Posts Tagged ‘Melbourne Noir

31
Jan
21

Review: ‘DESTINY’ at NGV Australia, Federation Square, Melbourne

Exhibition dates: 23rd November 2020 – 14th February 2021

 

Installation view of 'DESTINY' at The Ian Potter Centre: NGV Australia, Melbourne, 2020

 

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020
Photo: Tom Ross

 

 

“There is no excuse for ignorance, and you should make an effort to understand what happens in our world. How else can you be contemporary?”

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Destiny Deacon

 

 

Embodied Ab/origin

This is a strong, powerful if rather repetitive exhibition by Destiny Deacon at NGV Australia, Melbourne. It’s like being hit over the head with a blakly ironic blunt object many times over, just like Aboriginal people have had both physical and cultural violence enacted upon them many times over since the arrival of the white man in terra nullius, a misnomer if ever there was one.

“Drawing from her vast collection of Aboriginalia, Deacon interrogates the way in which Aboriginal people have been, and continue to be, misrepresented within popular culture.” Aboriginalia is repurposed “historicised, interpreted and recast through Aboriginal eyes”, especially through the use of white-appropriated and conceptualised Blak dolly models that allegedly “possess a liveliness and personality, making the violence enacted on to them all the more confronting.” Deacon photographs her reclaimed dollies using Polaroids from which colour prints are enlarged. Technically and aesthetically this means the photographs loose the uniqueness, size and aura of a Polaroid, perhaps not the best outcome for the use of the instant photography process in the making of memorable images.

The exhibition never strays far from its theme: that whities will never understand the symbols of racism perpetrated against Blaks embedded in white culture, unless they are pointed out to them. This concept is expressed through the silent voice of the archetypal Blak doll – dis/embodied, headless, amputated, tied up, trapped in a blizzard, over the fence, adopted – inserted placelessly into whatever scenario bigotry and racism rears its head, a snatched headline of dispossession and grief. While the Blak dolls are a paradigm that Deacon uses to represent the “collective lives” of Aborigines under the heal of a repressive regime, no idea is ever investigated fully for the viewer is only given a snippet of information. Holistically, these snippets add up to a terrible indictment of a dominant race lording it over a vanquished one.

“Marcia Langton once described Destiny Deacon’s work as a ‘barometer of postcolonial anxiety’.” Personally, I don’t feel any sense of postcolonial anxiety when I look at Deacon’s work. I just feel sad, very sad and guilty. Sad for the invasion, sad and guilty for the lives lost, dispossession, poor health, shorter life spans, racism and inequality, the ongoing discrimination and neglect. It’s like sticking the knife in over and over again. I so wish it was different. We KNOW, if we are informed sentient beings, the injustices that Aboriginal people suffered and continue to suffer. As Deacon says, there is no excuse for ignorance. But this is preaching to the converted. How many Joe Public will come and see this exhibition to be informed and to change their mind? As a friend of mine succinctly said, “Don’t come to this exhibition if you don’t want your racism challenged.” Many will not bother. For others this will be a confronting exhibition. And in all this reclaiming of Aboriginalia, all this confrontation, all this looking back, the dredging up of every little inequality – it leaves me thinking: what is the future, where is the positiveness, where is the forward looking cultural creativity of a great people?

I believe that this contemporary reconceptualisation of history from a singular standpoint – that of a unified Ab/original people represented by Blak dolly – is pure hokum. Aboriginal culture is made up of many mobs, many voices, reflecting the difference in backgrounds and experiences of different communities which come together in diversity to present “a statement about the unity of Aboriginal people, the defiant continuity of their cultural traditions and the personal search of many individual artists for their own Aboriginal identity.”1 In this exhibition, where are the homosexual Aboriginals, the lesbian Aboriginals, the transgender Sista Girls, or an investigation into interracial marriages that are loving and kind, instead of just more and more works that reinforce injustices (of history) in the here and now, through the dis/embodied plastic body of a silent doll. Where is the positivity for the future, for example an acknowledgement of the thousands of people that attended Invasion Day rallies this year?

Collectively, the exhibition powerfully questions the processes of a problematic cultural assimilation using repurposed Aboriginalia but today Aboriginal identities, like all identities, are in a state of transformation and flux. I look at the work of contemporary African artists and I see joy, hope, colour, movement, new identities, new sites of conceptualisation in the evolving struggle to engage new definitions of nationhood in relation to the autonomous, self-governing body. They acknowledge history, discrimination, the struggle for freedom, but are more forward looking, more engaged with the possibilities of the future rather than the deficits of the past expressed in the inequalities of the present. When is a positive voice of embodied (not disembodied, decapitated) Ab/origin going to emerge in contemporary art?

Dr Marcus Bunyan

 

  1. Jennifer Isaacs. “Introduction,” in Jennifer Isaacs (ed.,). Aboriginality: Contemporary Aboriginal Paintings and Prints. University of Queensland Press, 1996, p. 8.

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Many thankx to the NGV for allowing me to publish some of the photographs in the posting. All the other images, as noted, are iPhone images of the exhibition by Marcus Bunyan. Please click on the photographs for a larger version of the image.

 

Destiny Deacon is one of Australia’s boldest and most acclaimed contemporary artists. In the largest retrospective of her work to date, DESTINY marks the artist’s first solo show in over 15 years. Featuring more than 100 multi-disciplinary works made over a 30-year period, the exhibition includes the premiere of newly-commissioned works. Numerous early video works created with the late Wiradjuri / Kamilaroi photographer Michael Riley and West Australian performance artist Erin Hefferon are also on display.

A descendant of the Kuku and Erub / Mer people from Far North Queensland and Torres Strait, Deacon is internationally known for a body of work depicting her darkly comic, idiosyncratic worldview. Offering a nuanced, thoughtful and, at times, intensely funny snapshot of contemporary Australian life, Deacon reminds us that ‘serious’ art can also have a sense of humour.

Melbourne-based, Deacon works across photography, video, sculpture and installation to explore dichotomies such as childhood and adulthood, comedy and tragedy, and theft and reclamation. Her chaotic worlds, where disgraced dolls play out sinister scenes for audience amusement, subvert cultural phenomena to reflect and parody the environments around us.

 

 

Installation view of Destiny Deacon and Virginia Fraser's 'Abi see da classroom' 2006

 

Installation view of Destiny Deacon and Virginia Fraser’s Abi see da classroom 2006 on display in DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020
Photo: Tom Ross

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) Virginia Fraser (Australian) 'Abi see da classroom' 2006 (still)

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) Virginia Fraser (Australian) 'Abi see da classroom' 2006 (still)

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) Virginia Fraser (Australian) 'Abi see da classroom' 2006 (still)

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957)
Virginia Fraser (Australian, d. 2021)
Abi see da classroom (stills)
2006
10 min. sound
National Gallery of Victoria
Photos: Marcus Bunyan

 

 

Abi see da classroom

For the fiftieth anniversary of the Australian Broadcasting Commission (ABC), Destiny Deacon and her long-time collaborator Virginia Fraser were given unrestricted access to the ABC’s archive, possibly the most significant collection of film and television held in Australia. By searching for any keywords that started with ‘Aborigin’ they were able to uncover a large assortment of videos.

In this installation, two CRT television screens play alongside each other, creating a mashup of noise and black-and-white moving images. The television on the right shows archival footage of Aboriginal children attending school, reading and playing musical instruments, while the television on the left presents a series of short clips of people in varying degrees of blackface. Switching from uncomfortable to distasteful, to overtly racist, the two channels juxtapose extreme versions of how Aboriginal people have historically been depicted on television. The footage is problematic and offensive; though, some might say ‘it was a different time’. The flashback to the 1950s prompts audiences to consider Australia’s legacy of televised racism and poses the question: how far have we actually come?

 

Installation view of Destiny Deacon's 'Blak lik mi' 1991

 

Installation view of Destiny Deacon’s Blak lik mi 1991 on display in DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020
Photo: Tom Ross

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'Blak lik mi' 1991

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957)
Blak lik mi
1991, printed 1995
Exhibition version printed 202
Colour laser print from Polaroid original
80.0 x 100.0 cm
National Gallery of Victoria, Melbourne
© Destiny Deacon

 

 

Blak lik mi

Historically photography has been used as a tool to categorise and document Aboriginal people and their lives. In this work Destiny Deacon reclaims three images taken from a 1960s reproduction of a 1957 Axel Poignant photograph, from his photo essay, originally titled Picaninny Walkabout, later renamed Bush Walkabout. Deacon turns the colonial gaze back on the coloniser, photographing the photograph, and subverting her position as both subject and photographer.

