Posts Tagged ‘Daniel von Sturmer

03
Aug
17

Review: ‘Under the sun: Reimagining Max Dupain’s Sunbaker’ at the Monash Gallery of Art, Melbourne

Exhibition dates: 6th May – 6th August 2017

“A GREAT review Marcus. As always. A master piece.” ~ Peter Barker, artist

 

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

 

Installation view of the entrance to the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker at Monash Gallery of Art, Melbourne

 

Max Dupain. 'Sunbaker' c. 1937

 

Max Dupain (Australia 1911-92)
Sunbaker
c. 1937
Gelatin silver print
Monash Gallery of Art, City of Monash Collection acquired 1980

 

Anne Zahalka. 'The sunbather #2' 1989

 

Anne Zahalka
The sunbather #2
1989
From the series Bondi: playground of the Pacific
Monash Gallery of Art, City of Monash Collection acquired 1997

 

 

The misery of too much sun

Simply put (where the work in this exhibition is anything but), this is one of the most depressing Australian group photography exhibitions that I have seen in a very long time. I left the exhibition feeling like I wanted to slit my wrists.

“Reimagining” an image is always going to be problematic, especially such an iconic photograph as Max Dupain’s no-face, monolithic, Uluru-shaped, low depth of field, wet, British male tourist lying on Culburra Beach, New South Wales in the 1930s – an image that “supposedly conveys a quintessential Australian identity,” a “casual holiday snap that came to symbolise leisure and freedom in the 1970s [which] was taken in the uncertain economic times before the Second World War.”

The scope for such a contemporary conceptual exercise is vast and the artists in this exhibition don’t waste the opportunity. Variously but not exclusively we have:

  • Snow White and the Seven Dwarfs, the Breakfast Club (1985), a movie in which five teenagers navigate identity issues
  • Indigenous massacres in Australia … positions of the planets between 1789 and 1928, when 63 massacres of Indigenous peoples took place
  • Samoan culture – malu – the female-Samoan tattoo (tatau)
  • The lifeless body of three-year-old refugee Aylan Kurdi, lying face down on a beach in Turkey which now haunts the figure of the Sunbaker
  • Sufi-inspired choreography, the dancers wearing a hammam cloth
  • 1920s swimwear based on wartime camouflage schemes
  • Reclaiming of the feminist body both as a medium of deliberate submission and active resistance through women’s strength, endurance and resilience by undertaking physical and psychological experiments that test the limits of her body, playfully and painfully
  • Denunciating the violence of the sand mining industry on the ecosystem, the land and its peoples
  • Grandfather opal-mine worker in South Australia excluded from Aboriginal rights until 1967
  • Paradox of a nation seen as a sun-blessed paradise while its shores have been a place of contestation and misery
  • Memories of childhood landscapes and research into the Massacre Map published by the Koorie Heritage Trust, which identified sites where Indigenous massacres occurred between 1836 and 1853
  • Digitally animated Sunbaker to make it resonate as a symbol of the 229 years since colonisation

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How you get from a holiday snap of a tourist visiting Australia, having a swim, flopping down on the beach and all the joy that this entails to Snow White and the Seven Dwarfs, the Breakfast Club, female-Samoan tattoos, camouflage schemes, reclaiming the feminist body and more contestation and misery than you can poke a stick at – massacres, more massacres, symbol of 229 years of colonisation and a body of a three-year-old refugee which now supposedly haunts the figure of Sunbaker – is mind boggling. And no, the powerful image of that small body does not haunt Sunbaker. It never will. Only in the titular imagination of the artist!

Some of these reconceptualisations draw such a long bow that the arrow fell out of the sky long before the art work was finished. The trajectory of most of this work is so cerebral that you wonder whether the artists actually thought about visual and associative outcomes, something that the viewer would make connection to and with, before they started making the work. Is this really a good idea? Does the image, Sunbaker, actually evoke any of these relationships? For example, what have positions of the planets between 1789 and 1928 and identified sites where Indigenous massacres occurred between 1836 and 1853 have to do with a sun baker… other than to assuage white guilt over the invasion of Aboriginal land? That is the crux of the matter: it’s all about white guilt.

There is such a thing as acknowledging the past and letting it go, while taking responsibility for the present and the future. As a black American friend of mine said to me recently, he doesn’t blame white people for slavery, and neither do most black Americans… it’s history, acknowledge it and move on; take responsibility for present injustices. Of course, past, present and future time are linked; memory and history influence culture, narrative and identity. But to constantly conceptualise, as much contemporary Australian photography does, the past AS the present through existential angst ridden explorations that produce forgettable images simply beggars belief. Let’s have more contestation and misery; let’s perpetuate the cycle of guilt, shame, misery and despair that we acknowledge was totally wrong. Let’s invert Sunbaker into a demon – a fractured, negative identity – both literally and metaphysically. Two artists literally do this, as though by inverting an image using this trope, you give the negative image profound power.

Other than Anne Zahalka’s wonderful feminist re-imag(in)ing of Sunbaker, the most evocative excavation of relationship to the original image comes from that gorgeous photographer William Yang. Just a celebration of sun, sand, sea, and male identity through beautiful, intimate images of the male body – “At Bondi Beach, people were sunbathing. There was an attractive openness in the atmosphere…” An atmosphere and a generosity of spirit sorely lacking in the rest of the work.

Marcus

PS. And it’s Sunbaker not The Sunbaker!

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Many thankx to Monash Gallery of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

 

Installation views of Sara Oscar’s Pleasant Island (The Pacific Solution) (2017) from the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker at Monash Gallery of Art, Melbourne

 

Sara Oscar (born 1975, Sydney, NSW) 'Pleasant Island (The Pacific Solution)' 2017

Sara Oscar (born 1975, Sydney, NSW) 'Pleasant Island (The Pacific Solution)' 2017

Sara Oscar (born 1975, Sydney, NSW) 'Pleasant Island (The Pacific Solution)' 2017

Sara Oscar (born 1975, Sydney, NSW) 'Pleasant Island (The Pacific Solution)' 2017

Sara Oscar (born 1975, Sydney, NSW) 'Pleasant Island (The Pacific Solution)' 2017

 

Sara Oscar (born 1975, Sydney, NSW)
Pleasant Island (The Pacific Solution)
2017
Inkjet print on Hahnemuehle paper
Courtesy the artist

 

 

Sara Oscar draws connections between the present and the past. Interested in how time changes the meaning of images, her practice is drawn to allegory and metaphor.

In late 2015, photographs circulated widely of the lifeless body of three-year-old refugee Aylan Kurdi, lying face down on a beach in Turkey. The pose has come to symbolise the plight of all refugees and now haunts the figure of the Sunbaker. Nauru – a picturesque island in Micronesia that imprisons refugees to Australia under the Pacific Solution – is the subject of this series that draws connections between the themes of colonialism, beach culture and immigration.

 

 

Nasim Nasr (born 1964, Tehran, Iran; lives and works Sydney, NSW)
Still for Eighty Years
2017
Courtesy the artist and Greenaway Art Gallery, Adelaide
Video: © Dr Marcus Bunyan, Monash Gallery of Art and Nasim Nasr

 

 

Nasim Nasr’s multimedia practice explores the cultural differences between East and West, looking at the complex identities that exist at their nexus.

Shot on Culburra Beach, NSW – where Dupain photographed the Sunbaker – Still for Eighty Years juxtaposes traditional motifs from the Middle East with the Australian beach landscape. Here, the beach becomes a place for cross-cultural dialogue. Inviting us to contemplate their mesmerising Sufi-inspired choreography, the dancers wear a hammam cloth specifically woven for the performance. Nasr’s work is a meditation on the transient nature of identity.

