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Body Language Against the Grain

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Body Language Against the Grain Cross Pose Body language against the grain 1 Cross Pose Body language against the grain Dr Sally Butler Gordon Bennett Notes to Basquiat: In the future everyone will know their place and be content 1999 synthetic polymer paint on linen 183.0 x 183.0 cm Collection of The University of Queensland, purchased 1999. Reproduced courtesy of the artist’ estate and Milani Gallery, Brisbane. 2 3 Introduction Cross Pose – Body language Cross Pose focuses on Indigenous against the grain brings together perspectives, featuring artists Australian artworks from The who explore the complex terrain University of Queensland Art of their subjectivity within Collection that use the human frameworks created by the self body as an expression of and others. The artworks both complex subjectivity and visual declare and contest standpoints politics. The exhibition explores of individual and collective how artists map the socially identity, and negotiate alternative and politically regulated body approaches to national subjectivity and push back against this and sovereignty. Bodies in these control. Bodies in these artworks artworks collectively assert a adopt a pose to intervene with politics of self-determination. The conventional political thought, non-Indigenous and collaborative investing it with new forms of artworks included in the exhibition association. The body’s sensory provide a historical context to language helps to shape the this snapshot of the politics of political in ways that differ from Indigenous subjectivities. the spoken and written word. cover: Darren Siwes Marrkidj Wurd-ko (Cross Pose) Group 2011 from the series ‘Dalabon Dalok (Dalabon Woman)’ Giclée print on pearl paper, edition 5/10 120.0 x 90.0 cm Collection of The University of Queensland, purchased 2011. Reproduced courtesy of the artist and GAGPROJECTS/Greenaway Art Gallery, Adelaide. left: Luke Roberts Australian Gothic (Couple) 2009 from the series ‘Australian Story’ camera: Kevyn Chase Giclée print on paper, edition 2/5 image 174.5 x 103.0 cm; sheet 190.0 x 130.3 cm Collection of The University of Queensland, purchased 2010. Reproduced courtesy of the artist and Milani Gallery, Brisbane. 4 5 left: Tony Albert No place warrior 2009 watercolour on Arches paper image/sheet 76.0 x 57.0 cm Collection of The University of Queensland, purchased 2010. Reproduced courtesy of the artist and Sullivan & Strumpf, Sydney. following page: Alick Tipoti Kuyku Garpathamai Mabaig 2007 linoprint on paper, edition 3/45 image 204.0 x 120.0 cm; sheet 239.0 x 139.0 cm Collection of The University of Queensland, purchased 2008. Reproduced courtesy of the artist and Aboriginal Art Network, Sydney. 6 7 The body in art and world politics The problems that currently haunt world politics, from terrorism to poverty, are far too serious not to employ the full register of human intelligence to understand and deal with them. Roland Bleiker 1 The figure of the human ‘a more open-ended level of body has loomed large over sensibility about the political’.4 contemporary art since the 1960s. International fascination The body in art has played a key with abstract art abated at this role in expressing these open- time in deference to the more ended political sensitivities. explicitly political overtures of Gesture, stance, demeanour, conceptual art, and performance and a whole sensory repertoire art in particular. Artists of this of body language in art era engaged with a global engage us in ideas about what society conditioned by two world constitutes the self and how wars and what increasingly we understand ourselves as evolved in the twentieth century subjects – particularly as political as the ‘theatre of bloody subjects. This subjectivity is conflicts among identities’.2 Cold determined by ways in which the War power structures seemed body is regulated and framed to explode into an infinite by external influences. The self horizon of unpredictability is never purely a self; it always and kaleidoscopic political involves others. Philosopher subjectivities. Spurred by Jean-Luc Nancy calls this a improved media communication, condition of ‘being singular an unwieldy global image of plural’.5 contested ethnic, cultural, national and religious identities Amelia Jones’s influentialBody grew in visibility and scope. art/Performing the subject Scholarly discourse responded (1993) was the first sustained to this volatile image of global study of the political potential politics with a concept of political of body art’s capacity to enact aesthetics.3 The manner in complex subjectivity.6 Jones which political ideas presented focused on feminist performance themselves through artistic art of the late-twentieth century expression provided a method to argue that the body did not for understanding unprecedented represent subjectivity so much political plurality and uncertainty. as it performed the subject In Aesthetics and world politics, through a process of dynamic Roland Bleiker argues that art subject formation. Performance offers alternative insights to art exemplifies the body’s conventional political analysis, ability to place subjectivity and a capacity to cultivate in flux. During performance 8 9 Christopher Pease Noble Savage 3 2014 Robert Dowling oil on canvas Werrat Kuyuut and the Mopor people, Spring Creek, Victoria 1856 65.0 x 100.0 cm oil on canvas Collection of The University of Queensland, purchased 2014. 