The title Blak lik mi is a reference to John Howard Griffin’s autobiographical novel, Black Like Me, in which Griffin took large doses of an anti-vitiligo drug and spent hour daily under an ultraviolet lamp in order to change the appearance of his skin so that he ‘passed’ as Black. Deacon’s work offers a window into her own interrogation about what constitutes her Aboriginal identity. On this, Deacon often jokes that she ‘took the c, out of black little c**t’. Rude words beginning with ‘c’, of which there are many, are often used as offensive slights, and Deacon recalls being taunted with these words as a child.

‘Blak’, unlike ‘Black’, was Deacon’s way of self-determining her identity, and originating a version of the self that comes entirely from within. The legacy of this work has been massive. Countless Aboriginal people now self-determine their identity as Blak, so much so that a Google search of ‘Blak’ returns a nearly all Australian Indigenous search result.

 

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020

 

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020
Photo: Tom Ross

 

Installation view of 'DESTINY' at The Ian Potter Centre: NGV Australia, Melbourne, 2020

 

Installation view of Destiny Deacon’s Me and Virginia’s doll (Me and Carol) 1997 at left, Last laughs 1995 at centre, and Where’s Mickey 2002 at right, on display in DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'Me and Virginia's doll (Me and Carol)' 1997

 

Destiny Deacon (Australian, Kuku/Erub/Mer b. 1957)
Me and Virginia’s doll (Me and Carol)
1997, printed 2020
Lightjet print from Polaroid original

 

 

Destiny Deacon began her professional career in photography in her late thirties as a way to express herself and her political beliefs. A self-taught artist, Deacon is primarily known for her photographs and videos where she subverts familiar icons with humour and wit. Often when Deacon photographs people she poses them like paintings. In this image, Deacon presents herself as Frida, staging the image as an homage to Kahlo’s 1937 painting Me and my doll.

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'Last laughs' 1995

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957)
Last laughs
1995
Lightjet photograph from Polaroid photograph
80.0 x 100.0 cm
Courtesy of the artist
© Destiny Deacon

 

 

In this image Deacon both reclaims and ridicules a genre of colonial photography, which historically depicted Aboriginal women as a highly sexualised or exotic ‘other’. In the nineteenth century it was commonplace for Aboriginal women to appear naked in ethnographic photographs that were mass reproduced and distributed as souvenirs around the world. In Last laughs three Blak women pose for the camera, limbs intertwined, performing their sexuality. Unlike in the colonial photography it references, the subjects in this work are the ones in control.

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'Where's Mickey?' 2002

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957)
Where’s Mickey?
2002, printed 2016
Exhibition version printed 2020
Lightjet print from Polaroid original
National Gallery of Victoria, Melbourne

 

 

Where’s Mickey? plays on the Australian slang phrase ‘Mickey Mouse’, used to refer to something that is substandard, poorly executed or amateurish. Mickey Mouse is also the archetypal figure of an (often white) American consumerist culture. In this portrait of Luke Captain, Deacon pokes fun at the cartoon icon, suggesting his animated spirit has possessed the body of an Aboriginal Australian man, who is dressed as a woman.

 

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020

 

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020 showing at left, Where’s Mickey? 2002, and at right Meloncholy 2000
Photo: Tom Ross

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'Meloncholy' 2000

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957)
Meloncholy
2000
From the Sad & Bad series
Lightjet photograph from Polaroid photograph
80.0 x 100.0cm
Courtesy of the artist
© Destiny Deacon

 

 

In 1970 African-American film director, Melvin Van Peebles released Watermelon Man, a movie in which a fictional, white insurance salesman wakes up one morning only  to discover he has turned Black overnight. The film is inspired by John Howard Griffin’s autobiographical novel, Black Like Me. In this image Deacon gives the watermelon a double meaning. The emptied peel of the melon cradles the doll’s body, kind of like the coolamon [Coolamon is an anglicised NSW Aboriginal word used to describe an Australian Aboriginal carrying vessel], but it is also a fruit that has been severed from its skin. She challenges the relationship between identity, skin colour, and how the world perceives and responds to both Blackness and Blakness.

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'Adoption' 2000 (installation view)

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957)
Adoption (installation view)
2000; printed 2020
Lightjet print from Polaroid original
Purchased, Victorian Foundation for Living Australian Artists, 2016; copy printed 2020
Photo: Marcus Bunyan

 

 

In this image Destiny Deacon has placed a collection of plastic, black toy babies into paper cupcake shells. Titled Adoption, this work directly references Australia’s shameful history of government-sanctioned Aboriginal child removal. In addition, Adoption also pokes fun at the deeply offensive misnomer of the nineteenth century that Aboriginal mothers were both infanticidal, as well as cannibals of their newborns. Deacon describes how she came to collect dolls, saying ‘in the beginning I wanted to rescue them, because otherwise they’d end up in a white home or something, somewhere no one would appreciate them’.

 

 

Destiny Deacon, one of Australia’s boldest and most acclaimed contemporary artists, will be celebrated in her largest retrospective to date opening at the National Gallery of Victoria on 23 November 2020.

DESTINY will mark Deacon’s first solo show in over 15 years, featuring more than 100 multi-disciplinary works made over a 30-year period, and including the premiere of newly-commissioned works created with the artist and her long-term collaborator Virginia Fraser. The exhibition will also feature a number of early video works created with the late Wiradjuri / Kamilaroi photographer Michael Riley and West Australian performance artist Erin Hefferon.

A descendant of the Kuku and Erub / Mer people from Far North Queensland and Torres Strait, Deacon is internationally known for a body of work depicting her darkly comic, idiosyncratic world view. Offering a nuanced, thoughtful and, at times, intensely funny snapshot of contemporary Australian life, Deacon reminds us that art can have both pathos and humour.

Melbourne-based, Deacon works across photography, video, sculpture, and installation to explore dichotomies such as childhood and adulthood, comedy and tragedy, and theft and reclamation. Her chaotic worlds, where disgraced dolls play out sinister scenes for audience amusement, subvert cultural phenomena to reflect and parody the environments around us.

Featuring early videos which mock negative stereotypes of Aboriginal Australians – Home video 1987, Welcome to my Koori world 1992, I don’t wanna be a bludger 1999 – the exhibition will also feature an installation of a lounge room housing Deacon’s own collection of ‘Koori kitsch’. Deacon and Fraser’s highly acclaimed installation Colourblinded 2005 will also be on display. A powerful combination of photographs, sculptures, and video projections, this interactive work leaves the viewer both literally and metaphorically ‘colourblinded’.

“Featuring new NGV commissions and some of the highlights of Deacon’s 30-year career, the retrospective DESTINY pays tribute to an artist who has been challenging audiences for more than 30 years,” said Tony Ellwood AM, Director, National Gallery of Victoria. “Destiny Deacon has never shied away from confronting our country’s difficult history and her work continues to make a vital contribution to Australian cultural discourse,” said Ellwood.

Press release from the National Gallery of Victoria

 

 

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020 showing at second right, Meloncholy 2000 and at right, Over the fence 2000
Photo: Tom Ross

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'Over the fence' 2000 (installation view)

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957)
Over the fence (installation view)
2000, printed 2000
Exhibition version printed 2020
From the Sad & Bad series
Lightjet print from Polaroid original
Purchased, Victorian Foundation for Living Australian Artists, 2016
Photo: Marcus Bunyan

 

 

The nostalgic qualities in Deacon’s poignant photograph Over the fence reinforce a narrative familiar to many Aboriginal people. Two segregated dollies peer at each other across a suburban, wooden fence, leaving the audience wondering who is fenced in, and who is fenced out? The image illustrates an ‘us’ and ‘them’ mentality towards race, which many Aboriginal people would recognise beneath this seemingly ‘friendly’ neighbourhood encounter.

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'Portrait of Peter Blazey, writer' 2004 (installation view)

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957)
Portrait of Peter Blazey, writer (installation view)
2004, printed 2020
Lightjet print from Polaroid original
Photo: Marcus Bunyan

 

 

Peter Blazey, journalist, author and gay activist.

Blazey was born in Melbourne in 1939 and worked for The Australian, the National Times and as a regular columnist for OutRage, a gay magazine. He published a number of books, including a political biography of Henry Bolte, and was co-editor of the short fiction anthology, Love Cries. His personal memoir, Screw Loose, appeared after his death from AIDS in 1997.

“Peter was someone with a lion’s head of loose ends that could never fit into some ideologically sound and tidy space. Storyteller, mythomane, and one of the last great conversationalists in a country wary of the free flow of uncensored language, he was a comet who flashed his tail at everyone.” – Tim Herbert, OutRage, 1997.

