balanced the large polemic pieces with smaller works, such as the lively paintings and screenprints by Margaret Nampitjinpa Boko and Sally M. Mulda Nagala, that depict NT life with humour and passion, or the engaging series by artists in from Ntaria/Hermansburg, working in the watercolour tradition of Albert Namatjira, of mining operations dominating the landscape. Painting some of the landscapes that Namatjira painted with the addition of big yellow mining trucks in the foreground and, in one painting, a crashed UFO.

Benita Clements, Tjuritja (#396-16), 2016

Benita Clements, Tjuritja (#396-16), 2016

The mining trucks, and the UFO, are symbols of the alien invasion, a lack of consultation, the control of land, along with the environmental damage caused by mining. There are a number of works by Jacky Green, Seán Kerins and Therese Richie about the environmental impact of the McArthur River Mine where thousands of tons of waste released dangerous levels of sulphur dioxide.

This is not the first exhibition that the Counihan Gallery has held about this subject; in 2013 there was “Ghost Citizens: witnessing the intervention” curated by Holder and Mundine and featuring some of the same artists. Although it is a timely exhibition, considering that Victoria and NT have just announced that they would started treaty negotiations with the Aboriginal people, I have no confidence that, in 2023, there will not be yet another exhibition about the continuing “Intervention”.

Chips Mackinolty, "and there'll be no more dancing", 2007

Chips Mackinolty, “and there’ll be no more dancing”, 2007

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Melting into Movement @ Counihan Galler

Two exhibitions of contemporary art that incorporate live performance and video elements for the start of the Counihan Gallery annual exhibition program; Collected Odysseys 2017 by Malcolm Angelucci, Chris Caines and Majella Thomas and All That Is Solid Melts Into Movement 2017, by Kaya Barry, Rea Dennis, Jondi Keane.

Most of the artists in both galleries are wearing all white which works as a screen for the video projections. It also makes the works in the two galleries appear more linked than they actually are.

In both the movement of the artists is determined by the structure of the gallery. In Collected Odysseys (it is difficult to divide the works and assign a title because they overlap) the artists follow the gallery wall as they write. Two videos of artists without their art, a dancer from the head up and a pianist without a piano, projected on the walls and a 2 metre tall stack of ink black books.

In All That Is Solid Melts Into Movement a white gallery wall on casters is pulled and pushed back and forth across the gallery while a video of this is projected onto and then behind the wall. Adding to the drama the wall fits tightly into the gallery space, each time it moves it just miss hitting the video projector mounted on the ceiling by a few centimetres. Then another artist rides a bicycle around the wall as it continues moving forward and back. According to the artists this “allows gallery goers to collectively measure the affects/effects of structural shifts on our everyday experiences.”

There were also several sections of concrete sidewalk on casters but I didn’t experience them moving and can’t comment on the experience. All That Is Solid Melts Into Movement is an out standing work because of the way that the moving wall disrupts the site, uses perspective in a new way and merges the formal with the informal. The moving wall is dramatic, effective and points to the manipulation of the gallery space with walls.


Counihan Politics and Protest

Thursday evening as I am going to the Counihan Gallery on the tram along Sydney Road. I am thinking about the theme of the exhibition: ‘people – politics – protest’ and Noel Counihan in a cage demonstrating the lack of free speech in 1933. Thinking that if I don’t see the police, or ultra-conservative demonstrators then the art isn’t great protest art… and then I saw the sandbag barricade out the front of the Brunswick town hall. Have the battle lines been drawn? Has Moreland seceded from Australia?

Rushdi Anwar

Rushdi Anwar, Art Like Morality, Consists of Drawing a Line Somewhere… is it?

Too good to hope for; the barricade were just an art installation. It wasn’t even part of the inaugural Noel Counihan Commemorative Art Award. It was Kurdish Australian artist Rushdi Anwar’s Art Like Morality, Consists of Drawing a Line Somewhere… is it? and it was part of Morearts 2017, the annual temporary art exhibition. It made me consider the possibility that the best art about people, politics or protest in Moreland was possibly not in the Counihan Gallery’s Moreland Summer Show.

Perhaps, the most best protest art this year in this local came, not from artists but from the Moreland City Council. This year has been a turning point in Australia as sections of society, represented by three inner-city Melbourne councils are officially no longer celebrating Australia Day/Invasion Day. This symbolic act of removal is a clear protest that has not been ignored by the politicians Canberra or by other elements of the far right. Iconoclasm destroying the sacred and creating absence is part of a long tradition in contemporary art as in Marcel Duchamp’s rasée L.H.O.O.Q or Robert Rauschenberg’s work Erased DeKooning. So does the influence of the German conceptual artist Joseph Beuys on organisation and political action as contemporary art.

