Posts Tagged ‘Mari Funaki: Objects

23
May
14

Video: ‘klimt02 in conversation with Mari Funaki’

 

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A wonderful energy, a wonderful artist, a wonderful human being – sadly missed!

Marcus

 

 

 

Published on April 23, 2014

Interview filmed on the occasion of the solo exhibition Space and Gravity by Mari Funaki at Klimt02 Gallery in Barcelona in February 2008. The artist talks about her work, the process of work: drawing, breaking predictability, her gallery and steel and black concept.

 

 

Gallery Funaki
4 Crossley St.,
Melbourne 3000
T: 03 9662 9446

Opening hours:
Tues – Thursday, 10.30 am – 5.30 pm
Friday 10.30 am – 6pm
Saturday 11 am – 4 pm

Gallery Funaki website

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17
Dec
10

melbourne’s magnificent eleven 2010

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Here’s my pick of the eleven best exhibitions in Melbourne for 2010 that featured on the Art Blart blog (in no particular order). Enjoy!

Marcus

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1/ Jenny Holzer at The Australian Centre for Contemporary Art (ACCA)

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Jenny Holzer
‘Right Hand (Palm Rolled)’
2007
Oil on linen
80 x 62 in. (203.2 x 157.5 cm)
Text: U.S. government document

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The reason that you must visit this exhibition is the last body of work. Working with declassified documents that relate to the wars in Iraq and Afghanistan Holzer’s ‘Redaction’ paintings address the elemental force that is man’s (in)humanity to man (in the study of literature, redaction is a form of editing in which multiple source texts are combined (redacted) and subjected to minor alteration to make them into a single work) … I left the exhibition feeling shell-shocked after experiencing intimacy with an evil that leaves few traces. In the consciences of the perpetrators? In the hearts of the living! Oh, how I wish to see the day when the human race will truly evolve beyond. We live in hope and the work of Jenny Holzer reminds us to be vigilant, to speak out, to have courage in the face of the unconscionable.

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2/ ‘Pondlurking’ by Tom Moore at Helen Gory Galerie, Prahran

This exhibition produced in me an elation, a sense of exalted happiness, a smile on my dial that was with me the rest of the day. The installation features elegantly naive cardboard cityscape dioramas teeming with wondrous, whimsical mythological animals that traverse pond and undulating road. This bestiary of animals, minerals and vegetables (bestiaries were made popular in the Middle Ages in illustrated volumes that described various animals, birds and even rocks) is totally delightful … What really stands out is the presence of these objects, their joyousness. The technical and conceptual never get in the way of good art. The Surrealist imagining of a new world order (the destruction of traditional taxonomies) takes place while balanced on one foot. The morphogenesis of these creatures, as they build one upon another, turns the world upside down … Through their metamorphosed presence in a carnivalesque world that is both weird and the wonderful, Moore’s creatures invite us to look at ourselves and our landscape more kindly, more openly and with a greater generosity of spirit.

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Tom Moore
‘Birdboat with passenger with a vengeance’ (left) and ‘Robot Island’ (right)
2010 and 2009

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3/ ‘Safety Zone’ by John Young at Anna Schwartz Gallery

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What can one say about work that is so confronting, poignant and beautiful – except to say that it is almost unbearable to look at this work without being emotionally charged, to wonder at the vicissitudes of human life, of events beyond one’s control.

The exhibition tells the story of the massacre of 300,000 people in the city of Nanjing in Jiangsu, China by Japanese troops in December, 1937 in what was to become known as the Nanjing Massacre. It also tells the story of a group of foreigners led by German businessman John Rabe and American missionary Minnie Vautrin who set up a “safety zone” to protect the lives of at least 250,000 Chinese citizens. The work is conceptually and aesthetically well resolved, the layering within the work creating a holistic narrative that engulfs and enfolds the viewer – holding them in the shock of brutality, the poignancy of poetry and the (non)sublimation of the human spirit to the will of others.

Simply, this is the best exhibition that I have seen in Melbourne so far this year.

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John Young
‘Flower Market (Nanjing 1936) #1’
2010
digital print and oil on Belgian linen
240 x 331 cm
image courtesy of the artist and Anna Schwartz Gallery

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John Young
‘Safety Zone’
2010
60 works, digital prints on photographic paper and chalk on blackboard-painted archival cotton paper
Installation shot, Anna Schwartz Gallery, Melbourne
image courtesy of the artist and Anna Schwartz Gallery

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4/ ‘To Hold and Be Held’ by Kiko Gianocca at Gallery Funaki

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Kiko Gianocca
‘Man & dog’
found image, resin, silver
2009

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A beautiful exhibition of objects by Swiss/Italian artist Kiko Gianocca at Gallery Funaki, Melbourne, one full of delicate resonances and remembrances.

