Exhibition dates: 23rd November 2019 – 9th February 2020
Curator: Gareth Syvret
Artists: Gordon Bennett, Polly Borland, Pat Brassington, Eric Bridgeman, Jeff Carter, Nanette Carter, Jack Cato, Zoë Croggon, Sharon Danzig, Rennie Ellis, Elizabeth Gertsakis, Christine Godden, Alfred Gregory, Craig Holmes, Tracey Moffatt, Derek O’Connor, Jill Orr, Deborah Paauwe, David Rosetzky, Damien Shen, Wesley Stacey, Christian Thompson, Lyndal Walker, Justene Williams, Anne Zahalka.
Installation view of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne
Making an appearance
There are some stimulating and challenging works in this first exhibition curated by new MGA Associate Curator Gareth Syvret, who was parachuted into the project at the last moment. The curator has pulled together work that examines the complex interweaving of “cultural scenarios,” “interpersonal scripts,” and “intrapsychic scripts” that ground how the camera, and the photographer, picture our relationship to dressing up… and how we see ourselves pictured by the camera.
In various ways, the works interrogate how clothes (or the lack of them) reinforce the postmodern fragmentation of the individual or group, the self being decentred and multiple, as when we change from work clothes, to drag, to leather, to wearing our footy beanie and scarf… and how these e/facements, these everyday performances (for that is what they are), camouflage or reveal our “true” nature. Do we dress up to fit in (to a tribe or group, or representation), or do we rebel against the status quo, as did that enfant terrible who refused all categorisation throughout his life, the Australian fashion pioneer Leigh Bowery. How do we turn our face towards, or away from, the camera? (turning away is a re/action to the power of representation, even if a negative one)
Firstly we must recognise that “cultural forms do not have single determinate meanings – people make sense of them in different ways, according to the cultural (including sub-cultural) codes available to them.” And secondly, we must acknowledge that, “the analysis of images always needs to see how any given instance is embedded in a network of other instances”1 through intertexuality – where we, reality, our representation, and the image, are just nodes within a network whose unity is variable and relative.
“Critical to understanding the construction of these constantly shifting networks in contemporary society are the concepts of weaving and intertexuality. Intertextuality is the concept that texts do not live in isolation, ‘caught up as they are in a system of references to other books, other texts, other sentences: it is a node within a network… Its unity is variable and relative’ (Foucault, 1973). In other words the network is decentred and multiple allowing the possibility of transgressive texts or the construction of a work of art through the techniques of assemblage [Deleuze and Guattari] – a form of fluid, associative networking that is now the general condition of art production.”2
This weaving of surfaces disrupts histories and memories that are already narrativised, already textualised. It disrupts this marking, the continual reiteration of norms, by weaving a lack of fixity into objects, namely how we see ourselves, how we pictures ourselves. Through dress, and the camera, through a constant process of reconceptualisation of space and matter, we can redefine the significations of the body of the animal in the fold of inscription, through a process of materialisation. The production of this materialisation (the matériel, or arms, of sartorial elegance) – of this signified – is open to struggle, the simulation “by virtue of its being referent-free invites a reading of a different order: it is a perpetual examination of the code.”3 A code which, Julia Kristeva notes, is not simply the product of a single author, but of its relationship to other texts and to the structures of language itself. “[A]ny text,” she argues, “is constructed of a mosaic of quotations; any text is the absorption and transformation of another.”4 And this is what is happening in this exhibition – work, and images, which are a mosaic of quotations fighting over unity and fragmentation, reality and representation… and the construction of identity.
What this exhibition, and this materialisation, does not, and cannot answer, is the critical question: why do we dress up in the first place? What is the overriding reason for this ritualistic, performative enactment, this action, which happens time after time, day after day. And what is that face that we present to the camera during this performance? As Roland Barthes lucidly observes in Camera Lucida, “The PORTRAIT-PHOTOGRAPH is a closed field of forces. Four image-repertoires intersect here, oppose and distort each other. In front of the lens, I am at the same time: the one I think I am, the one I want others to think I am, the one the photographer thinks I am, and the one he makes use of to exhibit his art.”5
So, who I am?
Dr Marcus Bunyan
- Dyer, Richard. The Matter of Images: Essays on Representations. London: Routledge, 1993, pp. 2-3
- Foucault, Michel cited in Thumlert, Kurt. Intervisuality, Visual Culture, and Education. Nd [Online] Cited 01/04/2011 no longer available online
- Tseëlon, E. The Masque of Femininity: The Representation of Women in Everyday Life. London: Sage, 1995, pp. 128-130
- Kristeva, Julia. “Word, Dialog and Novel”, in Moi, Toril (ed.,). The Kristeva Reader, New York: Columbia University Press, 1986, p, 37 quoted in Keep, Christopher; McLaughlin, Tim and Parmar, Robin. “Intertextuality,” on The Electronic Labyrinth website [Online] Cited 07/02/2020
- Barthes, Roland. Camera Lucida, London, 1984, p. 13
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Many thankx to Monash Gallery of Art for allowing me to publish the photographs in the posting. All installation photographs proceed in a clockwise order around the exhibition. Please click on the photographs for a larger version of the image.
Dress and clothing are so much a part of the way people present themselves to the camera and this subject provides a strong theme through which to explore MGA’s extraordinary collection. Some photographs in the exhibition are well known, others have not previously been shown. All are equally compelling in showing the way photographers record and manipulate dress to tell their stories.
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Gareth Syvret, MGA Associate Curator
As cultural hybrids, images are used as if they simultaneously block and unveil truth, reality, ways of seeing and understanding.
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Ron Burnett. Cultures of Vision: Images, Media, & the Imaginary. Bloomington: Indiana University Press, 1995, p. 237
The meanings of clothes may usefully be divided into two types, ‘denotation’ and ‘connotation’, each working in its own way on its own level. … Denotation is sometimes called a first order of signification or meaning. It is the literal meaning of a word or image… Connotation is sometimes called a second order of signification or meaning. It may be described as the things that the word to the image makes a person think or feel, or as the associations that a word or an image has for someone…
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Barnard, Malcolm. Fashion as Communication. London: Routledge, 1996
Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne with at left, Gordon Bennett’s Self-portrait (Nuance II) (1994) and at right, Deborah Paauwe’s Foreign body (2004)
Gordon Bennett (Australian, 1955-2014)
Self-portrait (Nuance II)
1994
Gelatin silver prints
50.8 x 40.6cm (each)
Photographer: Leanne Bennett
Monash Gallery of Art, City of Monash Collection acquired 1995
Courtesy of the Estate of Gordon Bennett and Sutton Gallery (Melbourne)
Gordon Bennett’s Self -portrait (nuance II) performance was staged for the camera rather than a live audience. The artist prepared for the performance by painting his face with polyvinyl acetate glue. The process of peeling away the pale skin, created by the dry glue, was then documented in a series of photographs. This work is a subtle critique of simplistic oppositions between people who have light skin and people who have dark skin. Bennett discovered that he was of Aboriginal descent when he was 11 years old, but he resisted identifying as an Indigenous Australian for another 20 years. Conceived as a self-portrait, this work alludes to Bennett’s own process of ‘coming out’ as an Aboriginal man; removing his white mask. But, rather than representing this process in terms of a simple opposition, the photographs emphasise the nuanced ambiguities and transitory nature of identity.
