Exhibition dates: 18th June – 11th July 2009
Many thankx to Warren from The Narrows for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. Photographs 1, 4 and 6 are © Tobias Titz 2009.
Dr Marcus Bunyan
Installation view of LE MONDE v. DER MOND by Matthew Hale at The Narrows, Melbourne with n.n. (2008) centre bottom, and Page 93 of MIRIAM DIVORCEE (2008) centre right
Matthew Hale (British, b. 1962)
Page 93 of MIRIAM DIVORCEE
2008
Paper collage
69 x 103 cm
Matthew Hale (British, b. 1962)
n.n.
2008
Rifle, paper collage
69 x 153 cm
Matthew Hale (British, b. 1962)
Page 150 of MIRIAM DIVORCEE (detail)
2008
Paper collage
Below is the only text I could find on the work – some of which was displayed in London earlier this year.
Marcus
“DER MOND v LE MONDE is Mathew Hale’s first solo exhibition in London for five years. It consists of five works: one two-projector and one three-projector slide piece; a constructed painting (that could equally be described as a wall-mounted sculpture); and two large collage works …
Hale’s work has many possible points of departure: a found photograph, a scrap of paper, a page torn from an instructive and obscure book, a bit of out-moded pornography, some anachronistic advertising from the 1970s or 1980s and so forth. Once plucked from a huge collection of such material amassed in his domestic studio space, the work evolves like an unplanned journey – both moving away and turning back on itself … The path of discovery in Hale’s work is the subject of his work, providing it with narrative and process.
With its roots in the collage traditions of political photomontage, dadaist assemblage and free associative surrealism, Hale’s work prioritises process over methodology or style. It activates a complex web of references that takes in history, politics, literature, and philosophy, as much as it does sex, religion, art, architecture and popular culture. To engage with the work is to become carried along by clues that lead to other clues and then circuitously lead somewhere else unexpected yet somehow familiar. Sometimes the clues are visual, sometimes they are language based, often they are both. Even when the work is finished and exhibited it is in a state of flux, the meaning is not fixed. Hale likes slippage of meaning and this constant state of ambiguity and openness for (mis)interpretation or confusion. He explains the title of the show as follows: ‘[in German] … and strikingly weirdly, “der Mond” means “The Moon” and, as we all know, “Le Monde” means “The Earth”. How can a word flip so totally by crossing a border? I am making a work for the show which hinges on their being apparently identical (almost) and yet meaning precisely the opposite – I wonder how it happened.'”
Text from the London exhibition of this work (note with title reversed!), on the Peer website [Online] Cited 23/06/2009 no longer available on the website
Matthew Hale (British, b. 1962)
Page 145 of MRS. GILLRAY
2009
Paper collage
Matthew Hale (British, b. 1962)
Page 48 of DIE NEUE MIRIAM
2008
Paper collage
Review in Art Monthly, June 2009 from the Peer website [Online] Cited 23/06/2009 no longer available on the website
The Narrows
