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.
All That Is Solid Melts Into Movement, 2017
All That Is Solid Melts Into Movement, 2017
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.
Melbourne’s art galleries have started exhibitions again; on 9th January, Friday evening Kings ARI opened first new exhibition for the year. A surprisingly early start with many people still on holidays and Melbourne’s fickle summer weather. A few other larger galleries, like the NGV and RMIT Gallery, have also reopened after the holiday season with exhibitions from last year.
Simon Crosbie’s installation at Kings ARI
At King ARI there are three exhibitions in their three small upstairs exhibitions spaces. In the front gallery there was a group exhibition of four women artists, Amber Stones and Green, curated by Alison Lasek. In the middle gallery, Reveal & Conceal featured a great knitted installation by Simon Crosbie, two videos by Paul Candy and a large text based wall work by Amanda Laming. In the dark of the Side Gallery, the flickering colours of the screens reflected on the white wall creating an image of such a basic beauty. This work, Flickr Films by Christopher Handran focused my thinking about the technology and art.
Regarding technology and art I finally had the time to see Experimenta Recharge, the 6th International Biennial of Media Art at RMIT Gallery. There was a humming from behind the, now, automatic door into RMIT Gallery as if it was housing immense electoral machines, which indeed it did. There were one hundred digital televisions for, Khaled Sabsabi’s 70,000 Veils a 3D video work of transcendental beauty.
This exhibition of international artists has been extensively reviewed so I will only add the comment that I had seen a better version of the braking mirror that Anaisa Franco presented, “Broken Mirror” by Lee Yongbaek was much smoother and more beautiful. Franco’s other work the motion activated screaming mouth was just prop comedy. Teamlab answered my question about the watchability of long works of video art with one that last for 100 years.
“Happy Summer Tank” by Diego Ramirez is a great little exhibition about cosplay and issues of dressing-up in trans gender and race characters. These are a serious issues; culturally there are off-limits in dressing up as a different gender or race. It leads to another issue: are the culturally acceptable trans gender and race issues different for Australia or the USA or Japan? Does a country’s history change what is culturally acceptable? These issues could be heavy and confronting but they are not in this exhibition because the cosplay is so beautiful and fun.
The cosplay is excellent; the costumes were perfect. The cosplayers who are interviewed are shown as be intelligent, thoughtful people who take the issues seriously and who love dressing up.
Ramirez has paid attention to detail in the installation of his videos at Blindside. This is something that initially attracted me to his work when I saw his video installation Radish at Seventh Gallery in August last year. The walls at Blindside match with the backgrounds of two of the videos and there was a long table of mock ups of tangible/virtual products, reimagined with the cosplayers. I can make sense of the mixing of Red Dead Redemption and Assassin’s Creed in the games packaging on the table but what was the pile of dirt about?
The other exhibition at Blindside, “FAB(ricated) LYF” by Emma Collard, Cherie Peele and Natalie Turnbull didn’t work for me. I could see what they were trying to do mediating between art and life – maybe I was put off by their Gen-Y optimistic solutions, maybe I was the wrong gender.
It was the first time that I had used to new lift in the Nicholas Building. I miss the old lift operators and their decorated lifts but the new lift is a lot faster at reaching the seventh floor where Blindside is located. It is always enjoyable to be inside the Nicholas Building with all its faded gold rush marvellous Melbourne optimism. Outside on the back of the building the gold leaf that Bianca Faye and Tim Spicer applied in 2008 as part of the Laneways Commissions Welcome to Cocker Alley… continues to cling to the external pipes.
Riding around Brunswick enjoying the sunshine and looking for interesting things to write about I couldn’t go past the Brunswick Pop Up Gallery. Especially after I looked in the window and saw a giant pink dust mite and some other puppets.
Felipe Reynolds, Dust Mite
The curator, Joe Blanck was gallery sitting at the time. Joe told me about the dark exhibition opening where they had covered up the windows and visitors were given lanterns like the International Surrealist Exhibition of 1938. Joe is evidently a fan of Surrealism with a Dalian soft watch tattooed on his wrist. In the darkness of the opening he had moved his puppets around the crowd.
There are 18 artists exhibiting in this exhibition and there is a lot of humor in the dark exhibition theme, like the puppet “Spanky, the manic teddy”. Some of the exhibition is in the realm of fantastic art; sculptures by Richard Mueck, brother of Ron Mueck, the paintings by Beau White and Isabel Peppard’s “Pupa” sculpture.
Chip Wardale’s “ installation “7 music videos, 7 questions and self-reflections” was effective and lived up to its title. The outside of the installation didn’t contribute but it didn’t really matter once inside. Watching industrial music videos inside a mirrored cube was like being in your own small private world.
Recently when discussing the architectural work of late 19th and 20th century sculptors I was asked if there were the same amount of work for sculptors today. Classical inspired architecture requires bas-relief and other sculptural ornaments. The Corinthian columns with their stylised Acanthus leaves on their ornate capitals all had to be designed and carved. Now with modern architecture eschewing ornamentation, where had all the work for sculptors gone? The Darkness Within provides ample clues to answer that question, there has been a growth of scenic artists for movies, theatre and advertising. Joe Blanck, for example, works at Creature Technology Company, the company behind recent arena spectaculars like Walking With Dinosaurs and How To Train Your Dragon.
(Brunswick Pop Up Gallery, it’s sort of, new Brunswick Pop Up Gallery on Albert Street, I’m sure I’ve seen exhibitions there over the years under different names. As if there weren’t enough galleries with “Brunswick” in their name in Melbourne….)