 

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

 

Installation views of Nasim Nasr’s Still for Eighty Years (2017) from the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker at Monash Gallery of Art, Melbourne

 

Nasim Nasr. 'Still for Eighty Years' 2017

Nasim Nasr. 'Still for Eighty Years' 2017

Nasim Nasr. 'Still for Eighty Years' 2017

Nasim Nasr. 'Still for Eighty Years' 2017

Nasim Nasr. 'Still for Eighty Years' 2017

 

Nasim Nasr (born 1964, Tehran, Iran; lives and works Sydney, NSW)
Still for Eighty Years
2017
Production stills from video
Courtesy the artist and Greenaway Art Gallery, Adelaide

 

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

 

Installation view of Justene Williams’ Home security: out of the sun (2017) from the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker at Monash Gallery of Art, Melbourne

 

Justene Williams (born 1970, Sydney, NSW) 'Home security: out of the sun' 2017

 

Justene Williams (born 1970, Sydney, NSW)
Home security: out of the sun
2017
Dye sublimation print on chromaluxe metal
Courtesy of the artist and Sarah Cottier Gallery, Sydney

 

 

Home security is inspired by Dupain’s involvement in the Department of Home Security during the Second World War as part of the Sydney Camouflage Group. Working for the Australian Government, the group deployed visual illusions inspired by surrealism, cubism and abstraction to conceal military equipment. With his astute photographic eye for shadows, exposure and patterns, Dupain contributed to The Art of Camouflage, a manual that described techniques he later taught to soldiers in Darwin and Papua-new Guinea.

Inspired by the sheltering trees of the Sydney College of the Arts Callan Park Campus and 1920s swimwear based on wartime camouflage schemes, this work continues Williams exploration of the poetics and politics of camouflage.

 

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

 

Installation view of Daniel von Sturmer’s Sunbaker (MGA replica) (2017) from the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker at Monash Gallery of Art, Melbourne

 

 

Continuing his After Images series (begun in 2013), Daniel von Sturmer has photographed the shadow cast by the replica of Dupain’s Sunbaker held in the Monash Gallery of Art collection. Using a specially constructed ‘set’, the resulting work – a 1:1 image of the Sunbaker shadow – questions the aura held by the original, iconic image. How relevant is the original when multiple reproductions exist?

Examining the ability of photography to accurately capture the real world, this abstract black square draws connections between an image’s meaning and how significance is transferred from the original to the shadow.

 

Daniel von Sturmer. 'Sunbaker (MGA replica)' 2017

 

Daniel von Sturmer (Born 1972, Auckland, Aotearoa, New Zealand Lives and works in Melbourne, Vic)
Sunbaker (MGA replica)
2017
Unique archival pigment print
Courtesy the artist and Anna Schwartz Gallery, Melbourne / Sydney

 

 

Under the sun: Reimagining Max Dupain’s Sunbaker is a large-scale exhibition of new works commissioned from 15 artists responding to Australian photographer Max Dupain’s iconic ‘Sunbaker’ image. Artists include Peta Clancy, Christopher Day, Destiny Deacon, Michaela Gleave, Nasim Nasr, Sara Oscar, Julie Rrap, Khaled Sabsabi, Yhonnie Scarce, Christian Thompson, Angela Tiatia. Kawita Vatanajyankur, Daniel Von Sturmer, Justene Williams and William Yang. Under the sun is a travelling exhibition produced by the Australian Centre for Photography (ACP).

MGA Curator Stella Loftus-Hills said, “MGA is delighted to be hosting Under the sun and to be revisiting Max Dupain’s ‘Sunbaker’ (1937) 80 years after its creation. Dupain’s iconic photograph entered MGA’s collection in 1980 and this exhibition is a wonderful opportunity for our audiences to view the work in the context of contemporary art and to reflect upon its relationship to current ideas around national identity.”

Under the sun explores views of our culture, our identity and our nationhood through works that surprise, challenge and enthuse audiences. Commissioned by ACP, the mix of artists reflects Australia’s multi-cultural, multi-ethnic and multi-faith nature, enabling a creative and often very personal exploration of the question ‘is there something new under the sun?’ These artists contemplate, challenge and interpret the representation of Max Dupain’s photograph – which became an icon of a particular time and a particular vision of Australian culture – while offering unique perspectives on what it could possibly signify in our current society.

ACP Curator, Claire Monneraye said: “Max Dupain’s ‘Sunbaker’, remains an iconic representation of the Australian way of life and a milestone in the history of Australian photography. In this exhibition, the 15 artists have interrogated the social and political implications embedded within this image but also challenged the status of this photograph in our visual culture. Pushing the boundaries of the photographic medium, their works expose the aesthetical complexities at play in discussions around collective identity.

Examining the legacy of the past and questioning the relevance that this image might retain in the future, the exhibition draws on a range of diverse practitioners and creative forms to consider questions of representation and cultural pluralism while also reflecting on the depiction of the idealised body, discussing gender issues, cultural and political ideas relating to immigration and colonisation, and our relationship with the land.”

Press release from the Monash Gallery of Art

 

 

Kawita Vatanajyankur (Born 1987, Bangkok, Thailand Lives and works Bangkok and Sydney, NSW)
Carrier (extract)
2017
Video, duration: approx. 5 mins
Courtesy the artist and Stills Gallery, Sydney
Video: © Dr Marcus Bunyan, Monash Gallery of Art and Kawita Vatanajyankur

 

 

In this video work, Kawita Vatanajyankur reflects on her experience of migrating to Australia, exploring the resulting shift of identity. Celebrating women’s strength, endurance and resilience, Vatanajyankur’s captivating, seductive – and yet disquieting – videowork critiques the challenges faced by migrant Asian women in relation to everyday labour.

Referring to her performances as ‘meditation postures’, the artist undertakes physical and psychological experiments that test the limits of her body, playfully and painfully. The artist’s self-objectification is part of a feminist art tradition that reclaims the female body, both as a medium of deliberate submission and active resistance.

 

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

 

Installation views of Kawita Vatanajyankur’s Carrier (2017) from the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker at Monash Gallery of Art, Melbourne

 

Kawita Vatanajyankur. 'Carrier' 2017

Kawita Vatanajyankur. 'Carrier' 2017

 

Kawita Vatanajyankur (Born 1987, Bangkok, Thailand Lives and works Bangkok and Sydney, NSW)
Carrier
2017
Video stills
Courtesy the artist and Stills Gallery, Sydney

 

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

 

Installation views of Destiny Deacon’s Sand minding and Sand grabs (2017) from the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker at Monash Gallery of Art, Melbourne

 

Destiny Deacon. 'Sand minding' 2017

Destiny Deacon. 'Sand grabs' 2017

Destiny Deacon. 'Sand grabs' 2017

Destiny Deacon. 'Sand grabs' 2017

 

Destiny Deacon (Born 1957, Maryborough, Qld Lives and works Melbourne, Vic KuKu (Cape York) and Erub/Mer (Torres Strait) peoples)
Sand minding
2017
Archival inkjet pigment print
Sand grabs
2017
Archival inkjet pigment prints
Courtesy the artist and Roslyn Oxley9 Gallery, Sydney

 

 

Throughout her career Destiny Deacon has orchestrated a personal and political theatre of kitsch and poignant ‘Aboriginalia’ to expose and deconstruct Indigenous issues. Deacon’s anti-art aesthetic confronts us with the cruelty of racism and the sombre reality of Australia’s colonial history.