Noel Counihan would not have understood that kind of post-modern art. Nor do the Moreland City Council consider that their removal of budget items for Australia Day/Invasion Day as a work of art; they weren’t even at the exhibition opening as there were holding a council meeting at the night. However, although they did not intend to be art, it maybe art, just as Noel Counihan’s famous protest locked in a cage may be the best thing he ever did, certainly it what he is most remembered for. It is not a functional thing; it is symbolic, a beautiful and culturally significant creation.

At the opening the artists, their friends and visitors drank wine and had a good time. Compared to what was happening outside the art inside the gallery was summed up with the metaphor of a silent readymade megaphone hung on a white gallery wall. Not that Kate Davis and Hannan Jones Study for the Speaker is that simply, it included an audio and text installation but I didn’t download those elements at the opening.

Looking around the exhibition at the Counihan Gallery at the work of the fifty local artists in a wide variety of media, commenting on a great variety of issues from identity politics to environmental. Amongst these the inaugural Noel Counihan Commemorative Art Award went to Carmel Louise for her work Suicidal Tendencies; a photographic, mixed media collage reflecting on how most people have been watching climate change on TV from the comfort of their lounge. Maybe the media is not the message but a distraction. The judges praised Louise for her dealing with the issue of apathy and her use of contemporary collage. Second guessing the judges is not the role of either the critic or reporter; my role as a critic is to raise larger issues and to point out that rejecting the celebration Australia Day/Invasion Day maybe the most important piece political art in Moreland this year.


The Story So Far…

Twenty works by Indigenous and Torees Strait Islander artists from the Moreland Art Collection curated by Kate Ten Buuren at the Counihan Gallery in Brunswick. This exhibition demonstrates not only the long commitment of Moreland City Council in collecting art Indigenous and Torees Strait Islander art since the early 1980s but also the diversity of that art.

It was good to see two colourful prints, Magpie and Echidnas 2011, by the late Trevor ‘Turbo’ Brown who died in January 2017. Turbo was a Latje Latje man from Mildura and the winner of the 2012 Victorian Deadly Art Award. The exhibition is particularly strong in printing with screen-prints by Lin Onus and Trevor ‘Turbo’ Brown, etching by Regina Karadada, Judy Watson and Janic Murray, and Brian Robinson’s magnificent linocuts. Although Indigenous Australian art is better known for its dot paintings printmaking is an important media for many Indigenous artists. The first was the artist and playwright Kevin Gilbert who started making lino-prints made from old lino floor tiles in Long Bay prison in the 1960s.

Lin Onus shows great technique in screen-printing with the transparent layer of the water in his Gumbirri Garginingi (Five Tortoises) 1996. The rarrk crosshatching work on the shells of the tortoises is not traditional for Koori artists but Onus had been taught and given permission to use the rarrk work by Maningrida artists.

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On a plinth is a fantastic tiny paper sculpture only 55 x 35 x 20 mm by Archie Moore. On a Mission From God (Goulburn Island) uses a little Bible to make a big point about the Mission Days destroying Aboriginal spirituality. Best use that I’ve seen made of a Bible for a long time.

What will the Moreland City Council’s collection look like in another forty years? The story continues.


An Average Week’s Exhibitions

There is nothing essentially wrong with two or three star art, for such passable art is the benchmark by which quality is measured.Sometimes the art has limited ambitions, content, or scope, a little idea or more of the same but well presented. Other times the art is ambitious but limited by the talent, funding, space needed in order to carry the idea. I am always hoping to see something exceptional but it is inaccurate to only write about the exceptional. For most of the time I see exhibitions that are average, slightly below average or slightly above average. Take for example the exhibitions that I saw this week in Brunswick.

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TextaQueen, Muse, 2016

TextaQueen’s “Eve of Incarnation” is a solo exhibition at Blak Dot Gallery of colour nude photographs of herself on a beach. They could be from a nude calendar for like such calendars they are so carefully contrived that in 16 photographs not a single nipple or public hair is showing. However, TextaQueen does not depict herself a weak or vulnerable, but rather strong, wild and powerful. This is emphasised in the titles: ‘Agitator,’ ‘Summoner,’ ‘Harnesser’. I don’t know if the titles are enough but TextaQueen is an established artist who has worked with nudes and between low-brow and high brow art. So although this exhibition is not in her primary media is not far from her core interests of gender, race and Australia.

Hilary Dodd’s solo exhibition “Anomalous” at Tinning Street Presents is unfortunately not anomalous but all too familiar. So many artists have painted nearly monochrome paintings with an emphasis on the texture of the paint and anomalous tones or colours.