Deborah Paauwe (Australian, b. 1972)
Foreign body
2004
From the series Chinese whispers
Chromogenic print
120.0 x 120.0cm
Monash Gallery of Art, City of Monash Collection acquired 2004
Courtesy of the artist, GAGPROJECTS Greenaway Art Gallery (Adelaide) and Michael Reid (Sydney)
Deborah Paauwe’s photographs are loaded and coded psychosexual puzzles. In this photograph Foreign body, who are the subjects and what is their relation? What is the nature of the embrace Paauwe concocts: eroticism or comfort? In their opposition as clothed and naked Paauwe’s models perform a drama, on desire, for the camera in which dress is figured as a method for revealing or concealing the body as the border between eye and flesh.
Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing at left, Eric Bridgeman’s Woman from settlement with boobs (2010) and at right, two photographs from Tracey Moffatt’s series Scarred for life
Tracey Moffatt (Australian, b. 1960)
Job hunt
1976 1994
From the series Scarred for life
Off-set print
80.0 x 60.0cm
Monash Gallery of Art, City of Monash Collection acquired 1998
Courtesy of the artist and Roslyn Oxley9 Gallery (Sydney)
Scarred for life is a series of works based on true stories about traumatic childhood experiences. In response to each story, Moffatt has staged and photographed a scene that illustrates the tragic tale. The photographs have been made to look like snapshots from a family album, emphasising the everyday nature of the incidents and their ongoing significance as memories. The photographs have been presented in a way that mimics the format of the 1960s American magazine, Life, which was well known for publishing photo-essays in this captioned format. Moffatt often draws on the story-telling conventions of magazines, cinema and other popular forms of visual communication in ways that give her photographs a heightened sense of drama. In Job hunt the tension between the fictive nature of Moffatt’s artistry and the ordinariness of the subject’s dress as a schoolboy dramatises the everyday. This effect is explored further in The Wizard of Oz where the awkwardness of Moffatt’s casting of a boy in a dress as Dorothy in her own fiction is heightened by his father’s overblown gesture.
Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing at left, Christian Thompson’s Gods and kings (2015) and at right, Damien Shen’s Ventral aspect of a male #1 and #2 (2014)
Christian Thompson (Australian / Bidjara, b. 1978)
Gods and kings
2015
From the series Imperial relic
Chromogenic print
100.0 x 100.0cm
Monash Gallery of Art, City of Monash Collection acquired 2018
Courtesy of the artist and Michael Reid (Sydney + Berlin)
In this photograph by Christian Thompson the artist wears a makeshift hooded cape fashioned out of multiple maps of Australia charting different and conflicting Indigenous and colonial histories. The melding of these narratives through a careful but fragmented process of folding references the instrumentality of the map as a weapon of territoriality to challenge the idea of colonial power predicated on the designation of Australia as terra nullius. Describing his use of portraiture Thompson says, ‘I don’t think of them as being ‘myself’, because I think of my works as conceptual portraits. I’m really just the armature to layer ideas on top of … I really like the idea of wearing history, I like the idea of adorning myself in references to history.’ By wearing his cloak of maps, Thompson transfigures his body into a terrain where difficult histories are re-explored.
Damien Shen (Australian / Ngarrindjeri, b. 1976)
Ventral aspect of a male #1
2014
From the series On the fabric of the Ngarrindjeri body – volume II
Pigment ink-jet print
59.4 x 42.0cm
Photographer: Richard Lyons
Monash Gallery of Art, City of Monash Collection acquired 2016
Courtesy of the artists and MARS Gallery (Melbourne)
This work is from Shen’s series On the fabric of the Ngarrindjeri body – volume II (2014), which comprises 12 black-and-white photographs showing the artist and his uncle, a Ngarrindjeri elder known as Major Sumner. Across the series, the two subjects are shown from different angles, either together or individually. Their bodies have been painted in the traditional Ngarrindjeri way and they perform in front of the camera in a studio setting. While the majority of the images were taken in front of the studio backdrop, four of the images document Major Sumner ‘behind the scenes’.
This series is typical of Shen’s practice in that it explores his Indigenous identity and family history through portraiture. For Shen this series is extremely personal, as it documents his uncle sharing his cultural knowledge and experience with him. However, the series was also created to more broadly document Ngarrindjeri culture and the history of his ancestors. Furthermore, Shen’s use of a plain studio backdrop and sepia toning, along with his prosaic titles, directly reference 19th-century ethnographic portraiture, drawing attention to the history of the representation of Indigenous people. The candid backstage images are not sepia toned and have been juxtaposed with the staged portraits in a way that further highlights the artificiality of the studio setting.
Damien Shen (Australian / Ngarrindjeri, b. 1976)
Ventral aspect of a male #2
2014
From the series On the fabric of the Ngarrindjeri body – volume II
Pigment ink-jet print
59.4 x 42.0cm
Photographer: Richard Lyons
Monash Gallery of Art, City of Monash Collection acquired 2016
Courtesy of the artists and MARS Gallery (Melbourne)
Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing at left, Jill Orr’s Lunch with the birds (1979) and at centre, Zoë Croggon’s Lucia (2018) and at centre right, Justene Williams Blue foto (2005)
Jill Orr (Australian, b. 1952)
Lunch with the birds #3
1979
Ink-jet print, printed 2007
Photographer: Elizabeth Campbell
30.0 x 44.0cm
Monash Gallery of Art, City of Monash Collection acquired 2008
Courtesy of the artist
Jill Orr’s Lunch with the birds performance took place on St Kilda beach on a wintery day in 1979. It was conceived as a shamanistic ritual that would provide an antidote to the junk food that is often thrown to scavenging seagulls. Dressed in her mother’s wedding gown, Orr lay on the beach surrounded by a meal of whole bread, fresh fish and pure grain, and waited for the birds to come and commune with her on the foreshore. Apart from the photographer Elizabeth Campbell, who had been commissioned to document the event, there was no human audience on the beach. Like other performances that Orr has enacted in the landscape, nature itself is the primary audience for this ritual. All the same, Orr is quite conscious of using photography to share the performance with gallery audiences. Working with the photographic documentation after the event, Orr composed the images as a narrative sequence (from which these works are taken) and presented them on black mount boards to suggest a filmstrip.
Zoë Croggon (Australian, b. 1989)
Lucia
2018
From the series Luce Rossa
Pigment ink-jet print
65.0 x 79.0cm
Monash Gallery of Art, City of Monash Collection acquired 2019
Courtesy of the artist and Daine Singer Gallery (Melbourne)
Zoë Croggon uses collage techniques to explore spatial relationships between the human form, architecture and the physical world. Her practice is informed by her experience of studying ballet and dance. In many of Croggon’s works, found photographs of the human body are cut out and re-placed, in tension, against surface and structure to explore the politics and poetics of space. For the series Lucia Rossa, the source materials are derived from Italian pornography, eroctica and fashion magazines. Although it is not overtly depicted, this work responds to the ways that the female body is ‘arranged, fragmented and presented for consumption…’ As such, ‘Lucia’ considers the condition of fabric, clothing and dress as a space for the body, laden with the politics of sexuality.
Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing at left, Justene Williams Blue foto (2005) and at right, Christine Godden’s photographs
Christine Godden (Australian, b. 1947)
Untitled
1976
Gelatin silver print
15.3 x 22.8cm
Monash Gallery of Art, City of Monash Collection acquired with the assistance of The Robert Salzer Foundation 2015
Courtesy of the artist
Christine Godden’s photographic work is a highly personal and poetic form of documentary practice, which is informed by a feminist interest in developing distinctly female perspectives on the world. Godden’s familiarity with the tradition of fine art photography in North America is evident in her commitment to high quality printing, which accentuates the sensuality of her subject matter. This photograph is from a body of Untitled works that was originally exhibited in 1976 at George Paton Gallery, Melbourne and the Australian Centre for Photography, Sydney. This tightly organised sequence of 44 photographs intended to show ‘how women see [and] how women think.’ The photographs present fragments or tightly cropped glimpses of textures and bodies (usually of women) that, with their combination of tenderness and formal rigour, take the appearance of being ‘female,’ while at the same time unpicking or unhinging the logic of a feminine imagery or style.