Acknowledging the sand as central to Dupain’s photograph, Destiny Deacon denunciates the violence of the sand mining industry on the ecosystem, the land and its peoples. While hands are performing a destructive soil surgery, two uncanny dolls emerge from the sand. Both whistleblowers and guardians of the land, they invite us to consider a topical issue and its consequences.

 

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

 

Installation view of Christopher Day’s Untitled (2017) from the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker at Monash Gallery of Art, Melbourne

 

Christopher Day. 'Untitled' 2017

 

Christopher Day (Born 1978, Melbourne, Vic, 1978 Lives and works Melbourne, Vic)
Untitled
2017
Pigment print

 

 

After processing, developing and scanning the photographs shot on his 35 mm camera, Christopher Day assembles, crops, combines and rearranges his images, again and again. Blending personal and historical narratives, Day’s complex imagery is ambiguous, humorous and allegorical, challenging simplistic definitions of identity and gender.

In this work a shiny round apple bearing visible teeth marks alludes to the story of Snow White and the Seven Dwarfs – each character embodying a set of clichés including Snow White herself, whose beauty and feminine charm become her undoing. The artist also refers to The Breakfast Club (1985), a movie in which five teenagers navigate identity issues.

 

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

 

Installation view of Michaela Gleave’s Under One Sun (2017) from the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker at Monash Gallery of Art, Melbourne

 

Michaela Gleave. 'Under One Sun' (detail) 2017

 

Michaela Gleave (Born 1980, Alice Springs, NT Lives and works Sydney, NSW)
Under One Sun (detail)
2017
Silver gelatin prints
Courtesy the artist and Anna Pappas Gallery, Melbourne

 

 

Under One Sun highlights the complexity of colonial history and the ambivalence of representing identity. Using Wikipedia’s listing of Indigenous massacres in Australia, Michaela Gleave highlights the lack of the associated verified historical data. Her zoomed out installation documents the positions of the planets between 1789 and 1928, when 63 massacres of Indigenous peoples took place.

James Cook’s first Pacific voyage, to document the 1769 Transit of Venus and investigate the existence of Terra Australis Incognita, opened the way for the European settlement of Australia. Drawing parallels between the development of photography, science and colonisation, the artist reminds us that technological advances in astronomy and navigation helped expand the British Empire, with science often justifying the atrocities committed.

 

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

 

Installation views of Yhonnie Scarce’s Working Class Man (Andamooka Opal Fields) (2017) from the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker at Monash Gallery of Art, Melbourne

Yhonnie Scarce (Born 1973, Woomera, SA Lives and works Melbourne, Vic and Adelaide, SA Kokatha and Nukunu peoples)
Working Class Man (Andamooka Opal Fields)
2017
Inkjet print on cotton rag paper, vintage metal bucket, blown glass
Courtesy the artist and This Is No Fantasy + Dianne Tanzer Gallery, Melbourne

 

 

In this deeply personal work, Yhonnie Scarce pays tribute to her grandfather, who endured many hardships during his life as an opal-mine worker in South Australia. Looking at this family photograph, Scarce felt compelled to tell the story of a man who provided for his family and contributed to society, yet remained excluded from the rights of Australian citizenship until 1967.

Beyond the nostalgic, Scarce includes vernacular photographs in her installations not only to control her personal narrative but also to reaffirm the presence of unsung heroes. ‘Politically motivated and emotionally driven’, Working Class Man (Andamooka Opal Fields) epitomises the experience of many Indigenous Australians while interrogating the effects of colonisation on future generations.

 

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

 

Installation views of Angela Tiatia’s Dark Light (2017) from the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker at Monash Gallery of Art, Melbourne

Angela Tiatia (Born 1973, Auckland, Aotearoa, New Zealand Lives and works in Sydney, NSW)
Dark Light
2017
Video, duration: 4 min, self-adhesive inkjet pigment print
Courtesy the artist and Alcaston Gallery, Melbourne

 

 

With Dark Light, Angela Tiatia deconstructs every element of the Sunbaker to reconfigure its exact opposite. The sensual tension created by this process forces us to re-examine the familiar.

Tiatia also reveals deeper contradictions. A chandelier symbolising opulence and power is hung over the artist’s body which is baring the malu – the female-Samoan tattoo (tatau). In pre-Christian times, the malu signified protection and shelter as young women entered womanhood. However, it was condemned by missionaries alongside their male equivalent (pe’a) and some Samoan communities still forbid women to publicly expose the malu. Dark Light sees Tiatia resisting the forces of colonialism embedded within Samoan culture.

 

Christian Thompson (Born 1978, Gawler, SA Lives and works in London, England Bidjara people) 'This Brutal World' 2017

 

Christian Thompson (Born 1978, Gawler, SA Lives and works in London, England Bidjara people)
This Brutal World
2017
Inkjet pigment print
Courtesy the artist and Michael Reid, Sydney / Berlin

 

 

With This Brutal World, Christian Thompson focuses on portraiture and its ability to trouble the relationship between past and present.

Where Dupain’s Sunbaker supposedly conveys a quintessential Australian identity, Thompson reminds us of assimilation policies first outlined at the Aboriginal Welfare Initial Conference of Commonwealth and State Aboriginal Authorities in 1937. Here the artist wears a costume borrowed from London’s National Theatre. His eyes are covered with dried roses and his body is superimposed on the glittering shallow creek beds – images captured during trips to his traditional homelands in outback Queensland. Thompson employs references to the natural world to evoke spirituality.

 

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

 

Installation views of Julie Rrap’s Speechless (2017) from the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker at Monash Gallery of Art, Melbourne

 

Julie Rrap (Born 1950, Lismore, NSW Lives and works Sydney, NSW) 'Speechless' 2017

Julie Rrap (Born 1950, Lismore, NSW Lives and works Sydney, NSW) 'Speechless' 2017

 

Julie Rrap (Born 1950, Lismore, NSW Lives and works Sydney, NSW)
Speechless
2017
Bronze and steel
Courtesy the artist and Roslyn Oxley9 Gallery, Sydney

 

 

Julie Rrap’s long interest in the politics of the human body informed her investigation of the Sunbaker pose. A casual holiday snap that came to symbolise leisure and freedom in the 1970s, Dupain’s photograph was taken in the uncertain economic times before the Second World War.

Exploring the ambivalence of the pose and transposing this contradiction to now, Rrap draws attention to the paradox of a nation seen as a sun-blessed paradise while its shores have been a place of contestation and misery. Speechless places the viewer in two positions, showing the viewpoint of both the person who speaks out and the one who keeps their head down.

 

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

 

Installation views of Peta Clancy’s Fissures in time (2017) from the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker at Monash Gallery of Art, Melbourne

 

Peta Clancy. 'Fissures in time #3' 2017

Peta Clancy. 'Fissures in time #1' 2017

Peta Clancy. 'Fissures in time #2' 2017

Peta Clancy. 'Fissures in time #4' 2017

 

Peta Clancy (Born 1970, Melbourne, Vic, Lives and works Melbourne, Vic)
Fissures in time (L to R) #3 #1 #2 #4
2017
Archival pigment prints
Courtesy the artist

 

 

Drawing on memories of childhood landscapes, Peta Clancy repeatedly visited several locations in Victoria, taking photographs with her large-format camera. Informed by her research into the Massacre Map published by the Koorie Heritage Trust, which identified sites where Indigenous massacres occurred between 1836 and 1853, the artist has produced placeless images that question our relationship to landscapes of trauma and how we perceive reality.