52.0 x 108.5 cm Reproduced courtesy of the artist and Gallerysmith, Melbourne. Collection of The University of Queensland. Gift of Marjorie Dowling, 1952. 10 11 art, the body is always ‘in the moment’, and in a constant state of transformation. But it is the effort to document the body’s performance in all kinds of media that underpins what Jones defines as the ‘body/subject’. Jones argues that the ‘body/ subject’ in photography, film, video, and even text, becomes a ‘complex extension of portraiture’ that does not fix subjectivity, but rather anticipates it, rendering it open-ended. Art’s inscription of the body as a performed subjectivity is centrally at stake here, as Jones writes: …it is precisely the relationship of these bodies/subjects to documentation (or, more specifically, to re-presentation) that most profoundly points to the dislocation of the fantasy of the fixed, normative, centered modernist subject and thus most dramatically provides a radical challenge to the masculinism, racism, colonialism, classism, and hetero-sexism built into this fantasy.7 Michael Cook Majority Rule (Bus) 2014 inkjet print on paper, edition 3/3 140.0 x 200.0 cm Collection of The University of Queensland, purchased 2014. Reproduced courtesy of the artist and Andrew Baker Art Dealer, Brisbane. 12 13 The body/subject in Australia Moving forward several decades, The body/subject is arguably we encounter a new generation most effective when it executes of the body/subject’s challenge interventions such as those seen to the fixed, normative subject in Siwes’s series of photographs. in the Dalabon Biyi/Dalabon A similar intervention is visible Dalok (2011) series by Australian in the documented Maiwar artist Darren Siwes (1968–). performance (2014), the result of These photographs, which a collaboration between American involve Siwes’s Dalabon kinfolk artist Dave Hullfish Bailey (1963–) adopting poses within metal and Sam Watson (1952–). frames that reference Leonardo Watson, of Birri Gubba Aboriginal da Vinci’s (1452–1519) Vitruvian heritage, is a renowned activist man (1490), present a political for Aboriginal social justice and challenge that is global in scale. civil rights and playwright. He Da Vinci’s image is regarded as an was one of the founding members icon of Western anthropocentrism of the Black Panther party in but, in Siwes’s photographs, Australia and is the author of The Western methods of subjectivity Kadaitcha sung (1990), Black and regulation are forced to man down (1996) and Oodgeroo confront an Aboriginal worldview. – Bloodline to country (2009). Dalabon men and women Bailey is an artist with Native decentre the singularity of the American ancestry who lives Vitruvian mindset and displace in Los Angeles. His research- (white) man as being the centre based conceptual art practice of ‘his’ world. As the Dalabon involves highly experimental and figures shift through a series of innovative collaborations and poses, they collectively perform ‘interventions’ into everyday life the multiplicity and complexity across the world. Like Siwes’s of the body/subject. Set in the photographic series, Bailey and landscape of Dalabon homelands, Watson’s series of collaborative Western constructs of the subject performances displace normative negotiate an Indigenous politics structures of control over of people, place and time. While Indigenous subjectivities. Dalabon subjectivity manifests as Their performances involved variable and complex, it remains unannounced ‘deflections’8 to the Darren Siwes Marrkidj-ngan (Star Pose) Group 2011 grounded in a politics of land regular route of the CityCat ferries from the series ‘Dalabon Dalok (Dalabon Woman)’ Giclée print on pearl paper, edition 5/10 rights, sovereignty and self- on the Brisbane River, a deviation 120.0 x 90.0 cm determination. sanctioned by the Brisbane City Collection of The University of Queensland, purchased 2011. Reproduced courtesy of the artist and GAGPROJECTS/Greenaway Art Gallery, Adelaide. Council. 14 15 The CityCat performance required This politicisation of natural the ferry to pause in front of a rhythms flowing between small park at the
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