Glass vessels with internal funnels filled with the gold detritus of disassembled objects, found pendants: Horse, Anchor, Four leaf clover, Swan, Hammer & sickle … Brooches of gloss and matt black resin plates. On the reverse images exposed like a photographic plate, found images solidified in resin.

The front: the depths of the universe, navigating the dazzling darkness
The back: memories, forgotten, then remade, worn like a secret against the beating chest. Only the wearer knows!

As Kiki Gianocca asks, “I am not sure if I grasp the memories that sometimes come to mind. I start to think they hold me instead of me holding them.”

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5/ ‘Jill Orr: Vision’ at Jenny Port Gallery, Richmond

The photographs invite us to share not only the mapping of the surface of the skin and the mapping of place and identity but the sharing of inner light, the light of the imaginary as well – and in this observation the images become unstable, open to reinterpretation. The distance between viewer and subject is transcended through an innate understanding of inner and outer light. The photographs seduce, meaning, literally, to be led astray … I found myself looking at the photographs again and again for small nuances, the detail of hairs on the head, the imagining of what the person was thinking about with their eyes closed: their future, their fears, their hopes, the ‘active imagination as a means to visualise sustainable futures’ (Orr, 2010) …

In the imagination of the darkness that lies behind these children’s closed eyes is the commonality of all places, a shared humanity of memory, of dreams. These photographs testify to our presence and ask us to decide how we feel about our life, our place and the relation to that (un)placeness where we must all, eventually, return.

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Jill Orr
‘Jacinta’
2009

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6/ ‘AND THEN…’ by Ian Burns at Anna Schwartz Gallery

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These are such fun assemblages, the created mis en scenes so magical and hilarious, guffaw inducing even, that they are entirely delightful.

There is so much to like here – the inventiveness, the freshness of the work, the insight into the use of images in contemporary culture. Still photographs of this work do not do it justice. I came away from the gallery uplifted, smiling, happy – and that is a wonderful thing to happen.

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Ian Burns
’15 hours v.4′
2010
Found object kinetic sculpture, live video and audio
Image courtesy the artist and Anna Schwartz Gallery

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7/ ‘Night’s Plutonian Shore’ by Julia deVille at Sophie Gannon Gallery, Richmond

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Julia deVille
‘Nevermore’
2010

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This is an excellent exhibition by Julia deVille at Sophie Gannon Gallery in Richmond … This exhibition shows a commendable sense of restraint, a beautiful rise and fall in the work as you walk around the gallery space with the exhibits displayed on different types and heights of stand and a greater thematic development of the conceptual ideas within the work. There are some exquisite pieces.

In these pieces there is a simplification of the noise of the earlier works and in this simplification a conversant intensification of the layering of the conceptual ideas. Playful and witty the layers can be peeled back to reveal the poetry of  de Sade, the stories of Greek mythology and the amplification of life force that is at the heart of these works. Good stuff.

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8/ ‘Mari Funaki; Objects’ at The Ian Potter Centre: NGV Australia

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Mari Funaki
born Japan 1950, arrived Australia 1979, died 2010
‘Object’
2008
heat-coloured mild steel
36.0 x 47.5 x 14.5 cm
Collection of Johannes Hartfuss & Fabian Jungbeck, Melbourne
© The Estate of Mari Funaki

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Quiet, precise works. Forms of insect-like legs and proboscises. They balance, seeming to almost teeter on the edge – but the objects are incredibly grounded at the same time. As you walk into the darkened gallery and observe these creatures you feel this pull – lightness and weight. Fantastic!

And so it came to pass in silence, for these works are still, quiet and have a quality of the presence of the inexpressible. Funaki achieves these incredible silences through being true to her self and her style through an expression of her endearing will. While Mari may no longer be amongst us as expressions of her will the silences of these objects will be forever with us.