After photographing a site, Clancy returned to install a large print on a custom-designed frame in front of the same landscape; slicing through the paper, then revealing sections of the scene behind before re-photographing it. The resulting images challenge you to see with fresh eyes.

 

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

 

Installation views of William Yang’s SUMMER, A suite of images and My Time at South Bondi (2017) from the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker at Monash Gallery of Art, Melbourne

William Yang (Born 1943, Mareeba, Qld Lives and works Sydney, NSW)
SUMMER, A suite of images
2017
Digital pigment prints
Courtesy the artist and Stills Gallery, Sydney

My Time at South Bondi
2017
Video with music by Daniel Holdsworth
Duration: 4 min
Courtesy the artist and Stills Gallery, Sydney

 

 

A prolific documentary photographer, storyteller and performer, William Yang creates works that tell an intimate, autobiographical story.

For this installation, William Yang draws on his extensive archive of images, memories and sensual experiences, showing the unique atmosphere of freedom that prevailed on Sydney beaches in the 70s, 80s and 90s. Taken around Bondi and Tamarama, Yang has captured the joy of an era and the beauty of the elements with humour and generosity. More than reminiscence or exposé, Yang’s images reveal sensitive connections and insightful reflections about cultural identity.

 

William Yang. 'Golden Summer' 1987/2016

 

William Yang (Born 1943, Mareeba, Qld Lives and works Sydney, NSW)
Golden Summer
1987/2016
Digital print with gold foil
Courtesy the artist and Stills Gallery, Sydney

 

William Yang. 'Lifesaver Double' 1987/2017

 

William Yang (Born 1943, Mareeba, Qld Lives and works Sydney, NSW)
Lifesaver Double
1987/2017
Digital print
Courtesy the artist and Stills Gallery, Sydney

 

William Yang (Born 1943, Mareeba, Qld Lives and works Sydney, NSW) 'Lifesavers #3' 1987/2017

 

William Yang (Born 1943, Mareeba, Qld Lives and works Sydney, NSW)
Lifesavers #3
1987/2017
Digital print
Courtesy the artist and Stills Gallery, Sydney

 

William Yang. 'Splashproof #1' 1994/2017

 

William Yang (Born 1943, Mareeba, Qld Lives and works Sydney, NSW)
Splashproof #1
1994/2017
Digital print with digital text
Courtesy the artist and Stills Gallery, Sydney

 

William Yang. 'Splashproof #2' 1994/2017

 

William Yang (Born 1943, Mareeba, Qld Lives and works Sydney, NSW)
Splashproof #2
1994/2017
Digital print
Courtesy the artist and Stills Gallery, Sydney

 

William Yang. 'Splashproof #3' 1994/2017

 

William Yang (Born 1943, Mareeba, Qld Lives and works Sydney, NSW)
Splashproof #3
1994/2017
Digital print
Courtesy the artist and Stills Gallery, Sydney

 

William Yang. 'Bondi Beach (1970s)' 1970s/2017

 

William Yang (Born 1943, Mareeba, Qld Lives and works Sydney, NSW)
Bondi Beach (1970s)
1970s/2017
Digital print with text
Courtesy the artist and Stills Gallery, Sydney

 

William Yang. 'Tamarama Lifesavers' 1981/2017

 

William Yang (Born 1943, Mareeba, Qld Lives and works Sydney, NSW)
Tamarama Lifesavers
1981/2017
Digital print
Courtesy the artist and Stills Gallery, Sydney

 

William Yang 'Checking Out Bondi' 1981/2017

 

William Yang (Born 1943, Mareeba, Qld Lives and works Sydney, NSW)
Checking Out Bondi
1981/2017
Digital print
Courtesy the artist and Stills Gallery, Sydney

 

William Yang (Born 1943, Mareeba, Qld Lives and works Sydney, NSW) 'Childhood of Icarus' 1975/2017

 

William Yang (Born 1943, Mareeba, Qld Lives and works Sydney, NSW)
Childhood of Icarus
1975/2017
Digital print
Courtesy the artist and Stills Gallery, Sydney

 

 

Khaled Sabsabi (Born 1965, Tripoli, Lebanon Lives and works Sydney, NSW)
229 (extract)
2017
Three-channel video with sound
Duration: 3 min 49 sec
Hand-painted laser prints on transparencies
C-type prints
Courtesy the artist and Milani Gallery, Brisbane
Video: © Dr Marcus Bunyan, Monash Gallery of Art and Khaled Sabsabi

 

 

Khaled Sabsabi has recreated the negative of the Sunbaker by reframing the image and playing with the essential codes of the photographic medium. Sabsabi has multiplied, handpainted and digitally animated the photograph to make it resonate as a symbol of the 229 years since colonisation.

229 challenges the representation of race by inverting black and white, forcing us to question the almost imperceptible alterations, and examine notions of copyright and origin. Ultimately, 229 asks the viewer to be actively engaged and socially responsible.

 

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

 

Installation views of Khaled Sabsabi’s 229 (2017) from the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker at Monash Gallery of Art, Melbourne

 

Khaled Sabsabi. '229' 2017

Khaled Sabsabi. '229' 2017

Khaled Sabsabi. '229' 2017

Khaled Sabsabi. '229' 2017

Khaled Sabsabi. '229' 2017

 

Khaled Sabsabi (Born 1965, Tripoli, Lebanon Lives and works Sydney, NSW)
229
2017
Production stills from video
Courtesy the artist and Milani Gallery, Brisbane

 

 

Monash Gallery of Art
860 Ferntree Gully Road, Wheelers Hill
Victoria 3150 Australia
T: + 61 3 8544 0500

Opening hours:
Tue – Fri: 10am – 5pm
Sat – Sun: 12pm – 5pm
Mon/public holidays: closed

Monash Gallery of Art website

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28
Nov
13

Exhibition: ‘Melbourne Now’ at the National Gallery of Victoria, Melbourne, Part 2

Exhibition dates: 22nd November – 23rd March 2014

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This is the second of a two-part posting on the huge Melbourne Now exhibition at the National Gallery of Victoria, Melbourne. The photographs in this posting are from NGV Australia at Federation Square. The first part of the posting featured work from NGV International venue in St Kilda Road. Melbourne Now celebrates the latest art, architecture, design, performance and cultural practice to reflect the complex cultural landscape of creative Melbourne.

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Many thankx to the NGV for allowing me to publish the photographs in the posting. All photographs © Dr Marcus Bunyan unless otherwise stated. Please click on the photographs for a larger version of the image. Please note: All text below the images is from the guide book.

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“Melbourne is a microcosm of the global art world. This is evident not only in its possession of world-class infrastructure, but also in the multitude of tendencies, styles and modes of practice that circulate in its midst. I doubt that there is an underlying formal unity, or even a hierarchy of movements, that holds together and directs the global art world. This then begs the question: does the teeming multitude of art forms in Melbourne suggest that the local scene is an isomorph [a substance or organism that exactly corresponds in form with another] of global chaos, or a unique fragment that coexists with other entities?
The answer is paradoxical. It is our haunted and resistant sense of place that allows for both a form of belonging that is forever seeking to be elsewhere, and a unique aesthetic that anticipates the many returns of a repressed past.”