Text from the University of Melbourne Scholarship website [Online] Cited 29/01/2021

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'Portrait of Gary Foley, activist' 1995 (installation view)

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957)
Portrait of Gary Foley, activist (installation view)
1995, printed 2020
Lightjet print from Polaroid original
Photo: Marcus Bunyan

 

 

Often in Deacon’s portrait photography, sitters are posed like those in paintings. In these three images, Deacon presents Gary Foley, an Aboriginal Gumbainggir activist, academic, writer and actor; Peter Blazey, the late journalist, author and gay activist; and Richard Bell, and activist and artist of the Kamilaroi, Kooma, Jiman and Gurang Gurang communities. All three men are posed in a near identical way to the 1932 painting The boy at the basin by Australian landscape and portrait artist William Dobell.

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'My boomerang did come back' 2003 (installation view)

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957)
My boomerang did come back (installation view)
2003, printed 2020
Lightjet photograph from Polaroid photograph
80.0 x 100.0 cm
Courtesy of the artist
© Destiny Deacon
Photo: Marcus Bunyan

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'My boomerang did come back' 2003

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957)
My boomerang did come back
2003, printed 2020
Lightjet photograph from Polaroid photograph
80.0 x 100.0 cm
Courtesy of the artist
© Destiny Deacon

 

 

This image is a reference to Charlie Drake’s 1961 song ‘My Boomerang Won’t Come Back’. Drake sings in a halting and staccato manner, wildly grunting ‘ho’ and ‘ugh’ as he narrates the story of an effeminate young Aboriginal boy named Mac, who has been banished from his tribe because he is ‘a big disgrace to the Aborigine [sic] race’ because his ‘boomerang won’t come back’. A single hand (Lisa Bellear’s) reachers upward, grasping a bloody boomerang in front of a black background. Deacon suggests that Drake, whose song is at best a kind of vaudevillian blackface, has assassinated himself.

 

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957)
Hear come the judge (installation view)
2006
Exhibition version printed 2020
Lightjet print from Polaroid original
Photo: Marcus Bunyan

 

 

Deacon references the 1968 comedic funk song ‘Here Comes the Judge’ by American entertained Dewey ‘Pigmeat’ Markham, which is regarded by many to be the first recorded hip-hop song. Markham’s lyrics ridicule the formalities of courtroom etiquette by painting a picture of a make-believe world where justice is in the hands of Black people. Deacon’s photograph uses humour to disarm and interrogate something that is inherently unfunny. The Blak / Black judge is only comical because it is supposedly unbelievable, a notion Deacon challenges audiences to reconsider.

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'Border patrol' 2006 (installation view)

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957)
Border patrol (installation view)
2006, printed 2020
Lightjet print from Polaroid original
Photo: Marcus Bunyan

 

 

“And they figured a dispossessed people as racial types, suggesting that authentic Aboriginal identity was purely tribal and something to be trivialised as curios and knick-knacks…

But the figurines of a racialised people, of warriors, beautiful girls and adorable children, took this interest into a different realm of curiosity, namely objectification.

Elder women, who were often savagely vilified in popular newspapers as “unsightly frights”, never appear among these figurines. Lithe young women, deep-chested warrior tribesmen, dignified elder “noble savages” and sweetly smiling “piccaninnies” were particularly prized. In the early prints of artists Peg Maltby and Brownie Downing, endearing Aboriginal children are orphaned by the bush rather than being at home in the country of their birthright. They find playmates with baby native animals but are divested of family and community. They seem to be crying out for the care that only the state, it was thought, could properly provide. …

The figures found in Aboriginalia evoke a troubling presence, in which visual appeal, sometimes libidinal, stands in for the profound ambivalence at the heart of settler-colonialism, which has benefited from the violent dispossession of a people.

While townships were campaigning to exclude Aboriginal kids from schools, families from housing and adults from pubs, these nostalgic, perplexing images were being taken into white homes in the form of bric-a-brac.

Sociologist Adrian Franklin has described the “semiotic drenching” of souvenirs with Aboriginal motifs and argues “these objects became ‘repositories of recognition’ of what was often entirely absent, denied or undermined in the everyday political and policy spheres”.

These objects, he suggests, gave some expression to the sadness surrounding dispossession and removal. In more recent years, Indigenous artists such as Destiny Deacon and Tony Albert have repurposed Aboriginalia.

Thus it is finally being historicised, interpreted and recast through Aboriginal eyes.

Deacon uses dolls and kitsch ephemera from her own extensive collection to turn the tables on the uncritical consumption of racist imagery. In one of her best backhanders, she puts plastic, black babies in cupcake shells and titles the photograph Adoption.”

Extract from Dr Liz Conor. “Friday essay: the politics of Aboriginal kitsch,” on The Conversation website March 3, 2017 [Online] Cited 29/01/2021 CC

 

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020

 

Installation views of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020 showing at right Border patrol 2006
Photos: Tom Ross

 

Installation view of 'DESTINY' at The Ian Potter Centre: NGV Australia, Melbourne, 2020

 

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020 showing at second left, Heart broken 2006, and at fourth from left,
Photo: Marcus Bunyan

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'Heart broken' 2006

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957)
Heart broken
2006
Lightjet photograph from Polaroid photograph
80.0 x 100.0cm
Courtesy of the artist
© Destiny Deacon

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'Ask your mother for sixpence' 1995

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957)
Ask your mother for sixpence
1995
Lightjet photograph from Polaroid photograph
80.0 x 100.0cm
Courtesy of the artist © Destiny Deacon

 

 

This image takes its name from a cheeky nursery rhyme Deacon recalls learning when living in Port Melbourne as a child. The playful limerick teases audiences with the threat of a rude word: ‘Ask your mum for sixpence, to see the big giraffe, pimples on his whiskers, and pimples on his – ask your mum for sixpence’. The work was originally displayed in juxtaposition with a photograph of a half-built Crown Casino in Melbourne, challenging audiences to consider the dynamic between the main character, a Blak woman working in service sweeping up coins, and the multinational gambling corporation.

 

Installation view of Destiny Deacon and Michael Riley's 'I don't wanna be a bludger' 1999

Installation view of Destiny Deacon and Michael Riley's 'I don't wanna be a bludger' 1999

 

Installation views of Destiny Deacon and Michael Riley’s I don’t wanna be a bludger 1999 on display in DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020. Photos: Tom Ross

 

Installation view of Destiny Deacon and Michael Riley's 'I don't wanna be a bludger' 1999

 

Wall text

 

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020

 

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020 with at left, Whitey’s watching 1994; and at right, Moomba princess and Moomba princeling (both 2004)
Photo: Tom Ross

 

Installation view of 'DESTINY' at The Ian Potter Centre: NGV Australia, Melbourne, 2020

 

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020 showing at centre, Moomba princess and Moomba princeling (both 2004), and at right Thought cone (A-F) 1997
Photo: Marcus Bunyan

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'Moomba princess' 2004 (installation view)

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957)
Moomba princess (installation view)
2004, printed 2020
Lightjet print from Polaroid original
Photo: Marcus Bunyan

 

 

Moomba princess and Moomba princeling show Deacon’s young niece and nephew dressed in the robes and regalia of Moomba sovereigns. Moomba is an annual parade and community festival held in Melbourne, which each year crowns a ‘Moomba monarch’. The portraits reference Elizabethan Armada portraiture, a style of painting which first depicted the Tudor queen seated in royal garb and surrounded by symbols against a backdrop depicting the defeat of the Spanish Armada in 1588. At first glance, the Moomba portraits can be read as innocent children playing dress ups, but by presenting two Aboriginal models in this type of colonial ceremonial dress, Deacon challenges audiences to consider the legacy and impact of British invasion.

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'Moomba princeling' 2004 (installation view)

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957)
Moomba princeling (installation view)
2004, printed 2020
Lightjet print from Polaroid original
Photo: Marcus Bunyan

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) Thought cone (A-F) 1997 (installation view detail)

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) Thought cone (A-F) 1997 (installation view detail)

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957)
Thought cone (A-F) (installation view details)
1997, printed 2020
Lightjet print from Polaroid original
Photos: Marcus Bunyan

 

Installation view of Destiny Deacon's 'Whitey's watching' 1994

 

Installation view of Destiny Deacon’s Whitey’s watching 1994 on display in DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020
Photo: Tom Ross

 

 

Installation view of Destiny Deacon’s Whitey’s watching 1994 on display in DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020
Photo: Marcus Bunyan

 

 

For more than thirty years Destiny Deacon has forged a path as an international artist with a distinct brand of artistic humour unlike any other. Descended from the Kuku and Erub / Mer peoples of Far North Queensland and the Torres Strait, Deacon has been living and working in Melbourne since she arrived here as a small child.