Christine Godden (Australian, b. 1947)
Untitled
1976
Gelatin silver print
15.3 x 22.8cm
Monash Gallery of Art, City of Monash Collection acquired with the assistance of The Robert Salzer Foundation 2015
Courtesy of the artist
Christine Godden (Australian, b. 1947)
Untitled
1976
Gelatin silver print
15.3 x 22.8cm
Monash Gallery of Art, City of Monash Collection acquired with the assistance of The Robert Salzer Foundation 2015
Courtesy of the artist
Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing at left, Christine Godden’s photographs; at middle left David Rosetzky’s photographs; and at far right Sharon Danzig’s No escape (2004)
David Rosetzky (Australian, b. 1970)
Hamish
2004
Chromogenic prints
50.0 x 61.0cm
Monash Gallery of Art, City of Monash Collection acquired 2005
Reproduction courtesy of the artist and Sutton Gallery (Melbourne)
This work by David Rosetzky is an early examples of cut-out and collaged photographic portraits that he has been producing periodically since 2004. To create these images, Rosetzky produces slick studio portraits of young models, referencing the style of photography prevalent in advertising and fashion magazines. He then layers a number of portraits on top of each other before hand-cutting sections to reveal parts of the underlying prints. Through this method of image making he seeks to represent the identity of his subjects as multi-layered, shifting and often concealed.
Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing at left, Sharon Danzig’s No escape (2004) and at right, the work of Pat Brassington
Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing work from Elizabeth Gertsakis’ series Innocent reading for origin (1987)
Elizabeth Gertsakis (Australian, b. 1954)
Innocent reading for origin
1987
Gelatin silver prints
74.0 x 48.5cm (each)
Monash Gallery of Art, City of Monash Collection acquired 1994
Courtesy of the artist
For the series Innocent reading for origin, Elizabeth Gertsakis uses photographs of her family taken at the time of their migration to Australia from Florina, Greece, her birthplace, when she was an infant. These photographs are presented with typescripts of her readings and observations about the photographs. As viewers we are witness to how the images form the artist’s words and, placed alongside them, how her words form the images. The dress of the people in the photographs is particularly significant for their interpretation and description and the ways that these images operate on the artist and the viewer. Gertsakis is concerned here with how photographs transmit memory and meaning in private and public. By shifting the format and scale of family photographs from shoebox to gallery wall, Gertsakis calls into question the status of the medium as vernacular and/or fine art.
Elizabeth Gertsakis (Australian, b. 1954)
Innocent reading for origin
1987
Gelatin silver prints
74.0 x 48.5 cm (each)
Monash Gallery of Art, City of Monash Collection acquired 1994
Courtesy of the artist
As necessity or luxury, to integrate or rebel, in freedom or oppression, dress is the nexus of selfhood. Photography and dress are forever entwined; from its inception in the 1840s one of photography’s main objectives has been the making of portraits. Clothing has been imaged by photographers ever since. In documentary mode, photography provides a record of the ways we dress and how clothing has changed over time. As an instrument of empire photography was used for the purpose of recording the dress and appearance of Indigenous people. Since the early twentieth century the practice of fashion photographers has posed body and garment to create brands and promote lifestyle choices to sell us the clothes we wear.
This exhibition draws together photographs from the MGA collection that feature dress or clothing as a significant element in their making. Some of the photographers included have produced works with documentary intent. For many, a classification of their practice is not so clear cut. These artists photograph dress, clothing and the body to actively question appearances. They use photography as a tactic for testing the nature of consumer culture, challenging social norms or protesting histories of colonisation and discrimination. Shaping and shaped by the individual, our clothes can conceal, reveal and transform who we are. Like the photographs in this exhibition they are the bearers of memory, emotion and time.
Text from the Monash Gallery of Art website [Online] Cited 22/12/2019
Installation view of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing the work of Polly Borland from her Bunny series (2004-2005)
Polly Borland (Australian, b. 1959)
Untitled XXIII
2004-2005
From the series Bunny
Chromogenic print, printed 2008
25.3 x 17.1cm
Monash Gallery of Art, City of Monash Collection acquired 2008
Courtesy of the artist and Murray White Room (Melbourne)
This photograph is from Polly Borland’s Bunny series, which consists of more than 50 images. Borland worked over an extended period of time in close collaboration with actress Gwendoline Christie as the subject of the photographs. The Bunny series plays upon the physicality of its model – who is extraordinarily tall – rendering tense, awkward and absurd poses. The surreal character of Bunny created through gestures of masking and dressing up acts as a darkly playful riposte to the objectification of the Playboy centrefold. Through a process of costuming explored between photographer and subject these images lampoon the fetishism of the glamour shot, supplanting it with their own fantasies both revealed and concealed.
Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing at left the work of Alfred Gregory, at centre the work of Jack Cato (1930s-1940s), and at right Lyndal Walker’s Lachlan sprucing by the hearth (2013) from the series Modern romance.
Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing the work of Jeff Carter at left: Saturday arvo, Cronulla Beach (1960) and Clan gathering, Wangaratta (1955); and at right, Rennie Ellis’ Richmond fans, Grand Final, MCG (1974)
Jeff Carter (Australian, 1928-2010)
Saturday arvo, Cronulla Beach
1960
Gelatin silver print
26.8 x 38.0cm
Monash Gallery of Art, City of Monash Collection acquired 1992
Courtesy of the artist
Jeff Carter (Australian, 1928-2010)
Clan gathering, Wangaratta
1955
Gelatin silver print
29.1 x 31.9cm
Monash Gallery of Art, City of Monash Collection acquired 1992
Courtesy of the artist
Rennie Ellis (Australian, 1940-2003)
Richmond fans, Grand Final, MCG
1974
Chromogenic print
26.7 x 40.7 cm
Monash Gallery of Art, City of Monash Collection acquired 2007
Courtesy of the Rennie Ellis Photographic Archive (Melbourne)
This is one of the most famous photographs of the most important date in the Australian football calendar: Grand Final Day. Ellis turned his lens off the field onto the fans of the winning side on 28 September 1974, the Richmond Tigers. Ellis’s photograph encapsulates the centrality of clothing and colour to the tribalism of football fandom – in particular among ‘cheer squads’ – some of it official merchandise, some adapted or homemade. The image brilliantly exemplifies the unique ability of still photography to render human physicality and a moment in time.
Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing at left, Derek O’Connor’s Untitled (1981-1984) and at right, four Rennie Ellis photographs (see below).
Rennie Ellis (Australian, 1940-2003)
Confrontation, Gay Pride Picnic, Botanic Gardens
1973
Selenium-toned gelatin silver print
22.8 x 34.3cm
Monash Gallery of Art, City of Monash Collection acquired 2016
Courtesy of the Rennie Ellis Photographic Archive (Melbourne)
Rennie Ellis (Australian, 1940-2003)
Drag queens and security guard
1973
Selenium-toned gelatin silver print
30.0 x 44.0cm
Monash Gallery of Art, City of Monash Collection acquired 2016
Courtesy of the Rennie Ellis Photographic Archive (Melbourne)
In 1973 the Australian Gay Liberation movement instigated a series of Gay Pride festivals in Adelaide, Brisbane, Melbourne and Sydney. This was a time when homosexual sex was classified as a criminal act across Australia, and the Gay Pride events sought to challenge these repressive laws and openly celebrate gay and lesbian culture in public spaces.
