Archive for September 21st, 2011

21
Sep
11

Exhibition: ‘Juan Davila: The Moral Meaning of Wilderness’ at the Monash University Museum of Art (MUMA), Caulfield

Exhibition dates: 4th August – 1st October 2011

.

“The ‘Moral Meaning of Wilderness’ exhibition is a tour of the various approaches to the landscape: ‘plein air’ painting, studio landscape work, sublime landscape, historical evocation of landscape, modernity and the landscape, natural disaster, childhood memory of a landscape, woman in the wilderness. The ‘After Image’ works seem to refer to fantasies, inner space, unnameable objects, microcosm and immense space. Within the representation of “the land” one easily forgets that we are dealing with complexity and a field of projections. The political, the sublime, the moral stance, corporate destruction and the future of our environment come to mind.”

Juan Davila 1

.

“In a state of grace, one sometimes perceives the deep beauty, hitherto unattainable, of another person. And everything acquires a kind of halo which is not imaginary: it comes from the splendour of the almost mathematical light emanating from people and things. One starts to feel that everything in existence – whether people or things – breathes and exhales the subtle light of energy. The world’s truth is impalpable.”

Clarice Lispector 2

.

.

Simply put, this is the best exhibition I have seen in Melbourne this year.

Feminine jouissance is critical to an understanding of the work of Juan Davila (see quotation below). It is the jouissance of the Other: ineffable, incapable of being expressed, indescribable, unutterable. Also critical is an understanding of the meaning of ‘wilderness’ and ‘after image’.

Wilderness “is a relative term suggesting the perspective of a visitor or interloper for whom the landscape is wild and Other – for the landscape was neither wild nor foreign to its original inhabitants, at least not until its transformation through colonising, farming and displacement.”“An after image … is an optical illusion that refers to an image continuing to appear in one’s vision after the exposure to the original image has ceased.”4

The most powerful works are the Wilderness and After Image paintings. Grouped together in a room at the far end of the gallery, the effect of these paintings is to be physically surrounded by the nebula of the unconscious mind. The feeling is not dissimilar to being consumed by the abstract, elemental quality of Monet’s Nymphéas (Water Lilies) at the Orangerie in Paris. Pair to more earthly landscapes (see images 2 and 3 below) the paintings are the closest experience in approaching the divine that I have felt in a long time. Their visual and noumenal ‘energy’ is superlative.

Robert Nelson observes that, “The after-image is a momentary body-memory – not intellectual but bizarrely willed – perhaps a bit like the recollection of a dream or the instant slip that uncannily reveals the unconscious. In monumentalising this trace, Davila delivers us to another ethereal zone: the breath of libido, buffeted by clouds of repression and misty internalised myths. As portraits of evanescent memory, they are wantonly memorable.”5

Indeed, they are memorable. I had a spiritual experience with this work for the paintings promote in the human a state of grace. The non-material, the unconceptualizable, things which are outside all possibility of time and space are made visible. This happens very rarely but when it does you remember, eternally, the time and space of occurrence. I hope you have the same experience.

.

Many thankx to MUMA for allowing me to publish the images in the posting. Please click on the images for a larger version.

.

“The term jouissance, in French, denotes “pleasure” or “enjoyment.” The term has a sexual connotation (i.e., orgasm) lacking in the English word “enjoyment”, and is therefore left untranslated in English editions of the works of Jacques Lacan. In his Seminar “The Ethics of Psychoanalysis” (1959–1960) Lacan develops his concept of the opposition of jouissance and pleasure. The pleasure principle, according to Lacan, functions as a limit to enjoyment: it is the law that commands the subject to ‘enjoy as little as possible’. At the same time the subject constantly attempts to transgress the prohibitions imposed on his enjoyment, to go beyond the pleasure principle. Yet the result of transgressing the pleasure principle, according to Lacan, is not more pleasure but pain, since there is only a certain amount of pleasure that the subject can bear. Beyond this limit, pleasure becomes pain, and this ‘painful principle’ is what Lacan calls jouissance.

In his Seminar “Encore” (1972–1973) Lacan states that jouissance is essentially phallic. That is, insofar as jouissance is sexual it is phallic, meaning that it does not relate to the Other as such. Lacan admits, however, that there is a specifically feminine jouissance, a supplementary jouissance, which is beyond the phallus, a jouissance of the Other. This feminine jouissance is ineffable, for both women and men may experience it but know nothing about it.”6

.

.

.