“The Elaboratorium” by the Scale Free Network at the Counihan Gallery is an exhibition that attempts to unite art and science. To the puzzlement of many a science student, atheists and cultural commentators we don’t see enough art about science. (Except in the areas of scientific imaging – scientific imaging has become so much better and is producing amazing and beautiful images. There was a very brief time in the 19th century when painters were the best people to recreate ancient temples or prehistoric animals but now we don’t have to recreate the images, so where does this leave the artists?) The problem with art and science collaborations is that it often produces sterile mules; a fertile collaboration that will generate the next generation of artistic and scientific collaboration is difficult to produce.
The Scale Free Network (SFN) is a collaborative group of artists and scientists (a “scale free network” is a scientific way of say social network). “Combining the interdisciplinary skills of artist Briony Barr, microbiologist Dr Gregory Crocetti and art teacher Jacqueline Smith, SFN works with creative combinations of science and art to design participatory experiences for children and adults.” The strength and weakness of the exhibition is really aimed at all ages. I’d seen that kind of thing before as a child; as the son of a zoologist I went to see many science exhibitions and it did leave me with a strong impression about the quality of work in these exhibitions.
“The Elaboratorium” takes its name from a 17th century term to describe where chemical substances were made and ‘elaborated’ upon. The best parts of the exhibition are the digital projections they are impressive compared to the average art gallery video installation. Digital projections of water-life recorded at 100 -400x magnification along with the shadows cast by the lab equipment and the “suspended circles” of rotating drum skins. Accompanied with classical music looked like a theatrical version of science.
Some of the works like the “Particle Chamber”, a vitrine with polystyrene balls and a fan, failed to show anything exciting; you get that with science experiments – there is the real possibility of failure.
The viewing station parts of the exhibition are interactive but I can’t imagine that many people, except for children, who haven’t seen such images before. In keeping with the gallery setting there are samples of gallery dust and Ben Sheppard’s drawings from the exhibition in the next gallery space. There are other local elements to examine under the stereo-microscopes – I spent some time looking at the micro-cosmos of some local moss.
On Thursday morning on the 7th floor of the Nicolas Building a small group of high school kids were waiting outside Blindside for the gallery to be opened. When the gallery attendant arrived about 10 minutes late and unlocked the door the school kids then lined up in the gallery along the path taped on the floor marked “End Zone”. They waited for the video and sound to be turned on and then took one look at Blaine Cooper’s installation “End Zone (Always do the Bad Thang)” and then left.
I was also waiting and watching the jeweler at work, a floor down across the light well at the Nicholas Building. I was hoping to the school kids would engage with the installation; jogging on the treadmill or playing the guitar as Blaine Cooper suggested in his notes on the exhibition. But the video montage of movie explosions and the rock music were not that inspiring or motivating rather they are too familiar and mundane. And neither the Marshal amp nor the treadmill had been turned on yet.
The gallery attendant told me that later that day at the exhibition opening Blaine Cooper would be running on the treadmill with guitarist, Nicholas Lam of The Vaudeville Smash, cranking up the amp.
I don’t know if I want to put that much effort into making some piece of contemporary art work and this not an isolated incident. Too much contemporary art is like a lame performance where audience participation is a demand rather than an option. Maybe I wasn’t in the right mood, not that the demand for participation encourages me to feel generous in my mood. Demanding that an audience participate is a sure way to annoy those who are feeling uncommitted and undecided. An audience may be willing to participate when the artist has already won the audience’s interest, sympathy, respect…
I’m bored now – I’m leaving.
I could get cosmic about the Gladwell’s art and write about the spinning fat god that is the turning universe. I could art historical and refer to Gladwell’s references to Turner and Caspar David Friedrich. Or examine his cinematic references to Mad Max and Ozploitation films. Instead, due to my interest in street art, I saw something else in Gladwell’s art a kind of physical graffiti.
Shaun Gladwell is most famous for his video “Storm Sequence” (2000) (it is not in the ACMI exhibition) but how did he come to this? I vaguely remember some of his early paintings. Joanna Mendelssohn reviewing Shaun Gladwell’s exhibition at Sherman Galleries in Sydney has clearer memories of these paintings. Mendelssohn notes that Gladwell started painting giant copies of Penguin paperback classics. (Artlink Vol 23 no.3 2003) There is nothing of this early phase in Gladwell’s art in the ACMI exhibition. There are still a couple of minor works on paper scattered through out ACMI’s exhibition but they are largely incidental. One drawing, “Untitled” (2011) does provide a key to Gladwell’s art showing a diagram of train surfing yoga positions.
When Gladwell stopped focusing on painting and drawing and turned to video he was able to better integrate his art and his own life. Videos of Gladwell’s street movement; skateboard riding in “Storm Sequence” or hanging from the handrails of a Sydney train in “Tangara” (2003) became the foundation for his video art. Using BMX riders, break dancers, graffiti artists, skateboarders, pole dancers for his videos – this is physical graffiti.
Contemporary movement defines space in a creative, interactive way: what can be done with this space, what orders can be found, explored, used and created. Movement and perspective are not determined by the space but by the person using the space. This is body art as an urban intervention, captured in the locations and the momentum in Gladwell’s videos. In his photographs of the rollerblading police at the Louvre Gladwell is documenting changes in contemporary movement. “Planet & Stars Sequence: Bondi” (2011) looks at the movements of an aerosol art busker routine.
“Shaun Gladwell: Stereo Sequences” in the large Gallery 1 space at ACMI is the first in what ACMI promises to be a series of commissioned new works by ”leading Australian and international contemporary artists.” The horizontal tracking and the walk through “Parallel Forces” (2011) curiously reminded me that the long Gallery 1, deep under ACMI, was once a platforms at Flinders Street Station. It is an engaging exhibition and I hope that has an influence on Melbourne’s street art scene.