Rennie Ellis, one of the most prolific photojournalists of Australian society during the 1970s and 1980s, documented Melbourne’s Gay Pride Week with his characteristic warmth and candour. Commissioned to photograph the event for the National Review, Ellis captured everything from transgressive cross-dressers and camped up political banners to same-sex couples enjoying romantic interludes on the lawns of the Botanic Gardens.
Ellis made the only substantial visual record of Melbourne’s first gay and lesbian festival. These photographs show the importance of dress as a method for open expression of gay and queer identities. Since the making of these photographs, significant progress has been made on this issue, most notably with the Marriage Amendment (Definition and Religious Freedoms) Bill, 2017 providing equal rights to same sex couples. Continued work and education towards the eradication of discrimination on the basis of sexual orientation, however, remains imperative.
Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing at left, Derek O’Connor’s Untitled (1981-1984) and at right, two photographs by Wesley Stacey, both Untitled (1973) from the series Friends
Derek O’Connor
Untitled
1981-1984
From the series Amata
Image 2 of a series of 4
Gelatin silver print
50.8 x 61.2cm
Monash Gallery of Art, City of Monash Collection acquired 2007
Courtesy of the artist
Derek O’Connor took this series of photographs in the early 1980s while he was living at Amata, an Aboriginal community situated in the Anangu Pitjantjatjara / Yankunyjatjara Lands in the far northwest of South Australia. They show a group of Aboriginal youths congregating around a campfire on the outskirts of the township, casually incorporating various elements of capitalist culture into their own communal space: second-hand ’70s clothing, a portable cassette player, a tin can with a Hans Heysen label, and petrol.
Photographs of this sort, which represent Aboriginal people as fringe-dwellers on the margins of White Australia, date back to the nineteenth century. Early examples of this genre typically cast Aboriginal people as a dying race, whose way of life was rapidly being undermined by the colonial regime. In O’Connor’s photographs, however, the Aboriginal youths personify a sense of persistent vitality, in spite of their circumstances. As O’Connor explains, ‘there is no self-pity or passive resignation in the way they face the camera. Their quiet defiance has a palpable sense of integrity.’
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Art Blart 
Review: ‘Christian Thompson: Ritual Intimacy’ at Monash University Museum of Art (MUMA), Melbourne
Tags: Aboriginal and Torres Strait Islander, Aboriginal and Torres Strait Islander art, Aboriginal art, Aboriginal Australians, Aboriginal culture, Aboriginal rights, Ancient bloom, anti-portraits, art + soul, Augustus Pitt Rivers, aura, aural, Australian art, Australian artist, Australian flag, Australian flora, Australian Graffiti, Australian Indigenous artist, Australian landscape, Australian performance art, Australian photographer, Australian photography, Bidjara, Bidjara contemporary artist, Bidjara language, Bidjara ritual, Black gum 1, Black Gum 2, Black gum 3, British and Australian culture, British Empire, Charlie Perkins, charlotte day, Christian Thompson, Christian Thompson Ancient bloom, Christian Thompson Ariel, Christian Thompson Australian Graffiti, Christian Thompson Berceuse, Christian Thompson Black gum 1, Christian Thompson Black Gum 2, Christian Thompson Black gum 3, Christian Thompson Brother, Christian Thompson Dead tongue, Christian Thompson Desert slippers, Christian Thompson Dhagunyilangu, Christian Thompson Down Under World, Christian Thompson Ellipse, Christian Thompson Energy Matter, Christian Thompson Equilibrium, Christian Thompson Forgiveness of Land, Christian Thompson Hannah's Diary, Christian Thompson Heat, Christian Thompson Imperial relic, Christian Thompson King Billy, Christian Thompson Lamenting the flowers, Christian Thompson Lost Together, Christian Thompson Museum of Others, Christian Thompson Polari, Christian Thompson Refuge, Christian Thompson Ship of dreams, Christian Thompson Siren, Christian Thompson Trinity II, Christian Thompson Trinity III, Christian Thompson Untitled #6, Christian Thompson Untitled (banksia), Christian Thompson Untitled (blue gum), Christian Thompson We bury our own, Christian Thompson: Ritual Intimacy, conceptual anti-portraits, contemporary artist, Country, cryptic slang, Dead as a door nail, Dead tongue, dead white males, Desert slippers, Dhagunyilangu, Down Under World, Ellipse, Energy Matter, ethnic other, Fanny Cochran Smith, Forgiveness of Land, gender, Hannah's Diary, Hetti Perkins, homosexuality in the United Kingdom, I'm not going anywhere without you, identity, Imperial relic, Indigenous art, Indigenous artist, Indigenous language, indigenous people, Isabella kept her dignity, James Cook, John Ruskin, King Billy, Lamenting the flowers, language, Little Children are Sacred, Lost Together, masculinity, memory, Monash University Museum of Art, MUMA, Museum of Others, Northern Territory Emergency Response, othering, Othering the Anthropologist Walter Baldwin Spencer, Othering the Ethnologist Augustus Pitt Rivers, Othering the Explorer James Cook, personas, photographing aura, Pitt Rivers Museum, Polari, RAAF flag, race, red ensign, Refuge, ritual, Ritual Intimacy, Sexual Offences Act, sexuality, Ship of dreams, Slade Professor of Fine Art, spiritual repatriation, Stolen Generations, Tasmanian Aboriginal languages, the intervention, University of Oxford, video, Walter Baldwin Spencer, We bury our own
Exhibition dates: 27th April – 8th July 2017
This project has been supported by the Victorian Government through Creative Victoria
PLEASE NOTE: I am still recovering from my hand operation which is going to take longer than expected. All of the text has been constructed using a dictation programme and corrected using only my right hand – a tedious process. I have to keep my mental faculties together, otherwise this hand will drive me to distraction… Marcus
Christian Thompson (Australian, b. 1978)
Black gum 1-3
2007
From the series Australian graffiti
C-type prints
Collection of the National Gallery of Australia, Canberra
Photo: Andrew Curtis
Christian Thompson (Australian, b. 1978)
Black gum 1
2007
From the series Australian graffiti
C-type print
Collection of the National Gallery of Australia, Canberra
Christian Thompson (Australian, b. 1978)
Black gum 2
C-type print
2007
From the series Australian graffiti
Collection of the National Gallery of Australia, Canberra
Still singing, still Dreaming,
still loving… not dying.
This is a strong survey exhibition of the work of contemporary Australian Indigenous artist and Bidjara man exploring the world, Christian Thompson. As with any survey exhibition, it can only give us a glimpse into the long standing development of the artist’s work, inviting the viewer to then research more fully the themes, conceptual acts and bodies (of work) that have led the artist to this point in his artistic development. Having said that the exhibition, together with its insightful catalogue essays and additional images that do not appear in the exhibition, allow the viewer to be challenged intellectually, aesthetically and most importantly … spiritually. And to be somewhat conflicted by the art as well, it has to be said.