Nikos Papastergiadis. “As Melbourne in the world.” 2013

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“What the show delivers in spades is a sense of the city as a place of immense creativity and subtle exploration. While non-Melburnians might be tempted to see this as an especially large example of the city’s enduring fascination with itself, when the theme is the city, the inclusion of architecture and design makes sense.

And the result is anything but narcissistic; a turn round the exhibition reveals that although Melbourne features strongly in some works, it is also curiously incidental; at the heart of the show is an examination of urban and suburban, and what it feels like to live in a rapidly changing world where old certainties no longer apply.”

Anon. “Melbourne Now: this exhibition changes the city’s arts landscape,” on The Guardian Australia Culture Blog, nd

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Stephen Benwell 'Statue' 2012

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Stephen Benwell
Statue
2012

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Throughout his career a major preoccupation of Benwell’s work has been the depiction of the male figure. In 2006 he commenced a series of figurative sculptural works that explore issues relating to masculinity, naked beauty and sensuality. These works, initially inspired by eighteenth century figurines and Greco-Roman statuary, have become a significant aspect of Benwell’s recent practice. The artist contributes a group of these evocative male figures for Melbourne Now.

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Polixeni Papaetrou born Australia 1960 'Ocean Man' 2013

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Polixeni Papaetrou born Australia 1960
Ocean Man
2013
from the series The Ghillies 2013
Pigment print
120.0 x 120.0 cm
National Gallery of Victoria, Melbourne
Purchased NGV Foundation, 2013
© Polixeni Papapetrou/Administered by VISCOPY, Sydney
Photo: © National Gallery of Victoria

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Papapetrou’s contribution to Melbourne Now comprises three photographs from her 2013 series The Ghillies. Working with her children as models and using the extreme camouflage costumes that are employed by the military, Papapetrou reflects on the passing of childhood and the moment when children separate themselves from their mothers. Young men often assume the costumes and identities of masculine stereotypes, hiding themselves, and their true identity, from plain sight in the process.

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Michelle Hamer born Australia 1975 'Can't' 2013

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Michelle Hamer born Australia 1975
Can’t
2013
Wool, plastic
52.0 x 67.0 cm
Collection of the artist
© Michelle Hamer, courtesy Fehily Contemporary, Melbourne
Photo: © National Gallery of Victoria

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Hamer’s contribution to Melbourne Now pairs works referencing local signage, Blame and punish the individual, 2013, and Can’t, 2013, with three earlier tapestries from her American series I Send Mixed Messages, 2013. While the contrasting palettes and particular nuances of typography, built architecture and native vegetation point to specific times and places, when amplified and dislocated Hamer’s chosen texts suggest a more universal narrative of perplexity and turmoil. The artist describes these powerful distillations as ‘revealing the small in-between moments that characterise everyday life’.

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Patricia Piccinini born Sierra Leone 1965, lived in Italy 1968-72, arrived Australia 1972 'The carrier' (detail) 2012

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Patricia Piccinini born Sierra Leone 1965, lived in Italy 1968-72, arrived Australia 1972
The carrier (detail)
2012
Silicone, fibreglass, human and animal hair, clothing
170.0 x 115.0 x 75.0 cm
Collection of Corbett Lyon and Yueji Lyon, Lyon Housemuseum, Melbourne, proposed gift
© Patricia Piccinini, courtesy Tolarno Galleries, Melbourne
Supported by Corbett and Yueji Lyon

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Piccinini’s work for Melbourne Now is The carrier, 2012, a hyper-real sculpture of a bear-like figure holding an elderly woman. With his massive, hirsute and muscular physique, the creature is almost human; there is warmth and intimacy between the mismatched couple. The figures’ relationship is ambiguous. Are they mistress and servant, or simply unlikely friends, embarked on a journey together? It is nice to believe the latter, but hard to forget that humans rarely treat other animals equitably. The carrier investigates what we want from our creations, and wonders about unexpected emotional connections that might arise between us and them.

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Georgia Metaxas born Australia 1974 'Untitled 28' 2011

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Georgia Metaxas born Australia 1974
Untitled 28
2011
From The Mourners series 2011
Type C photograph
60.0 x 50.0 x 7.0 cm
Collection of the artist
© Georgia Metaxas, courtesy of Fehily Contemporary, Melbourne
Photo: © National Gallery of Victoria

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Metaxas’s contribution to Melbourne Now comprises five photographs from The Mourners series, 2011, which was first exhibited at the Centre for Contemporary Photography, Melbourne, in 2011. These stately portraits show women who have adopted the traditional practice of wearing black, symbolising perpetual mourning, following the death of their husbands. Photographed against plain black backdrops, dressed in their widows’ weeds, these women form an austere and mournful frieze.

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Stuart Ringholt born Australia 1971 'Nudes' 2013

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Stuart Ringholt born Australia 1971
Nudes
2013
Collage (1-52)
29.0 x 30.0 cm (each)
Collection of the artist
© Stuart Ringholt, courtesy Milani Gallery, Brisbane
Photo: © National Gallery of Victoria

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Expanding the artist’s greater naturist project, Nudes, 2013, is a series of collages featuring images of twentieth-century modernist art objects and nudes taken from soft porn references. In these works, Ringholt complicates the original function of the images as the spectator considers the relationship between the nude and the work of art. Interested in how images can be transformed by simple interventions, Ringholt opens possibilities for new narratives to emerge between the nude, the object and the audience.

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Richard Lewer born New Zealand 1970, arrived Australia 2000 'Northside Boxing Gym' (detail) 2013

Richard Lewer born New Zealand 1970, arrived Australia 2000 'Northside Boxing Gym' (detail) 2013

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Richard Lewer born New Zealand 1970, arrived Australia 2000
Northside Boxing Gym (details)
2013
Charcoal on existing wall, boxing bag, 5.1 sound system
550.0 x 480.0 x 480.0 cm (installation)
Collection of the artist
© Richard Lewer, courtesy Hugo Michell Gallery, Adelaide

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Since challenging fellow artist Luke Sinclair to a boxing match at Melbourne’s Northside Boxing Gym in 2001 (as a performance), Lewer has remained interested in the site, training there regularly and making art about it. For Melbourne Now Lewer presents an immersive recreation of the gymnasium, featuring a large-scale charcoal wall-drawing accompanied by mirrors, sound and a sweaty boxing bag.

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Hotham Street Ladies Australia est. 2007 'At home with the Hotham Street Ladies' 2013

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Hotham Street Ladies Australia est. 2007
At home with the Hotham Street Ladies
2013
Royal and buttercream icing, modelling paste, confectionary, furniture, plinths, pot plants, colour DVD, television, light fittings, heater, icing, video, chandelier, lampshade, fireplace, furniture, television, crockery, cutlery, glassware, fabric dimensions variable (installation)
NGV commission Supported by Melbourne Now Champions the Dewhurst Family
Photo: © National Gallery of Victoria

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The collective’s members are Cassandra Chilton, Molly O’Shaughnessy, Sarah Parkes, Caroline Price and Lyndal Walker. Their practice embraces themes of home life, feminism and craft and explores how collaborative participation in, and contemporising of, these activities creates a distinct cultural community. Their work’s innovative combination of humour and contemporary critique with nostalgic or familiar elements makes it appealing to a wide audience. Often thought of in terms of dysfunction, the share house in their hands becomes a site of creativity, cooperation and overindulgence.