Deacon’s work sits in the uncomfortable but compelling space between comedy and tragedy, and contrasts seemingly innocuous childhood imagery with scenes from the dark side of adulthood. She actively resists interpretation and so called ‘art speak’, instead choosing to let her work speak for itself. The more we look, the greater we understand that the world Deacon conjures is a complex one. Drawing from her vast collection of Aboriginalia, Deacon interrogates the way in which Aboriginal people have been, and continue to be, misrepresented within popular culture. Decapitated, amputated, pants down, tied up, trapped in a blizzard or flying through the air, the characters in Deacon’s world both reflect and parody the one in which we live.

 

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020

 

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020 showing at right, Regal eagles (A-B) 1994
Photo: Tom Ross

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'Regal eagles (A-B)' 1994 (installation view)

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'Regal eagles (A-B)' 1994 (installation view)

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'Regal eagles (A-B)' 1994 (installation view)

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957)
Regal eagles (A-B) (installation views)
1994, printed 2020
Lightjet print from Polaroid original
Photos: Marcus Bunyan

 

 

Academic, historian and Indigenous rights activist Marcia Langton once described Destiny Deacon’s work as a ‘barometer of postcolonial anxiety’. This diptych combines two congruent images: the photo on the left shows a pair of young, white boys holding plastic Union Jacks and eating in front of a disregarded, spread-eagled Black doll. The image on the right shows another Black dolly in a Koori flag T-shirt pinned onto a board surrounded by appropriated Aboriginalia. As always in Deacon’s work, the dolls possess a liveliness and personality, making the violence enacted on to them all the more confronting.

 

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020

 

Installation views of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020
Photos: Tom Ross

 

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020 showing Destiny Deacon and Virginia Fraser's Melbourne Noir 2013

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020 showing Destiny Deacon and Virginia Fraser's Melbourne Noir 2013

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020 showing Destiny Deacon and Virginia Fraser's Melbourne Noir 2013

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020 showing Destiny Deacon and Virginia Fraser's Melbourne Noir 2013

 

Installation views of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020 showing Destiny Deacon and Virginia Fraser’s Melbourne Noir 2013
Photos: Tom Ross

 

 

Adapting the quotidian formats of snapshot photography, home videos, community TV and performance modes drawn from vaudeville and minstrel shows, Deacon’s artistic practice is marked by a wicked yet melancholy comedic and satirical disposition. In decidedly lo-fi vignettes, friends, family and members of Melbourne’s Indigenous community appear in mischievous narratives that amplify and deconstruct stereotypes of Indigenous identity and national history. For Melbourne Now, Deacon and Fraser present a trailer for a film noir that does not exist, a suite of photographs and a carnivalesque diorama. The pair’s playful political critiques underscore a prevailing sense of postcolonial unease, while connecting their work to wider global discourses concerned with racial struggle and cultural identity.

Text from Exhibition: ‘Melbourne Now’ at the National Gallery of Victoria, Melbourne, Part 1

 

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020 showing Destiny Deacon and Virginia Fraser's Melbourne Noir 2013

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020 showing Destiny Deacon and Virginia Fraser's Melbourne Noir 2013

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020 showing Destiny Deacon and Virginia Fraser's Melbourne Noir 2013

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020 showing Destiny Deacon and Virginia Fraser's Melbourne Noir 2013

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020 showing Destiny Deacon and Virginia Fraser's Melbourne Noir 2013

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020 showing Destiny Deacon and Virginia Fraser's Melbourne Noir 2013

Installation view of 'DESTINY' at The Ian Potter Centre: NGV Australia, Melbourne, 2020 showing Destiny Deacon and Virginia Fraser's 'Melbourne Noir' 2013

 

Installation views of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020 showing Destiny Deacon and Virginia Fraser’s Melbourne Noir 2013
Photos: Marcus Bunyan

Digital prints, Digital prints on plywood, wood, gelatin silver photographs, high-definition video, sound
National Gallery of Victoria, Melbourne

 

Wall text

 

Wall text

 

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020

 

Installation views of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020 showing in the foreground Snow storm 2005
Photos: Tom Ross

Colour Blinded

Man & doll (a)
Man & doll (b)
Man & doll (c)
Baby boomer
Back up
Pacified
2005, printed 2020
Lightfoot print from orthochromatic film negative

 

Wall text

 

Wall text

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) Virginia Fraser (Australian) 'Snow storm' 2005 (installation vie

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) Virginia Fraser (Australian) 'Snow storm' 2005 (installation vie

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) Virginia Fraser (Australian) 'Snow storm' 2005 (installation vie

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957)
Virginia Fraser (Australian)
Snow storm (installation views)
2005
Golliwogs, polystyrene and perspex cube
National Gallery of Victoria, Melbourne
Photos: Marcus Bunyan

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'Man & doll' 2005 (installation view detail)

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'Man & doll' 2005 (installation view detail)

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957)
Man & doll (installation view details)
2005, printed 2020
Lightfoot print from orthochromatic film negative
Photos: Marcus Bunyan

 

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020

 

Installation views of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020 Destiny Deacon and Virginia Fraser’s Koori lounge room 2021
Photos: Tom Ross

 

Wall text

 

Wall text

 

Installation views of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020

Installation views of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020

Installation views of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020

Installation views of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020

 

Installation views of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020 showing Destiny Deacon and Virginia Fraser’s Koori lounge room 2021
Photos: Marcus Bunyan

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'Ebony and Ivy face race' 2016 (installation view)

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957)
Ebony and Ivy face race (installation view)
2016, printed 2020
Lightjet print
Photo: Marcus Bunyan

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) Sand minding / Sand grabs 2017 (installation view)

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) Sand minding / Sand grabs 2017 (installation view detail)

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957)
Sand minding / Sand grabs (installation views)
2017, printed 2020
Inkjet print from digital image on archival paper
Photos: Marcus Bunyan

 

 

More than half of all mining projects in Australia are in close proximity to Indigenous communities. This relationship has long been, and continues to be, the source of much debate. In this work Deacon condemns the violence committed by the sand mining industry on the ecosystem, the land and its people. A latex-gloved hand makes an incision in a bag of soil, destructively releasing the sand inside. The white hand grasps the contents and takes a handful. Two disturbing characters look on with a seemingly perplexed expression, perhaps inviting us to consider the consequences of mining.

 

Installation views of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020

 

Installation views of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020 showing at left, Arrears windows 2009; at centre, Sand minding / Sand grabs 2017; and in the background Koori lounge room 2021

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'Arrears windows' 2009

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957)
Arrears windows
2009
From the series Gazette
Inkjet print from digital image on archival paper
60.0 x 80.0cm
Courtesy of the artist
© Destiny Deacon

 

 

Gazette

Gossip walks
Look out!
Action men
Arrears windows
Come on in my kitchen

In 2009 Deacon produced the series Gazette. These now eerily familiar scenes appear like vignettes, offering windows into the lives of those living inside Melbourne’s public housing towers. Recent scenes from the news are echoed in Arrears windows, which shows Deacon’s collection of black and brown dolls crammed into yellow plastic tubs. The series draws attention to the individual lives and struggles of residents within these buildings, while also reminding viewers of the often-overcrowded conditions these residents live in. Each image brings to light Deacon’s idiosyncratic take on current global and national events with her semi-autobiographical edge.

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'Action men' 2009

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957)
Action men
2009
From the series Gazette
Inkjet print from digital image on archival paper
80.0 x 60cm
Courtesy of the artist
© Destiny Deacon

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'Dolly eyes' (A-H) 2020 (installation view)

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'Dolly eyes' (A-H) 2020 (installation view detail)

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'Dolly eyes' (A-H) 2020 (installation view detail)

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957)
Dolly eyes (A-H)
2020
Lightjet print
Photos: Marcus Bunyan

 

 

A doll with piercing blue eyes and dark brown skin is among the unblinking, manic faces that make up Destiny Deacon’s most recent series, Dolly Eyes, 2020. While people of colour can and do have an array of different-coloured eyes, blue eyes are often seen as a signifier of whiteness. Deacon’s tightly cropped images reduce these dollies to just eyes and skin tone, highlighting the problematic nature of using physical features to signify of racial identity.

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'Dolly lips (A-E)' 2017

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957)
Dolly lips (A-E)
2017, printed 2020
Lightjet print
Photo: Tom Ross

 

 

Dolly lips extracts surprising expressions from some of Deacon’s regular models. Some of these dolls have been posing for Deacon for decades, but these sensitive and suggestive images show them in a new light.