Thompson’s “multidisciplinary practice explores notions of cultural hybridity, along with identity and history, creating works that transcend cultural boundaries.” His self-reflexive and self-referential bodies of work, often with the artist using his body as an “armature for his characters, costumes and various props,” are intuitive and imaginative in how they relate Aboriginal and Australian/European history, taking past time into present time which influences future time. Time, memory, history, space, landscape are conflated into one point, enunciated through acts of ritual intimacy. These ritual intimacies, these performative acts, are enabled through an understanding of a regularised and constrained repetition of norms (in this case, the declarative power of colonialism), where the taking of a photograph of an Aboriginal person (for example), is “a ritual reiterated under and through constraint, under and through the force of prohibition and taboo, with the threat of ostracism and even death controlling and compelling the shape of the production…” (Judith Butler, Bodies That Matter. New York: Routledge, 1993, p. 95).
What is so heartening to see in this exhibition is a contemporary Indigenous artist not relying on re-animating colonial images of past injustices, but re-imagining these images to produce a spiritual connection to Country, to place, to people in the present moment. As Charlotte Day, Director, MUMA and Hetti Perkins, guest curator observe in the wall text at the beginning of the exhibition, “Rather than appropriating or restaging problematic ethnographic images of indigenous ancestors held in the Museum’s photographic collection, Thompson has chosen to spend significant periods of time with these images, absorbing their ‘aura’ and developing a personal artistic and deferential response that is decisively empowered.” As Marina Warner states in her excellent catalogue essay “Magical Aesthetics”, these ritual intimacies are a “magical re-animation and adopt time-honoured processes of making holy – of hallowing. Adornment is central to ritual and a prime way of glorifying and consecration.” What Thompson is doing is not quoting but translating the source-text into new material. As Mary Jacobus notes of the work of the painter Cy Twombly, “Quotation involves the repurposing of an existing text: translation requires a swerve from the source-text as it finds new directions and enters unknown terrain.” (Mary Jacobus. Reading Cy Twombly: Poetry in Paint. Princeton & Oxford: Princeton University Press, 2016, p. 7).
This auto-ethnographic exploration and adornment leads to a deterritorialisation and reterritorialisation of time in a heterotopic space, juxtaposing in a single real place several spaces, several sites of contestation – Thompson’s travels and research from around the world, the embodiment in his own culture and that of contemporary Australia, pop culture, fashion, music and language – where, as Hetti Perkins says, “the unknowable is a lovely thing” and where Thompson can affect and influence “the Zeitgeist through more subversive means.” These spaces of ritualised production overlaid with memory, imagination, desire, and nostalgia, these fragmented images, become a process and a performance in which Thompson seeks to ameliorate the objects aura through a process of ‘spiritual repatriation’. Thompson’s performativity is where the ritual of production and meaning is never fully predetermined at any stage of production and reception.
Here, in terms of ‘aura’ and ‘spirit’, I am interested in the word “repatriation”. Repatriation means to send (someone) back to their own country – from the verb repatriare, from re- ‘back’ + Latin patria ‘native land’. It has an etymological link to the word “patriot” – from late Latin patriota ‘fellow countryman’, from Greek patriōtēs, from patrios ‘of one’s fathers’, from patris ‘fatherland’ – and all the imperial connotations that are associated with the word. So, to send someone back (against their own will? by force?) or to be patriotic, as belonging to or coming from, the fatherland. A land that is father, farther away. Therefore, it is with regard to a centralised, monolithic body and its materialities (for the body is usually centrally placed in Thompson’s work) in Thompson’s instinctive works, that relations of discourse and power will always produce hierarchies and overlappings which are going to be contested. As Judith Butler notes,
“That each of those categories [body and materiality] have a history and a historicity, that each of them is constituted through the boundary lines that distinguish them and, hence, by what they exclude, that relations of discourse and power produce hierarchies and overlappings among them and challenge those boundaries, implies that these are both persistent and contested regions.” (Judith Butler. Bodies That Matter. New York: Routledge, 1993, pp. 66-67)
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Thus performativity is the power of discourse, the politicisation of abjection, and the ritual of being.
This is where I become conflicted by much of this work. Intellectually and conceptually I fully understand the instinctive, intuitive elements behind the work (crystals, flowers, maps, butterflies, dreams) but aesthetically I feel little ‘aura’ emanating from the photographs. Thompson’s “peripatetic life and your bowerbird, magpie-like fascination” (p. 107) lead to all sorts of influences emerging in the work – orange from The Netherlands, Morris dancers from England, Jewish heritage, Aboriginal and Australian heritage, fashion, pop culture, music, language – all evidenced through “acts of concealment in his self-portraits.” (p. 75). Now there’s the rub!
In Thompson’s ritual intimacies the intimacy is performed only once, for the camera. It is not didactic, but it is interior and hidden, leaving much to the feelings of the viewer, looking. The re-presentation of that intimacy is performed by the viewer every time they look at the art. I think of the work of one of my favourite performance artists, Claude Cahun, where the artist inhabits her personas, adorning her androgynous face with costume after costume to become something that she wants to become – a buddha, a double, a harpy, a lunatic or a doll with equal ease. Cahun is always and emphatically herself, undermining a certain authority… and she produces indelible images that sear the mind.
I don’t get that from Thompson. I don’t know who he really is. Does it matter? Yes it does. In supposedly his most autobiographic work (according to Hetti Perkins), the video Heat (2010, below) the work emerges out of Thompson’s memories of growing up in the desert surrounding Barcaldine in central west Queensland where “heat captures the sensation that he associates with being on his country: the dry wind blowing through his hair.” Perhaps for him or someone from the desert country like Hetti Perkins (as she states in the catalogue), but not for me. I feel no ‘heat’ from these three beautiful woman standing in a contextless background with a wind machine blowing their hair. The only ‘heat’ I felt was perhaps the metaphoric heat of colonisation, violence and abuse thrust on a vulnerable culture.
Talking of vulnerable cultures, in the work Polari (2014, below) Thompson invokes the history of languages in an intimate ritual “as he seeks to reanimate and repossess vanishing knowledge. Polari is a private language … a kind of code used by sailors, circus and fairground folk, and in gay circles. … Thompson’s Polari series warns us that the artist has a language of his own, which we can overhear but not fully understand: something is withheld, in contrast to the imposed and implacable exposure which the subjects of scientific collections were made to suffer in the past.” (Warner, p. 74) But why is he using Polari specifically, a language that is strongly associated with the libertine gay culture of the 1950s-70s? Does he have a right to use this word and its linguistic heritage because he is gay? It is never stated, again another thing left hidden, concealed and unresolved.
Although no culture can ever fully own its language (language is a construct after all) … if Thompson is not gay, then I would take exception to his invoking the Polari language, just as an Indigenous artist would take exception to me using Bidjara language in an art work of my own. I remember coming out in London in 1975 and speaking Polari myself when it was still being used in pubs and clubs such as the A + B club in Soho. It was not being used as a language of resistance, far from it, but as a language of desire. It was a language used to inculcate that desire. As a video on YouTube observes of speaking Polari, “you didn’t think, oh God I’m so oppressed I can never speak about myself, you just did it, you just slipped into it without thinking.” It was your own language, like a comfortable pair of slippers. Does Thompson understand how using that word to title a body of work could be as offensive to some people as he finds the denaturing of his own culture? For me this is where the work really becomes problematic, when an artist does not enunciate these connections, where things, like sexuality, remain hidden. Similarly, with historical photographs of Indigenous people taken for ethnographic study, Thompson fails to acknowledge the work of academics such as Jane Lydon and her important books Eye Contact: Photographing Indigenous Australians (2005) and Photography, Humanitarianism, Empire (2016) where she unpacks the historical baggage of the images and notes that the photographs were not solely a tool of colonial exploitation. Lydon articulates an understanding in Eye Contact that the residents of Coranderrk, an Aboriginal settlement near Healsville, Melbourne, “had a sophisticated understanding of how they were portrayed, and they became adept at manipulating their representations.” Again, there is more than meets the eye, more than just ‘spiritual repatriation’ of aura.