Food is a constant presence in HSL’s work, from recipe swap meets, street art and public art commissions to controversial cake entries in the Royal Melbourne Show. For Melbourne Now the group take baking and icing to a whole new level. Their installation At home with the Hotham Street Ladies, 2013, transforms the foyer of The Ian Potter Centre: NGV Australia into an icing-bombed domestic wonderland. Their commission for kids invites children and families to photograph themselves within one of the scenes from HSL’s icing- and lolly encrusted share house.

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Lucy Irvine 'Before the after' 2013

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Lucy Irvine
Before the after
2013

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For Melbourne Now Irvine has constructed a large site-specific work at The Ian Potter Centre: NGV Australia, Before the after, 2013, which establishes a dialogue with the gallery building, its architecture and the temporality of the exhibition. Spilling out across the floor, the serpentine form is an interruption of the order of things, a writhing obsidian mass that clings to the interior of the building. At the same time the work is a nuanced meditation on the nature of surfaces and skin. Irvine’s iterative practice argues for value in the gestural, and proposes the act of making as a form of knowledge.

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Paul Knight 'Untitled' 2012

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Paul Knight
Untitled
2012
National Gallery of Victoria, Melbourne

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Paul Knight 'Untitled' 2012

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Paul Knight
Untitled
2012
National Gallery of Victoria, Melbourne

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Knight’s recent folded photographic works extend his interest in notions of authorship, photographic agency, the relationships between observer and observed, and ideas of intimacy and love. Each scene captures a couple lying together, bodies entwined, in bed – the artist privy to an intense, personal scene of absorption. There is an evident trust between Knight and his subjects, who sleep gently, seemingly unaware of, or perhaps complicit in, his presence. The illusion is ruptured by the folding of the photographic print, which has the effect of sometimes forcing the couples closer together, other times slicing them apart. The fold intensifies the sense of intimacy and draws attention to the physical state of the photograph.

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Installation view of the series 'Milk Bars of Melbourne', 2010-13 by David Wadelton at the exhibition 'Melbourne Now'

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Installation view of the series Milk Bars of Melbourne, 2010-13 by David Wadelton at the exhibition Melbourne Now
Photo: © David Wadelton

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David Wadelton. 'Milk Bar, Jenkens Avenue Frankston North' 2012

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David Wadelton
Milk Bar, Jenkens Avenue Frankston North
2012
From the series Milk Bars of Melbourne, 2010-13
Photo: © David Wadelton

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David Wadelton. 'Milk Bar, Napier Street, Essendon' 2012

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David Wadelton
Milk Bar, Napier Street, Essendon
2012
From the series Milk Bars of Melbourne, 2010-13
Photo: © David Wadelton

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For Melbourne Now, Wadelton contributes a series of recent photographs of suburban milk bars selected from his vast personal cache. Whereas these shots of corner-store facades – windows jammed with ice-cream, soft drink and newspaper logos, handpainted typography and scrawled graffiti – echo the Pop paintings that made his name, insofar as they combine ready-made commercial symbols on the same flat, pictorial plane, the photographs’ grey- scale palette and documentary presentation differ from the futuristic aesthetic of Wadelton’s canvases. While the paintings delight in global commercial imagery, Milk Bars of Melbourne, 2010-13, shows a local culture in terminal decline.

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Penny Byrne 'iProtest' (detail) 2012-13

Penny Byrne 'iProtest' (detail) 2012-13

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Penny Byrne
iProtest (details)
2012-13

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While at first iProtest, 2012-13, resembles a display of endearing souvenir-style figurines hanging on a wall, its potency is revealed on closer inspection. Each figurine is personalised with details relating to one of the many conflicts driven by mass protests around the world. Nationalism is referenced by faces painted with flags; acts of violence leave bodies dismembered and bloodied; and the cutest figurines are in fact riot police, wielding guns and dressed as clowns. The omnipresent symbol of Facebook is also ingeniously added to the work. Byrne’s crowd of modified figurines explores the way social media has become a significant tool for coordinating protests around the world.

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Julia deVille 'Degustation' (detail) 2013

Julia deVille 'Degustation' (detail) 2013

Julia deVille 'Degustation' (detail) 2013

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Julia deVille
Degustation (details)
2013

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Informed by a fascination with death, memento mori and Victorian jewellery design, deVille’s work relies on traditional techniques and involves a broad range of animals, precious and semiprecious metals and gems. The artist is a vegan and passionate advocate for the fair and just treatment of animals, and only uses animals that have died of natural causes in her work. By examining death in this distinctive way, deVille urges us to consider our own mortality and the beauty of death and remembrance. For Melbourne Now she has created an installation titled Degustation, 2013, which evokes an ornate Victorian-style dining room, filled with her sculptural pieces and works from the NGV collection.

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Mira Gojak 'Transfer station 2' 2011

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Mira Gojak
Transfer station 2 (foreground)
2011

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With Transfer station 2, 2011, Gojak creates a sculptural work of unfurling, freewheeling loops, shaky erratic lines and clusters of blossoming tangles that appears like a drawing suspended in space. A high-keyed palette of cobalt blues, soft pinks and fluorescent yellows activates heavier blackened thickets that punctuate perspectives of uninterrupted space. Suspended from the ceiling by a single line, Gojak’s sculpture is a not-quite-settled upon Venn diagram. Its openness is held still in a moment, together with all the scribbled-out mistakes, digressions and exclusions, stalling or directing the movement and exchange circulating around the forms.

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Daniel von Sturmer 'Paradise park' 2013 (detail) with Elizabeth Gower's '150 rotations' 2013 (detail) on the wall behind (left)

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Daniel von Sturmer Paradise park 2013 (detail, foreground) with Elizabeth Gower’s 150 rotations 2013 on the wall behind (detail, left)

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The first version of 150 rotations was displayed recently in an exhibition, curated by Gower, that explored the appropriation and use of urban detritus as a visual art strategy by a variety of Melbourne artists. Further developed for Melbourne Now, Gower’s contribution now comprises 150 circular components, each made up of tea-bag tags, price tags and elements cut from junk mail catalogues, which colonise the wall like a galaxy of vibrant constellations. Akin to the light from long-dead stars, the familiar ephemera, which is usually thrown out, recycled or composted, now serves a new purpose and takes on a mesmeric, formal beauty.

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Daniel von Sturmer 'Paradise park' 2013

Daniel von Sturmer 'Paradise park' 2013

Daniel von Sturmer 'Paradise park' (detail) 2013

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Daniel von Sturmer
Paradise park
2013

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Von Sturmer’s Melbourne Now commission for kids, Paradox park, 2013, creates a space for enquiry and interaction with art, conceived with a child’s innate sense of curiosity and wonder. Paradox park comprises a large tilted plane with small circular apertures through which a child (or adventurous adult) can push their head in order to view small projections of animated objects atop and below the surface. By placing the viewer’s point of reference inside the work, von Sturmer posits experience itself as a creative act – a unique interplay between viewer and viewed.

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Melbourne Design Now Simone LeAmon (curator, exhibition designer) born Australia 1971 Edmund Carter (exhibition designer) born Australia 1983 'Design in everyday life' 2013

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Melbourne Design Now
Simone LeAmon (curator, exhibition designer) born Australia 1971
Edmund Carter (exhibition designer) born Australia 1983
Design in everyday life
2013
Supported by The Hugh D. T Williamson Foundation

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Melbourne Design Now is the first design exhibition of its kind to be shown at the National Gallery of Victoria. A presentation of localised creative intelligence in the fields of industrial, product, furniture and object design, this project comprises more than ninety design projects from forty designers, design studios and companies. Melbourne Design Now celebrates design’s relationship to everyday life and how contemporary designers are embedding unique and serial design production with ideas, meaning and emotion to resonate with the city of Melbourne.