 

Installation view of Destiny Deacon's 'Smile' 2017

 

Installation view of Destiny Deacon’s Smile 2017 on display in DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020
Photo: Tom Ross

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'Smile' 2017

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957)
Smile
2017
Exhibition version printed 2020
Lightjet photograph from Polaroid photograph
80.0 x 100.0 cm
National Gallery of Victoria, Melbourne
Purchased, Victorian Foundation for Living Australian Artists, 2016
© Destiny Deacon

 

 

Deacon undercuts our trust in the innocuous smiley face emoji and prompts the viewer to look more closely at the everyday symbols that proliferate in our lives. The dolls appear decapitated, but perhaps even more ominously the disembodied heads are actually poking through a yellow sheet. Deacon uses an op-shop boomerang to complete the smile. When broken down, the individual features that make up the happy face are all racially charged. However, when viewed at a glance, all people see is the familiar smiley face emoji.

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'Oz Games – Under the spell of the tall poppies' 1998

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957)
Oz Games – Under the spell of the tall poppies
1998
Lightjet photograph from Polaroid photograph
80.0 x 100.0cm
Courtesy of the artist
© Destiny Deacon

 

 

In the lead-up to the Sydney 2000 Olympics, Deacon produced Oz, a series of works parodying the 1939 film The Wizard of Oz. In the original film, Dorothy Gale is swept away from a farmhouse in Kansas to the magical land of Oz. In this series, Deacon transforms the journey undertaken by the original characters into a contemporary recognition of Aboriginality. Dorothy, now known as the ‘traveller’, appears alongside a ‘sad’ tin man, a ‘slow’ scarecrow in blackface and a ‘scared’ cowardly lion. The character’s quest for self-realisation resembles the personal journeys many Aboriginal people go through every day.

 

Installation views of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020

 

Installation views of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020 showing at right, On reflection 2019

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'On reflection' 2019

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957)
On reflection
2019
Lightjet print
100.0 x 80.0cm
Collection of the artist
© Destiny Deacon, courtesy Roslyn Oxley9 Gallery, Sydney

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'Escape – From the whacking spoon' 2007

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957)
Escape – From the whacking spoon
2007
Lightjet photograph from Polaroid photograph
80.0 x 100.0cm
Courtesy of the artist
© Destiny Deacon

 

 

Whacked

Escape – from the whacking spoon
Whacked to sleep (B)
Fence sitters (A)
The goodie hoodie family
Waiting for the bust
Whacked & coming home

2007, printed 2020
Lightjet print

This series of photographs references familiar imagery from news media and contemporary culture, making a link between themes of terrorism, surveillance, suppression and Australian nationalism. Playing with stereotypes, Deacon and her friends have masked themselves in long johns with disturbing painted faces. The images use sinister humour to highlight shared similarities between fanatics around the world.

 

Installation view of 'Postcards from Mummy' 1998

Installation view of 'Postcards from Mummy' 1998

 

Installation view of Postcards from Mummy 1998 on display in DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020
Photo: Tom Ross

 

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020

 

Installation view of DESTINY at The Ian Potter Centre: NGV Australia, Melbourne, 2020 showing at left Dolly eyes (A-H) 2020; and at right, Blak 2020
Photo: Tom Ross

 

 

Throughout her career, this cast of characters has become central to Deacon’s practice, as has her subversive use of language. For Deacon, language, and in particular spelling, has provided an opportunity to reframe and assert her identity on her own terms. In its deceptive simplicity the recasting of ‘Black’ to ‘Blak’ resonated with Aboriginal communities everywhere. What started as Deacon asserting her personal identity as a Kuku / Erub / Mer woman, has since morphed into a Community-owned declaration of Aboriginal pride. It is fitting to conclude this exhibition with a singular photographic work: the letters b-l-a-k emblazoned across the surface with seventeen of Deacon’s regular dolly models.

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957) 'Blak' 2020 (installation view)

 

Destiny Deacon (Kuku/Erub/Mer b. Australia 1957)
Blak (installation view)
2020
Light jet print
Photo: Marcus Bunyan

 

 

The Ian Potter Centre: NGV Australia

Federation Square
Corner of Russell and 
Flinders Streets, Melbourne

Opening hours:
Daily 10am – 5pm

National Gallery of Victoria website

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26
Nov
13

Exhibition: ‘Melbourne Now’ at the National Gallery of Victoria, Melbourne, Part 1

Exhibition dates: 22nd November 2013 – 23rd March 2014

 

Ross Coulter. '10,000 paper planes – aftermath (1)' 2011 (installation view)

 

Ross Coulter (Australian, b. 1972)
10,000 paper planes – aftermath (1) (installation view)
2011
National Gallery of Victoria, Melbourne
Photo: Marcus Bunyan

 

 

This is the first 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 the NGV International venue in St Kilda Road. The second part of the posting features photographs of work at NGV Australia: The Ian Potter Centre at Federation Square. Melbourne Now celebrates the latest art, architecture, design, performance and cultural practice to reflect the complex cultural landscape of creative Melbourne.

 

Keywords

Place, memory, anxiety, democracy, death, cultural identity, spatial relationships.

 

The best

Daniel Crooks An embroidery of voids 2013 video.

 

Highlights

Patricia Piccinini The Carrier 2012 sculpture; Mark Hilton dontworry 2013 sculpture.

 

Honourable mentions

Stephen Benwell Statues various dates sculpture; Rick Amor mobile call 2012 painting; Destiny Deacon and Virginia Fraser Melbourne Noir 2013 installation.

 

Disappointing

The weakness of the photography. With a couple of notable exceptions, I can hardly recall a memorable photographic image. Some of it was Year 12 standard.

 

Low points

  • The lack of visually interesting and beautiful art work – it was mostly all so ho hum in terms of pleasure for the eye
  • The preponderance of installation / design / architectural projects that took up huge areas of space with innumerable objects
  • The balance between craft, form and concept
  • Too much low-fi art
  • Too much collective art
  • Little glass art
  • Weak third floor at NGV International
  • Two terrible installations on the ground floor of NGVA

 

Verdict

As with any group exhibition there are highs and lows, successes and failures. Totally over this fad for participatory art spread throughout the galleries. Too much deconstructed / performance / collective design art that takes the viewer nowhere. Good effort by the NGV but the curators were, in some cases, far too clever for their own (and the exhibitions), good. 7/10

Dr Marcus Bunyan

.
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.

 

 

“Although the word “new” recurs like an incantation in the catalogue essays many exhibits are variations on well-worn themes. The trump cards of Melbourne Now are bulk and variety… It’s astonishing that curators still seem to assume that art which proclaims its own radicality must be intrinsically superior to more personal expressions. Yet mediocrity recognises no such distinctions. Most of this show’s avant-garde gestures are no better than clichés.”

.
John Macdonald. Review of Melbourne Now. Sydney Morning Herald, Saturday 11 January, 2014

 

“A rich, inspiring critical context prevails within Melbourne’s contemporary art community, reflecting the complexity of multiple situations and the engaging reality of a culture that is always in the process of becoming. Local knowledge is of course specific and resists generalisation – communities are protean things, which elide neat definition and representation. Notwithstanding the inevitable sampling and partial account which large-scale survey exhibitions unavoidably present, we hope that Melbourne Now retains a sense of semantic density, sensory intensity and conceptual complexity, harnessing the vision and energy that lie within our midst. Perhaps most importantly, the contributors to Melbourne Now highlight the countless ways in which art is able to change, alter and invigorate the senses, adding new perspectives and modes of perceiving the world in which we live.”

.
Max Delany. “Metro-cosmo-polis: Melbourne now” 2013

 

 

Ross Coulter. '10,000 paper planes – aftermath (1)' 2011 (detail)

Ross Coulter. '10,000 paper planes – aftermath (1)' 2011 (installation view)

 

Ross Coulter
10,000 paper planes – aftermath (1)
2011
Type C photograph
156.0 x 200.0cm
National Gallery of Victoria, Melbourne
Purchased NGV Foundation, 2012
© Ross Coulter
Photo: Marcus Bunyan
Last photo: © National Gallery of Victoria

 

 

With 10,000 paper planes – aftermath (1), 2011, Coulter encountered Melbourne’s intellectual heart, the State Library of Victoria (SLV). Being awarded the Georges Mora Foundation Fellowship in 2010 allowed Coulter to realise a concept he had been developing since he worked at the SLV in the late 1990s. The result is a playful intervention into what is usually a serious place of contemplation. Coulter’s paper planes, launched by 165 volunteers into the volume of the Latrobe Reading Room, give physical form to the notion of ideas flying through the building and the mind. This astute work investigates the striking contrast between the strict discipline of the library space and its categorisation system and the free flow of creativity that its holdings inspire in the visitor.

