When
viewing so much art it is difficult not to be seduced by the next big
thing and lose the feelings that were evoked from the previous
exhibition. There is little doubt that certain works resonate
stronger, connect deeper or hit harder, but there is also worth in
those other works that initially may seem a little more subdued, but
on closer inspection or if you spend some time with them, can take on
a whole new appearance.
Aluminium
liquor bottles and copper wire are used by El Anatsui to make an
amorphous wall mounted sculpture titled Anonymous Creature 2009
The
works in the MCA are about 'bringing together disparate elements' and
reconstruction. This Nigerian artist has demonstrated this
beautifully. Rather than sitting flush against the white gallery
wall, the decorative panelling ripples, writhes and creates a a
moving topography that appears to fall from the wall.Something
reminiscent of a samurai warriors coat of arms, it is a sprawling and
undulating arrangement of flattened out aluminium whisky bottle caps
bound together with copper wire.
Perhaps
this is about reconstructing from the destructive. Taking control of
those things that control us, or communities? Either way, this piece
works beautifully. There is an irony about utilising the very items
that can cause such destruction. Introduced by western culture,
alcohol, along with other disposable products have impacted on the
cultural, social and environmental life of communities. Likewise the
binding together of the useless with a valuable wire hints to the
consumerism of western society that is desired throughout the world,
but brings its own failures.
Light
Painting 2011 is a digital
projection on glass by Nyapanyapa Yunupingu. This is a beautiful
work, which seems again to explore narrative, landscape and
community. It is a computer generated serious of paintings that have
come from 110 original black and white paintings produced at the
Yirrkala Art Centre. www.yirrkala.com/
They were then programmed and randomly a program selects paintings to
overlay. This creates an endless series of changeable art that are
created through light. Mark making; lines, spheres and dots that
create a narrative and atmosphere; a sense of time.
There
is so much intention in works such as Yunupingu's. Whereas the
meaning or placement of others is less visible. Zoe Keramea's moths
are hung sporadically throughout the gallery in and around other
pieces. Made from black and white folded paper; the first viewing is
quite intriguing and beckon the viewer to touch; which we of course
have to resist. These origami 3D triangles connect to make moth-like
creatures that are not only in the gallery but also used as a major
image on the Biennale promotional banners. The placement of these
moths doesn't seem to have been as thought through as other decisions
in the gallery which impacts of the effect they have. While it
presents a crisp, clean structure that presents a functional graphic,
these works seem a little out of place.
Many
works are worthy of being written about, but it is just not possible.
The Way
Things Are 2010
by Tim Johnson is a beautiful and cohesive work that incorporates
icons and decorative elements from Asian, European and Aboriginal
cultures. Rather than contextualising, this work seems to
intentionally avoid trying to marry the meaning of each image,
preferring to let them sit indepently. And it works.
Where
Are You 2012 by
Liu Zhuoquan is an immense work that is housed in a gallery at the
end of a long hallway. The viewer is met by hundreds of inky black
painted glass bottles. They evoke a viseral response in me; these
bottles that appear as pecimen bottles filled with snakes or
serpents. What is incredible is they have been painted on the inside.
Not on paper or material and inserted; this is a technique where the
artists use a curved brush to apply the oil paint to the inside glass
of the bottles. The effect is multi-dimensional, luscious and quite
amazing, particularly when you see the mass collection of them.
Positioned
next to this is an understated 2 dimensional painting that many
people would miss. Precious
Objects 2007
by Gade, a Tibetan artist, gives the appearance of an old faded
ornate painting. Something you would find in a dusty corner of an
asian museum. On closer inspection the work is made up of small
iconic images from contemporary culture placed within 300 lotus
thrones. Precious deities have been replaced with western cultural
symbols and everyday objects such as cigarettes, socks, vibrators and
even Marcel Duchamp's Fountain.
This is a humourous and interesting work. But it has the sting in the
tail and plays with the way contemporary society idolises commodoties
and consumables; objects that we derive pleasure from. Is this
illuding to our western desire for instant gratification, rather than
some life long dedication towards a belief or practice that is not
built around material objects? This is a subtle work that presents a
clear message.