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9/ ‘Up Close: Carol Jerrems with Larry Clark, Nan Goldin and William Yang’ at Heide Museum of Modern Art

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When looking at art, one of the best experiences for me is gaining the sense that something is open before you, that wasn’t open before. I don’t mean accessible, I mean open like making a clearing in the jungle, or being able to see further up a road, or just further on. And also like an open marketplace – where there were always good trades. There is the feeling that if you put in a certain amount of honesty, then you would get something back that made some room for you in front – some room that would allow you to look forward, and maybe even walk into that space. Seeing Jerrems work gives you that feeling.

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Carol Jerrems
‘Mark and Flappers’
1975
National Gallery of Victoria, Melbourne
Gift of James Mollison, 1994
© Ken Jerrems & the Estate of Lance Jerrems

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10/ ‘John Davis: Presence’ at The Ian Potter Centre: NGV Australia

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John Davis
Australia 1936–99
(Spotted fish)
1989
twigs, cotton thread, calico, bituminous paint
55.0 x 145.0 x 30.0 cm
Private collection, Melbourne
© Penelope Davis & Martin Davis. Administered by VISCOPY, Australia

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This is a superlative survey exhibition of the work of John Davis at NGV Australia, Melbourne.

In the mature work you can comment on the fish as ‘travellers’ or ‘nomads’, “a metaphor for people and the way we move around the world.” You can observe the caging, wrapping and bandaging of these fish as a metaphor for the hurt we humans impose on ourselves and the world around us. You can admire the craftsmanship and delicacy of the constructions, the use of found objects, thread, twigs, driftwood and calico and note the ironic use of bituminous paint in relation to the environment, “a sticky tar-like form of petroleum that is so thick and heavy,” of dark and brooding colour.

This is all well and true. But I have a feeling when looking at this work that here was a wise and old spirit, one who possessed knowledge and learning … a human being who attained a state of grace in his life and in his work.

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11/ ‘Mortality’ at The Australian Centre for Contemporary Art (ACCA)

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Fiona Tan
‘Tilt’
2002
DVD
courtesy of the artist, Frith Street Gallery London

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I never usually review group exhibitions but this is an exception to the rule. I have seen this exhibition three times and every time it has grown on me, every time I have found new things to explore, to contemplate, to enjoy. It is a fabulous exhibition, sometimes uplifting, sometimes deeply moving but never less than engaging – challenging our perception of life. The exhibition proceeds chronologically from birth to death. I comment on a few of my favourite works below but the whole is really the sum of the parts: go, see and take your time to inhale these works – the effort is well rewarded. The space becomes like a dark, fetishistic sauna with it’s nooks and crannies of videos and artwork. Make sure you investigate them all!

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26
Sep
10

Review: ‘Mari Funaki: Objects’ at the The Ian Potter Centre: NGV Australia, Melbourne

Exhibition dates: 6th August – 24th October 2010

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Apologies for the lack of local postings in the last two weeks, I have been very sick with the flu. Many thanxk to Alison Murray, Jemma Altmeier and The National Gallery of Victoria for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All individual photographs of work by Jeremy Dillon.

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Mari Funaki
born Japan 1950, arrived Australia 1979, died 2010
Object
2008
heat-coloured mild steel
20.0 x 28.0 x 5.0 cm
Collection of Raphy Star, Melbourne
© The Estate of Mari Funaki

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Mari Funaki
born Japan 1950, arrived Australia 1979, died 2010
Container
2008
heat-coloured mild steel
(a–c) 21.3 x 40.5 x 8.5 cm (overall)
Private collection, Melbourne
© The Estate of Mari Funaki

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Mari Funaki
born Japan 1950, arrived Australia 1979, died 2010
Container
2008
heat-coloured mild steel
4.8 x 16.0 x 15.5cm
Private Collection, Melbourne
© The Estate of Mari Funaki

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Mari Funaki
born Japan 1950, arrived Australia 1979, died 2010
Object
2008
heat-coloured mild steel
20.0 x 28.0 x 5.0 cm
Collection of Raphy Star, Melbourne
© The Estate of Mari Funaki

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Let us drop away all interpretation and look at the thing in itself.
The literal feeling of standing before these objects.

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Form

Balance

Colour

Surface

Precision

Will

Style

Silence

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Quiet, precise works. Forms of insect-like legs and proboscises. They balance, seeming to almost teeter on the edge – but the objects are incredibly grounded at the same time. As you walk into the darkened gallery and observe these creatures you feel this pull – lightness and weight. Fantastic!

The surfaces, sublime matt grey colour and precision of their manufacture add to this sense of the ineffable. These are not mere renderings of content, but expressions of things that cannot be said.