 

Laith McGregor. 'Pong ping paradise' 2011 (installation view)

 

Laith McGregor (Australian, b. 1977)
Pong ping paradise (installation view)
2011
Private collection, United States of America
Photo: Marcus Bunyan

 

 

The drawings OK and KO, both 2013, which decorate the horizontal surfaces of two table-tennis tables and contain four large self-portraits portraying unease and concern, are more restrained. The hirsute beards of McGregor’s earlier works have evolved into all enveloping geometric grids, their hand-drawn asymmetry creating a subtle sense of distortion that contradicts the inherently flat surface of the tables.

 

Rick Amor. 'Mobile call' 2012 (installation view)

 

Rick Amor (Australian, b. 1948)
Mobile call (installation view)
2012
Private collection, Melbourne
Photo: Marcus Bunyan

 

 

Best known for his brooding urban landscapes, Amor’s work in Melbourne NowMobile call, 2012, stays true to this theme. The painting speaks to the heart of urban living in its depiction of a darkened city alleyway, with dim, foreboding lighting. A security camera on the wall surveys the scene, a lone, austere figure just within its watch. The camera represents the omnipresent surveillance of our modern lives, and an uneasy air of suspicion permeates the painting’s subdued, grey landscape. Amor’s reflections on the urban landscape are solemn, restrained and often melancholic. Quietly powerful, his work alludes to a mystery in the banality of daily existence. Mobile call is a realistic portrayal of a metropolitan landscape that opens our eyes to a strange and complex world.

 

Steaphan Paton. 'Cloaked combat' 2013 (installation view detail)

 

Steaphan Paton (Australian, Gunai and Monero Nations, b. 1985)
Cloaked combat (installation view detail)
2013
National Gallery of Victoria, Melbourne
Photo: Marcus Bunyan

 

 

Cloaked combat, 2013, is a visual exploration of the material and technological conflicts between cultures, and how these differences enable one culture to assert dominance over another. Five Aboriginal bark shields, customarily used in combat to deflect spears, repel psychedelic arrows shot from a foreign weapon. Fired by an unseen intruder cloaked in contemporary European camouflage, the psychedelic arrows rupture the bark shields and their diamond designs of identity and place, violating Aboriginal nationhood and traditional culture. The jarring clash of weapons not only illustrates a material conflict between these two cultures, but also suggests a deeper struggle between old and new. In its juxtaposition of prehistoric and modern technologies, Cloaked combat highlights an uneven match between Indigenous and European cultures and discloses the brutality of Australia’s colonisation.

 

Zoom project team. 'Zoom' 2013 (installation view detail)

Zoom project team. 'Zoom' 2013 (installation view detail)

 

Zoom project team
Curator: Ewan McEoin / Studio Propeller; Data visualisation: Greg More / OOM Creative; Graphic design: Matthew Angel; Exhibition design: Design Office; Sound installation: Marco Cher-Gibard; Data research: Serryn Eagleson / EDG Research; Digital survey design: Policy Booth
Zoom (installation view details)
2013
Photos: Marcus Bunyan

 

 

Anchored around a dynamic tapestry of data by Melbourne data artist Greg More, this exhibit offers a window into the ‘system of systems’ that makes up the modern city, peeling back the layers to reveal a sea of information beneath us. Data ebbs and flows, creating patterns normally inaccessible to the naked eye. Set against this morphing data field, an analogue human survey asks the audience to guide the future design of Melbourne through choice and opinion. ZOOM proposes that every citizen influences the future of the city, and that the city in turn influences everyone within it. Accepting this co-dependent relationship empowers us all to imagine the city we want to create together.

 

Installation view of Jon Campbell. 'DUNNO (T. Towels)' 2012 (left) and Reko Rennie 'Initiation', 2013 (right) (installation view)

 

Installation view of Jon Campbell DUNNO (T. Towels) 2012 (left) and Reko Rennie Initiation, 2013 (right)
Photo: Marcus Bunyan

 

Jon Campbell. 'DUNNO (T. Towels)' 2012 (installation view detail)

Jon Campbell. 'DUNNO (T. Towels)' 2012 (installation view detail)

 

Jon Campbell (Australian, born Northern Ireland 1961)
DUNNO (T. Towels) (installation view details)
2012
Photos: Marcus Bunyan

 

 

For Melbourne Now Campbell presents DUNNO (T. Towels), 2012, a work that continues his fascination with the vernacular culture of suburban Australia. Comprising eighty-five tea towels, some in their original condition and others that Campbell has modified through the addition of ‘choice’ snippets of Australian slang and cultural signifiers, this seemingly quotidian assortment of kitsch ‘kitchenalia’ is transformed into a mock heroic frieze in which we can discover the values and dramas of our present age.

 

Reko Rennie (Australian, Kamilaroi b. 1974) 'Initiation' 2013 (installation view)

 

Reko Rennie (Australian, Gamilaraay (Kamilaroi) b. 1974)
Initiation (installation view)
2013
Synthetic polymer paint on plywood (1-40)
300.0 x 520.0cm (overall)
Collection of the artist
© Reko Rennie, courtesy Karen Woodbury Gallery, Melbourne
Supported by Esther and David Frenkiel
Photo: Marcus Bunyan

 

 

Initiation, 2013, a mural-scale, multi-panelled hoarding that subverts the negative stereotyping of Indigenous people living in contemporary Australian cities. This declarative, renegade installation work is a psychedelic farrago of street art, native flora and fauna, Kamilaroi patterns, X-ray images and text that addresses what it means to be an urban Aboriginal person. By yoking together contrary elements of graffiti, advertising, bling, street slogans and Kamilaroi diamond geometry, Rennie creates a monumental spectacle of resistance.

 

Installation view of Reko Rennie 'Initiation', 2013 (installation view)

 

Installation view of Reko Rennie Initiation, 2013
Photo: Marcus Bunyan

 

Janet Burchill and Jennifer McCamley 'The Belief' 2004-2013 (installation view)

 

Janet Burchill (Australian, b. 1955)
Jennifer McCamley (Australian, b. 1957)
The Belief (installation view)
2004-2013
Photo: Marcus Bunyan

 

 

Shields from Papua New Guinea held in the National Gallery of Victoria’s collection provided an aesthetic catalyst for the artists to develop an open-ended series of their own ‘shields’. The Belief includes shields made by Burchill and McCamley between 2004 and 2013. In part, this installation meditates on the form and function of shields from the perspective of a type of reverse ethnography. As the artists explain:

“The shield is an emblematic form ghosted by the functions of attack and defence and characterised by the aggressive display of insignia … We treat the shield as a perverse type of modular unit. While working with repetition, each shield acts as a carrier or container for different types and registers of content, motifs, emblems and aesthetic strategies. The series as a whole, then, becomes a large sculptural collage which allows us to incorporate a wide range of responses to making art and being alive now.”

 

Janet Burchill and Jennifer McCamley. 'The Belief' 2004-2013 (installation view detail)

 

Janet Burchill (Australian, b. 1955)
Jennifer McCamley (Australian, b. 1957)
The Belief (detail)
2004-2013
Photo: Marcus Bunyan

 

 

Melbourne Now is an exhibition unlike any other we have mounted at the National Gallery of Victoria. It takes as its premise the idea that a city is significantly shaped by the artists, designers, architects, choreographers, intellectuals and community groups that live and work in its midst. With this in mind, we have set out to explore how Melbourne’s visual artists and creative practitioners contribute to the dynamic cultural identity of this city. The result is an exhibition that celebrates what is unique about Melbourne’s art, design and architecture communities.

When we began the process of creating Melbourne Now we envisaged using several gallery spaces within The Ian Potter Centre: NGV Australia; soon, however, we recognised that the number of outstanding Melbourne practitioners required us to greatly expand our commitment. Now spreading over both The Ian Potter Centre: NGV Australia and NGV International, Melbourne Now encompasses more than 8000 square metres of exhibition space, making it the largest single show ever presented by the Gallery.

Melbourne Now represents a new way of working for the NGV. We have adopted a collaborative curatorial approach which has seen twenty of our curators work closely with both external design curators and many other members of the NGV team. Committing to this degree of research and development has provided a great opportunity to meet with artists in their studios and to engage with colleagues across the city as a platform not only for this exhibition, but also for long-term engagement.