For me, the magic of this exhibition arrives when Thompson lets go all obfuscation, let’s go all actions that make something obscure, unclear, or unintelligible. Where his ritual intimacies become grounded in language, earth and spirit. This happens in the video works, Desert slippers (2006, below), Refuge (2014, below), Gamu Mambu (Blood Song) (2011) and Dhagunyilangu (Brother) (2011, below). In these videos, the Other’s gaze disintegrates and we are left with poignant, heart felt words and actions that engage history, emotion, family and Country.
The video Desert slippers “features a Bidjara ritual in which a father and son transfer sweat. The desert slipper is a native cactus that symbolises the transferal of the spirit back to earth as the plant grows.” It is simple, eloquent, powerful, present. The other videos feature two baroque singers from Europe and Thompson singing in his native tongue Bidjara (Bidyara, Pitjara), a language that Wikipedia states “is an extinct Australian Aboriginal language. In 1980 it was spoken by twenty elders in Queensland, between Tambo and Augathella, Warrego and Langlo rivers.” Spelt out in black and white. Extinct. To hear Thompson sing a berceuse (French, from bercer ‘to rock’), or lullaby in his native language, a language taught to him by his father, is the most emotional of experiences. The work “combines evocative chanting and electronic elements to invoke the cultural experiences and narratives of his Bidjara culture,” and “is premised on the notion that if one word of Bidjara is spoken, or sung in this case, it remains a living language.” Amen to that.
This is the real hallowing, not the dress ups or the concealments. It is in these videos that the raw material of his and his cultures experience is transmuted into living, breathing stories, in an alchemical transmutation, a magical re-animation of past time into present and future time. My transfiguration into a more spiritual state was complete when listening in quiet contemplation. For I was given, if only for a very brief moment, access to the pain of our first peoples and a vision of hope for their future healing.
Still singing, still Dreaming,
still loving… and certainly not dying.
Dr Marcus Bunyan
Word count: 2,053
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Many thankx to MUMA for allowing me to publish the photographs and videos in the posting. Please click on the photographs for a larger version of the image.
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017
Photo: Andrew Curtis
Christian Thompson (Australian, b. 1978)
Untitled #6
2010
From the series King Billy
C-type print
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring stills from the video Berceuse (2017)
Christian Thompson (Australian, b. 1978)
Berceuse (extract installation view)
2017
Three-channel digital colour video, sound
5.47 minutes
Sound design: Duane Morrison
Christian Thompson (Australian, b. 1978)
Berceuse
2017
Three-channel digital colour video, sound
5.47 minutes
Sound design: Duane Morrison
In this newly commissioned work, Thompson sings a berceuse – a cradle song or lullaby – that combines evocative chanting and electronic elements to invoke the cultural experiences and narratives of his Bidjara culture. Intended as a gesture of re-imagining his traditional Bidjara language, which is been categorised as extinct, the work is premised on the notion that if one word of Bidjara is spoken, or sung in this case, it remains a living language.
Thompson makes subtle reference to his maternal Sephardic Jewish roots by ruminating in this work on the lullaby Nani Nani:
Lullaby, lullaby
The boy wants a lullaby,
The mother’s son,
Who although small will grow.
Oh, oh my lady open,
Open the door,
I come home tired,
From ploughing the fields.
Oh, I won’t open them,
You don’t come home tired,
You’ve just come back,
From seeing your new lover.
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring the series Museum of Others (2016)
Installation view of Museum of Others (Othering the Ethnologist, Augustus Pitt Rivers) 2016
Christian Thompson (Australian, b. 1978)
Museum of Others (Othering the Anthropologist, Walter Baldwin Spencer)
2016
From the series Museum of Others
C-type print
Installation view of Museum of Others (Othering the Explorer, James Cook) 2016
Christian Thompson (Australian, b. 1978)
Museum of Others (Othering the Explorer, James Cook)
2016
From the series Museum of Others
C-type print
Christian Thompson (Australian, b. 1978)
Equilibrium
2016
From the series Museum of Others
C-type print
Museum of others is Thompson’s most recent photographic series and continues to reflect on his time at the University of Oxford. It features several ‘dead white males’ from the pantheon of British and Australian culture. The explorer, the ethnologist and the anthropologist all had roles in the process of colonisation in Australia but the art critic is particular to Thompson; Ruskin was the first Slade Professor of Fine Art at University of Oxford, just as Thompson was one of its first Australian Aboriginal students. Thompson explains his motivation for the series:
“Historically, it was the western gaze that was projected onto the ethnic other and I thought I’ll create a ‘museum of others’ and I’ll be the one othering, so to speak. ‘Equilibrium’ is based around the idea that the vessel is the equaliser. The vessel is the cradle of all civilisations. We all have that in common.”
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Wall text from the exhibition
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring photographs from the series We bury our own 2010 (C-type prints)
Photo: Andrew Curtis
We bury our own is a body of work that was developed in response to the historic collection of photography, featuring Aboriginal people from the late nineteenth century, at the Pitt Rivers Museum in Oxford. Thompson noted in 2012 that these early images “have permeated my work over the last year. They have remained at the forefront of every artistic experiment and they have pushed me into new territory, they have travelled with me… I was drawn to elements of opulence, ritual, homage, fragility, melancholy, strength and even a sense of play operating in the photographs…”
Each of Thompson’s lyrical photographic images from We bury our own and Pagan sun feature himself partially disguised with props and costumes. The works are virtually monochromatic with elements highlighted in full colour, and his eyes, or face, are partially concealed or painted. The use of votive objects is explained in his equally lyrical 2012 statement: “I lamented the passing of the flowers at the meadow, I lit candles and offered blood to the ancestral beings, looked into the black sparkling sea, donned the Oxford garb, visited the water by fire light and bowed at the knees of the old father ghost gum.”
Text from the Turner Galleries website [Online] Cited 22/12/2021
Christian Thompson (Australian, b. 1978)
Energy Matter
2010
From the series We bury our own
C-type print
Christian Thompson (Australian, b. 1978)
Lamenting the flowers
2010
From the series We bury our own
C-type print
Christian Thompson (Australian, b. 1978)
Forgiveness of Land
2010
From the series We bury our own
C-type print
Christian Thompson (Australian, b. 1978)
Down Under World
2010
From the series We bury our own
C-type print
I conceived the We Bury Our Own series in 2010 after curator Christopher Morton invited me to develop a body of work that would be inspired by and in dialogue with the Australian photographic collection at the Pitt Rivers Museum…
The archival images have permeated my work over the last year. They have remained at the forefront of every artistic experiment and pushed me into new territory; they have travelled with me to residencies at the Fonderie Darling in Montreal and Greene Street Studio, New York. I was drawn to elements of opulence, ritual, homage, fragility, melancholy, strength and even a sense of play operating in the photographs. The simplicity of a monochrome and sepia palette, the frayed delicate edges and the cracks on the surface like a dry desert floor that reminded me of the salt plains of my own traditional lands.
I wanted to generate an aura around this series, a meditative space that was focused on freeing oneself of hurt, employing crystals and other votive objects that emit frequencies that can heal, ward off negative energies, psychic attack, geopathic stress and electro magnetic fields, and, importantly, transmit ideas.