Sontag observes, “Art is the objectifying of the will in a thing or performance, and the provoking or arousing of the will … Style is the principle of decision in a work of art, the signature of the artist’s will.”1

Sontag insightfully notes, “The most potent elements in a work of art are, often, its silences.”2

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And so it came to pass in silence, for these works are still, quiet and have a quality of the presence of the inexpressible.

Funaki achieves these incredible silences through being true to her self and her style through an expression of her endearing will.

While Mari may no longer be amongst us as expressions of her will the silences of these objects will be forever with us.

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Marcus Bunyan for the Art Blart blog

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‘Mari Funaki: Objects’ installation shots on opening night at NGV Australia

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“Opening 6 August, the National Gallery of Victoria will present Mari Funaki: Objects, an exhibition showcasing a range of sculptural objects by the renowned contemporary jeweller and metalsmith, Mari Funaki (1950 – 2010).

This exhibition will present a selection of Funaki’s distinctive objects, dating from the late 1990s to 2010 including four recent large scale sculptures. The artist was working on the exhibition right up until the time of her recent death.

Jane Devery, Acting Curator, Contemporary Art, NGV said: “It was a great privilege to work with Mari Funaki on this exhibition. She possessed a clarity of vision and a capacity for ongoing invention that is rare among artists. Funaki produced some of the most captivating works in the field of contemporary jewellery and metalwork. Her unique geometric objects, meticulously constructed from blackened mild-steel, stemmed from a desire to express the world around her.”

“Funaki was interested in the expressive and associative capacities of her objects, creating forms that might stir our imaginations or trigger something from our memories. It has been particularly thrilling to see her extend these concerns in large scale works,” said Ms Devery. In 1979 Funaki left her home in Japan for Melbourne where she pursued her creative ambitions, enrolling in Gold and Silversmithing at RMIT in the late 1980s. At RMIT she studied under the prominent jewellers Marian Hosking, Robert Baines and Carlier Makigawa.

In 1995, Mari Funaki established Gallery Funaki in Melbourne’s CBD which remains Australia’s most important space dedicated to contemporary jewellery. Throughout her career she exhibited widely within Australia and overseas and won many awards, twice winning the prestigious Herbert Hoffman prize in Munich. In 2007 she was awarded an Australian Council Emeritus Award for her work as an artist and for her success in promoting Australian and international contemporary jewellery.

Frances Lindsay, Deputy Director, NGV said: “The NGV is delighted to exhibit many never-before-seen works by such an innovative and celebrated Melbourne artist. The exquisite objects assembled in this exhibition allow us to appreciate Mari Funaki’s remarkable artistic achievements.”

Mari Funaki: Objects will be on display at The Ian Potter Centre: NGV Australia, Federation Square from 6 August to 24 October, 2010. The exhibition will be open from 10am-5pm. Closed Mondays. Entry is free.”

Press release from the National Gallery of Victoria website

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Mari Funaki
born Japan 1950, arrived Australia 1979, died 2010
Object
2008
heat-coloured mild steel
36.0 x 47.5 x 14.5 cm
Collection of Johannes Hartfuss & Fabian Jungbeck, Melbourne
© The Estate of Mari Funaki

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Mari Funaki
born Japan 1950, arrived Australia 1979, died 2010
Container
2006
heat-coloured mild steel
26.0 x 8.5 x 6.0 cm
Collection of Peter and Jennifer McMahon, Melbourne
© The Estate of Mari Funaki

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Mari Funaki
born Japan 1950, arrived Australia 1979, died 2010
Object
2010
heat-coloured mild steel
30.0 x 19.0 x 20.5 cm
Collection of the Estate of Mari Funaki, Melbourne
© The Estate of Mari Funaki

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Mari Funaki
born Japan 1950, arrived Australia 1979, died 2010
Object
2010
heat-coloured mild steel
45.0 x 52.0 3.5 cm
Collection of the Estate of Mari Funaki, Melbourne
© The Estate of Mari Funaki

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Mari Funaki
born Japan 1950, arrived Australia 1979, died 2010
Object
2010
heat-coloured mild steel
12.0 x 44.0 x 14.0 cm
Collection of the Estate of Mari Funaki, Melbourne
© The Estate of Mari Funaki

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1. Sontag, Susan. “On Style,” in Against Interpretation and Other Essays. New York: Delta Book, 1966, pp.31-32.

2. Ibid., p.36.

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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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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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