A primary aim throughout the planning process has been to create an exhibition that offers dynamic engagement with our audiences. From the minute visitors enter NGV International they are invited to participate through the exhibition’s Community Hall project, which offers a diverse program of performances and displays that showcase a broad concept of creativity across all art forms, from egg decorating to choral performances. Entering the galleries, visitors discover that Melbourne Now includes ambitious and exciting contemporary art and design commissions in a wide range of media by emerging and established artists. We are especially proud of the design and architectural components of this exhibition which, for the first time, place these important areas of practice in the context of a wider survey of contemporary art. We have designed the exhibition in terms of a series of curated, interconnected installations and ‘exhibitions within the exhibition’ to offer an immersive, inclusive and sometimes participatory experience.

Viewers will find many new art commissions featured as keynote projects of Melbourne Now. One special element is a series of commissions developed specifically for children and young audiences – these works encourage participatory learning for kids and families. Artistic commissions extend from the visual arts to architecture, dance and choreography to reflect Melbourne’s diverse artistic expression. Many of the new visual arts and design commissions will be acquired for the Gallery’s permanent collections, leaving the people of Victoria a lasting legacy of Melbourne Now.

The intention of this exhibition is to encourage and inspire everyone to discover some of the best of Melbourne’s culture. To help achieve this, family-friendly activities, dance and music performances, inspiring talks from creative practitioners, city walks and ephemeral installations and events make up our public programs. Whatever your creative interests, there will be a lot to learn and enjoy in Melbourne NowMelbourne Now is a major project for the NGV which we hope will have a profound and lasting impact on our audiences, our engagement with the art communities in our city and on the NGV collection. We invite you to join us in enjoying some of the best of Melbourne’s creative art, design and architecture in this landmark exhibition.

Tony Ellwood
Director, National Gallery of Victoria

Foreword from the Melbourne Now exhibition guide book

 

Destiny Deacon and Virginia Fraser 'Melbourne Noir' 2013 (installation view)

Destiny Deacon and Virginia Fraser 'Melbourne Noir' 2013 (installation view)

Destiny Deacon and Virginia Fraser 'Melbourne Noir' 2013 (installation view)

Destiny Deacon and Virginia Fraser 'Melbourne Noir' 2013 (installation view)

 

Destiny Deacon (Australian, K’ua K’ua and Erub/Mer peoples b. 1957)
Virginia Fraser (Australian)
Melbourne Noir (installation view details)
2013
Installation comprising photography, video, sculptural diorama dimensions (variable) (installation)
Collection of the artists
© Destiny Deacon and Virginia Fraser, courtesy Roslyn Oxley9 Gallery, Sydney
Photos: Marcus Bunyan

 

 

Adapting the quotidian formats of snapshot photography, home videos, community TV and performance modes drawn from vaudeville and minstrel shows, Deacon’s artistic practice is marked by a wicked yet melancholy comedic and satirical disposition. In decidedly lo-fi vignettes, friends, family and members of Melbourne’s Indigenous community appear in mischievous narratives that amplify and deconstruct stereotypes of Indigenous identity and national history. For Melbourne Now, Deacon and Fraser present a trailer for a film noir that does not exist, a suite of photographs and a carnivalesque diorama. The pair’s playful political critiques underscore a prevailing sense of postcolonial unease, while connecting their work to wider global discourses concerned with racial struggle and cultural identity.

 

Darren Sylvester. 'For you' 2013 (installation view detail)

Darren Sylvester. 'For you' 2013 (installation view detail)

Darren Sylvester. 'For you' 2013 (installation view detail)

Darren Sylvester. 'For you' 2013 (installation view detail)

 

Darren Sylvester (Australian, b. 1974)
For you (details)
2013
Based on Yves Saint Laurent Les Essentials rouge pur couture, La laque couture and Rouge pur couture range revolution lipsticks, Marrakesh sunset palette, Palette city drive, Ombres 5 lumiéres, Pure chromatic eyeshadows and Blush radiance
Illuminated dance floor, sound system
605.0 x 1500.0 x 1980.0cm
Supported by VicHealth; assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body
Photos: Marcus Bunyan

 

 

For Melbourne Now Sylvester presents For you, 2013, an illuminated dance floor utilising the current palette of colours of an international make-up brand. By tapping into commonly felt fears of embarrassment and the desire to show off in front of others, For you provides a gentle push onto a dance floor flush in colours already proven by market research to appear flattering on the widest cross-section of people. It is a work that plays on viewers’ vanity while acting as their support. In Sylvester’s own words, this work ‘will make you look good whilst enjoying it. It is for you’.

 

 

Assembling over 250 outstanding commissions, acquired and loaned works and installations, Melbourne Now explores the idea that a city is significantly shaped by the artists, designers and architects who live and work in its midst. It reflects the complexity of Melbourne and its unique and dynamic cultural identity, considering a diverse range of creative practice as well as the cross-disciplinary work occurring in Melbourne today.

Melbourne Now is an ambitious project that represents a new direction for the National Gallery of Victoria in terms of its scope and its relationship with audiences. Drawing on the talents of more than 400 artists and designers from across a wide variety of art forms, Melbourne Now will offer an experience unprecedented in this city; from video, sound and light installations, to interactive community exhibitions and artworks, to gallery spaces housing working design and architectural practices. The exhibition will be an immersive, inclusive and participatory exhibition experience, providing a rich and compelling insight into Melbourne’s art, design and cultural practice at this moment. Melbourne Now aims to engage and reflect the inspiring range of activities that drive contemporary art and creative practice in Melbourne, and is the first of many steps to activate new models of art and interdisciplinary exhibition practice and participatory modes of audience engagement at the NGV.

The collaborative curatorial structure of Melbourne Now has seen more than twenty NGV curators working across disciplinary and departmental areas in collaboration with exhibition designers, public programs and education departments, among others. The project also involves a number of guest curators contributing to specific contexts, including architecture and design, performance and sound, as well as artist-curators invited to create ‘exhibitions within the exhibition’, develop off-site projects and to work with the NGV’s collection. Examples of these include Sampling the City: Architecture in Melbourne Now, curated by Fleur Watson; Drawing Now, curated by artist John Nixon, bringing together the work of forty-two artists; ZOOM, an immersive data visualisation of cultural demographics related to the future of the city, convened by Ewan McEoin; Melbourne Design Now, which explores creative intelligence in the fields of industrial, product, furniture and object design, curated by Simone LeAmon; and un Retrospective, curated by un Magazine. Other special projects present recent developments in jewellery design, choreography and sound.

Numerous special projects have been developed by NGV curators, including Designer Thinking, focusing on the culture of bespoke fashion design studios in Melbourne, and a suite of new commissions and works by Indigenous artists from across Victoria which reflect upon the history and legacies of colonial and postcolonial Melbourne. The NGV collection is also the subject of artistic reflection, reinterpretation and repositioning, with artists Arlo Mountford, Patrick Pound and The Telepathy Project and design practice MaterialByProduct bringing new insights to it through a suite of exhibitions, videos and performative installations.

In our Community Hall we will be hosting 600 events over the four months of Melbourne Now offering a daily rotating program of free workshops, talks, catwalks and show’n’tells run by leaders in their fields. And over summer, the NGV will present a range of programs and events, including a Children’s Festival, dance program, late-night music events and unique food and beverage offerings.

The exhibition covers 8000 square metres of space, covering much of the two campuses of the National Gallery of Victoria, and moves into the streets of Melbourne with initiatives such as the Flags for Melbourne project, ALLOURWALLS at Hosier Lane, walking and bike tours, open studios and other programs that will help to connect the wider community with the creative riches that Melbourne has to offer.

Melbourne Now Introduction

 

Alan Constable. 'No title (teal SLR with flash)' 2013

 

Alan Constable (Australian, b. 1956)
No title (teal SLR with flash)
2013
Earthenware
15.5 x 24.0 x 11.0cm
Collection of the artist
© Alan Constable, courtesy Arts Project Australia, Melbourne
Photo: © National Gallery of Victoria

 

 

A camera’s ability to act as an extension of our eyes and to capture and preserve images renders it a potent instrument. In the case of Constable, this power has particular resonance and added poignancy. The artist lives with profound vision impairment and his compelling, hand-modelled ceramic reinterpretations of the camera – itself sometimes referred to as the ‘invented eye’ – possess an altogether more moving presence. For Melbourne Now, Constable has created a special group of his very personal cameras.