I lamented the passing of the flowers at the meadow, I lit candles and offered blood to the ancestral beings, looked into the black sparkling sea, donned the Oxford garb, visited the water by fire light and bowed at the knees of the old father ghost gum. I asked the photographs in the Pitt Rivers Museum to be catalysts and waited patiently to see what ideas and images would surface in the work, I think with surprising results. Perhaps this is what art is able to do, perform a ‘spiritual repatriation’ rather than a physical one, fragment the historical narrative and traverse time and place to establish a new realm in the cosmos, set something free, allow it to embody the past and be intrinsically connected to the present?
I heard a story many years ago from some old men, they told me about a ceremony where young warriors would make incisions through the flesh exposing the joints, they would insert gems between the bones to emulate the creator spirits, often enduring infection and agonising pain or resulting in death. The story has stuck with me for many years, one that suggests immense pain fused with intoxicating beauty. The idea of aspiring to embody the creators, to transgress the physical body by offering to our gods our spiritual heart, freeing ourselves of suffering by inducing a kind of excruciating decadent torture. This was something that played on my mind during the production of this series of photos and video work. The deliverance of the spirit back to land – the notion that art could be the vehicle for such a passage, the aspiration to occupy a space that belongs to something higher than one’s physical self.
Christian Thompson artist statement in “Christian Thompson: We Bury Our Own,” on the Pitt Rivers Museum website [Online] Cited 21/12/2021
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring Ship of dreams, Ancient bloom, Death’s second self, and Gods and kings from the series Imperial relic 2015 (C-type prints) and a still from the video dead tongue 2015
Photo: Andrew Curtis
In Dead tongue Thompson continues to interrogate the implications of England’s empirical quest on the former colonies of the British Empire through the threat to or loss of Indigenous languages. In works such as this, Thompson actively challenges the perception that Aboriginal culture has become reduced to a captured trophy of Empire.
Wall text from the exhibition
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring Ship of dreams, Ancient bloom, Death’s second self, and Gods and kings from the series Imperial relic 2015 (C-type prints)
Photo: Andrew Curtis
In … Imperial relic, he continues to use himself as the ‘armature for his characters, costumes and various props’. Drawing on his background in sculpture, he has created ‘wearable sculptures’ including a trumpet shaped shirt collar, an eruption of white flowers from a union jack hoodie, and an armature of maps. In each his face is partially or fully obscured again. “I’m interested in ideas of submission and domination,” he says. “So the trumpet headpiece is beautiful, but it also potentially muffles or silences the voice. The same thing with maps: they are purporting different kinds of historical narrative, depending who is telling the story. One is about the history of Indigenous people, one is about the history of white colonisers and then one is about the idea of charting the land and of discovery. I’m wearing it as an armature over my own body: that’s part of my own history but also of Australian history.”
Text from the Turner Galleries website [Online] Cited 22/12/2021
Christian Thompson (Australian, b. 1978)
Ancient bloom
2015
From the series Imperial relic
C-type print on fuji pearl metallic paper
100 x 100cm
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin
Christian Thompson (Australian, b. 1978)
Ship of dreams
2015
From the series Imperial relic
C-type print on fuji pearl metallic paper
100 x 100 cm
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin
The series title Imperial relic, summarises the fundamental philosophy underpinning the colonial occupation of Australia. Like the nearby series We bury our own, it is closely connected to Thompson’s studies in the collections of the Pitt Rivers Museum and shares with the Australian graffiti series Thomson’s physical presence is standing in for the Australian landscape.
The work Ancient bloom alludes to the phonograph horn out which might be heard the voice of Fanny Cochran Smith, who’s wax cylinder recordings of songs are the only historical audio recordings of any of the Tasmanian Aboriginal languages. Is also represents a Victorian-era shirt collar – a motif that has appeared in Thompson’s work since his Emotional striptease series of 2003 – but here is exaggerated into a soft-sculptural form that both projects and stifles the voice.
In Death’s second self the artist’s face is uncovered but distorted by make up and digital postproduction effects.The title quotes William Shakespeare’s Sonnet 73:
As after sunset fadeth in the west,
Which by and by black night doth take away,
Death’s second self, that seals up all in rest.
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In God and Kings Thompson is cloaked with a map of Aboriginal language groups like a coat of armour. In the Ship of dreams he reprises the motif of Australian flora obscuring his face but here his hoodie is stitched together from several flags: the red ensign (flown by British registered ships), the RAAF flag and the Australian flag.
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring Isabella kept her dignity, I’m not going anywhere without you, Dead as a door nail and Hannah’s diary from the series Lost together 2009 (C-type prints)
Photo: Andrew Curtis
On 13 February 2008 then Prime Minister Kevin Rudd made an official apology to Aboriginal Australians for the Stolen Generations – the children of Aboriginal and Torres Strait Islander descent who were removed from their families between 1910 and 1970 under the respective Federal and State government policies of assimilation. At the time, Thompson was preparing to leave Australia for further studies aboard and felt this historic gesture allowed him to proudly take his culture and history with him as he ventured into the world.
Thompson photographed the series Lost together in the Netherlands while studying at the DasArts Academy of Theatre and Dance at Amsterdam University. The theme of the orange throughout the series is a reference to the national colour of the Netherlands, while the tartan patterning refers to early clan societies in the United Kingdom. The combination of these different styles is based on counter-cultural aesthetics – particularly punk collage of 1970s London.
Christian Thompson (Australian, b. 1978)
Hannah’s Diary
2009
From the series Lost Together
C-type print
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin
MUMA | Monash University Museum of Art is proud to announce the first major survey exhibition of the work of Bidjara artist, Christian Thompson, one of Australia’s leading and most intriguing contemporary artists.
Thompson works across photography, video, sculpture, performance and sound, interweaving themes of identity, race and history with his lived experience. His work is held in the collections of major state and national art museums in Australia and internationally.
Thompson made history as one of the first two Aboriginal Australians to be accepted into the University of Oxford as a Charlie Perkins Scholar, where he completed his Doctorate of Philosophy (Fine Art) in 2016. Christian Thompson: Ritual Intimacy opens as the artist looks forward to the graduation ceremony in July, when he will be conferred his degree.
Featuring a major new commission created for this exhibition, Christian Thompson: Ritual Intimacy will survey Thompson’s diverse practice, spanning fifteen years, and will also be accompanied by the publication of the first monograph on the artist’s career and work, including essays by Brian Catling RA and Professor Dame Marina Warner DBE, CBE, FBA, FRSL.
The specially commissioned installation will be an ambitious multichannel composition, developing the sonic experimentation that is a signature of Thompson’s work. Incorporating Bidjara language, it will invite viewers into an immersive space of wall-to-wall imagery and sound:
“Bidjara is officially an endangered language but my work is motivated by the simple yet profound idea that if even one word of an endangered language is spoken it continues to be a living language,” Thompson says.
Christian Thompson: Ritual Intimacy explores the unique perspective and breadth of Thompson’s practice from the fashioning of identity through to his ongoing interest in Indigenous language as the expression of cultural survival. The new multichannel work will develop musical ideas Thompson has previously explored.
“It will be a much more ambitious iteration of a song in Bidjara. At one stage I’m singing on one screen and then other versions of me appear singing the melodies. I really see it as an opportunity to do something that’s more complex musically, more textured sonically – I also want it to be more intricate with my use of language,” the artist says.