The breadth of design projects in this ‘exhibition within the exhibition’ intends to communicate to the public that the work of Melbourne designers is influencing discourses, future scenarios and markets both at home and around the world. Ranging from cinema cameras by Blackmagic Design to the Bolwell EDGE caravan, eco-design education tools by Leyla Acaroglu to Monash Vision Group’s direct-to-brain bionic eye, and furniture made with ancient Australian timber by Damien Wright to biodegradable lampshades by LAB DE STU, these design projects consolidate Melbourne as one of the great design cities in the world today.

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Melbourne Design Now Gregory Bonasera 'Palace table' 'Derby pendant light' 2013 Kate Rohde 'Ornament is Crime vessels' 2013

Melbourne Design Now Gregory Bonasera 'Palace table' 'Derby pendant light' 2013 Kate Rohde 'Ornament is Crime vessels' 2013

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Melbourne Design Now

Gregory Bonasera
Palace table
Derby pendant light
2013
Kate Rohde
Ornament is Crime vessels
2013

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Gregory Bonasera is a ceramicist with an in depth understanding of the processes utilised in the production of ceramics; a methodical thinker who works more like an industrial designer than a potter to realise his creations and to advise and collaborate with other designers on their projects. Consistently adding new works to his range of innovative functional and sculptural ceramic wares, Gregory casts his creations in fine porcelain and bone china employing a hybrid of state of the art CAD technology with traditional 270 year old ceramic production methods. His works are strongly influenced by natural forms, science, biology, botany and geometry.

Kate Rohde’s jewellery and vessels are created in resin, a signature material that features extensively in her visual art practice. These pieces take a playful, decorative approach, often incorporating elements typical of Baroque and Rococo style, drawing particularly on the decorative arts and interior design of this era. The highly ornate nature reveals, on closer inspection, that much of the patterning is drawn from flora and fauna sources. The combination of the two intersecting interests creates a psychadelic supernature. (Text from the Pieces of Eight Gallery website)

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Installation view of Jess Johnson Various titles 2013

Installation view of Jess Johnson Various titles 2013

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Installation view of Jess Johnson Various titles 2013

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Johnson creates fantastic worlds in images that combine densely layered patterns, objects and figures within architectural settings. Cryptic words and phrases are part of her unique and idiosyncratic iconography. The artist’s drawing and installation practice is inspired by science fiction, mythological cosmology and comic books, and reflects a diverse interest in art, ranging from illuminated manuscripts to folk art traditions such as quilt making. Her contribution to Melbourne Now includes ten new drawings that depict the imagined formation of a future civilisation. These are displayed within a constructed environment featuring a raised podium, painted walls and patterned floor which, together with the drawings, offers an immersive experience.

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Sampling the City: Architecture in Melbourne Now

Sampling the City: Architecture in Melbourne Now

Sampling the City: Architecture in Melbourne Now

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Sampling the City: Architecture in Melbourne Now

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Sampling the City: Architecture in Melbourne Now reveals the complex web of personalities, factions and trajectories that make up Melbourne’s vibrant contemporary architectural culture. This project asks: What are the ideas and themes that inform Melbourne’s design culture? Who are its agitators and protagonists? How are emerging architects driving new ways of thinking? The project is in four parts:

  • A ‘super graphic’ introduction sampling Melbourne’s contemporary architectural culture
  • A projection space with architectural imagery curated to five themes: representation and the city; craftsmanship and materiality; art-engaged practice; stitching the city; and bio-futures/advanced architecture
  • An incubator/studio environment providing insight into the processes of six leading Melbourne architects: Cassandra Fahey, Make Architecture, March Studio, Muir Mendes, Studio Bird and Studio Roland Snooks
  • An intimate screening room with a video artwork by Matthew Sleeth

Sampling the City is curated by Fleur Watson, with exhibition design by Amy Muir and Stuart Geddes, projection and soundscape design by Keith Deverall, introductory narrative by Watson and Michael Spooner and built environment imagery by Peter Bennetts.

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un Magazine. 'un Retrospective' (installation view) 2013

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un Magazine
un Retrospective (installation view)
2013

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For Melbourne Now, un Magazine presents un Retrospective – a selective history of artists, writers and art practice in Melbourne since 2004, as featured in the back catalogue of the magazine. Taking inspiration and content from past issues, un Retrospective assembles recent local works of art alongside correlating text – whether original essay, review or interview – from the pages of un Magazine, highlighting the relationships between criticism and practice, writers and artists, that have been fostered in the publication. un Retrospective celebrates ten years of un Magazine and contemporary art in Melbourne while providing a point of historical context within the newness of Melbourne Now.

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Slave Pianos 'Gamelan sisters' 2013

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Slave Pianos
Gamelan sisters
2013

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Slave Pianos – a collaboration between artists, composers and musicians Rohan Drape, Neil Kelly, Danius Kesminas, Michael Stevenson and Dave Nelson – make historically grounded, research-based installations and performances utilising humour, immediacy and the conflation of ‘high’ and ‘low’ idioms to suggest connections and interrelations between the largely discrete fields of music, art and architecture.

For Melbourne Now Slave Pianos present Gamelan sisters, 2013, a self-governing electromechanical ‘slave’ gamelan, which allows audience members to select pieces from a repertoire of compositions arranged by Slave Pianos via a wall-mounted console alongside related scores. The Gamelan sisters instrument features in Slave Pianos’ space opera The Lepidopters, to be performed in Indonesia and Australia in 2014, which is based on a three part science fiction story set in Indonesia commissioned from American writer and art critic Mark von Schlegell. A comic depicting the first two parts of The Lepidopters, drawn by Yogyakarta-based artist ‘Iwank’ Erwan Hersi Susanto – a member, with Kesminas, of the Indonesian art-rock collective Punkasila – is also presented in the Melbourne Now Reading Room.

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The Ian Potter Centre: NGV Australia
Federation Square
Corner of Russell and 
Flinders Streets, Melbourne

Opening hours:
10am – 5pm
Closed Mondays

National Gallery of Victoria website

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02
Jul
13

Review: Polixeni Papapetrou ‘A Performative Paradox’ and Daniel von Sturmer 
’After Images’ at the Centre for Contemporary Photography (CCP), Fitzroy, Melbourne

Exhibition dates: 24th May – 14th July 2013

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Two solid if not overly memorable exhibitions are presented at the Centre for Contemporary Photography.

Polixeni Papapetrou A Performative Paradox is a bit of a dog’s breakfast. While it is wonderful to see early work by this artist – work that features Marilyn and Elvis impersonators, circus people, body builders and drag queens – too many bodies of work are crammed into too small a space with too few images. Some of the later series are represented by just one image giving a hotch potch feel to the whole exhibition ensemble. Perhaps it would have been better to concentrate solely on the early black-and-white images and colour images, work that is rarely seen and informs the staged work that followed. Having said that the black-and-white photographs are a joy to behold, documenting as they do performative identities. The photographs have an intangible presence. There are strong elements of the frontality of Diane Arbus in the photographs of circus performers and drag queens, coupled with a intrinsic understanding of light and texture. The photographs of drag queens are the highlight of both exhibitions and Drag queen wearing cut out dress (1993, below) reminded me of an early black-and-white photograph by Fiona Hall (Leura, New South Wales1974) in its use of patterned wallpaper. Let us hope there is a large retrospective of Polixeni’s work (at NGV or Heide for example) in the future, one that can do justice to the depth and complexity of her vision as an artist.