“Unhidden” curated by Kali Michailidis at the Counihan Gallery was not revealing. At its best it was clever but obvious like Kouichi Okamoto’s “Liquid taper cutter work”, 2013 where the ends of strips of tape that have been used to paint a wall black look like paint drips. At its worst it remained obscure.

Also at the Counihan was “As Above, So Below” works on paper by Charlotte Watson and Shannon Williamson. Above; Williamson’s works on paper look like outer space, like nubuela, spectacular, beautiful, random creations, over-laid with geometric notes in chalk or pastel. Below; a more difficult proposition, Watson stitches thread, like geomancy lines in the dark earth. The works are clearly linked in their mapping elements, as well as, their inspiration from Eleanor Catton’s novel The Luminaries.


Factivism @ Counihan Gallery

Liz Walker’s Still Life is based on the flower arrangement at the wake for murder victim, Jill Meagher at the Brunswick Green. It is a mix of beauty and danger, violent and domestic elements. It is all made from found and recycled materials. The sharp shards of the broken beer bottles are open like lilies, the stamen are knitting needles and bullet casings, the leaves are knives painted green. It is referencing the Royal Commission into Family Violence.

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Liz Walker, Still Life, glass, recycled and found objects, 2016

The facts:

On the first Thursday night of the month there is an exhibition opening at the Counihan Gallery in Brunswick. It is the final exhibition for the year, the public end of year for the gallery, the Moreland Summer Show, an exhibition of artists connected to the City of Moreland. This year there are forty artists producing work on the theme of “factivism”.

Counihan gallery’s curator, Victor Griss said that he wanted a word to be “diagonal counter” to slacktivism, the superficial show of online support for a cause. To have a theme that has both infinite possibilities and limits.

There were almost two hundred people, wine, nibbles, the obligatory speeches, from the Mayor of Moreland who won’t be Mayor in a week or so, the curator, Victor Griss and former curator, Edwina Bartlem. It is an inclusive community; for the first time there was an Auslan interpreter to translate the speeches into sign language.

Edwina Bartlem is a former curator of the Counihan and a local resident, who is now the Exhibitions Manager at the state Library of Victoria. Edwina recognised the community aspect of the exhibition opening suggesting that everyone talk to someone they hadn’t met. I already had, I had to compliment the recycling cyclist on his amazing waistcoat pinned with objects.

Lots of people to say hello to. It is a community that I have been writing about in this blog for many years. I have seen some artists develop from early attempts to their current work. I have written whole blog posts about some them: Wendy Black, Julian Di Martino and Alister Karl.


Three Exhibitions in Brunswick

“Rosencrantz: Whatever became of the moment when one first knew about death? There must have been one. A moment. In childhood. When it first occurred to you that you don’t go on forever. Must have been shattering. Stamped into one’s memory. And yet, I can’t remember it.” (Tom Stoppard, Rosencrantz and Guilderstern are Dead)

There are currently two dark exhibitions on at the Counihan Gallery in Brunswick: “Exhume” by Clare Humphries and “An Apprehension of Mortality” by Bruce Dickson. ‘Dark’ in both their colours and in the theme of mortality.

There is often an element of memento mori in the genre of still life but Humphries emphasises it by using personal objects of her deceased family members. The hand-burnishing of the linocuts softens the usual hard edges of the print allowing for subtle gradation of light to dark. The objects that Humphries depicts glow against the blackness of the paper.

Anyone complaining that art students don’t know how to draw doesn’t know that there are lecturers like Humphries. Clare Humphries lectures in Drawing and Printmedia at the VCA and the technical skill in these prints is amazing.

Of course, anyone complaining about today’s art students would point at Bruce Dickson’s exhibition at the Counihan. Dickson has more light than dark but it is a slack light, vaguely suggesting something. There are only three works in the exhibition, an “installation/sculpture” called “threshold”, where some paper that had been dipped in pigment hangs in sculptural manner, and two loops of video of some gauze-like material blowing around. Even when I appreciated the existential vibrations, in Dickson’s video loop “towards stillness,” I found the actual video annoying because of the inelegant arrangement of the three pieces of cloth kept distracting me.

Further along Sydney Road at Soma Gallery, a shopfront gallery is “Bush Nighmarez” by Lou Herrod. Demons with gum leaf horns and a “Bogan Dream Cather” hung with VB can and shotgun cartridges. In her bold and brutal paintings the iconic Australian gum leaf bush becomes a place of horror for Herrod. I haven’t seen art that so excoriates the thin skin of the Australian bush dream since an early Paul Yore exhibition, “Monument to the Republic” at Gertrude Contemporary.


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