 

Linda Marrinon. Installation view of works including 'Debutante' (centre) 2009

 

Linda Marrinon (Australian, b. 1959)
Installation view of works including Debutante (centre)
2009
Tinted plaster, muslin
Collection of the artist
© Linda Marrinon, courtesy Roslyn Oxley9 Gallery, Sydney
Supported by Fiona and Sidney Myer AM, Yulgilbar Foundation and the Myer Foundation
Photo: Marcus Bunyan

 

 

Marrinon’s art lingers romantically somewhere between the past and present. Her figures engage with notions of formal classical sculpture, with references to Hellenistic and Roman periods, yet remain quietly contemporary in their poise, scale, adornments and subject matter. Each work has a sophisticated and nonchalant air of awareness, as if posing for the audience. Informed by feminism and a keen sense of humour, Marrinon’s work is anti-heroic and anti-monumental. The figures featured in Melbourne Now range from two young siblings, Twins with skipping rope, New York, 1973, 2013, and a young woman, Debutante, 2009, to a soldier, Patriot in uniform, 2013, presented as a pantheon of unlikely types.

 

Brook Andrew. 'Vox: Beyond Tasmania' 2013 (installation view)

 

Brook Andrew (Australian, b. 1970)
Vox: Beyond Tasmania (installation view)
2013
Wood, cardboard, paper, books, colour slides, glass slides, 8mm film, glass, stone, plastic, bone, gelatin silver photographs, metal, feather
267.0 x 370.0 x 271.0cm
Collection of the artist
© Brook Andrew, courtesy Tolarno Galleries, Melbourne
Photo: © National Gallery of Victoria

 

 

Andrew’s Vox: Beyond Tasmania, 2013, renders palpable as contemporary art a central preoccupation of his humanist practice – the legacy of historical trauma on the present. Inspired by a rare volume of drawings of fifty-two Tasmanian Aboriginal crania, Andrew has created a vast wunderkammer containing a severed human skeleton, anthropological literature and artefacts. The focal point of this assemblage of decontextualised exotica is a skull, which lays bare the practice of desecrating sacred burial sites in order to snatch Aboriginal skeletal remains as scientific trophies, amassed as specimens to be studied in support of taxonomic theories of evolution and eugenics. Andrew’s profound and humbling memorial to genocide was supported in its first presentation by fifty-two portraits and a commissioned requiem by composer Stéphanie Kabanyana Kanyandekwe.

 

Brook Andrew. 'Vox: Beyond Tasmania' 2013 (installation view detail)

Brook Andrew. 'Vox: Beyond Tasmania' 2013 (installation view detail)

 

Brook Andrew (Australian, b. 1970)
Vox: Beyond Tasmania (details)
2013
Photos: Marcus Bunyan

 

Daniel Crooks. 'An embroidery of voids' 2013 (still)

Daniel Crooks. 'An embroidery of voids' 2013 (still)

 

Daniel Crooks (New Zealand, b. 1973)
An embroidery of voids (stills)
2013
Colour single-channel digital video, sound, looped
Collection of the artist
© Daniel Crooks, courtesy Anna Schwartz Gallery, Melbourne and Sydney
Supported by Julie, Michael and Silvia Kantor
Photos: © National Gallery of Victoria

 

 

Commissioned for Melbourne Now, Crooks’s most recent video work focuses his ‘time-slice’ treatment on the city’s famous laneways. As the camera traces a direct, Hamiltonian pathway through these lanes, familiar surroundings are captured in seamless temporal shifts. Cobblestones, signs, concrete, street art, shadows and people gracefully pan, stretch and distort across our vision, swept up in what the artist describes as a ‘dance of energy’. Exposing the underlying kinetic rhythm of all we see, Crooks’s work highlights each moment once, gloriously, before moving on, always forward, transforming Melbourne’s gritty and often inhospitable laneways into hypnotic and alluring sites.

 

Jan Senbergs. 'Extended Melbourne labyrinth' 2013 (installation view)

 

Jan Senbergs (Australian, b. 1939)
Extended Melbourne labyrinth
2013
Oil stick, synthetic polymer paint wash (1-4)
158.0 x 120.0cm (each)
Collection of the artist
© Jan Senbergs, courtesy Niagara Galleries
Photo: Marcus Bunyan

 

 

Senbergs’s significance as a contemporary artist and his understanding of the places he depicts and their meanings make his contribution to Melbourne Now essential. Drawing inspiration from Scottish poet Edwin Muir’s collection The labyrinth (1949), Senbergs’s Extended Melbourne labyrinth, 2013, takes us on a journey through the myriad streets and topography that make up our sprawling city. His characteristic graphic style and closely cropped rendering of the city’s urban thoroughfares is at once enthralling and unsettling. While the artist neither overtly celebrates nor condemns his subject, there is a strong sense of Muir’s ‘roads that run and run and never reach an end’.

 

Patrick Pound. 'The gallery of air' 2013 (installation view detail)

Patrick Pound. 'The gallery of air' 2013 (installation view detail)

 

Patrick Pound (Australian, b. 1962)
The gallery of air (installation view details)
2013
Photos: Marcus Bunyan

 

 

For Melbourne Now Pound has created The gallery of air, 2013, a contemporary wunderkammer of works of art and objects from across the range of the NGV collection. There are Old Master paintings depicting the effect of the wind, and everything from an exquisite painted fan to an ancient flute and photographs of a woman sighing. When taken as a group these disparate objects hold the idea of air. Added to works from the Gallery’s collection is an intriguing array of objects and pictures from Pound’s personal collection. On entering his installation, visitors will be drawn into a game of thinking and rethinking about the significance of the objects and how they might be activated by air. Some are obvious, some are obscure, but all are interesting.

 

Marco Fusinato. 'Aetheric plexus (Broken X)' 2013 (installation view)

 

Marco Fusinato (Australian, b. 1964)
Aetheric plexus (Broken X) (installation view)
2013
Alloy tubing, lights, double couplers, Lanbox LCM DMX controller, dimmer rack, DMX MP3 player, powered speaker, sensor, extension leads, shot bags
880.0 x 410.0 x 230.0cm
Collection of the artist
© Marco Fusinato, courtesy Anna Schwartz Gallery, Melbourne and Sydney
Supported by Joan Clemenger and Peter Clemenger AM
Photo: © National Gallery of Victoria

 

 

For Melbourne Now, Fusinato presents Aetheric plexus (Broken X), 2013, a dispersed sculpture comprising deconstructed stage equipment that is activated by the presence of the viewer, triggering a sensory onslaught with a resonating orphic haze. The work responds to the wider context of galleries, in the artist’s words, ‘changing from places of reflection to palaces of entertainment’ by turning the engulfed audience member into a spectacle.

 

Installation view of Susan Jacobs 'Wood flour for pig iron (vessel for mixing metaphors)' 2013 with Mark Hilton 'dontworry' 2013 in the background (installation view)

 

Installation view of Susan Jacobs Wood flour for pig iron (vessel for mixing metaphors) 2013 with Mark Hilton dontworry 2013 in the background
Photo: Marcus Bunyan

 

 

In her most recent project, Jacobs fabricates a rudimentary version of the material Hemacite (also known as Bois Durci) – made from the blood of slaughtered animals and wood flour – which originated in the late nineteenth century and was moulded with hydraulic pressure and heat to form everyday objects, such as handles, buttons and small domestic and decorative items. The attempt to re-create this outmoded material highlights philosophical, economic and ethical implications of manufacturing and considers how elemental materials are reconstituted. Wood flour for pig iron (vessel for mixing metaphors), 2013, included in Melbourne Now, explores properties, physical forces and processes disparately linked across various periods of history.

 

Mark Hilton. 'dontworry' 2013 (installation view)

 

Mark Hilton (Australian, b. 1976)
dontworry (installation view)
2013
Cast resin, powder
The Michael Buxton Collection, Melbourne
© Mark Hilton, courtesy Darren Knight Gallery, Sydney
Photo: © National Gallery of Victoria

 

 

dontworry, 2013, included in Melbourne Now, is the most ambitious and personal work Hilton has made to date. A dark representation of events the artist witnessed growing up in suburban Melbourne, this wall-based installation presents an unnerving picture of adolescent mayhem and bad behaviour. Extending across nine intricately detailed panels, each corresponding to a formative event in the artist’s life, dontworry can be understood as a deeply personal memoir that explores the transition from childhood to adulthood, and all the complications of this experience. Detailing moments of violence committed by groups or mobs of people, the installation revolves around Hilton’s continuing fascination with the often indistinguishable divide between truth and myth.

 

Mark Hilton. 'dontworry' 2013 (installation view detail)

Mark Hilton. 'dontworry' 2013 (installation view detail)

 

Mark Hilton (Australian, b. 1976)
dontworry (installation view details)
2013
Cast resin, powder
The Michael Buxton Collection, Melbourne
© Mark Hilton, courtesy Darren Knight Gallery, Sydney
Photos: Marcus Bunyan

 

 

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, an art and cultural memory archive, which posts mainly photography exhibitions from around the world. He holds a Doctor of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

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