Daniel von Sturmer 
After Images is an interesting conceptual experiment, one that investigates the splitting of the image (shadow) from its referent (object). “The images propose a kind of transference; the object itself may be insignificant but its subjective meaning carries weight, and its shadow leaves a space the viewer fills with their own reading.” In their black-and-white fuzziness the work looks impressive when viewed in the gallery space (see installation views below) but upon close inspection the individual photographs fail to hold the viewers attention. Personally, I found it difficult to impart any great meaning to any of these works and the investigation certainly does not produce memorable images, ones that will stay with the viewer months and years later. For me the exhibition became an exercise in guessing what shadows were which objects, a game that grew quickly tiresome. The work then became an exercise in the importance of captioning an image, as I constantly looked around the room trying to match the titles of the works with the images themselves. As abstract images they imparted little metaphysical poetry as ghost images (an afterimage or ghost 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). As images that investigate the link between text, object, shadow and language they started to become what the artist sought to enunciate: shadow objects bound to the realm of signification in some amorphous play, shadows that have the potential to become ‘Other’.

PS. As an analogy you could see these images as the equivalent of Jung’s human “shadow aspect” where, according to Jung, the shadow, in being instinctive and irrational, is prone to projection (as these shadows are projected by their objects). The shadow represents the entirety of the unconscious, ie. everything of which a person is not fully conscious, and is the seat of creativity. “Everyone carries a shadow,” Jung wrote, “and the less it is embodied in the individual’s conscious life, the blacker and denser it is.” (Jung, C.G. (1938). “Psychology and Religion.” In CW 11: Psychology and Religion: West and East. P.131). Hence the potential halo/cination of these images.

Dr Marcus Bunyan for the Art Blart blog

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Many thankx to the CCP for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

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Miss-Alternative-World-Ball-1993-WEB

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Polixeni Papapetrou
Drag queen wearing cut out dress
1993
Gelatin silver photograph
28.5 x 28.5 cm
Courtesy the artist and Nellie Castan Gallery, Melbourne and Stills Gallery, Sydney

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Papapetrou_Suzie,-Elvis-fan-at-home,-Melbourne,-1989-WEB

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Polixeni Papapetrou
Suzie, Elvis fan at home, Melbourne
1989
Selenium toned gelatin silver photograph
40.7 x 40.7 cm
Courtesy the artist and Nellie Castan Gallery, Melbourne and Stills Gallery, Sydney

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Indian_Brave_2002-WEB

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Polixeni Papapetrou
Indian Brave
2002
Pigment ink print
85 x 85 cm
Courtesy the artist and Nellie Castan Gallery, Melbourne and Stills Gallery, Sydney

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Three-young-men-paying-homage-to-Elvis-on-the-13th-anniversary-of-Elvis'-death,-Elvis-Memorial,-Melbourne,-1990-WEB

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Polixeni Papapetrou
Three young men paying homage to Elvis on the 13th anniversary of Elvis’ death, Elvis Memorial Melbourne
1990
Selenium toned gelatin silver photograph
40.7 x 40.7 cm
Courtesy the artist and Nellie Castan Gallery, Melbourne and Stills Gallery, Sydney

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“This exhibition focuses on the performative in the work of Polixeni Papapetrou, from her early documentary work through to her directorial work with her children since 2002, regarded internationally as some of the most powerful and provocative works in the field of perfomative photography. Papapetrou’s enduring interest is in how the ‘other’ is represented and how the ‘other’ performs in reinforcing our own identity.

Polixeni Papapetrou is one of Australia’s leading contemporary photomedia artists. She has been exploring relationships between history, contemporary culture, landscape, identity and childhood through her photographic practice since the mid-eighties. In this exhibition, selected by Professor Anne Marsh in consultation with the artist, a particular thread has been selected across Papapetrou’s practice – that of the performative – from her early documentary work through to her directorial work with her children from 2002 to the present.

Her images are informed by her own experience as ‘other’, growing up as a Greek immigrant in a white, Anglo-Saxon, male-dominated culture in Australia in the 1960s and 1970s. Marilyn Monroe impersonators, Elvis Presley fans, body builders, circus performers and drag queens have all taken their turn in front of Papapetrou’s camera. All of these people are, one way or another, performing i dentities.

In 2002 Papapetrou turned her focus to the experience of childhood, using her children as the performers in her pictures. There is a challenging confusion between fantasy, mythology, archetype, animism and theatricality present in these works, ranging from the playful to the transgressive, wrangling with the question of identity and stressing the embodied nature of experience.”

Text from the CCP website

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Polixi-Circus-detail-b-WEB

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Polixeni Papapetrou
Fortune teller (detail)
1989
From the series Ashton Circus, Silvers Circus 1989-1990

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Polixeni Papapetrou. 'Levitation, Silvers Circus' (detail) 1989

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Polixeni Papapetrou
Levitation, Silvers Circus (detail)
1989
From the series Ashton Circus, Silvers Circus 1989-1990

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Polixeni. 'Papapetrou Ashton Circus, Silvers Circus' series (installation view) 1989-1990

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Polixeni Papapetrou
Ashton Circus, Silvers Circus series (installation view)
1989-1990

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Installation views of Polixeni Papapetrou 'A Performative Paradox' at the Centre for Contemporary Photography (CCP)

Installation views of Polixeni Papapetrou 'A Performative Paradox' at the Centre for Contemporary Photography (CCP)

Installation views of Polixeni Papapetrou 'A Performative Paradox' at the Centre for Contemporary Photography (CCP)

Installation views of Polixeni Papapetrou 'A Performative Paradox' at the Centre for Contemporary Photography (CCP)

Installation views of Polixeni Papapetrou 'A Performative Paradox' at the Centre for Contemporary Photography (CCP)

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Installation views of Polixeni Papapetrou A Performative Paradox at the Centre for Contemporary Photography (CCP)

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Daniel von Sturmer 'Production Still for After Images'

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Daniel von Sturmer
Production Still for After Images
Courtesy the artist and Anna Schwartz Gallery, Melbourne and Sydney

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“In After Images the shadows of a set of subjectively ‘important artefacts’ (a business card, a phone, a letter…) are presented alongside generic objects from the studio, for example: a bin, some tape, a ruler… Presented at 1:1 scale, the images propose a kind of transference; the object itself may be insignificant but its subjective meaning carries weight, and its shadow leaves a space the viewer fills with their own reading.

Photographed using a specially constructed ‘set’ to enable the separation of an object from its shadow, the resulting image stands alone, separated from its object yet inextricably bound to the realm of signification from which it has been cast.”

Text from the CCP website

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Installation views of Daniel von Sturmer 'After Images' at the Centre for Contemporary Photography (CCP)

Installation views of Daniel von Sturmer 'After Images' at the Centre for Contemporary Photography (CCP)

Installation views of Daniel von Sturmer 'After Images' at the Centre for Contemporary Photography (CCP)

Installation views of Daniel von Sturmer 'After Images' at the Centre for Contemporary Photography (CCP)

Installation views of Daniel von Sturmer 
'After Images' at the Centre for Contemporary Photography (CCP)

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Installation views of Daniel von Sturmer 
After Images at the Centre for Contemporary Photography (CCP)

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Centre for Contemporary Photography
404 George St, Fitzroy
Victoria 3065, Australia
T: + 61 3 9417 1549

Opening Hours:
Wednesday – Saturday, 11am – 6pm
Sunday, 1pm – 5pm

Centre for Contemporary Photography website

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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.

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