Juan Davila
Wilderness
2010
© Juan Davila, Courtesy Kalli Rolfe Contemporary Art

.

.

Juan Davila
A Man is Born Without Fear
2010
© Juan Davila, Courtesy Kalli Rolfe Contemporary Art

.

.

Juan Davila
After Image. A Man is Born Without Fear
2010
© Juan Davila, Courtesy Kalli Rolfe Contemporary Art

.

.

Juan Davila
Churchill National Park
2009
© Juan Davila, Courtesy Kalli Rolfe Contemporary Art

.

.

“The Moral Meaning of Wilderness features recent work by Juan Davila, one of Australia’s most distinguished artists. The exhibition sees Davila turn to the genres of landscape and history painting, at a time when the environment is as much a political as a cultural consideration. With technical virtuosity, Davila’s striking representations of nature achieve monumental significance, depicting beauty and emotion while addressing modern society’s ambivalence to nature and increasing consumerism.

The Moral Meaning of Wilderness represents a radical shift in Davila’s practice, whilst continuing to explore art’s relationship to nature, politics, identity and subjectivity in our post-industrial age. Davila pursues his exploration of the role of art as a means of social, cultural and political analysis.

While many contemporary artists turned away from representation of the landscape, due to its perceived allegiance to outmoded forms of national identity and representation, Davila has recently sought to revisit and reconsider our surroundings au natural.

His paintings are, at first view, striking representations of nature. The paintings, created since 2003, are undertaken en plain air, a pre-modern technique based on speed of execution in situ, and the use of large scale canvases characteristic of history painting. He has also employed other techniques such as studio painting and representations of the landscape with reference to the sublime, the historical, memory and modernity.”

Text from the MUMA website

.

.

Juan Davila
The Painter’s Studio
2006
© Juan Davila, Courtesy Kalli Rolfe Contemporary Art

.

.

Juan Davila
761 Wattletree Road
2008
© Juan Davila, Courtesy Kalli Rolfe Contemporary Art

.

.

Juan Davila
What About my Desire?
2009
© Juan Davila, Courtesy Kalli Rolfe Contemporary Art

.

.

Juan Davila
Australia: Nuclear Waste Dumping Ground
2007
© Juan Davila, Courtesy Kalli Rolfe Contemporary Art

.

.

1. Davila, Juan quoted in “After Image: A conversation between Juan Davila and Kate Briggs,” in Juan Davila: The Moral Meaning of Wilderness catalogue. Canberra: ANU Drill Hall Gallery, 2011, p.53.

2. Lispector, Clarice. Discovering the World. Manchester: Carcanet Press, 1992, p.122 quoted in Briggs, Kate. “Painting, an act of faith: Moments in the work of Juan Davila,” in Juan Davila: The Moral Meaning of Wilderness catalogue. Canberra: ANU Drill Hall Gallery, 2011, p.8.

3. Delany, Max. Introductory speech for “Contemporary Visions & Critiques of the Landscape.” Video of session. The Festival of Ideas, The Pursuit of Identity: Landscape, History and Genetics. The University of Melbourne [Online] Cited 21/09/2011.
http://ideas.unimelb.edu.au/events/contemporary-visions-and-critiques-of-the-landscape

4. Anon. “Afterimage” on Wikipedia. [Online] Cited 21/09/2011. http://en.wikipedia.org/wiki/Afterimage

5. Nelson, Robert. “Exhibition does not take air lightly,” in The Age newspaper. Wednesday, September 21st, 2011, p.17.

6. Anon. “Jouissance” on Wikipedia. [Online] Cited 21/09/2011. http://en.wikipedia.org/wiki/Jouissance

.

.

Monash University Museum of Art (MUMA)
Ground Floor, Building F.
Monash University Caulfield campus
900 Dandenong Road
Caulfield East, VIC 3145
T: 61 3 9905 4217

Opening hours:
Tuesday – Friday 10am-5pm
Saturday 12-5pm

Monash University Museum of Art (MUMA) website

Back to top




Join 1,162 other followers

Follow Art_Blart on Twitter
Art Blart on Pinterest

For photographic services in Australia, Art Blart highly recommends CPL Digital (03) 8376 8376 cpldigital.com.au/

Marcus Bunyan black and white archive: ‘The Songs of Eternity’ 1994

Lastest tweets

Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

September 2011
M T W T F S S
« Aug   Oct »
 1234
567891011
12131415161718
19202122232425
2627282930  

Archives

Categories


Follow

Get every new post delivered to your Inbox.

Join 1,162 other followers