Ritual Intimacy is curated by MUMA director Charlotte Day and guest curator Hetti Perkins. Day explains that the exhibition is part of MUMA’s Australian artist series, which affords the opportunity to look at each artist’s practice in depth. “Christian’s exhibition traces a particularly productive period of research and development, from early well-known works such as the Australian Graffiti series to more recent experiments with language in sound and song works,” Day says.
A long-time curatorial collaborator with Thompson, Perkins is the writer and presenter of art + soul, the ABC’s acclaimed television series about contemporary Aboriginal and Torres Strait Islander art. Thompson was accepted to Oxford University on an inaugural Charlie Perkins Scholarship, set up to honour Hetti Perkins’s famous father – a leader, activist and the first Aboriginal Australian to graduate from university. Perkins says the MUMA exhibition is well-earned recognition for Thompson’s work, which she featured in the second series of art + soul.
“Christian has spent periods of his adult life, as a practicing artist, away from home, but there is a common thread in his work, and it’s this connection to home or Country,” Perkins says. “In terms of the rituals or rites of the exhibition title, he is constantly reiterating that connection to home – through words, through performance, through his art, through ideas and writing,” she says.
Alongside performance and ritual, Thompson’s concept of “spiritual repatriation” is central to his work. Working with the Australian collection at famed ethnographic storehouse the Pitt Rivers Museum, Oxford, the artist was offered copies of colonial photographs of Aboriginal people but preferred not to work this way. Instead, he chose to spend significant periods of time with these ancestral images, absorbing their “aura” in order to then make his own artistic response that did not reproduce those original problematic images.
Dr Christian Thompson is a Bidjara contemporary artist whose work explores notions of identity, cultural hybridity, and history; often referring to the relationships between these concepts and the environment. Formally trained as a sculptor, Thompson’s multidisciplinary practice engages mediums such as photography, video, sculpture, performance, and sound. His work focuses on the exploration of identity, sexuality, gender, race, and memory. In his live performances and conceptual anti-portraits he inhabits a range of personas achieved through handcrafted sculptures and carefully orchestrated poses and backdrops.
Press release from MUMA
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring the series Polari (2014)
‘Polari’ is a form of cant or cryptic slang that evolved over several centuries from the various languages that converged in London’s theatres, circuses and fairgrounds, the merchant navy and criminal circles. It came to be associated with gay subculture, as many gay men worked in theatrical entertainment or joined ocean liners as waiters, stewards and entertainers at a time when homosexual activity was illegal. This slang rendered the speaker unintelligible to hostile outsiders, such as policeman, but fell out of use after the Sexual Offences Act (1967) effectively decriminalised homosexuality in the United Kingdom. Attracted to the theatricality and defiant nature of Polari (which he likens to the situation of Australian Indigenous languages under assimilationist policies), Thompson borrowed its name for the series which examines how subcultures express themselves.
Christian Thompson (Australian, b. 1978)
Siren
2014
From the series Polari
C-type print
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin
Christian Thompson (Australian, b. 1978)
Trinity II
2014
From the series Polari
C-type print
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin
Christian Thompson (Australian, b. 1978)
Trinity III
2014
From the series Polari
C-type print
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin
Christian Thompson (Australian, b. 1978)
Ariel
2014
From the series Polari
C-type print
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017
Christian Thompson (Australian, b. 1978)
Ellipse
2014
From the series Polari
C-type print
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin
Putting on the Dish – A short film in Polari
Polari was a form of slang used by gay men in Britain prior to the decriminalisation of homosexuality in 1967, used primarily as a coded way for them to discuss their experiences. It quickly fell out of use in the 70s, although several words entered mainstream English and are still used today. For more about Polari see Wikipedia.
Polari – The Story of Britain’s Gay Slang
Author and academic Paul Baker of Lancaster University discusses a form of gay slang known as Polari that was spoken in Britain. It was a secret type of language used mainly by gay men and some lesbians and members of the trans, drag and other communities in the United Kingdom in the 20th century until it largely died out by the early 1970s.
Christian Thompson (Australian, b. 1978)
Refuge
2014
Video and sound
4 mins 18 secs
Refuge is a video work by contemporary Australian artist Christian Thompson. Thompson sings in the endangered Bidjara language of his heritage. A collaboration with James Young formerly of ‘Nico’ and recorded the original track in Oxford, United Kingdom.
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring stills from the video Heat (2010)
Christian Thompson (Australian, b. 1978)
Heat (extract)
2010
Three-channel digital colour video, sound
5.52 minutes
Like the Australian graffiti photographs [see photographs below], Heat come out of Thompson’s memories of growing up in the desert surrounding Barcaldine in central west Queensland. Barcaldine is famous for its role in the foundation organised labor in Queensland and ultimately the formation of the Australian Labor Party. It also holds historical significance for Thompson’s family as it is where his great-great-grandfather, Charlie Thompson, surreptitiously bought a block of land before Aboriginal people could legally buy land, creating a safe haven for his family and other Aboriginal families at the time when Aboriginal people had few legal rights. For Thompson, heat captures the sensation that he associates with being on his country: the dry wind blowing through his hair. It features the three granddaughters of Aboriginal rights pioneer Charlie Perkins, who are the daughters of Thompson’s Long time collaborator Hetti Perkins.
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring photographs from the series Australian graffiti (2007)
Christian Thompson (Australian, b. 1978)
Untitled (blue gum)
2007
From the series Australian graffiti
C-type print
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin
Christian Thompson (Australian, b. 1978)
Untitled (banksia)
2007
From the series Australian graffiti
C-type print
Monash University Collection
Australian graffiti was the last work that Thompson made before leaving Australia for Europe. It connects with his memories of growing up in the outback and its desert flowers, which he perceives to be both fragile and immensely powerful. I adorning himself with garlands of these flowers and flamboyant garments of the 1980s and 1990s – the period in which he grew up – Thompson juxtaposes these elements against his own Bidjara masculinity. By wearing native flora he also stands in for the landscape, invoking an Indigenous understanding of the landscape as a corporeal, living ancestral being.
Christian Thompson (Australian, b. 1978)
Desert slippers (extract)
2006
Single-channel digital colour video, sound
34 seconds
Desert slippers was made at the time the Northern Territory government commissioned research into allegations of the abuse of children in Aboriginal communities. When the ‘Little Children are Sacred’ report was tabled the following year, the federal government under John Howard staged the Northern Territory Emergency Response (NTER), which quickly became known as ‘the intervention’. This action was enacted without consultation with Indigenous people and ignored the substantive recommendations of the report to which it was allegedly responding.
Thompson made this video, involving his father, and the ceremonial aspects of their daily lives, during this period. Desert slippers features a Bidjara ritual in which a father and son transfer sweat. The desert slipper is a native cactus that symbolises the transferal of the spirit back to earth as the plant grows.
Christian Thompson (Australian, b. 1978)
Dhagunyilangu (Brother) (extract installation view)
2011
Single-channel digital colour video, sound, subtitled
2.19 minutes
Christian Thompson
Dhagunyilangu (Brother)
2011
Single-channel digital colour video, sound, subtitled
2.19 minutes
Gamu Mambu (Blood Song) and Dhagunyilangu (Brother) were made in England and in the Netherlands respectively. While studying at the DasArts Academy of Theatre and Dance in Amsterdam, a centre for the study of early musical styles such as the baroque, Thompson realised that his own Bidjara language could be interpreted through the matrix of another cultural context and sphere. He undertook operatic training with this in mind, choosing in the end to work with specialist singers Sonja Gruys and Jeremy Vinogradov to realise the two works.
Monash University Museum of Art (MUMA)
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Monash University Museum of Art (MUMA) website
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